Mormons, Mothers and Monsters Week 4 with Shakina Nayfack
Shakina Nayfack is a Musical Directing fellow through The Drama League’s Directors Project. He is assisting on Mormons, Mothers and Monsters and The Game. From Shakina: What a week! Mormons, Mothers and Monsters opened to a great review in the Boston Globe, but just when I thought I was off and running on The Game, [...]
The Best of Enemies: Set Designer David Barber
It is always a joy and a real adventure to do a new play...in the same sense that actors have the privilege of originating a role, the designers have the opportunity to forge new ground and embark on totally virgin territory. The Best of Enemies offered a challenge that we see a lot in modern [...]
Mormons, Mothers and Monsters Week 3 with Shakina Nayfack
Shakina Nayfack is a Musical Directing fellow through The Drama League’s Directors Project. He is assisting on Mormons, Mothers and Monsters and The Game. From Shakina: Mormons, Mothers and Monsters is officially a show. The set is brilliant, the costumes superb, and the book and music still evolving even as we round out our 5th [...]
Mormons, Mothers and Monsters Week 2 with Shakina Nayfack
Shakina Nayfack is a Musical Directing fellow through The Drama League's Directors Project. He is assisting on Mormons, Mothers and Monsters and The Game. From Shakina: We are finishing up the second week of rehearsals on Mormons, Mothers and Monsters, and this week has been all about Tracking. In the development of a new show [...]
Meet The Cast: Susan Wands from The Best of Enemies
Actors are only given 100 to a 150 word bio in our Playbill, so I asked the actors to tell me a little bit about themselves that wouldn't be found in their bio. Here is what they said: From Susan Wands, Mary Ellis in The Best of Enemies: Most of the time in Manhattan, I am very far removed from nature [...]
Q & A: Going to St. Ives Sound Designer Allison Smartt
1) Where was the starting research for your design? My research always begins with my initial emotional reaction to a play as well as with the early conversations with the director, Tyler Marchant. He and I hoped to use sound as a means of establishing setting and tone of each scene and/or act. [...]