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.

Check out this podcast replay of our SDCF Panel: The Journey from Dancer to Choreographer with Mayte Natalio, Adesola Osakalumi, and Ellenore Scott. This conversation focuses on career transitions or expansions, specifically for dancers who have shifted or added choreography to their artistic practice. We hosted this panel at Sunlight Studios in February 2024.

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

Ellenore Scott (she/her) is a BIPOC, New York based choreographer and director. Through her work, Scott values lifting diverse voices in her community while creating a joyous space where the creative process can bring as many people in as possible. Her Broadway credits include Grey House, Funny Girl, Mr. Saturday Night. Her Off-Broadway credits include Little Shop of Horrors, Titanique (Lucille Loretel Nomination), I Can Get It For You Wholesale. Other choreography credits include: So You Think You Can Dance?, Single All the Way (Netflix). In 2023, Scott co-directed The Lonely Few, a world premiere rock musical at the Geffen Playhouse in Los Angeles, CA that will transfer to Off-Broadway's MCC Theatre in Spring of 2024. Scott’s work has also been seen at The Bushwick Starr, The Old Globe, Hudson Valley Shakespeare Festival, McCarter Theatre, Cherry Lane Theatre, Asolo Repertory Theatre, Cape Fear Regional Theatre and Seattle Repertory Theatre. In 2020, Scott was a finalist for the SDC Breakout Award for the first ever TikTok Music Ratatouille: The TikTok Musical which raised over $2 million for The Entertainment Fund. As a performer, Scott appeared in numerous television shows (Marvelous Mrs. Maisel, Smash, The Blacklist, Glee! to name a few) and was a finalist and All-Star on So You Think You Can Dance? Scott is the Artistic Director of ELSCO Dance, a contemporary-fusion dance company.

Mayte Natalio: Broadway: Suffs (spring 2024), For Colored Girls… (Associate Choreographer). Off-Broadway: Measure for Measure (The Public Theater, Mobile Unit). Regional: The Winter’s Tale (DTC, Public Works), Into the Woods (Barrington Stage Company), Love in Hate Nation (Two River Theater), Hair (The Old Globe), Kiss My Aztec (Hartford Stage), How to Dance in Ohio (Syracuse Stage).

Adesola Osakalumi: is a Bronx native, Bessie Award-winning, Drama Desk-nominated Choreographer and Actor. Inspired by his family’s dance company Africa 1 Dance Theater, he began performing at an early age and was immediately captivated by popping, locking, and all diasporic hip-hop dance styles. He began training seriously at every opportunity possible while maintaining a strong presence in the New York club scene where these styles flourished. Selected Choreographic credits include:

Fall For Dance/Jam On The Groove 3 For 30 (City Center),Skeleton Crew (Broadway MTC), Cullud Wattah, Coal Country, Othello (Public Theater), runboyrun, Eyewitness Blues (NYTW), Good Grief (Vineyard), Jam on the Groove (Minetta Lane) and the film School Of Rock. Upcoming: The Hippest Trip (Soul Train Musical) Associate Choreographer & Dance Consultant and Syncing Ink (Victoria Theater) Spring 2025.  As an Actor: Skeleton Crew, Fela!, Equus (Broadway), runboyrun (NYTW), Syncing Ink (Flea/Alley Theater) and the films Red Pill, IBRAHIM, Enchanted, Across the Universe, and Sex and the City 2. TV: "Endgame", “Ice”, Blue Bloods. Awards: Bessie Award Recipient, Drama Desk Recipient. I give thanks to my Ori, Ancestors, and Family for their constant support and love. adesola.com IG @adesolaosakalumi.

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, Maria Torres, Director/Choreographer/SDCF Trustee interviews Director/Choreographer, Jerry Mitchell to learn more about his career, what brought him to the theatre, the work that he is passionate about, the current state of our industry, and what he hopes for the future. 

Jerry Mitchell:

Jerry Mitchell (Director/Choreographer, Kinky Boots) made his Broadway and West End debuts as Director/Choreographer of Legally Blonde, which won the Olivier Award for Best Musical. He was also nominated for both the Tony® and Drama Desk Awards for his choreography for Legally Blonde, as well as the Drama Desk Award for his direction. A Tony® winner for his dazzling choreography created for the first revival of La Cage Aux Folles, Jerry was also nominated for that Award for choreographing Dirty Rotten Scoundrels, Hairspray, Never Gonna Dance, and The Full Monty. For Broadway, Jerry also choreographed Catch Me If You Can, and revivals of Charlie Brown, Rocky Horror Show, and Gypsy (starring Bernadette Peters), and for Off-Broadway and film, Hedwig and the Angry Inch and Jeffrey. Other film work includes In & Out, Camp, Drop Dead Gorgeous, and Scent of a Woman. Twenty years ago, Jerry conceived and created Broadway Bares, a comedy burlesque show performed annually for the charity Broadway Cares/Equity Fights AIDS. Jerry proudly serves as a Board member of BC/EFA and annually as the Executive Producer of Broadway Bares, with a book, website and satellite productions in Las Vegas and London. Cumulative fundraising efforts have resulted in more than $10 million raised for the charity. Next up: directing and choreographing The Honeymooners on Broadway.

Maria Torres:

Maria Torres’ extensive career as director, choreographer, instructor, and Producer began as a critically acclaimed performer, contributing choreography while performing in the film Dance, with the six-time Tony-nominated Broadway musical Swing and Me!. Torres was nominated for a 2018 Ovation Award for Best Choreography for Luis Valdes’ Zoot Suit, is a Lucille Lortel & Carbonell nominee of Four Guys named Jose’, The Donkey Show and Celia, the musical based on the life of the late Cuban singer Celia Cruz. Torres received accolades as Associate Choreographer for the Broadway & Touring productions of On Your Feet, the Oscar-nominated film Enchanted, the musical film Idlewild, the showcase for the Tony Award-winning In The Heights, and as a resident choreographer for So You Think You Can Dance. Torres also co-conceived, choreographed, and directed the Magic Of Salsa Kingdom and Off-Broadway hit Latin Heat.

Recently, she directed and choreographed the new musical Havana Music Hall, Sol of El Barrio, and served as dance consultant for Summer: The Donna Summer Musical on Broadway. Torres is an Artist in Residence at The Rosetta LeNoire Amas Musical Theater, Trustee of Stage Directors and Choreographers Foundation (SDCF), a proud executive board member of the Stage Directors, and Choreographers Society, and the League of Professional Theatre Women. Her life is documented in the Dance Oral History Project at the New York Public Library for the Performing Arts.

Recorded in 1989 by SDC Foundation, How to Use A Dramaturg explores the invaluable and often misunderstood position of dramaturgy in the theatrical process. Moderated by James Leverett, the panel consisted of playwright Richard Dresser, New York Theatre Workshop Artistic Director Jim Nicola, freelance dramaturg Morgan Jenness, and Playwrights Horizons Literary Manager Tim Sanford.

On March 24, 2014, director Sean Mathias and designer Derek McLane sat down for a One-on-One coversation at New York’s National Opera Center. Listen as they discuss the collaborative exchange between directors and designers while detailing many of their individual styles and techniques. 

On May 20, 2013, at the Emerging Artists Symposium on Musicals, SDCF hosted a panel discussion called “The Cycle of Assisting” with dir/chor Maija Garcia and directors Shaun Peknic and Seth Sklar-Hey.

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. 

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

At its 2013 Emerging Artist Symposium on Plays, SDCF hosted Artistic Director and Managing Director of The Builders Association, Marianne Weems and Erica Laird, in conversation on the process of directing and producing a production using multi-media elements. Listen as they share the intricacies involved in rehearsing and maintaining a piece when working with both human and non-human counterparts and how to fuse the two to symbiotically create a piece of holistic, organic art. The two will share tips on when technology can be successfully incorporated into a production and ways to focus the eye on both the media and theatrical elements without distracting from the overall meaning of the piece. These innovative theatre artists also speak to a director's responsibility when dealing with these theatrical mediums in addition to garnering enough financial and professional support to mount and sustain such a visionary art form. This comprehensive and insightful talk will enlighten theatre fans, producers and artists alike with ways to convey your true vision and challenge yourself with a neutral eye. Originally recorded - June 1, 2013. Running Time - 1:03:38 © 2013 SDCF

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

A Director's Life: Creative Development and Renewal: On June 18, 2011, SDCF Executive Director Laura Penn moderated a panel at the TCG conference featuring Gil Cates, Curt Columbus, Jeffrey Horowitz, Susan Medak, Madeline Puzo, and Julie Taymor to consider the centrality of the director's role in theatre today. This panel of well-regarded directors and national theatre leaders engages in thoughtful and dynamic discussion about how directors grow as distinctive artists over a lifetime and how the field supports them. They focus strongly on how to advance the craft and how to improve the lives and support the artistry of today's directors, both from the standpoint of an individual forging a career as a director and from the standpoint of a producer and industry leader. They discuss creative and interpretive energies of directors and the director as storyteller. This is an exciting and lively exchange about the current relationship between directors and the field and the obligations we have to the director.  Originally recorded - June 18, 2011  Running Time - 1:21:17  © 2011 SDCF

Mary Overlie and Moisés Kaufman: On May 19th, 1999, Stage Directors and Choreographers Foundation hosted a One-on-One Conversation with Moisés Kaufman, playwright, director and founder of Tectonic Theater Project, and Mary Overlie, the discoverer of Viewpoints. The two artists discuss the meaning behind theatrical theory and how that relates to their work. Kaufman describes his process in developing The Laramie Project as an exploration of relating theatre to recent current events. He and his company inquire as to the difference between plays about historical events versus plays about current events. Overlie joins the conversation by talking about her roots in classical dance and how that shaped her openness to improvisation. With inspirations including Merce Cunningham and John Cage, Overlie articulates the inception of Viewpoints. Viewpoints is an improvisational system, using elements of Space, Time, Shape, Emotion, Movement and Story. Inspired by her own artistic clash between classicism and post-modern dance, Overlie developed a new way to understand the creation of theatre by combining these forms and understanding the elements involved. As a student of Overlie, Kaufman describes his first memory of seeing her dance at The Kitchen and speaks about how he creates his work. This is an insightful conversation between two artists who thrive on exploration and breaking into new forms within a theatrical setting. Originally recorded - May 19, 1999. Running Time - 1:33:43 © 1999 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

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.

At its 2013 Emerging Artist Symposium on Musicals, Robyn Goodman, Commercial Producer and Founder of Second Stage Theatre, spoke with SDCF Producing Director Ellen Rusconi about discovering talent and developing new work in today's dynamic theatre climate. Goodman (Rodgers and Hammerstein's Cinderella, Avenue Q, In the Heights, Altar Boyz) infuses her perspective as an actor turned producer with a well-rounded view of a production from page to stage and everything in between. Listen to her as she discusses her transition from the art of theatre to the business of theatre, gives advice for producing within both non-for-profit and for-profit organizations, and how she finds her collaborators. The conversation includes valuable insights on keeping up with trending audience interest and younger sensibilities, procuring a strong design team, giving a memorable meeting, and recognizing commercial viability in specific material. Originally recorded - June 1, 2013. Running Time - 1:10:06 © 2013 SDCF

On June 12, 2013, award-winning directors Pam MacKinnon and Kathleen Marshall spoke with SDCF Producing Director Ellen Rusconi about their work and career. They discuss the nuts and bolts of the rehearsal process from the Illuminating qualities of auditions and early design meetings to the continuous evolution of a piece as gauged by audience, producers, and associates. Both speak to theatre as an apprentice art and the significance of mentor relationships when transitioning to different phases of career. Listen as they unveil where to find worthwhile material to direct and how one man's dramatic trash can be another's theatrical gold. These directors discuss the impact of geography on a production and the trust they place in their actors when shaping a piece. This candid conversation offers practical knowledge about creating career inroads, aligning collaborators and continuously developing craft. Originally recorded - June 12, 2013. Running Time - 1:37:25 © 2013 SDCF

Fight Direction: On April 8, 2013, Fight Directors Erica Gould and Rick Sordelet spoke with SDCF Producing Director Ellen Rusconi to discuss the responsibilities and roles of theatre's fight directors. Listen in as Rick and Erica share their approaches to working with a director, to assessing actors' skills and potential for fight direction, and to creating a variety of fights for the course of one play to avoid "battle fatigue" in the audience. They share their experiences of working with particular directors and actors on specific productions and on how that artist's preparation and communication elevated the resulting production. By hearing their thoughts on building character through weapon choice and fight style and on the importance of early communication and collaboration with the creative team the listener will gain a better understanding of the role of the fight director and the support a master fight director provides in storytelling on stage. Originally recorded - April 8, 2013. Running Time - 1:31:53 © 2013 SDCF

Running Regional Theatres: On January 7, 1987, Artistic Directors Nagle Jackson (of Hartford Stage) and Mark Lamos (of McCarter Theatre) sat down with director Mary Robinson to speak about leadership in regional theatre. Jackson and Lamos discuss the challenges they face throughout their day-to-day routines and the struggle to balance the administrative and artistic aspects of the job. These artistic directors offer insight into the politics of and logistics behind choosing a season and the effective means to attract new audiences while continuing to appeal to current subscribers. For both Jackson and Lamos, risk and experimentation are paramount to feeling artistically fulfilled. They find that the younger generation does not respond to the tradition of season subscriptions, and both strive to alter the expectations of their audiences and spontaneous single-ticket buyers. At the end of the night it is about that communal catharsis -- and that is why audiences go to the theatre. This practical conversation is an intimate peak at the life of the artistic leaders behind Hartford Stage and McCarter Theatre's success and growth over the years. The listener will gain a richer understanding of what it is like to maintain and nourish experimentation within the administrative and artistic departments of regional theatres. Originally recorded - January 7, 1987. Running Time - 1:22:36 © 1987 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

Playwright/Director 1987: In 1987, SDCF and the Dramatists Guild jointly held a panel discussion exploring the symbiotic and complex relationship between playwright and director. Peter Stone moderates a panel of playwrights and directors including Sam Bobrick, Elizabeth Forsythe Hailey, David Henry Hwang, Bernet Kellman, Tom Moore, David Rosenak, Gene Saks, and Stephen Tobolowsky. The consensus from this riveting 90-minute discussion is that the playwright/director relationship and the process of collaborating are like a marriage, and the conversation explodes into impassioned debate about what can make a great artistic marriage. If you have ever wondered what a playwright wants from a director or vice versa, listen in as the playwrights and directors reveal their feelings. Let the marriage counseling begin! Originally recorded - January 1, 1987. Running Time - 1:29:26 © 1987 SDCF

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

Understanding Automation: On January 7, 2013, SDCF spoke with Production Managers/Technical Directors David Benken and Martin Pavloff about "Understanding Automation: What Every Director Should Know Before Technical Rehearsals." This is a master class on automation from two practitioners who have supervised automated lights and scenery for Broadway and touring productions including The Lion King, Magic/Bird, Woman in White, Mary Poppins, and the 2008 - 2011 touring production of Dreamgirls. Pavloff starts by introducing critical terminology, discussing the use of pre-visualization, gives reasons to automate, and iterates the challenges of automation including safety concerns. Benken follows by illuminating concepts such as of rates of movement, the subtleties of automation, the relationships between director, set designer, and technical director, and gives real-world examples to illustrate. For the producer, director, choreographer, actor, designer, or theatre fan, this conversation offers a comprehensive overview of automation in theatre and provides the understanding necessary to maximize your working relationship with your technical director. Originally recorded - January 7, 2013. Running Time - 1:08:47 © 2013 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

On December 17, 2012, SDCF and SDC hosted a discussion of Theatre for Social Change with guests Erik Ehn and Kamilah Forbes (Hip Hop Theatre Festival) moderated by SDCF Producing Director Ellen Rusconi. Erik Ehn, a playwright, director, and educator, produces the Arts in the One World conference yearly, is Current Director of Writing for Performance at Brown University, and a founder of the RAT movement. Kamilah Forbes is the Artistic Director of the Hip-Hop Theater Festival (HHTF), a non-profit presenter of new theater written by hip-hop generation artists through the lens of the urban cultural aesthetic. She is also a member of the Folger Shakespeare performance troupe, a co-founder of the Nommo Cultural Arts Camp for under-privileged youth in Kingston, Jamaica, and a director. They share thoughts on their own work, their varied audiences, the role of equitable partnerships in their work, and how they nurture emerging artists. Listen in as these passionate artists discuss their experiences in creating theatre that, at its core, is a vehicle for communication of social thought and transformation. Originally recorded - December 17, 2012. Running Time - 1:11:28 © 2012 SDCF

Robert Lewis: On November 2, 1987, SDCF hosted a talk by Robert Lewis, a founding member of Society of Stage Directors and Choreographers, the Group Theatre, and the Actors Studio. He speaks with great charisma and dynamism of the founding of the Group Theatre, the Actors Studio, his experiences with some of the greatest stage actors of the 20th century (including Julie Harris, John Garfield), his views on a variety of topics including the reason for the lack of theatre companies, the absence of a national theatre, and the crafts of acting and directing and underlying technique. This humorous, comprehensive and insightful talk will enlighten theatre fans, artists and producers with Lewis's view of the history, craft, and evolution of theatre around the world in the 20th century. Originally recorded - November 2, 1987. Running Time - 1:00:23 © 1987 SDCF

On February 27, 1986, SDCF held a conversation on Effective Playwriting with Directors Stephen Porter and Howard Rossen, moderated by Playwright Stephen Fife. The jumping off point of this conversation is Somerset Maugham's quote "The purpose of prose drama is to afford delight. I do not think it can usefully concern itself with the welfare of humanity or the saving of civilization. In my opinion, what the theatre does best is to give pleasure by telling a story, delineating character, and by stirring emotions or causing laughter." Our panelists go on to discuss various aspects of plays including sentence length, scene structure, the importance of rhythm, as well as producorial aspects such as the pull between star vehicle and commercial quality and the need to challenge an audience. They frame much of their discussion by looking at The Constant Wife, and share their thoughts on why plays and writers became classics: Glengarry Glen Ross, ‘Night, Mother, Pinter, Shaw, Williams, Shaffer, Simon, and Mamet. This conversation is a master class for playwrights and directors on the many elements of a play and how to consider and improve upon a play while in production. Originally recorded - February 27, 1986. Running Time - 1:17:28 © 1986 SDCF

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

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

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

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

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

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

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

Learn more about our panelists here: https://sdcfoundation.org/sdcf-conversation-series-returning-to-rehearsal-3/

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

On October 28, 1985, Stage Directors and Choreographers Foundation invited Peter Zeisler to moderate a panel featuring journalists Thulani Davis and Erika Munk, playwright William Hoffman, and directors Rhoda Levine, Judith Malina, and Emily Mann. They speak in-depth about the role of theatre in society in the past, present, and how it is evolving into the future. In this conversation, theatre's reach and impact is compared to the mediums of film and television. Other topics include how fiction can convey political reality and why particular issues should be examined in the theatre. This lively discussion gets to the heart of the important role theatre plays in community. Originally recorded - October 28, 1985. Running Time - 45:50 © 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

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

On April 24, 2012, SDCF hosted entertainment attorney Neil Rosini, of Franklin, Weinrib, Vassallo, and Rudell, to speak about how artists can use existing work to create new work without infringing on copyright. Rosini paints a clear picture of the nature of rights under copyright. He covers reproduction, adaptation, distribution, public performance, and public display. Other topics include the infringement of copyright and the fair use defense. Rosini also covers how to test for transformativeness when working on parody. This conversation provides a thorough overview of the in's and out's of copyright law. (Mr. Rosini wishes to note that the references to CNN midway through the program should be to C-SPAN.) Originally recorded - April 24, 2012. Running Time - 1:27:26 © 2012 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

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

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

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

Directing Shakespeare: Casting - It's A Bear: On April 29, 2001 members of a Stage Directors and Choreographers Foundation panel simulated a first casting session of The Winter's Tale. The discussion is moderated by Artistic Producer of the Joseph Papp Public Theatre/New York Shakespeare Festival Rosemarie Tichler and featured Casting Directors Stuart Howard and Jordan Thaler. Originally recorded - April 29, 2001. Running Time - 1:31:35 © 2001 SDCF

On April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the second half of the conversation. Originally recorded - April 28, 2001. Running Time - 1:12:00 © 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 April 28, 2001, Stage Directors and Choreographers Foundation invited Arthur Bartow, Artistic Director of the Drama Department at NYU Tisch, to moderate a conversation between Michael Lupu, Senior Dramaturg at the Guthrie Theater; Mark Bly, Associate Artistic Director of Yale Rep; Louis Scheeder of Classical Studio NYU Tisch; and freelance director Daniel Fish about working on Shakespeare. This discussion gives great insight into the role of dramaturgs in assisting directors; their visions of a successful dramaturg; and how dramaturgs work with the text. This program is the first half of the conversation. Originally recorded - April 28, 2001. Running Time - 1:15:21 © 2001 SDCF

On Monday, June 27th, 2011, SDC's Gretchen Michelfeld talked to veteran scenic designers Rachel Hauck (The Public, BAM, The Vineyard, South Coast Rep, and Eugene O'Neill Resident Set Designer) and Nick Francone (Prospect Theater Company, SPF, Six Figures, New Georges, E.S.T., Santa Fe Opera, assistant on Wicked and Opera) about their experiences collaborating with a variety of directors. They discussed aspects of successful production meetings, dealing with repertory sets, the strangest designs they have made, and offer advice to young directors. This is an enlightening discussion on the successes and struggles in the lives of professional scenic designers. Originally recorded - June 27, 2011. Running Time - 1:21:43 © 2011 SDCF