SDCF Podcast Series (Stage Directors and Choreographers Foundation)

On October 1, 2012, Stage Directors and Choreographers Foundation in partnership with Broadway Green Alliance (BGA) held a conversation entitled Directing Green at the New Amsterdam Theatre in New York. Director/Choreographer John Carrafa, SDC's representative to BGA, led this discussion, which starts with Allen Hershkowitz, Senior Scientist at the Natural Resources Defense Council (NRDC), describing the state of the global environment and the critical role the entertainment industry can play in adopting better practices. He emphasizes that taking even a small step towards better practices makes a difference. After this accessible overview, some of those leading a more environmentally-friendly theatre working on Broadway in diverse fields - Lighting Designer James Bedell, Costume Designer Andrea Lauer, Scenic Designer Donyale Werle, Stage Manager Marjorie Horne, and Bob Usdin, Owner of Showman Fabricators, give insight into the ways that they are taking the environment into account without compromising their art form. By listening to this conversation, artists can discover questions to ask collaborators in pre-production, learn practical methods of conserving resources in rehearsal and tech, and understand why better environmental practices are essential for artists working today. Originally recorded - October 1, 2012. Running Time - 1:24:16 © 2012 SDCF

Hosted by M. Graham Smith, we are delighted to bring you the seventh episode of our podcast series – SDCF Podcast Series: Regional Originals with M. Graham Smith – a series of interviews with some of the most exciting Directors and Choreographers working in America’s regional theatres today.

Today Graham is with Raymond Bobgan, the Executive Artistic Director of the Cleveland Public Theatre. They talk about activating a community, the Road to Hope, Pandemonium, and hosting giant pink elephants.  'Theatre in my mind, at least for Western civilization, was born as the twin sibling of democracy'

At the SDCF 2013 Emerging Artist Symposium on Plays on June 17, 2013, SDCF hosted legendary director Marshall Mason to speak about his extraordinary collaboration with Pulitzer Prize-winning playwright Lanford. Mason's collaboration with Wilson has been certified by Playbill as the longest collaboration between a writer and director in the history of the American theater, and is perhaps the finest example of collaboration in the recent American Theatre. Listen in is as Mason gives his personal account of this exemplary artistic relationship as well as a practical analysis of his approach to working with actors neatly formatted into a comprehensible eight-step program. Originally recorded - June 17, 2013. Running Time - 1:06:22 © 2013 SDCF

American Shakespeare Center's Artistic Director, Ethan McSweeny sat down with Geoffrey Kent in a new episode of SDCF Podcast Series: Careers in the Classics.

 Susan Stroman: In January of 1994, Susan Stroman sat down for an hour-long discussion of her career as a choreographer. She talks about working on Crazy For You, Kiss of the Spider Woman, and Show Boat, noting how bad experiences are necessary to make the good ones what they are. Other topics include working with a cast of 73 actors, working with director Hal Prince, movie musicals and the lack of copyright protection for choreography. For wonderful advice and great stories from a five-time Tony-winning director and choreographer, listen now! Originally recorded - January 12, 1994. Running Time - 1:00:43 © 1994 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

On November 20, 1996, SDCF in partnership with The Drama League explored the subject of Career Transitions with a panel of four Directors and Choreographers - Seth Barrish, Kathleen Marshall, Richard Sabellico, and Marlies Yearby - who had recently reached a new point in career. Listen to this discussion to discover how their transitions came about, the experiences and encounters that led these artists to new opportunities on projects with higher profiles, and the challenges to process that come with working on a larger platform. This honest and informative conversation, led by David Diamond of SDCF and Roger Danforth of The Drama League, is a great tool for those seeking to take their artistic career in a different direction or to a new level. Originally recorded - November 20, 1996. Running Time - 1:28:04 © 1996 SDCF

In June of 2000, Hartford Stage's longtime Artistic Director Mark Lamos sat down with the SDCF for a One-on-One interview. In this conversation Lamos speaks candidly about a recent production of Edward II for A.C.T, his early career and his tenure at Hartford Stage, and the art and craft of directing for opera. Originally recorded - June 14, 2000. Running Time - 1:32:06 ©2000 SDCF

On July 23, 2012, Director Stafford Arima (2012 revisal of Carrie, Altar Boyz) and Director/Choreographer Christopher Windom (Central Avenue Breakdown) spoke with SDCF Producing Director Ellen Rusconi at a Director/Choreographer Network panel hosted by The New York Musical Theatre Festival discussion about developing new musicals. These two artists offer their experiences in developing musicals in a variety of ways - festivals, workshops, regional productions - and share insight into his individual process, including thoughts on what can and cannot be accomplished artistically in the fast-paced festival setting. They discuss the benefits and challenges of presenting a new work in a festival such as NYMF and how a director or choreographer can best use the boundaries of a festival to advantage. Listen to this inspiring, focused discussion to explore the ins and outs of developing new musicals today. Originally recorded - July 23, 2012. Running Time - 1:26:22  © 2012 SDCF

On December 18, 2010, SDCF hosted their second One-on-One Conversation of the 2010-2011 season in the Beckett Theatre at Theatre Row with Donmar Warehouse Artistic Director Michael Grandage  (Red, Hamlet) and Broadway Director/Choreographer Rob Ashford (How To Succeed In Business..., Promises, Promises) and moderated by SDCF Executive Director Laura Penn. The two directors discuss their trajectories from small town upbringings to the big city and from performing careers to directing. Other topics include the story of their professional relationship with each other, their rehearsal processes from first day to opening night and their views on mentorship. Full of humorous anecdotes, this conversation provides a unique opportunity to hear the voices of two trans-Atlantic masters of the craft in the prime of their careers. Originally recorded - December 18, 2010. Running Time - 1:08:35 © 2010 SDCF

 A View from the Bridge: On December 15, 1986, director Tony Giordano, designers Hugh Landwehr and Dennis Parichy and actors Michael Fischetti, Jennifer Van Dyck and Diane Martella spoke with moderator Amy Saltz at New Dramatists about their work on a traveling co-production of A View From The Bridge, produced by theatres in Rochester, Buffalo, Syracuse and Albany. Having taken place after two of the four runs, this conversation is a rare opportunity to hear artists from various disciplines talk about a play that is still in progress. Fischetti and Giordano discuss the inception of the play at Syracuse Stage after doing Glengarry Glen Ross, and how it turned into a touring co-production. Giordano speaks of the opportunity to go back into rehearsal and continue to find the life of the play between Buffalo and Syracuse, and his excitement to implement their new discoveries in a smaller theater when they head to Albany. The designers discuss the difficulty of designing one set to work in four different spaces, with three prosceniums and one thrust theatre, and the actors talk about committing to one show in small towns for an extended period of time. At the heart of this discussion is a group of people who are passionate about the work they have been doing and are continuing to do, and the idea that a play is not finished once it's in front of an audience. Originally recorded - December 15, 1986. Running Time - 1:23:33 © 1986 SDCF 

2003 Symposium: New Writers, New Worlds: At its 2003 Directing Symposium, SDCF hosted a panel moderated by Mary Catherine Burke and featuring directors Christopher Ashley, Jo Bonney, Susan Einhorn, Leah Gardiner, David Warren and Les Waters and playwrights Jorge Cortiñas and David Henry Hwang to discuss expanding diversity among writers, directors and subject matter of new plays. The discussion encompasses the artist's responsibility to creating diversity in theater, the producer's responsibility to take on diverse projects, and the difficulty of taking pieces out of development and into production in commercial or not-for-profit venues. The panelists aim to answer the question of how we are working to change the demographics of theater, and what still needs to be done. The conversation provides an assortment of important perspectives on one of today's hot-button topics and is a reminder of the need for social, cultural and political diversity in the theatrical craft. Originally recorded - June 1, 2003. Running Time - 1:15:36 © 2003 SDCF

Staging Revivals: Marcia Milgrom Dodge and Chet Walker: At the SDCF 2013 Emerging Artist Symposium on Musicals on May 20, 2013, internationally-acclaimed director/choreographers Chet Walker and Marcia Milgrom Dodge shared their expertise of applying a fresh perspective to the revival of a musical subsequent to an iconic production. They share their personal artistic processes, the questions they ask of a piece, and their thoughts on casting actors’ familiar with prior productions. This candid and humorous conversation, with personal anecdotes from past productions led by Bob Fosse and others, offers an enlightening glimpse into the world of revivals. Listen as these deeply knowledgeable artists proffer advice on interpreting a classic piece of musical theatre as if it were a new work, using innovative research techniques, and breaking popular character preconceptions when casting a revival. Originally recorded - May 20, 2013. Running Time - 1:08:44 © 2013 SDCF

On April 30, 2012, SDCF hosted a One-on-One conversation between Walter Bobbie and Sam Gold moderated by John Clinton Eisner. They discuss their shared background in performance and respective discoveries that they are better suited for directing. Bobbie shares his career trajectory and the strategic choices he made in order to become the artist he wants to be. Gold speaks about building a New York based career and how the turning point in his career came so quickly. Both directors go into great detail about how they find collaborators, how to give notes to a director, and the generous professionals who helped them when they were getting their start. This dynamic conversation is a rare opportunity to peek into the artistic visions of two fantastic contemporary directors. This event was sponsored by A Summer of Theatre & Film at Southampton Arts. Originally recorded - April 30, 2012. Running Time - 1:21:41 © 2012 SDCF

Learn more about our panelists here: https://sdcfoundation.org/the-role-of-broadway-associate-resident-directors-and-choreographers/

Join our mailing list: https://forms.gle/4yBHJSyu98cQw2Qm8

At its 2013 Emerging Artist Symposium on Musicals, SDCF hosted Tony nominated Dan Knechtges (Lysistrata Jones, Xanadu, Spelling Bee) in conversation with Producing Director Ellen Rusconi on his experiences directing and choreographing musicals from the classics to more contemporary works. From his theatre experiences while growing up in Cleveland to his transition from performer to the other side of the table, this discussion - peppered with a dash of humor, sentiment, and survival jobs - examines Dan's process of learning to create musical theatre and launching a career. Listen in as he shares his techniques of choreographic patterning and sustaining creativity and control in the rehearsal room and provides sound advice on ways to feed and enrich craft. The conversation explores key tactics in working with stage managers and writers, time management when developing a new work, and elevating taste in the most unlikely, yet scrumptious of ways. Originally recorded - June 1, 2013 Running Time - 59:19 © 2013 SDCF

Leah C. Gardiner discusses the role of poetry in dramaturgy, freelance directing and Motherhood, and the importance of leaping into uncertainty as we make great Art!

Richard Foreman: Professor/Playwright Steven Drukman sat down with theatre artist Richard Foreman in April of 1997 at Artsconnection to discuss theatrical innovation in an interview co-sponsored by SDCF and the Drama League Directors Project. Foreman illuminates an early career of set design as a teenager in Westchester, NY; as an actor at Brown University; as a playwright at Yale. He confides that his origins as a director stem from an unwillingness of his contemporaries to direct his pieces. Drukman questions the reasoning behind the geometric, psychologically-charged staging of his earlier minimalist works in New York and his progression to the maximally theatric. Foreman discusses his 8-12 week rehearsal process, his admiration for film and irrational imagination. This enlightening interview gives listeners the opportunity to experience the mind of one of avant-garde theatre's pioneers, and his theatre of "infantile impulses". Originally recorded - April 10, 1997. Running Time - 1:23:40 ©1997 SDCF

Large nonprofit theatres across the U.S. are experiencing a sea change of transition in their artistic leadership posts. Today, only about 25% of those posts are held by women, and fewer still by people of color. What are the root causes from a practicing artist standpoint? How will the theatre industry move beyond just planning for diversity, equity, and inclusion, towards implementation of these values? And when will it be reflected in the field's highest and most prominent positions? Join SDCF Executive Director David Roberts as he sits down with director Liesl Tommy and artistic producer Stephanie Ybarra as they explore the intersections of women, people of color, and leadership in American theatre and discuss how they are actively changing the game. This One-on-One is presented in association with Dramatists Guild of America.

We are excited to bring you this new podcast series, The Art of Collaboration. This series will focus on directors and choreographers in conversation with some of their collaborators on a specific production. This series will explore the ins and outs of these processes, both the finer details as well as overarching ideas about what goes into a productive collaboration on a show. In this inaugural episode, Director Alex Timbers, Costume Designer Catherine Zuber, and Lighting Designer Justin Townsend are interviewed by Foundation Director Dani Barlow to discuss their experience working together on Moulin Rouge! The Musical. Learn more about this episode’s guests below.

Bios:

Alex Timbers (Director) is the recipient of Tony, Drama Desk, Outer Critics Circle, and London Evening Standard Awards, as well as two Obie and Lortel Awards. Broadway credits include Gutenberg the Musical; Here Lies Love; Moulin Rouge!; Just For Us; Beetlejuice; David Byrne’s American Utopia; Oh Hello with Nick Kroll and John Mulaney; The Pee-wee Herman Show; Peter and the Starcatcher; and Bloody Bloody Andrew Jackson (also bookwriter). For television, he co-created Amazon’s “Mozart in the Jungle” (Golden Globe Award) and has helmed the Netflix specials “John Mulaney: Kid Gorgeous,” “Ben Platt: Live at Radio City,” and most recently “John Mulaney: Baby J” (2023 Emmy Award nomination). His debut picture book, Broadway Bird, set in an all-animal version of Broadway, is published by Macmillan. @alextimbers  

Justin Townsend (Lighting Designer): His professional lighting design work includes such productions as: Moulin Rouge! The Musical (Tony Award, Drama Desk Award, Outer Critics Circle Award); Jagged Little Pill (Tony Nomination); American Psycho (Tony nomination, Drama Desk Award, Outer Critics Circle Award, Henry Hewes Award); The Humans (Tony nomination, Drama Desk Award); Here Lies Love, (Drama Desk Award, Public Theater); Vietgone, (MTC); Pretty Filthy, (Civilians); Mr. Burns, a Post Electric Play, Milk Like Sugar, (Playwrights Horizons); Odyssey, A Winter’s Tale, (Public Works at the Delacorte Theater); Venus, (Signature Theater); Unnatural Acts, Mother Courage, and Galileo (Classic Stage Company)

Catherine Zuber (Costume Designer) Broadway: Moulin Rouge, (Tony Award, Olivier Award, Drama Desk Award, Outer Critics Circle Award), Mrs. Doubtfire, My Fair Lady, (Tony Award, Drama Desk Award, Outer Critics Circle Award), Oslo, War Paint (Drama Desk Award, Outer Critics Circle Award), King & I, (Olivier Award, Tony Award), Fiddler on the Roof, Golden Boy. South Pacific (Tony Award); The Coast of Utopia (Tony Award); The Light in the Piazza (Tony Award); Awake and Sing! (Tony Award); The Royal Family (Tony Award);  Gigi (Drama Desk Award). Metropolitan Opera: Rigoletto, Porgy & Bess, Il Barbieri di Siviglia, Les Contes d’Hoffman, Comte Ory, L’elisir d’Amore, Otello, Dr. Atomic, Roméo et Juliette. 2016 Induction: Theater Hall of Fame. 

Stage Directors and Choreographers Foundation:

Founded in 1965, Stage Directors and Choreographers Foundation (SDCF) exists to foster, promote, and develop the creativity and craft of stage directors and choreographers. SDCF’s mission is to create access to the field, to connect artists to each other and to the public, and to honor these artists’ theatrical legacies. The centrality of directors and choreographers in theatre and the impact they have on other artists’ careers—from playwrights to designers to actors—makes SDCF’s services essential to the wider theatre industry’s continued health and vitality.

Through its dynamic educational programming, including Observerships, Fellowships, public panels, and day-long symposia, SDCF serves the needs of directors and choreographers at every stage of career. www.sdcfoundation.org

Mitchell, Ashley, and Mayer on Directing: In 2001, Charles Repole and Joe Miloscia of the Stage Directors and Choreographers Foundation had the opportunity to bring together a trio of Broadway's hottest hit-makers for a special conversation. Michael Mayer, Christopher Ashley, and Jerry Mitchell spent an evening catching up, reminiscing and discussing the intricacies of creating comic plays and musicals. Originally recorded - March 28, 2001. Running Time - 1:22:50 ©2001 SDCF

Lynne Taylor-Corbett: In this discussion with Director-Choreographer Lynne Taylor-Corbett in February of 2000, listen to a two-time Tony nominee share her research into the complex history and techniques of competitive swing dance. She tells about the improvisation and experimentation involved during her workshop process to adapt this dance form for the Broadway stage in the 1999 production of Swing! We also get a glimpse of the stories that influenced her career; from her first encounter with a professional dancer in her hometown of Denver that propelled her to New York, to her work touring Africa and the Middle East with the Alvin Ailey Dance Company, as well as her first Broadway experiences choreographing Chess and Titanic. She explains how she built her career from the joy she feels for the theatre audience's enthusiasm for watching dance. This ninety minute interview ends with a frank discussion of the Director-Choreographer relationship, in which she describes the best collaboration as being a fluid, non-threatened relationship built on trust. This insight into the life of an undeniably talented theatre maker is a revealing glimpse into the strengths and struggles of a working Director-Choreographer, which should command the respect of any theatre professional. Originally recorded - February 1, 2000. Running Time - 1:21:33 ©2000 SDCF

In 2002, Arthur Penn sat down for a One-on-One conversation with SDCF Executive Director David Diamond to discuss his triple-threat career in theatre, television and film. He tells the story of his launch into theatre from the army, followed by an early career in TV and the Actors Studio. He talks about his relationship with Bill Gibson which launched two of his biggest successes: The Miracle Worker and Two for the Seesaw, and shares humorous anecdotes about working with Lillian Hellman, Sammy Davis, Jr., George C. Scott, Henry Fonda and the geneses of The Golden Boy, Wait Until Dark, Sly Fox and his film The Left-Handed Gun. Mr. Penn discusses his approach to directing, the importance of casting and his embrace of Stanislavsky's Method for both theatre and film. Other topics include the shrinking audience for theatre today, the self-serving nature of Hollywood, and his early inspirations in Elia Kazan and the Group Theatre. Mr. Penn's positive attitude about both the highs and lows of his career is inspiring, and this ninety-minute discussion with the legendary director should not be missed. Originally recorded - April 1, 2002. Running Time - 1:20:04 © 2002 SDCF

2002 Symposium: Getting Hired: At its 2002 Musical Theatre Symposium, SDCF hosted a panel featuring Todd Haimes (Artistic Director, Roundabout Theatre Company), Marty Bell (Producer, Kiss of the Spider Woman, Ragtime), Sue Frost (Associate Producer, Goodspeed Musicals), Michael Rego (Associate Producer, Urinetown), Robert Johanson (Artistic Director, Paper Mill Playhouse),David Warren (Director, Summer and Smoke) and Elizabeth Williams (Producer, Crazy For You) to discuss how directors and choreographers get hired and how, once hired, they can forge a relationship with a producer. Topics include commercial vs. not-for-profit hiring processes, career development opportunities for directors and the role of an assistant director. This conversation includes anecdotes from regional institutions and Broadway, valuable advice and a broad scope of the many paths for the emerging director or choreographer.Originally recorded - June 1, 2002. Running Time - 57:25 © 2002 SDCF

On Tuesday, December 4, 2012, the Stage Directors and Choreographers Society hosted a panel on women directors and choreographers in Chicago with Rachel Rockwell, Joanie Schultz, Kimberly Senior, and Leigh Silverman. This informal town-hall discussion explores the positive and negative experiences women may encounter while pursuing a career as a director or choreographer. The conversation includes deliberation on the unique challenges and opportunities facing women directors and choreographers in Chicago and across the country. Together, the panel and the audience strive to answer the question, "How can all of us, our collaborators, theatres, service organizations, etc., support growth/continuance of women as directors and choreographers?" Originally recorded - December 4, 2012. Running Time - 1:20:21 © 2012 SDCF

On June 17, 2013, SDC Foundation hosted a symposia with the Director of Artistic Development at Manhattan Theatre Club, Jerry Patch on how new play development differs between New York and the regions.

In this One-on-One conversation with Lincoln Center Dramaturg Anne Cattaneo, Mabou Mines founder and famed director JoAnne Akalaitis shares her wisdom with a full room gathered at Arts Connection in November, 1995. They discuss her days with Mabou Mines and the experimental theatre of the 60s and 70s, and the desire for a broader audience that motivated her transition to regional theaters, where theatre was part of the community. Akalaitis encourages young directors to do their own work and to see the work of others as the basis for any discussion about directing, and expresses the need for entrepreneurship among young artists. Other topics include her approach to a play, the role of an artistic director, and how seeing Frankenstein changed her life. Full of eloquent insight and sage advice, this 90-minute interview will inspire listeners of all ages and professions. Originally recorded - November 27, 1995. Running Time - 1:31:05 © 1995 SDCF

Mark Valdez is an LA-based director, writer, and cultural organizer. His work has been seen at community venues and professional theatres across California, including a tomato field in Grayson, a de-commissioned Catholic cathedral in downtown LA, as well from the stages of La Peña Cultural Center in Berkeley to the stages of Ricardo Montalbán Theatre in Hollywood for a Center Theatre Group produced production. Nationally, Mark has worked at theatres such as the Alliance Theatre in Atlanta, where he created A Road to a Dream, a community collaboration along a 10-mile stretch of the Buford Highway, to shed light on the toll our nation’s broken immigration policies have on families and communities; Arizona’s Childsplay Theatre where he adapted and directed Gary Soto’s book, Chato’s Kitchen, about a low-rider gato from East LA; and Trinity Rep in Providence, where he directed A Christmas Carol that included 85 community choirs. His play Highland Park is Here, won the Audience Award at the Highland Park Film Festival and will be featured in Re:Encuentro, the national Latina/o/x Theater Festival. He is a current Board member of Double Edge Theatre and Cornerstone Theater Company, and a former Board member of TCG. Mark is currently working on The Most Beautiful Home…Maybe, a multi-city project that aims to influence housing policy utilizing performance, cultural organizing, and creative community development strategies.

In November of 1986, legendary acting coach Ada Brown Mather sat down with Roderick Cook at Westside Arts Theatre to discuss his affinity for acting, directing and presenting the words and work of Noël Coward. During this interview Cook covers his relationship with Coward the man, the unlikely circumstance under which Cook's hit Oh Coward! was developed and then revived, and the experience of directing Coward shows on and off-Broadway with entertainment giants like Peter O'Toole in his American debut in Present Laughter. Originally recorded - November 25, 1986. Running Time - 1:08:10 ©1986 SDCF

On Saturday, May 19, 2012, Stage Directors and Choreographers Foundation (SDCF) hosted a One-on-One Conversation at Playwrights Horizons' Peter Jay Sharp Theater with award-winning theatre makers Elizabeth LeCompte, Founding Member and Director of The Wooster Group, and Young Jean Lee, Artistic Director of Young Jean Lee's Theater Company. Moderated by Kristin Marting, Co-Founder/Artistic Director of HERE, these two highly accomplished, adventurous theatre artists talk about how they build their visionary works, the controversies they create, gender issues, critical response to their work, how they view failure, and why they believe their companies continue to thrive in the downtown, experimental theatre scene. Originally recorded - May 19, 2012. Running Time - 1:14:53 © 2012 SDCF

In 2015, Director Thomas Kail sat down with Director Leigh Silverman in a One-on-One conversation about craft, career, and professional trajectories. In their conversation, Silverman expresses her thoughts on the value of readings, how female directors have to prove themselves in a male-dominated industry, and the apparent stigma surrounding ambition in professional theater. Additionally, Silverman and Kail talk about ideal directorial skills and their thoughts on what it means to soak up ideas, challenge what is known, and how to handle a piece when it doesn’t speak to the director. Listen in as these two master directors examine directing vis-à-vis their own lives and careers.

 In 2001, five directors in the "Directing Shakespeare Symposium" sat down with moderator and set designer Ming Cho Lee for a unique experiment regarding the relationship between director and designers, specifically concerning a Shakespearean text. A mock first production meeting was held for an imaginary staging of A Winter's Tale, with the designers being told to end the meeting with the inspiration to go home, pick up a pencil, and not need to talk with the director for the next two weeks. They discussed many crucial aspects of the first few stages in the artistic process, such as their initial emotional responses to the text, how to establish the physical world of the play, and how to visually develop the inner conflict within a character through technical elements. Other topics discussed include: working with new or unfamiliar designers, starting points for collaboration and inspiration, and the positives and negatives of labeling Shakespearean plays as "comedy" or "drama". This group of talented directors delving deep into a complex Shakespearean text is an hour of discussion that should not be missed. Originally recorded - April 28, 2001. Running Time - 55:56 © 2001 SDCF 

As live productions resume across the country, theater artists and managers are working to reopen for audiences. There are several conversations they must respond to—namely the ongoing pandemic and calls for action for equity and inclusion. This series will elevate those conversations, hearing from a group of theater leaders, directors and choreographers about their experiences on returning.

In the second installment of this series Raja Feather Kelly, choreographer of SUFFS, Leigh Silverman, director of SUFFS, and Yuvika Tolani, Director of Producing at The Public Theater join us in conversation as they discuss the process of putting up this production.

Learn more about the panelists here: https://sdcfoundation.org/sdcf-conversation-series-returning-to-rehearsal-2/

Join our mailing list: https://forms.gle/4yBHJSyu98cQw2Qm8

On November 5, 2015, Two Rivers Artistic Director John Dias sat down with actor, playwright, and director Ruben Santiago-Hudson and actor, playwright, choreographer and director Justin Emeka to discuss their bodies of work and philosophical approaches to directing. Throughout the conversation Santiago-Hudson and Emeka touch on the importance of thoughtful casting, directing both Shakespeare and August Wilson, and the importance of representation.

In this discussion, Santiago-Hudson and Emeka unpack issues of privilege, empowerment, and adaptation—all issues that a director must face as he or she approaches any body of work. Listen in as these two masters of the stage engage in a rich philosophical discussion about their craft and the material they work with. 

Regional Originals: a series of interviews, hosted by M. Graham Smith, with some of the most exciting Directors and Choreographers working in America’s regional theatres today.

In December of 2001, renowned director Jack O'Brien was interviewed by his former protégé, John Rando, as part of SDCF's One-on-One conversation series. In this 30-minute session Rando and O'Brien span the gamut of Jack's considerable artistic abilities. Jack O'Brien candidly and eloquently covers everything from his sense of competition and his love of discovery, to his artistic process, love of collaboration and management on the Old Globe theatre. Originally recorded - December 1, 2001. Running Time - 32:07 ©2001 SDCF

On Thursday, October 8^th, 2020 SDCF Trustee Sheldon Epps continued his conversation on artistic leadership with Gordon Davidson Award recipient Seret Scott. Scott and Epps discussed her wide-ranging and inspiring achievements and her work with the Free Southern Theatre in the 1960s, her performances as an actress on Broadway and beyond, and her remarkable career as a freelance director across the country.

 The Making of Jelly's Last Jam: In November 1992, SDC Foundation hosted a conversation with the creative team behind Jelly's Last Jam on Broadway: George C. Wolfe (book and direction), Hope Clarke (choreography), Susan Birkenhead (lyrics), Luther Henderson (music arrangement and additional music), Robin Wagman (set design) and Jules Fischer (lighting design) to discuss their creative process. They discuss the journey from workshops and a production at the Mark Taper Forum to the addition of Wagman, Fischer and Gregory Hines on its way to Broadway, and how each of the design elements and the addition of tap choreography helped to shape the show and discover the heart of the piece. George Wolfe and Luther Henderson talk about working with Jelly Roll Morton's music and manipulating it in order to create a piece that was about Jelly's personality and story as much as it was about what he created. Listen to this conversation for a fascinating discussion of the nature of collaboration at the heart of this production, and a sneak peek into the creation of an original Broadway show. Originally recorded - November 23, 1992. Running Time - 1:05:35 © 1992 SDCF 

This episode, was recorded at a live One-on-One Conversation event sponsored by Stage Directors and Choreographers Foundation on April 8th, 2019. The event, entitled “STATE OF THE ART: DIRECTING SHAKESPEARE IN THE AMERICAN THEATRE” featured directors Davis McCallum and Erica Schmidt, and was moderated by SDC Foundation Trustee Ethan McSweeny.

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

On October 10, 1993 Graciela Daniele was interviewed by SDCFoundation Board Member Frank Ventura at ArtsConnection. In this conversation, Ms. Daniele discusses her life in the arts as a series of transitions. She covers the totality of her career to date, remarking on her evolution from ballerina to musical theatre performer to assistant to director/choreographer. She speaks fondly of former mentors and past productions and candidly articulates her point of view on where American theatre is heading. Originally recorded - October 18, 1993. Running Time - 1:12:57 ©1993 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

On September 25, 1996, James Graves, Associate Director of SDCF, moderated a panel about Directing Opera. Panelists included Lillian Garrett-Groag, Mark Lamos, and Rhoda Levine. With great vibrancy and humor, the panelists consider the challenges of working in foreign countries, methods to navigate working in a foreign language, and the skills and knowledge necessary for theatre artists to work in opera. Most interestingly, their backgrounds are varied: a choreographer (Ms. Levine), a musician and actor (Mr. Lamos), and a multi-lingual director immersed in opera since childhood (Ms. Garrett-Groag). They delve deeply into the Director/Conductor relationship and elucidate the reasons why this is most significant in opera. And they share the thrills of doing new work, including experience developing operas based on the books Celia, A Slave, and Haroun and the Sea of Stories. This honest and open conversation among peers is essential listening for any artist aspiring to direct opera. Originally recorded - September 25, 1996. Running Time - 1:27:02 © 1996 SDCF

SDCF Podcast Series Replay re-releases podcasts that seem especially relevant this season. This 2014 podcast features directors Bartlett Sher and Julie Taymor, and is moderated by Anne Bogart.

On Tuesday, December 6, 2011, SDCF hosted a conversation between sound designers Jill BC Du Boff (Good People, Bill Maher: Victory Begins at Home), Brett Jarvis (Kiki and Herb - Alive on Broadway!, The Donkey Show), and Rob Kaplowitz (Fela!, Pumpgirl) to find out how to work with designers to maximize the creativity and productivity of sound design. Designing the sound of a production is not only about finding the right sound effects or choosing the right song - it is its own art form that shapes and contributes to the emotional storytelling of the play. These three designers demystify the sound designer's role. They parse out the common misconceptions on the difference between designing for a straight play versus musical theatre. The three speak candidly and honestly about their best and worst collaborations with directors and offer tools for directors and designers to better articulate a concept for sound. The conversation answers all questions as to why sound is an integral and important medium for the theatre and offers both designers and directors techniques to collaborate effectively to realize the full artistic potential of sound. Originally recorded - December 6, 2011. Running Time - 1:15:30 © 2011 SDCF

Critics' Perceptions of Directors' Work: On March 1, 1984 director James Furlong moderated a panel of theater critics featuring Theater Editor for Village Voice Erika Munk, Theater Critic for WNEW-TV Stewart Klein, and Theater Critic for New York Magazine John Simon. They address the impact of good and bad reviews and the dynamic relationship between theater artists and critics. The discussion includes what these particular critics perceive as good direction, the criteria they use when analyzing a director's work, and how they follow directors' careers and watch for trends. This exciting conversation opens a window into the world of theater critics and their relationship with the rest of the industry players. Originally recorded - March 1, 1984. Running Time - 1:25:33 © 1984 SDCF

Theatre often struggles to include and embrace diverse voices and artists, and this is certainly true of artists with disabilities. However, directors and casting directors are uniquely positioned to change producing practices and the perceptions of audiences well before the lights go up, and indeed, even before the first rehearsal – and it starts with the casting breakdown. Join SDCF Foundation Director David Roberts as he sits down with director Sam Gold and casting director David Caparelliotis to discuss opportunities in collaborating with artists with disabilities. They will explore authentic representation of disabled characters by actors with disabilities, as well as the casting of those same actors in non-disabled roles, and how they as director and casting director navigate producers' expectations, critical reception, and audience response to their work with this underrepresented community of artists.

On May 14, 2012, SDCF hosted a One-on-One conversation at the Axis Theatre Company in New York between theatre artists Lee Breuer and Taylor Mac, hybrid theatre artists of limitless imagination and inventiveness working mostly in experimental theatre both nationally and internationally, moderated by Mark Russell, Artistic Director and Producer of the Under the Radar Festival produced by The Public Theater. These artists, who work in multiple disciplines, discuss gaining power through their individuality and originality and identify those singular artists and companies from the past, most notably Charles Ludlam and The Ridiculous Theatre, whose work has inspired and influenced their own. They express their hopes for the future or theatre, and what they gain and learn by working internationally. They share their personal definitions of success and why their work is categorized as political. This insightful conversation sheds light on how to create theatre that is personal, relevant, collaborative and unique. Originally recorded - May 14, 2012. Running Time - 1:23:00 © 2012 SDCF

Welcome to SDCF Podcast Series Replay, which revisits podcasts that seem especially relevant this season. Today we replay a 2011 conversation with playwright and director Moisés Kaufman, best known for The Laramie Project, and Thomas Kail, director of the hit Broadway show Hamilton. 

2002 Symposium: Assembling the Team: At its 3-day Musical Theatre Symposium in June of 2002, SDCF hosted a panel on assembling creative teams moderated by Arthur Bartow. Speakers included producers Marty Bell (Ragtime) and Sally Campbell Morse(Urinetown), choreographers Larry Fuller (Evita) and Daniel Pelzig (33 Variations), Roundabout Artistic Director Todd Haimes, directors Christopher Ashley (Memphis) and David Warren (Summer and Smoke), and composer Lucy Simon (The Secret Garden). These speakers provide case histories of collaborations that they put together that were either successful or dire failures, and include tales of Ragtime, the 1998 Revival of Cabaret,  Urinetown and the original collaboration on the Maltby/Shire musical Take Flight, which had a successful run at the McCarter Theatre Center in April of 2010 with a different creative team. Other topics include the role of the producer in initiating projects and finding good collaborations, the function of the director as part of a team, and the importance of workshops in the creative process for everyone involved. Listen to this podcast for an informative conversation with fascinating anecdotes on what it means to find the right people to make it to Broadway. Originally recorded - June 1, 2002. Running Time - 1:31:32 © 2002 SDCF

On January 17, 2011, SDCF hosted a One-on-One Conversation with Berkeley Repertory Theatre Artistic Director Tony Taccone.

George C. Wolfe: On April 18th, 1994 collaborator and colleague Hope Clarke sat down to interview writer-director George C. Wolfe. In this post-Jelly pre-Bring In 'Da Noise, Bring in 'Da Funk interview, Mr. Wolfe discusses his origins as an artist, the difficulty and fulfillment of writing and directing, his experience running the New York Shakespeare Festival and the future of his career. Originally recorded - April 18, 1994. Running Time - 1:03:46 ©1994 SDCF

Ming Cho Lee: World renowned designer for the stage Ming Cho Lee spoke to a crowd of early career directors and choreographers in April of 1999 at SDCF's annual Symposium. The focus of this discussion was working with Shakespeare, and in this ninety minute address Ming explains why he will go anywhere to work on the Bard's cannon. With wit and humor he tailors his remarks to fit his audience, explaining how he communicates with directors. He speaks of his love of teaching, and of why the basis for his first-year design course at Yale is a foundation in directing. Ming then intricately evaluates and describes his process of design for some of his favorite Shakespearean works and productions. This is a lecture characterized by one man's passion for his work, and the "endless reservoir of knowledge and experience" that can be gained through engaging in Shakespeare. Originally recorded - April 1, 1999. Running Time - 1:01:44 ©1999 SDCF

On January 17, 2011, SDCF hosted its third One-on-One Conversation of the 2010-2011 season at in the Beckett Theatre at Theatre Row with Berkeley Repertory Theatre Artistic Director Tony Taccone, moderated by SDCF Associate Director Ellen Rusconi. Mr. Taccone discusses his journey from discovering theatre through "happenings" in during college in the 1960s to his most recent foray into writing a play, including his experiences running the Eureka Theater started by Robert Woodruff and eventually becoming Artistic Director of Berkeley Rep. Anecdotes include discovering Tony Kushner and the original production of Angels in America, the burning down of the Eureka and working with Sarah Jones on Bridge and Tunnel. This conversation provides fascinating stories and unique insight into the artistic mind of a director on the forefront of American Theatre. Originally recorded - January 17, 2011. Running Time - 1:16:06 © 2011 SDCF

We are excited to bring you a new podcast series, Choreographers in Conversation. This series will allow choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode to kick off the series, Dan Knechtges interviews Twyla Tharp. The two cover everything from Twyla’s legendary theatrical work including MOVIN' OUT to her book THE CREATIVE HABIT and discuss how the legacy of her craft lives on. Learn more about Twyla Tharp at the Twyla Tharp Dance Foundation website.

Twyla Tharp:

Since graduating from Barnard College in 1963, Ms. Tharp has choreographed more than one hundred sixty works: one hundred twenty-nine dances, twelve television specials, six Hollywood movies, four full-length ballets, four Broadway shows and two figure skating routines, she has also written 4 books. She received one Tony Award, two Emmy Awards, 20 honorary doctorates, the Vietnam Veterans of America President's Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor. Her many grants include the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences, the American Philosophical Society, and an Honorary Member of the American Academy of Arts and Letters. Learn more about Twyla Tharp and her legacy through her foundation website.

Dan Knechtges:

Broadway – Lysistrata Jones (Direction & Choreography), Xanadu (directed by Chris Ashley, Tony nomination, Drama Desk nomination), Sondheim on Sondheim (directed by James Lapine), 110 in The Shade (starring Audra McDonald) and The 25th Annual Putnum County Spelling Bee (directed by James Lapine.) Off-Broadway – TAIL! SPIN! (starring Rachel Dratch), The 25th Annual Putnum County Spelling Bee at Second Stage, which earned him a Lucille Lortel Award nomination, Merrily We Roll Along for Encores! at City Center (directed by James Lapine), Vanities at Second Stage and Lysistrata Jones for the Transport Group, My Favorite Year (York Theater). International credits include Der Schuh Das Manitu (Berlin, Germany). Regional theatres include – The MUNY, Goodspeed, Dallas Theatre Center, La Jolla Playhouse, Papermill Playhouse, Trinity Rep,  Pioneer Theatre, Great Lakes Theatre Festival, Baltimore Centerstage, Theatreworks Palo Alto, Hangar Theatre. Indianapolis Opera, Opera Illinois, Surflight Theatre.  TV/Film credits include Palindromes, Dark Horse and White Collar, and the 2011 TV Land Awards with Liza Minnelli. Dan also choreographed FatboySlim’s #1 music video “It’s a Wonderful Night.” Dan is a member of the Lincoln Center Director’s Lab and holds a BFA in theatre from Otterbein College.

Hosted by M. Graham Smith, we are delighted to bring you the second series of SDCF Podcast Series: Regional Originals with M. Graham Smith – a series of interviews with some of the most exciting Directors and Choreographers working in America’s regional theatres today.

This week on SDCF Podcast Series, M. Graham Smith sits down with director and playwright, Chay Yew, Artistic Director of Victory Gardens Theater. They discuss how Chay learned to write between the lines, what directors shouldn't say to playwrights, how to understand how a region receives stories, and how a particular story will talk to your community.

A room that is supportive of the play is most crucial - Chay Yew, 2018

On April 2, 2012, SDCF invited entertainment attorney Elliot Brown to speak about securing theatrical adaptation rights with SDCF Producing Director Ellen Rusconi. Brown gives animated examples of when adaptation rights are and are not necessary. He sheds light on how to start the process of engaging an attorney when interested in creating a piece of theater from an article, book, or film and he walks through what the concerns are of the rights-holder. Brown also speaks about standard arrangements, translation, and public domain. This is an engaging dialogue about the do's and don'ts of adaptation. Originally recorded - April 2, 2012. Running Time - 1:13:49 © 2012 SDCF

Artistic Directors: In 1999, SDCF hosted a panel moderated by Executive Director of SSDC, Barbara Hauptman featuring Artistic Director of Adobe Theatre Company Jeremy Dobrish, Artistic Director of Drama Dept. Theatre Company Douglas Carter Beane, Artistic Director of Blue Light Theater Company Greg Naughton, Artistic Director of Abingdon Theatre Company Jan Buttram, and Co-Artistic Director of The Barrow Group Seth Barrish. The panelists discuss the importance of the collaborative approach and sense of community within their companies, and the challenge of finding a director who shares their sense of purpose. Since directors aren't auditioned the way actors are, selecting a new director can be the hardest part of the production process. These artistic directors share their approach to finding the best new director to work with their companies. Originally recorded - January 1, 1999. Running Time - 1:08:24 © 1999 SDCF

We are excited to bring you this new episode in our podcast series, The Art of Collaboration with Anne Kauffman and dots. This series focuses on directors and choreographers in conversation with some of their collaborators. This series explores the ins and outs of these processes, both finer details as well as overarching ideas about what goes into a productive collaboration on a show. In this episode you will hear an in-depth and transparent conversation with Anne and dots focused on the collaboration between directors and designers as well as navigating the industry as a collective.

Bios:

dots (Scenic Designer) is a design collective creating environments for theater, film, commercials, and immersive experiences. Hailing from Colombia, South Africa, and Japan, we are Santiago Orjuela-Laverde, Andrew Moerdyk, and Kimie Nishikawa. As collaborators, we believe that the whole is greater than the sum of its individual parts. Recent highlights include the Broadway productions of Oh, Mary! ; Romeo + Juliet, An Enemy of the People (Tony Award Nomination for Best Scenic Design of a Play); Appropriate (Tony Award, Drama Desk and Outer Critics Circle Award nominations for Outstanding Scenic Design); The Sign in Sidney Brustein's Window; and The Big Gay Jamboree ; Recent awards include a 2024 Obie Award for Sustained Achievement in Design, 2023 and 2024 Henry Hewes Design Award, recipient of 2025 USA Fellowship Award . designbydots.com.

Anne Kauffman (Director)’s credits include the New York Philharmonic, BAM, Ars Nova, NYTW, Roundabout Theatre Company, Encores! Off-Center, Women’s Project, Playwrights Horizons, MCC, The Public, P73 Productions, New Georges, Vineyard Theatre, LCT3, Yale Rep, Steppenwolf, Goodman Theatre, La Jolla Playhouse, Z Space, American Conservatory Theater, and Berkeley Rep. She is a Resident Director at Roundabout Theatre, Artistic Associate and Founding Member of The Civilians, a Clubbed Thumb Affiliated Artist and co-creator of the CT Directing Fellowship, a New Georges Affiliated Artist, an SDC Executive Board Member, Vice President and Trustee of SDCF 2020-2023, and Artistic Director of City Center’s Encores! Off-Center 2017-2020. Her awards include a 2024 Tony nomination for Best Director for Mary Jane, a 2023 Tony nomination for Best Revival for The Sign in Sidney Brustein’s Window, three Obies, the Joan and Joseph Cullman Award for Exceptional Creativity from Lincoln Center, the Alan Schneider Director Award, a Lucille Lortel Award, a Drama League Award, and the Joe A. Callaway. She is co-creator of the Cast Album Project with Jeanine Tesori.

dots headshot courtesy of dots

Anne Kauffman's headshot by Tess Mayer

In March of 1985, during the original Broadway run of Sondheim's Sunday in the Park with George, Susan Einhorn interviewed Tony Award-winning librettist and director James Lapine about how a director keeps a show in shape. In this seventy-five-minute interview, Lapine discusses replacements, understudies, stage managers and his relationship with the cast after a show opens. He talks about working with Sondheim and how his role in their relationship evolved from writing to directing. Other topics include directing in Central Park in the summer heat, writing work for himself to direct, and inserting songs into a production at the eleventh hour. For insight into a rarely discussed but important job of the director from one of the musical theatre greats, listen now! Originally recorded - March 15, 1985. Running Time - 1:16:03 © 1985 SDCF

Directors rarely get the opportunity to spend time and share ideas in a room with other directors. This new one-on-one conversation series was conceived by director Thomas Kail to give himself, and his peers, an opportunity to do just that. This series of conversations explores topics that stretch from finding the spark in their work, making a life as a director, and how they landed on this side of the table. Each director's vision is distinct, and their way of working is their own, but this series also addresses all they have in common beyond the shared title. In June 2011, Thomas Kail sat in conversation with Jason Moore (Avenue Q, Shrek, Tales of the City) at Moore's apartment in Manhattan. Topics range from developing a new musical to the process of transferring Off-Broadway productions to Broadway without losing the immediacy of the initial production. They also address the challenge of maintaining longer running productions to ensure they consistently feel vibrant and fresh. Originally recorded - June 1, 2011. Running Time - 57:17 © 2011 SDCF

On March 20, 1997, journalist John Rockwell interviewed Robert Wilson at ArtsConnection. This interview, co-sponsored by the SDCFoundation and the Drama League Directors Project, covers the career to date of this visionary artist. Specifically, it focuses on the progression of his avant-garde aesthetic; his use of lighting, movement, text, and sound in his international performance pieces; and his methods for developing these productions. Originally recorded - March 20, 1997. Running Time - 1:14:34 ©1997 SDCF

For decades, Marshall Mason and Lanford Wilson have been seminal figures in the theatre industry. Their artistic partnership spans nearly forty years and is recognized as being among the most enduring in the American Theatre. Their work together - from Balm in Gilead to the more recent Book of Days - stands as some of the most beloved in the American canon. In 2002, New York's Signature Theatre devoted its entire season to the plays of Lanford Wilson, including the New York City premiere of Book of Days which was directed by Mason. On the eve of that premiere, the SDCF was privileged to host Mason, Wilson, and long time collaborator and co-founder of Circle Repertory Company, Tanya Berezin in an in-depth One-on-One Conversation exploring their extraordinary careers, the craft of stage direction and the secrets behind their legendary director-writer collaboration. Originally recorded - November 1, 2002. Running Time - 1:26:50 ©2002 SDCF

We are excited to bring you another episode in our podcast series Choreographers in Conversation.  This series allows choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode Choreographer Camden Gonzales interviews Choreographer Sonya Tayeh. They explore Sonya's choreographic process, philosophy around the importance and impact of choreography and dancers in the theatre world, as well as delving into the work she has done throughout her career.

 Bios:

 Camden Gonzales is an artist, performer, and choreographer based in NYC. She is currently the Associate Choreographer for Moulin Rouge The Musical overseeing multiple companies across the globe. She is also the Associate Choreographer for the upcoming musical Gatsby (featuring original music by Florence Welch) which will debut at A.R.T. in Boston this summer. Other select credits include Sing Street (Associate Choreographer) at The Huntington Theatre, A Sherlock Carol (Assistant Director) New World Stages, Peter and The Starcatcher (Choreographer) White Heron Theatre, Hamilton (Dance Captain/Swing) National Tour, Groundhog Day (Dance Captain/Swing) Broadway. www.camdengonzales.com 

Sonya Tayeh is a New York City based TONY® Award winning choreographer and director. Since paving her professional career, her work has been characterized as a blend of powerful versatility and theatrical range.  

Selected credits include: Moulin Rouge! Broadway, Australia, UK, Tour (Hirschfeld theatre/Dir Alex Timbers), UP HERE (Hulu Musical Series), The Sign in Sidney Brustein’s Window Broadway (James Earl Jones Theatre), Is It Thursday Yet? (La Jolla Playhouse), Sing Street Broadway (Huntington Theatre, Boston/Dir Rebecca Taichman), Martha Graham Dance Company (Joyce Theatre/Tour), American Ballet Theatre/What Becomes of Love Film, Unveiling with Moses and dancers (Fall For Dance/City Center), Rent Live! (Fox Network/Dir Michael Grief and Alex Rudzinski), The Lucky Ones (Ars Nova/Dir. Anne Kauffman), Face the Torrent for Malpaso Dance Co. (commissioned by The Music Center/LA), You'll Still Call Me By Name (commissioned by New York Live Arts and Jacobs Pillow Dance Festival), Martha Graham Dance Company's Lamentation Variation Series (Joyce Theatre), Hundred Days (New York Theatre Workshop/Dir. Anne Kauffman), The Skin Of Our Teeth (Theatre for a New Audience/Dir. Arin Arbus), Andrew Lippas' The Wild Party (City Center Encores!/Dir. Leigh Silverman), Kung Fu (Signature Theatre/Dir. Leigh Silverman)

Tayeh has directed and choreographed for world renowned music artists including Miley Cyrus (Directed and Choreographed The Gypsy Heart Tour), Florence and the Machine (Choreographed performances for The Brit Awards, The Voice and American Idol), Kyle Minogue (Aphrodite Tour) 

She has gleaned many accolades for her versatile work, including a Tony award, two Emmy noms, one Drama Desk award, an Obie Award and two Lucille Lortel Awards for “Outstanding Choreography.” https://www.sonyatayeh.com/

In February 2010, director Michael Mayer, who won a Tony Award for Spring Awakening and recently directed American Idiot, and choreographer Rob Ashford, who won a Tony for Thoroughly Modern Millie and was nominated for The Wedding Singer, Curtains and Cry-Baby, were featured in a Director/Choreographer Network discussion on Working in Film. Michael Mayer recalls being asked to direct A Home at the End of the World and saying yes without hesitating, without any film experience. Rob Ashford talks about choreographing Beyond the Sea with Kevin Spacey and learning how to tell the DP what shots to take. Key differences they discuss between theater and film include lack of rehearsal, shooting out of order and film actors vs. theatre actors. This seventy-minute discussion is an enlightening glimpse into the world of filmmaking from the theatre professional's perspective. Originally recorded - February 1, 2010. Running Time - 1:05:23 © 2010 SDCF 

We are excited to bring you this podcast series, Choreographers in Conversation. This series will allow choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode Sam Pinkleton interviews Annie-B Parson. The two discuss the experience of choreographing for musicians and opera, being a choreographer not a dancer, and how one collaborates or doesn’t with dancers and musicians. Sam asks Annie-B about how she prepares for a project, who she makes dance pieces for, and how she thinks teaching influences her work. Additionally, the two talk about Annie-B Parson’s new book called The Choreography of Everyday Life that was published on October 11th, 2022. They also reiterate that choreographers are for more than carrying a couch across the stage. Check out Annie-B's book here: http://ow.ly/liWH50L9uRP

Annie-B Parson:

Annie-B Parson is a choreographer. She has made choreography for rock shows, marching bands, movies, museums, objects, television, augmented reality, opera, ballet, theater, symphony orchestras, string quartets, and a chorus of 1,000 amateur singers. She has made dance and stagings for the work of David Byrne, David Bowie, Lorde, St. Vincent, Mikhail Baryshnikov, Wendy Whelan, Laurie Anderson, Suzan Lori Parks, Spike Lee, Jonathan Demme, Salt ‘n Pepa, Esperanza Spalding, David Lang, Anne Carson, and the Martha Graham Dance Co. Annie-B is the artistic director of Big Dance Theater. Annie-B just published a new book on October 11, 2022 called The Choreography of Everyday Life. https://www.bigdancetheater.org/founders-directors/

Sam Pinkleton: 

Sam Pinkleton is a Tony Award-nominated theater and dance maker. His work on Broadway includes Natasha, Pierre, and the Great Comet of 1812, Machinal, Heisenberg, Significant Other, Amélie, and Macbeth. His recent work includes Jeanine Tesori and David Henry Hwang’s Soft Power, the youth-led civic spectacular Runaways in Central Park and collaborations with the Dutch National Opera, Carnegie Hall, BAM, Virgin Voyages, The Civilians, Swing Left, and Cirque du Soleil. He is currently directing the world premiere of Noah Diaz' You Will Get Sick for Roundabout Theater Company. He does not own any dance shoes. sampinkleton.com

Stage Directors and Choreographers Foundation:

Founded in 1965, Stage Directors and Choreographers Foundation (SDCF) exists to foster, promote, and develop the creativity and craft of stage directors and choreographers. SDCF’s mission is to create access to the field, to connect artists to each other and to the public, and to honor these artists’ theatrical legacies. The centrality of directors and choreographers in theatre and the impact they have on other artists’ careers—from playwrights to designers to actors—makes SDCF’s services essential to the wider theatre industry’s continued health and vitality.

Through its dynamic educational programming, including Observerships, Fellowships, public panels, and day-long symposia, SDCF serves the needs of directors and choreographers at every stage of career. www.sdcfoundation.org

Welcome to SDCF Podcast Series. This is the first installment of a series curated by Jennifer Tepper, author and Director of Programming at 54 Below in New York City, and released by SDCF to celebrate some of the many luminaries currently represented on Broadway.

On February 15, 2016, Tepper interviewed Jerry Mitchell about the evolution of his wide-spanning career. Best known for Broadway hits like Kinky Boots, Hairspray, and the current production of On Your Feet, Mitchell discusses his journey from dancer, to associate choreographer, to the directing and choreographing hit Broadway shows. Mitchell discusses the lessons he learned as a performer that prepared him to choreograph and how he creates stories through movement, offering inspiration and advice for the next generation of directors and choreographers.

2002 Symposium: Hal Prince: At its 2002 Symposium, Director of Stage Directors and Choreographers Foundation, Joe Miloscia, welcomed everyone to the symposium and introduced then Executive Director of SSDC Barbara Hauptman. Barbara introduced the two speakers: V.P. and Managing Director of The Fan Fox & Leslie R. Samuels Foundation Rob Marx who moderated a talk with accomplished director and producer Hal Prince. The conversation focused on Hal's personal take on the making of new musicals and the fostering of new talent. Topics covered include the importance of mentorship, artistic process, how the relationship between producers and directors has changed, and what institutions are supporting the development of new musicals. This conversation with a true master gives incredible insight into the history and current innovation in musical theatre. Originally recorded - June 1, 2002. Running Time - 1:20:46 © 2002 SDCF

Anne Kauffman sits down with Robert Moss, the founding Artistic Director of Playwrights Horizon, for the inaugural episode of SDCF Podcast Series, Founder's Series. The goal of this series is to ensure we don't loose touch of the insights and guidance of those leaders who founded non-profit theaters in this country. On May 30th, 2019, Anne sat with Bob as he told stories of his early career and the early days of Off-Broadway's Playwrights Horizon

In 1996, the Stage Directors and Choreographers Foundation and the Drama League co-sponsored a discussion with then SDC Executive Director Barbara Hauptman, SDC Attorney Ron Shechtman, and director Pamela Berlin moderated by David Diamond about protection of intellectual property rights for stage directors. Through personal anecdotes regarding the controversial productions of Love! Valour! Compassion! originally directed by Joe Mantello and The Most Happy Fella directed by Gerald Gutierrez which set the precedent for future legal battles, the conversation illustrates the extent to which the work of a director can be protected, the methods by which the accused theaters came about the original material, the playwright's perspective on the intellectual property of a director in their own work, and the ways in which a director can protect themselves. Detailed, colorful and extremely informative, this conversation goes far beyond what the internet provides and provides valuable insight into an enduring, controversial issue for any director of new theatrical work. Originally recorded - January 1, 1996. Running Time - 1:22:19 © 1996 SDCF

2011 DCN: Broadway Stage Managers' Secrets Revealed: On May 25th, 2011, SDC's Gretchen Michelfeld spoke with three Broadway Production Stage Managers about their experiences. Stage Managers Jill Cordle (Jerusalem),  Heather Cousens (Spring Awakening), and Ira Mont (Arcadia) give advice to early career directors on time management, speak to building trust and collaboration, and discuss the smartest things they've seen directors do. They offer first-hand knowledge on the relationship between directors and stage managers. Originally recorded - May 25, 2011. Running Time - 54:59 © 2011 SDCF

The Founder's Series was created by Anne Kauffman, Artistic Director of Encores! Off Center at New York City Center, as part of SDCF’s Podcast Series. In this series, Anne interviews artistic directors and founders who have had a lasting impact on the nonprofit theater community around the country. In this episode Anne talks with Emily Mann, Artistic Director of the McCarter Theatre Center, about her career journey as a female director, the adversity she’s faced, and how she has navigated these situations, including the current COVID-19 crisis, with strength.

Susan H. Schulman: In March of 1994, not long after the close of her hit Broadway production of The Secret Garden, Susan H. Schulman sat down with Director Melvin Bernhardt to discuss her life in the theatre. Ms. Schulman walks a captivated audience of early-career Directors and Choreographers through her career to date, spanning neighborhood shows on her family's Brooklyn stoop as a small girl through her most recent Broadway production. We learn that it all began for her in the garage studio of 'Miss Harriet's School of Ballet' in Brooklyn, leading her to matriculate as the (self-labeled) "worst dancer in the class" at New York's prestigious High School of the Performing Arts. Her directing career stemmed from years as a performer at Hofstra University as an undergraduate. After being told that women could not apply to the Yale School of Drama graduate directing program, Susan attended Yale as a playwright for her graduate studies and kept directing none the less. This yearn to direct at any costs won her productions first in Buffalo, then at the Equity Library Theatre in New York, and then a season of musicals at the Civic Light Opera house in Pittsburgh. Susan explains how she came to direct musical theatre so masterfully and on such a grand scale, while not initially being able to read music. Her method understanding the music: taking children's piano lessons. Equally impressive are the unlikely circumstances under which she moved her York Theatre company production of Sweeney Todd from a school gym to a Broadway home at Circle in the Square Theatre. This 90 minute interview continues with insights on the collaborative process, Susan's opinions on the American Musical, and advice to the young theatre makers in attendance. It is a conversation not to be missed by any artist interested in the work ethic necessary to make it to Broadway.Originally recorded - March 14, 1994. Running Time - 1:18:41 ©1994 SDCF

On November 28, 1988 Elinor Renfield sat down with Austin Pendleton at Westside Arts Theatre to discuss the experience of directing Michael Weller's Spoils of War. In this candid in-depth interview, Mr. Pendleton discusses this original piece from development to opening just eighteen days after Spoils premiered at the Music Box Theatre on Broadway. He covers the writing process with Weller, casting Kate Nelligan and Alice Playten and rehearsing the roles that would earn them a Tony nomination and a Drama Desk nomination, respectively. Originally recorded - November 28, 1988. Running Time - 1:21:16 ©1988 SDCF

On April 7, 2015 in Los Angeles, star of stage and screen Annette Bening sat down with director Tom Moore to discuss her career, the actor-director relationship, and the differences between working in film and theater. In this conversation, Bening and Moore discuss Bening’s production of The Ruth Draper Monologues, in which Bening served as her own director, the many ways in which actors and directors determine their working dynamic, the comparative need for detail in directing film and theater, and whether directors should be ‘hands on’ or ‘hands off.’ Listen in as these two accomplished artists engage in a fascinating discussion about directing and performing across mediums.

Welcome to SDCF Podcast Series Replay, which revisits podcasts that seem especially relevant this season. Today’s podcast features Hamilton director Thomas Kail in conversation with director Lear deBessonet about their early-career experiences, from the importance of making work with friends to the advantages and disadvantages of assisting.

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

On April 27, 1986 frequent SDCF interviewer and legendary acting coach Ada Brown Mather sat down with director Sir Jonathan Miller to discuss Eugene O'Neill's work one day before his revival of Long Day's Journey Into Night opened on Broadway. In this conversation Sir Miller covers his career as a performer, his recommitment to working in the theatre despite a career as a doctor, his affinity for directing opera, the accidental manner in which he accepted the position as director on Long Day's Journey and how he tackles working on such a seminal piece of American theatre. Originally recorded - April 27, 1986. Running Time - 1:29:46 ©1986 SDCF

We are delighted to be launching the very first SDCF Podcast Series focused entirely on choreography: In Motion, with Wendy Seyb.

Our very first guest on In Motion is the Broadway-bound choreographer, Chase Brock, Artistic Director of The Chase Brock Experience. In this week’s episode Chase shares his thoughts on the ‘Millennial Remix Moment’ in which multi-hyphenates are thriving; the mentors that didn’t pull any punches; creating and sustaining a dance company; and the push and pull of choreographing across media and how it makes him a better theatre maker.

Downtown Opportunities for Directors and Choreographers: On October 1, 1998, SDCF hosted a panel on Downtown Opportunities for Directing and Choreography featuring producers from the vibrant downtown NY theatre scene including John Clancy, Ellie Covan, Kristin Marting, Wendy Rohan, Mark Russell, and David Tyree. These artistic leaders at the head of particularly prolific producing and presenting organizations discuss everything an artist or producer needs to know about working through these organizations. They explain why it is absolutely imperative to visit the space and understand the work of the organization before applying to the organization. They talk about their desire to create communities, and they shed light on the challenges of leading this type of arts organization. This conversation is valuable listening for artists, producers and administrators planning to approach or working within a smaller, vibrant, prolific organization. Originally recorded - October 1, 1998. Running Time - 1:18:29 © 1998 SDCF

At its 2002 Musical Theatre Symposium, SDCF hosted a panel on the writer-director relationship featuring Urinetown composer/lyricist Greg Kotis, The Wild Party composer Andrew Lippa and director Gabriel Barre, Violet composer Jeanine Tesori, bookwriter/lyricist Brian Crawley and director Susan H. Schulman, Side Show director Robert Longbottom, Jelly's Last Jam lyricist Susan Birkenhead, and tick, tick...BOOM! and Bat Boy director Scott Schwartz, moderated by Manhattan Theatre Club Musical Theatre Program director Clifford Lee Johnson. The panelists discuss the formation of their writer-director relationship on each of these shows: how the initial connection and trust happened, the barriers they had to overcome, and working on an unfinished show with a living writer vs. one who has already passed. The conversation is followed by a lively Q&A session about new musical development programs, the director's role in the development of a musical and how to know when a relationship doesn't work. Filled with many humorous stories, this panel offers great insight into this vital relationship as told by some of today's top Broadway talent. Originally recorded - June 1, 2002. Running Time - 1:25:38 © 2002 SDCF

In May 2011 SDCF hosted a One on One Conversation with freelance director David Cromer and Artistic Director of Writers' Theater Michael Halberstam. The conversation covers how they come to their projects, previews and reviews, the danger of facing no obstacles in a process, and their artistic approach. Michael and David shed light on collaboration, the role of director and artistic director, new work vs. classics, and the differences between theatre in Chicago and theatre in New York City. This lively discussion between two good friends, who often collaborate, provides an honest look at creative methods and artistic leadership. Originally recorded - May 7, 2011. Running Time - 1:26:36 © 2011 SDCF

Hosted by M. Graham Smith, we are delighted to bring you the fourth episode of our podcast series – SDCF Podcast Series: Regional Originals with M. Graham Smith - a series of interviews with some of the most exciting Directors and Choreographers working in America’s regional theatres today.

This week Graham is with Mina Morita, Artistic Director of Crowded Fire Theatre Company. Mina is an artist that others say 'leads with love', what does this mean? What characterizes each region in this country in terms of the narratives that are important and the particular sets of resources and expectations that come with San Francisco? And what brought the conversation to this moment: 'If theater doesn't figure out a way to be more essential to its community, it's going to die'.

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

Directors rarely get the opportunity to spend time and share ideas in a room with other directors. This new one-on-one conversation series was conceived by director Thomas Kail to give himself, and his peers, an opportunity to do just that. This series of conversations explores topics that stretch from finding the spark in their work, making a life as a director, and how they landed on this side of the table. Each director's vision is distinct, and their way of working is their own, but this series also addresses all they have in common beyond the shared title. In June 2011, Thomas Kail sat in conversation with Alex Timbers (Bloody Bloody Andrew Jackson, Peter and the Starcatcher) at the SDC Offices. Their discussion explores how they followed their respective impulse to start their own theater company, and delves into the challenge of creating new work. They also address their inspirations and those who have influenced them as directors. Originally recorded - June 1, 2011. Running Time - 1:04:56 © 2011 SDCF

In April 2010, Edie Cowan moderated an hour-long roundtable discussion with Broadway choreographers Kathleen Marshall and Jerry Mitchell and dance arrangers David Chase and Mark Hummel. They discuss the role of the dance arranger, who works with the choreographer to take what the composer has written and changes it to fit the choreographer's vision of each dance. Jerry Mitchell talks about choreographing a dance for The Full Monty before hearing the music and then having the arranger fit music to it, while some choreographers will have the dance arranger write something before choreographing anything. Other topics include period research, the involvement of the composer, and the role of estates in revivals. The nature of collaboration is at the heart of this lively discussion along with anecdotes from a dozen Broadway shows. Originally recorded - April 1, 2010. Running Time - 1:00:04 © 2010 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

Producers Symposium 1983: On February 25, 1983, director Nola Hague moderated a panel featuring esteemed producers Nelle Nugent, T. Edward Hambleton, and Michel Stuart, and director Judith Haskell. This passionate and experienced group spoke about the collaboration between directors and producers. Drawing from personal experience they share their beliefs on qualities that constitute a good director and producer. They divulge lessons learned from experiences over the span of their careers. Other topics include the differing approaches to collaboration across the country and the director's role vs. the producer's role in the process of cultivating the creative team. This discussion delves deeply into the intricate dynamics between Producer and Director. Originally recorded - February 25, 1983. Running Time - 1:29:44 © 1983 SDCF

On March 12, 1997, eight months before the opening of Lion King on Broadway, Julie Taymor was interviewed by author and collaborator Alexis Greene at Fordham University. In this One-on-One conversation Ms. Taymor reflects on her history as a performer in the collaborative theatre companies of the late 60's and 70's. She speaks about her origins as a director and puppeteer and the development of her aesthetic through international study of eastern theatre. She remarks about the potential for commercial success with Lion King, and the freedom Disney producers were giving her to create a piece that wasn't simply putting the animated film on stage.

On January 27, 2014, SDCF hosted a DCN with director Michael John Warren to discuss his experiences with filming “live captures” of Broadway musicals like RENT and Shrek. 

Check out this podcast replay of the SDCF Panel: Art of Collaboration with Shana Carroll, Jesse Robb, and Jessica Stone that we hosted at the Museum of Broadway. They discuss the ins and outs of their creative processes as they collaborated on Water for Elephants, both the finer details as well as overarching ideas about what goes into a productive collaboration on a show. This was a moderated panel with dedicated time for a Q & A. We hosted this panel in August 2024.

This video and audio was recorded by Michael Weir supported by the Maria Torres Emerging Artists Foundation. Transcript available upon request.

Shana Carroll is Co-Founding Artistic Director of the Montreal based circus company The 7 Fingers. Since its founding in 2002, Carroll has written, directed and choreographed 12 of their touring and/or resident shows, 3 of which (Passengers, Duel Reality, Dear San Francisco) are currently running, and which also includes Sequence 8 at NY City Center and Traces off- Broadway run at Union Square Theatre. Carroll received a Drama Desk Nomination for Choreography and Best Theatrical Experience for their show Traces. Outside The 7 Fingers, Carroll directed Cirque du Soleil’s first- ever ice show Crystal, in addition to their performance at the Academy Awards in 2012. Also, for Cirque du Soleil, Carroll was circus choreographer and designer for their shows Iris (Los Angeles) and Paramour (Broadway). Other credits include: Queen of the Night (Drama Desk Recipient); Soul of the Ocean (Moment Factory); Cité Mémoire (Lemieux-Pilon); and the Sochi Winter Olympics Opening Ceremonies (medieval segment). Prior to directing and choreography, Carroll was herself a trapeze artist, performing for over 20 years in the air with circuses and dance companies around the world, most notably as the original solo trapeze artist for Cirque du Soleil’s Saltimbanco. She also appeared in Cirque du Soleil produced television and film. Now based in Montreal, where she relocated in 1991 to attend l’École Nationale de Cirque, Carroll is originally from Berkeley, California. In 2023, Carroll was inducted into the Ordre of Arts and Letters of Quebec, a distinction honoring those who have contributed to artistic and cultural development in the province of Quebec.

Most recently, Carroll was Circus Designer and Co-choreographer of the musical Water For Elephants, first at the Alliance Theatre in Atlanta and now in its Broadway run at the Imperial Theatre, for which she received a Suzi Bass Award and the Chita Rivera Award for Best Choreography, as well as Tony, Drama Desk and Outer Critics' Circle nominations in the same category.

Jesse Robb’s work spans Broadway, Cirque Du Soleil, Momix, Les Ballet Jazz de Montréal, Mirvish Productions, Disney, Cameron Mackintosh, Prime Video, Opera Philadelphia, and more. He is the co-choreographer (alongside Shana Carroll) for the Broadway production of Water For Elephants, which was nominated for seven Tony Awards including Best Musical. Jesse and Shana were nominated for Tony, Drama Desk, and OCC Awards and received the 2024 Chita Rivera award for Outstanding Choreography. Jesse is the Movement Director for the North American Touring, South Korean, and Japanese productions of the international hit Les Misérables. He was also the Associate Choreographer for the Broadway, North American Touring, and Austrian companies of the 2017 Revival of Miss Saigon. Regionally, Jesse has choreographed at The MUNY, The Alliance Theater (Suzi Bass Award for Outstanding Choreography), The Stratford Festival of Canada, Theatre Calgary, and Ogunquit Playhouse among others.

Jessica Stone: Most recently, Stone was nominated for a Tony Award for directing the original Broadway musical Kimberly Akimbo, which won 5 Tony Awards including Best Musical. Stone worked as an actress on and off-Broadway, in television and in film for decades before transitioning to directing. Broadway credits included Anything Goes, Butley, The Odd Couple, The Smell of the Kill, Design for Living, How to Succeed in Business Without Really Trying and Grease. Her directing career began in earnest with her all-male 2010 production of A Funny Thing Happened on the Way to the Forum for the Williamstown Theatre Festival. She has since been directing all over the country at such theaters as The Old Globe, A.C.T, Shakespeare Theatre Company, Huntington Theatre Company,  Two River Theatre Company, and the Williamstown Theatre Festival among others. Productions include As You Like It, Kate Hamill’s Vanity Fair, Barefoot in the Park, Dancing at Lughnasa, Bad Dates, Ken Ludwig’s Robin Hood! (World premiere), Ripcord, Bad Jews, Arms and the Man, Vanya and Sonia and Masha and Spike, Charlotte’s Web, June Moon, Last of the Red Hot Lovers, The 25th Annual Putnam County Spelling Bee, Absurd Person Singular, and Kimberly Akimbo (off-Broadway premiere at the Atlantic). She currently lives in Brooklyn with her husband and two sons.

Join Stage Directors & Choreographers Foundation's Director David Roberts as he sits down with director Rachel Chavkin and artistic producer Jacob Padrón to discuss the the current climate of theatre organizations, funders, and freedom of expression.

SDC Foundation’s One-on-One Conversation series illuminates the creative processes, secret mottos, and personal and professional experiences that guide today’s luminary directors and choreographers as they forge artistic careers in a profession that has no handbook. These intimate and dynamic conversations between today’s most successful artists offer audiences rare insights into the challenging and ever-changing world of theatre making.

Welcome to SDCF Podcast Series Replay, which revisits podcasts that seem especially relevant this season. As we approach the 2017 “Mr. Abbott” Award Gala honoring director Kenny Leon, we will be featuring discussions by previous “Mr. Abbott” Award recipients.

Today’s podcast features George C. Wolfe. On April 18th, 1994 collaborator and colleague Hope Clarke sat down to interview writer-director George C. Wolfe. In this post-Jelly pre-Bring In 'Da Noise, Bring in 'Da Funk interview, Mr. Wolfe discusses his origins as an artist, the difficulty and fulfillment of writing and directing, his experience running the New York Shakespeare Festival and the future of his career. Originally recorded - April 18, 1994.

On April 29, 2014, director Anne Bogart moderated a One-on-One discussion with directors Bartlett Sher and Julie Taymor at New York’s National Opera Center. Listen as they discuss their respective backgrounds, training, and inspirations. 

Director Jon Tracy sits with M. Graham Smith to discuss directing and leading a regional theater as well as his process.

On August 25th, 2020 SDCF Trustee and Artistic Director Emeritus of Pasadena Playhouse Sheldon Epps moderated a second roundtable conversation with regional Artistic Directors new to their roles about facing the specific challenges of the moment. He was joined by Melia Bensussen (Hartford Stage), Tim Bond (TheatreWorks Silicon Valley), David Ivers (South Coast Repertory), Rob Melrose (Alley Theatre) and Sarah Rasmussen (McCarter Theatre Center).

On June 23rd, 2014, Director Jack O’Brien visited the Emerging Artists Symposium for Plays and spoke with SDC Members about his career as well as his advice for the next generation. As O’Brien touches on his early days with the APA-Phoenix Repertory Company, his experiences with Porgy and Bess, his time at the Old Globe, and other phases in his career, he shares perspective gained on creating, re-creating, and directing. Overall, this is an insightful discussion that is sure to fascinate emerging and experienced artists alike.