Latest / Next Act with Jeff Ornstein / Tim Eliot – Actor, Producer, Teacher, Krymov Lab NYC

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Tim Eliot – Actor, Producer, Teacher, Krymov Lab NYC · Next Act with Jeff Ornstein

• 0:01
  Jeff Ornstein: Hi everyone, and welcome to Next Act with Jeff Orenstein.
• 0:05
  Jeff Ornstein: I am Jeff, and on this show we celebrate people on the cusp of greatness.
• 0:10
  Jeff Ornstein: Those building on past successes in some of the curious and inventive and sometimes unexpected ways they have achieved those, and stepping into moments that could define their legacy.
• 0:21
  Jeff Ornstein: We'll talk about current projects, lessons learned, and the extraordinary opportunities ahead.
• 0:26
  Jeff Ornstein: So the best is yet to come.
• 0:29
  Jeff Ornstein: Tim Elliott is a versatile actor, producer, and educator whose work spans HBO credits, theater innovation, and teaching Shakespeare in a way that connects with modern audiences.
• 0:40
  Jeff Ornstein: From managing the Krimov Lab in New York City to creating viral short-term content on Shakespeare, Tim brings stories and performances to life with deep insight and creativity.
• 0:51
  Jeff Ornstein: And by having read through your CV, I don't doubt it for one second.
• 0:55
  Jeff Ornstein: Very impressive, both in terms of your academic training as well as the things that you've embarked upon, particularly with the Krimov lab.
• 1:03
  Jeff Ornstein: So let's talk about this a little bit, but I'd like to get back a little bit to your beginnings.
• 1:08
  Jeff Ornstein: You transitioned from athletics to theater in middle school.
• 1:12
  Jeff Ornstein: Those are both highly individually focused participatory endeavors.
• 1:18
  Jeff Ornstein: The person has to be really self-trained and such.
• 1:21
  Jeff Ornstein: They're different in many ways.
• 1:23
  Jeff Ornstein: One's very physical, one's very cerebral, but they're also very similar.
• 1:26
  Jeff Ornstein: Is that something that you would characterize yourself as being a super focused?
• 1:31
  Tim Eliot: Yeah, I would.
• 1:32
  Tim Eliot: I I always say, like, I grew up as a nerd and then an athlete and then an artist.
• 1:38
  Tim Eliot: And I find that there's a lot of similarities between them, and focus is a big part of that.
• 1:43
  Tim Eliot: Certainly, you have to have a baseline of skill or you have to build skills.
• 1:48
  Tim Eliot: Like I was I'm a soccer player, I was a soccer player.
• 1:51
  Tim Eliot: And you need to know how to kick the ball in various different ways.
• 1:54
  Tim Eliot: And you need to know how to run for your teammates.
• 1:56
  Tim Eliot: So there's a lot of skills that you can build, but your skill level or your capacity is due to your awareness.
• 2:02
  Tim Eliot: How aware are you of where everybody else is on the field?
• 2:06
  Tim Eliot: How aware are you of your scene partner?
• 2:09
  Tim Eliot: How aware are you of the circumstances of the piece?
• 2:12
  Tim Eliot: I think people understand that, but we can always go further.
• 2:16
  Jeff Ornstein: You obviously have a deep passion and love for Shakespeare, who was perhaps the greatest storyteller of all time.
• 2:22
  Jeff Ornstein: So let's talk about a little bit about the Krimov Lab and what you accomplished.
• 2:26
  Jeff Ornstein: The Krimov Lab in New York City challenges traditional theater uh structures.
• 2:31
  Jeff Ornstein: So let's elaborate on that a little bit and what surprised you most about working in that experimental uh environment.
• 2:39
  Tim Eliot: Yeah, uh well, I saw Krimov's work for the first time about 15 years ago when I was in Russia.
• 2:45
  Tim Eliot: I was studying there as a grad student, and everybody was very excited to take us to this show.
• 2:50
  Tim Eliot: It's called Opus No.
• 2:51
  Tim Eliot: 7, which also came to not BAM, but the uh St.
• 2:54
  Tim Eliot: Ann's Warehouse toured the world and came to St.
• 2:56
  Tim Eliot: Anne's Warehouse in New York City many years ago.
• 2:59
  Tim Eliot: And I really was totally blown away.
• 3:02
  Tim Eliot: Uh the sort of melding of story elements, including hyper-visual, you know, 15-foot-tall puppets and you know, metal pianos on casters in like a demolition derby, um, people on flying rigs, you know, there was such cohesion to all of the elements of theatricality that built to this sort of larger than the sum of its parts experience.
• 3:27
  Tim Eliot: And it made me, it really sort of was like, this is what theater can do.
• 3:32
  Tim Eliot: This is one of the sort of extreme ends of what the art form is capable of.
• 3:37
  Tim Eliot: And I saw a little bit more of Krimov's work while I was in still in Russia, and I never expected I'd be able to work with him.
• 3:45
  Tim Eliot: And then the opportunity arose because his translator, his interpreter, Tatiana Haiken, had been helping him discuss the possibility of creating a lab here, like his lab in Moscow.
• 3:58
  Tim Eliot: And I ended up in a workshop.
• 4:00
  Tim Eliot: I got invited to a workshop through another friend, and she was there, and I knew her from my time in grad school, and he was there.
• 4:07
  Tim Eliot: And at the end of the week, they asked if I would help them produce.
• 4:11
  Tim Eliot: And so we are definitely challenging what New York understands theater to be.
• 4:17
  Tim Eliot: There's a there's a design forward element to our productions.
• 4:21
  Tim Eliot: Dima was a production designer before he was ever a director.
• 4:25
  Tim Eliot: He was a production designer and then a painter, and then sort of fell sideways into teaching and directing.
• 4:31
  Tim Eliot: And so he approaches everything from a visual standpoint, sort of first, although he understands a lot of the he adapts a lot.
• 4:40
  Tim Eliot: We're working on Uncle Vanya right now, which is a play he and Russians know very deeply.
• 4:46
  Tim Eliot: He grew up in the theater, so it's a piece he's known his entire life.
• 4:50
  Tim Eliot: But what he's doing, I found a new way to describe it, is he's telling his own story, as it were, using the elements, the relationships, the characters, some of the plot elements of Uncle Vanya in sort of this it's almost like they're the paint on a palette, and he's painting an entirely new painting, but he's using the same colors, he's using the same image structure uh to tell a very sort of personal story, almost an essay, as it were, about the themes of Uncle Vanya and also other things that are in the air today.
• 5:28
  Tim Eliot: What does it mean to be frustrated in your life?
• 5:30
  Tim Eliot: What does it mean to lose hope?
• 5:33
  Tim Eliot: What does it mean to feel like you're in a crisis and to be atomized, to be for everybody to be in crisis, but but also to be separated, alienated from each other for various reasons, which I think Dima's experiencing, a lot of us are experiencing.
• 5:48
  Tim Eliot: And so we're building this piece that is related to Uncle Vanya.
• 5:52
  Tim Eliot: And certainly, you know, Yelena is there, and Vanya is there, and Sonia is there.
• 5:58
  Tim Eliot: Um, but there's also a chicken.
• 5:59
  Tim Eliot: In fact, there's two chickens.
• 6:00
  Tim Eliot: And there's a little chick running around stage.
• 6:03
  Tim Eliot: So, but it's also inherently theatrical.
• 6:04
  Tim Eliot: Dima's a clown, you know, that's his first instinct as a performer.
• 6:08
  Tim Eliot: So there's a lot of very funny elements, but also a very a lot of very heartfelt pathos and questioning and mystery as well.
• 6:17
  Jeff Ornstein: Well, I mean, I think that that goes to the fact that the story, whether it's hundreds of years old, is still relevant.
• 6:24
  Jeff Ornstein: The basic components, the paints, as you say, that are spread across the canvas are still relevant today.
• 6:30
  Jeff Ornstein: And people relate to stress or challenge or love or disappointment, and it can be to be interpreted by a contemporary artist.
• 6:39
  Jeff Ornstein: First of all, it's an incredible tribute to the original writer, but it's also, I think, what theater goers are kind of probably looking for.
• 6:46
  Jeff Ornstein: I want to ask you a little bit about the New York audiences, because New York's a theater town.
• 6:50
  Jeff Ornstein: And is it is it your position that New York it's it's a little bit harder to break through with these more classical themes in an interpretive manner?
• 6:57
  Tim Eliot: I don't think so.
• 6:58
  Tim Eliot: I think because New York is a theater town, there are audiences eager for everything.
• 7:03
  Tim Eliot: They're hungry for everything.
• 7:04
  Tim Eliot: They want to see Henry VIII's six wives on Broadway in like a pop, right, you know, musical, which my wife and I have seen and we loved.
• 7:12
  Tim Eliot: And they're ready for, you know, bug, you know, Tracy Lett's a remount or a production that they've been doing for 20 years on and off in Chicago.
• 7:21
  Tim Eliot: They're ready for strange experimental checkoff or Shakespeare downtown in, you know, an abandoned space or a warehouse or somebody's apartment.
• 7:31
  Tim Eliot: I think there's a wide variety of art as and certainly of theater in New York, and audiences are very hungry for whatever's exciting.
• 7:42
  Tim Eliot: Every time you buy a ticket to a show, it's like you're playing the lottery.
• 7:47
  Tim Eliot: Is this one gonna be the one this month or this year that really just knocks my socks off for whatever reason?
• 7:54
  Tim Eliot: Could be that you just love King Lear.
• 7:56
  Tim Eliot: You see every King Lear, and every time you go, it really shakes you to your core.
• 8:01
  Tim Eliot: Or, you know, you you just respond to certain actors or certain designers, certain spaces.
• 8:08
  Tim Eliot: You know, we're working in the Alan Stewart Theater at La Mama, which is really an honor.
• 8:12
  Tim Eliot: I mean, being able to work in that space, knowing the history of that space, it's it's kind of incredible to think, oh, here I am on stage at the Alan Stewart.
• 8:22
  Tim Eliot: And that goes for a lot of spaces.
• 8:24
  Tim Eliot: So I think there are a lot of things that excite a lot of people about you know, art and theater, but finding and communicating to the audience that is going to be excited and getting them in the room is always a challenge because there's so much.
• 8:37
  Jeff Ornstein: Well, clearly the beginnings of your association with Kirmloff were right place, right time, knew someone who knew someone, but you've taken this really far with great success.
• 8:47
  Jeff Ornstein: So we've spoken about the audiences.
• 8:49
  Jeff Ornstein: I'm curious, as a young actor, how do you find young actors or actors in general embracing telling a Shakespearean tale?
• 8:59
  Tim Eliot: Yeah, I think I think there are some barriers, obviously.
• 9:01
  Tim Eliot: I think that the language is obviously difficult.
• 9:04
  Tim Eliot: It's it's arcane.
• 9:05
  Tim Eliot: It's 400, 500 years old, right?
• 9:07
  Tim Eliot: We're we're dealing with a different syntax of language, we're dealing with a different sort of base of vocabulary in a lot of ways, and we're also dealing with a difference of context, right?
• 9:16
  Tim Eliot: Both the context that Shakespeare was writing about, because he was mostly writing period pieces, as well as the audience he was writing for that had different expectations and different understandings of form.
• 9:25
  Tim Eliot: However, there's many more similarities than differences, but I think a lot of people are introduced to Shakespeare reading it in high school or middle school, and it was never really meant to be read.
• 9:35
  Tim Eliot: A lot of people talked about this.
• 9:37
  Tim Eliot: It was meant to be heard and seen.
• 9:38
  Tim Eliot: The only people reading it would have been the actors.
• 9:40
  Tim Eliot: And even then they would really only have been reading their own parts as they rehearsed and as they memorized and performed.
• 9:47
  Tim Eliot: So I think that there are a fair number of technical barriers in that way.
• 9:51
  Tim Eliot: Um, and sort of our understanding of the stories is limited compared to, you know, obviously Shakespeare's, but but also his company and his.
• 10:00
  Tim Eliot: But there's such power in his stories, there's such strength and and cohesion in sort of the plot structures as well as the character, the relationship structures in the world, how clearly he delineates the worlds themselves, even though he's sort of sometimes being a little fabular, of like, oh yeah, Bohemia.
• 10:20
  Tim Eliot: Where's Bohemia?
• 10:21
  Tim Eliot: Well, somewhere in Europe, right?
• 10:23
  Tim Eliot: That I think people are are often drawn to it because they can experience, like with opera or musicals or ballet, there's there's this technical proficiency that added to sort of demands on the actor and the the possibility of living through these experiences, it can really achieve some of the heights of the form that you don't necessarily see when you're go see a play about a family gathering for Thanksgiving and secrets being revealed.
• 10:50
  Tim Eliot: It's like, okay, sure, there's some important interpersonal drama there, but Shakespeare is shooting for the moon.
• 10:56
  Tim Eliot: It's uh I would say it's a rocket ship to the moon every time.
• 10:58
  Tim Eliot: Awesome.
• 11:00
  Jeff Ornstein: So actually, then on that note, considered probably, as I said before earlier, one of the greatest storytellers of all time, and you had great success with Ophelia when it was released here in the United States.
• 11:11
  Jeff Ornstein: I heard tens of thousands of viewers.
• 11:13
  Jeff Ornstein: It's fantastic.
• 11:14
  Tim Eliot: Yeah.
• 11:15
  Jeff Ornstein: And and uh my producer shared with me that this came out very close to Taylor Swift's release.
• 11:20
  Jeff Ornstein: And he was curious, and I am too, about is there some parallel between these like major cultural moments?
• 11:28
  Jeff Ornstein: Did you find there was?
• 11:29
  Jeff Ornstein: Because she, Taylor Swift, is also probably considered today's greatest storyteller.
• 11:34
  Jeff Ornstein: I mean, she's sure.
• 11:36
  Jeff Ornstein: So what's your take on that?
• 11:38
  Tim Eliot: Yeah, I mean, I think I think Taylor is has had obviously a a stellar career and is speaking to an audience that is that is desperate to hear stories, the kinds of stories that she's telling.
• 11:49
  Tim Eliot: And, you know, I I started creating this channel, this video series on Shakespeare.
• 11:55
  Tim Eliot: Um, basically video essays.
• 11:57
  Tim Eliot: They're they're mostly dramaturgical.
• 11:59
  Tim Eliot: They're pretty nerdy.
• 12:01
  Tim Eliot: They're kind of they're pretty inside baseball.
• 12:03
  Tim Eliot: Um, I've just been working with the material for so long, and my wife downloaded TikTok and my brother was sharing videos with me.
• 12:11
  Tim Eliot: And I was like, oh, I guess I gotta get TikTok.
• 12:13
  Tim Eliot: And my wife sort of justified it among all the funny videos and all the dog videos of, you know, there's a lot of content creators, a lot of teachers on TikTok, and they're showing people things.
• 12:22
  Tim Eliot: And I was like, oh, that's interesting because I'm an artist, I'm a teacher, you know, I've had this project trying to, you know, sort of change Shakespeare practice for a long time.
• 12:33
  Tim Eliot: I was like, oh, this is a format that I could do this.
• 12:36
  Tim Eliot: And I started playing around and creating some videos and then started sort of dialing in my the way I was creating them.
• 12:43
  Tim Eliot: And I made about 10 or 12 and then just started releasing them in like September or so over the course of a couple weeks.
• 12:50
  Tim Eliot: And the last one I released was this, and they were all doing pretty well, you know, 10 to 20,000 views, a lot of likes, a lot of comments, a lot of, you know, discussion.
• 12:58
  Tim Eliot: It was great, you know, like great to connect with the people on TikTok and some on Instagram and some on YouTube that that were interested in this material.
• 13:06
  Tim Eliot: Cool.
• 13:07
  Tim Eliot: And the last one I released is an eight and a half minute long video about Ophelia's role in Hamlet, like her journey, like where does she come from and what happens and like how is she woven into the plot?
• 13:17
  Tim Eliot: Like her role is often sort of understood as like she's Hamlet's girlfriend, and then she gets sort of wrapped up in it and things go badly for her.
• 13:26
  Tim Eliot: But I'm very diagnostic.
• 13:28
  Tim Eliot: I want to know, you know, what I what exactly, how does she integrate?
• 13:32
  Tim Eliot: Like, what is she thinking sort of moment to moment throughout the two to three months that the play is going on?
• 13:40
  Tim Eliot: And when I've when I've done that analysis before, I found like, oh, there's so much more here than I've ever heard anybody say.
• 13:47
  Tim Eliot: So I released this eight and a half minute video on Ophelia.
• 13:50
  Tim Eliot: This is very nervous.
• 13:51
  Tim Eliot: And then, yeah, a couple weeks later, Taylor Swift happened to, I had no idea because I'm not, I don't follow Taylor Swift really at all.
• 13:58
  Tim Eliot: She releases this music video, The Fate of Ophelia.
• 14:01
  Tim Eliot: And overnight, you know, this this video that had done very well, I was like, oh, I'm really pleased that, you know, 20,000 people have viewed my my eight and a half minute long, really dirty deep dive on Ophelia.
• 14:15
  Tim Eliot: And then suddenly, overnight, my views were just off the charts.
• 14:19
  Tim Eliot: I was like, what is going on?
• 14:20
  Tim Eliot: What is happening here?
• 14:22
  Tim Eliot: I looked at like the graphs of it.
• 14:24
  Tim Eliot: So today, and people still watch it every day, there are now about a quarter million views on it.
• 14:29
  Tim Eliot: Congratulations.
• 14:30
  Tim Eliot: Which is crazy.
• 14:32
  Tim Eliot: And you know, not everybody's watching it all the way through, of course.
• 14:34
  Tim Eliot: But it's getting fed into the algorithm just because people are Swifties or whatever.
• 14:39
  Tim Eliot: And and let me tell you, the Swifties and the anti-Swifties really had it out in my comments, of course, about whether or not she was understanding, you know, like, does does Taylor get this, or yes, she does, and it's a metaphor, and it, you know, but it's great the way that artists working in totally different mediums.
• 14:55
  Tim Eliot: Like, I'm not a pop musician.
• 14:57
  Tim Eliot: And Taylor, I don't think, is really a a Shakespeare buff, but of course, she connected with some of the ideas of Ophelia and some of the things that Ophelia had gone through, and that's why she wrote the song.
• 15:08
  Tim Eliot: And, you know, that that through that character, through that sort of symbol of that idea of a person, you know, artists can connect with audiences who are hungry to understand this pivotal character who is often sort of overshadowed and carries great meaning and was, in a lot of ways, I think, a great hero in that story.
• 15:30
  Jeff Ornstein: So the drama, dramaturgical research is really quite intense.
• 15:35
  Jeff Ornstein: I mean, I had to Google what were all the components, and it's period, it's the politics, it's the socioeconomic, you know, conditions, it's a lot going on there.
• 15:46
  Jeff Ornstein: I mean, yeah, how do you approach that?
• 15:48
  Jeff Ornstein: I mean, that seems like a daunting task.
• 15:51
  Tim Eliot: Yeah, it's a great question.
• 15:52
  Tim Eliot: I think there are many different approaches to dramaturgy.
• 15:55
  Tim Eliot: A lot of are very literary, of like, oh, we're doing a play based on Kafka.
• 15:59
  Tim Eliot: Like, who was Kafka?
• 16:00
  Tim Eliot: What did he where was he writing?
• 16:01
  Tim Eliot: What was what was he thinking about?
• 16:02
  Tim Eliot: Like, who are the people that influenced him?
• 16:05
  Tim Eliot: And I find that dramaturgy is most exciting when you're really trying to get the actors dialed in.
• 16:12
  Tim Eliot: And because I started in the theater as an actor, and circumstance, the situation, what is the situation?
• 16:18
  Tim Eliot: Why is it compelling?
• 16:20
  Tim Eliot: Why would you be compelled in this situation to do these things?
• 16:23
  Tim Eliot: And I found working on Shakespeare for you know 20, 25 years since I first started picking it up, that there was something that I didn't understand, of course.
• 16:33
  Tim Eliot: And the more I sort of scratched at what was it that I wasn't understanding?
• 16:37
  Tim Eliot: Why is this person doing this?
• 16:39
  Tim Eliot: This doesn't seem to make sense.
• 16:41
  Tim Eliot: These plays have lasted 400 years.
• 16:44
  Tim Eliot: There's such power in them, there's such clarity in the language when you really start to understand it.
• 16:49
  Tim Eliot: Why does Capulet change his mind?
• 16:52
  Tim Eliot: At the beginning of the play, he goes, he says to Paris, No, you're not going to marry my daughter.
• 16:56
  Tim Eliot: She's not going to marry anybody for two years.
• 16:58
  Tim Eliot: Yeah, you can come to the party.
• 17:00
  Tim Eliot: And then 36 hours later, he threatens to disown Juliet for not marrying him.
• 17:04
  Tim Eliot: So where does that happen?
• 17:05
  Tim Eliot: Why does that happen?
• 17:06
  Tim Eliot: And investigating circumstances, obviously, you know, what is the location?
• 17:13
  Tim Eliot: Where are we?
• 17:13
  Tim Eliot: Oh, we're in Verona.
• 17:15
  Tim Eliot: We're in Shakespeare's Imagined Verona.
• 17:17
  Tim Eliot: When is it?
• 17:18
  Tim Eliot: Well, the original story was set here.
• 17:20
  Tim Eliot: And when you start to build out those sort of foundational structures, the structure of the world that the writer imagined begins to become clearer.
• 17:31
  Tim Eliot: And it's sort of the foundational, and then the structures of the relationships between people in that world and individuals, their relationship to the world and other people in their world starts to become clearer.
• 17:44
  Tim Eliot: And that I think really lays the foundation for a plot for events to be very coherent and to connect.
• 17:53
  Tim Eliot: I actually was just finishing last night a plot flowchart.
• 17:57
  Tim Eliot: I made one many, many years ago, and then I lost the program that allowed me to make it.
• 18:02
  Tim Eliot: It was just a flowchart program.
• 18:03
  Tim Eliot: And I reconstituted it and posted it on my website last night.
• 18:07
  Tim Eliot: It took me a couple weeks to reconstitute it.
• 18:10
  Tim Eliot: And really the cohesion of all the events, it's stunning.
• 18:14
  Tim Eliot: Like there's there's very little in Shakespeare's plays that isn't somehow connected to the larger flow of things that that happen, and it's incredibly tight.
• 18:23
  Tim Eliot: Which, you know, not everything needs to be very plot-driven, of course.
• 18:26
  Tim Eliot: So much of our favorite stuff is character-driven or relationship driven.
• 18:31
  Tim Eliot: I think Shakespeare has that too, and that's part of why the plays have lasted as long as they have.
• 18:36
  Tim Eliot: Plus the language, plus the beautiful people, language, the experience.
• 18:40
  Jeff Ornstein: Well, the environment in that instance is the unseen character.
• 18:43
  Jeff Ornstein: It's vital.
• 18:44
  Jeff Ornstein: It's vital to the actor's, the story, the audience's perception.
• 18:48
  Jeff Ornstein: I'm running out of time, but I have to ask you.
• 18:51
  Jeff Ornstein: Like you could do a new project tomorrow.
• 18:54
  Jeff Ornstein: You know, forget about budget, forget about assembling the talent.
• 18:58
  Jeff Ornstein: Just is there a story that's burning that you haven't in you that you haven't told yet?
• 19:03
  Tim Eliot: Yeah, I'd have to say I'd I'd I'd probably work on Romeo and Juliet, Hamlet or Much Ado About Nothing.
• 19:09
  Tim Eliot: They're my favorite place, I would say.
• 19:10
  Tim Eliot: I and and, you know, everybody's seen them, but to work on them with, you know, some of my favorite actors, I would love to work on Shakespeare with with Dima, with Dmitry Krimov.
• 19:20
  Tim Eliot: We haven't gotten there yet.
• 19:22
  Tim Eliot: But I'm also, you know, I'm starting a class on Shakespeare.
• 19:25
  Tim Eliot: I'm discussing it with La Mama if they have space and time for me.
• 19:28
  Tim Eliot: But I'm going to launch that and I'm going to be emailing people and I'm going to be putting links and making videos about it on my TikTok and my Instagram.
• 19:35
  Tim Eliot: So basically sort of starting to announce that I will be teaching a class and I may also do some online like live videos and sessions with people if they're if they're interested in that, if they can't get to New York to take the class.
• 19:49
  Tim Eliot: Okay.
• 19:50
  Jeff Ornstein: I have to wrap this up, but did I read you were or are an adjunct professor at theater at NYU?
• 19:55
  Jeff Ornstein: Adjunct professor in the open arts department.
• 19:57
  Jeff Ornstein: In the open arts department.
• 19:58
  Jeff Ornstein: So I just wanted any of our viewers to know, hey, I got to study with this guy.
• 20:02
  Jeff Ornstein: Again, where can I start Googling to find him?
• 20:05
  Tim Eliot: Yeah, uh you can you can contact me on my website.
• 20:08
  Tim Eliot: My my last name is spelled with one L and one T, which is rare.
• 20:11
  Tim Eliot: So it's Tim Elliott.com.
• 20:14
  Tim Eliot: You can you can just find me there.
• 20:16
  Tim Eliot: I have a page on coaching.
• 20:17
  Tim Eliot: I have a page on the Shakespeare that I just zhuzhed last night.
• 20:20
  Tim Eliot: My you can email me.
• 20:21
  Tim Eliot: It's just Tim Elliott at gmail.
• 20:23
  Tim Eliot: Yeah, I I do lots of private coaching, obviously, and I will be starting a class soon.
• 20:28
  Tim Eliot: And I do teach a class at NYU in the open arts department.
• 20:30
  Tim Eliot: If you're an undergraduate in the really any department, uh, but especially Tish, you can register for my class.
• 20:36
  Tim Eliot: I teach it in the fall and the spring, sometimes in the summer, and sometimes in J turn.
• 20:40
  Tim Eliot: It's called Understanding Story, and it's about story structure and what stories are, and it's a writing workshop.
• 20:47
  Jeff Ornstein: Okay.
• 20:47
  Jeff Ornstein: It's very find a lot of inspiration in you.
• 20:51
  Jeff Ornstein: I have certainly, and all the passion you bring to your work.
• 20:54
  Jeff Ornstein: So I really appreciate your taking some time out to speak with me and for me to be able to learn a little bit more about your beginnings and your process and your projects and how you your perceptions of theater and your wishes.
• 21:07
  Jeff Ornstein: So it's been a dream.
• 21:08
  Jeff Ornstein: It's really been wonderful.
• 21:10
  Jeff Ornstein: Thanks, Jeff.
• 21:11
  Jeff Ornstein: It's great to talk to you.
• 21:12
  Jeff Ornstein: And good luck with the product.
• 21:13
  Jeff Ornstein: Yeah, thank you so much.
• 21:15
  Jeff Ornstein: Fingers crossed.
• 21:16
  Jeff Ornstein: Thanks for tuning in to Next Act with Jeff Orenstein.
• 21:19
  Jeff Ornstein: Follow, subscribe, and stay connected to your favorite socials at www.nextdackpodcast.com.
• 21:27
  Jeff Ornstein: Keep chasing your next act.
• 21:29
  Jeff Ornstein: The best is yet to come.