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High School Theater Teachers · Artists on Artists on Artists on Artists

• 0:00
  Speaker 1: Welcome back to Artists on Artists on Artists on artists. Boy,
• 0:03
  Speaker 1: do we have a panel for you.
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  Speaker 2: Today, History's screenwriting Expert panel of new voices in Hollywood.
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  Speaker 3: Costumes are correct.
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  Speaker 2: Buck Mary cal wide shot, two shot close up. This
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  Speaker 2: is artist on Artists on Artists on artists.
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  Speaker 1: Do you know why they call it show business? I
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  Speaker 1: always wonder that. Welcome back to artists on artists on
• 0:27
  Speaker 1: Artists on artists. Now on this podcast, we bring together
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  Speaker 1: roundtables of artists in the film and occasionally theater world.
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  Speaker 1: But who are the people who train those artists?
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  Speaker 2: High school theater teachers are the backbone of the industry
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  Speaker 2: for every kid who wishes to be anywhere else but
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  Speaker 2: in high school. So we found four of the most
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  Speaker 2: beloved high school theater teachers across the country thanks to
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  Speaker 2: student submissions, and we brought them into our studio.
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  Speaker 3: Hollywood is built off of a bunch of frickin theater kids,
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  Speaker 3: So please sit with us as we honor the titans
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  Speaker 3: that shape those kids.
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  Speaker 4: Now pay attention in class, no sleeping, un less, listen in.
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  Speaker 2: It's so nice to meet all you guys. It's been
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  Speaker 2: really uh cool to be in with some of it.
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  Speaker 1: It's wonderful to meet other theater teachers.
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  Speaker 2: It certainly is.
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  Speaker 4: It is so lovely, I would say. I am excited,
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  Speaker 4: I am encouraged. I am envious of all of you
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  Speaker 4: and your abilities to wrap streets.
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  Speaker 1: Well, let's name it. Let's name it. Let's well, first,
• 1:48
  Speaker 1: let's start with a breath. Right, let's take it in
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  Speaker 1: and up and out home.
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  Speaker 3: Now, let's do it again and hold for five at
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  Speaker 3: top arrived, hold for five and think of gratitude.
• 2:02
  Speaker 2: Here we go, you guys doing this a little bit?
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  Speaker 2: Can we do them together?
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  Speaker 3: Yes?
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  Speaker 2: Of course, just really get into that core. Okay?
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  Speaker 3: And yes, of course, two households in fair Verona, where
• 2:36
  Speaker 3: we lay our sing.
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  Speaker 1: Something.
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  Speaker 3: I used her to open up two households in bear Verona, where.
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  Speaker 1: That is wonderful. I would love to name the fellow
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  Speaker 1: artists I'm sharing the table with. Could we go around
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  Speaker 1: one by one and reveal to them our artist's name?
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  Speaker 4: Yes, I would love to I am Nancy Russo, and
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  Speaker 4: I am a theater teacher. I teach theater, Shakespeare and
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  Speaker 4: the Great American Novel at an all boys Catholic school
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  Speaker 4: in Los Angeles.
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  Speaker 1: My name is Holly McDougall. I've been a theater teacher
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  Speaker 1: at Eagle Rock High School for thirty three amazing years.
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  Speaker 2: My name is Cody Brick. I am an acting, well,
• 3:32
  Speaker 2: I guess, high school theater teacher. I've been teaching in
• 3:36
  Speaker 2: Duncanville High School in Duncanville, Texas for seven years now.
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  Speaker 2: Before that, I spend a little bit of time. Sorry,
• 3:44
  Speaker 2: before that, I spent a little bit of time in
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  Speaker 2: New York City try the acting thing. Didn't quite work out,
• 3:49
  Speaker 2: But I'm happy to be here now.
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  Speaker 3: Your ass are incredible.
• 3:54
  Speaker 4: Oh thanks, Yes, I will also say your eyes are amazing.
• 4:00
  Speaker 1: CODI it's your eyes. I see the eyes of a
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  Speaker 1: real new your actor.
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  Speaker 2: Well, once upon a time, I guess, but uh, things
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  Speaker 2: kind of didn't, you know, it didn't kind of end
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  Speaker 2: up being what happened for me. But I'm really excited
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  Speaker 2: to be teaching theater and it's it's really nice, you know,
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  Speaker 2: to be around other artists. So yeah, we don't we
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  Speaker 2: don't have to talk about that.
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  Speaker 3: My lord. Well, I'm misriven, but my kids call me
• 4:30
  Speaker 3: miss Cheetah because there is not a day where my
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  Speaker 3: outfit doesn't have a little bit of cheat print.
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  Speaker 5: I love that is, So you are your own animal
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  Speaker 5: work character stud Oh, well, of course you're wearing the
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  Speaker 5: zoo on your body.
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  Speaker 3: Yes you are. You are just such a little cute
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  Speaker 3: little nugget, aren't you.
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  Speaker 1: Quick?
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  Speaker 4: Quick, everyone turn away and then give me an emotion.
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  Speaker 4: When you turn back and go good stuff, you look perplexed.
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  Speaker 1: Yes, my emotion was confusion.
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  Speaker 4: And you miss ribbon or miss cheetah.
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  Speaker 3: My emotion hungry.
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  Speaker 4: It reads like a book and Cody.
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  Speaker 2: I try to go a little more internal. I try
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  Speaker 2: to teach kind of more subtle movements. And so I
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  Speaker 2: went ahead.
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  Speaker 1: I went with Danislovsky.
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  Speaker 4: Oh, Heila, do you sir a check off man?
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  Speaker 2: Yeah, I did a little bit of that. I studied
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  Speaker 2: at the Meisner.
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  Speaker 1: School, at the School of Naturalism.
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  Speaker 4: Sure, yeah, great American naturalism.
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  Speaker 2: You guys are really sweet. You guys are really I
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  Speaker 2: feel really good being around you guys.
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  Speaker 1: I love being in a room with other theater educators, definitely,
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  Speaker 1: because it seems as though we've all put our director's
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  Speaker 1: hat on, we are creating artists, even though we already are.
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  Speaker 3: And can I say something? Can I relinquish our requirement
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  Speaker 3: to direct each other? Can I relinquish that? Right now?
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  Speaker 3: Could I throw it to the side.
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  Speaker 1: Yes, let's take off, and.
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  Speaker 3: I want to say that you are enough. Let's just
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  Speaker 3: show up and be prison with one another. I see
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  Speaker 3: you right here, and I'll see you right here, and
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  Speaker 3: we are present with one another, and that and therefore
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  Speaker 3: we are enough. Take a big deep breath with me.
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  Speaker 2: And really, and I would also like to maybe encourage
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  Speaker 2: into the space the idea that we don't have to
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  Speaker 2: be teaching each other anything. You know, we are speaking
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  Speaker 2: to each other as colleagues, you know. I I would
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  Speaker 2: love to learn from you guys. You guys seem really, uh,
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  Speaker 2: really experienced in the world of teaching theater. I mean, oh,
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  Speaker 2: I'm getting there. I'm getting there. I'm enjoying it, but
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  Speaker 2: I'm getting there. What are your programs like. I'd love
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  Speaker 2: to hear the kind of support you're getting from the districts.
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  Speaker 2: I'd love to hear what kind of shows you do.
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  Speaker 4: Thank you, Thank you Cody for such I yes, thank you, Cody.
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  Speaker 2: You guys can call me Break. Everyone calls me just Break.
• 7:02
  Speaker 1: It's not your stage name.
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  Speaker 2: Yeah, no, it's just kind of my last name. And
• 7:07
  Speaker 2: then I don't want people to call me mister because
• 7:09
  Speaker 2: I don't feel like a mister. You know what I mean.
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  Speaker 2: I feel like I'm like ten years older than these kids.
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  Speaker 2: You know, I'm not a mister like my my colleague,
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  Speaker 2: my co teacher, Miss Finger. She is absolutely she is
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  Speaker 2: absolutely as Finger. Yeah, she's been in the program for
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  Speaker 2: twenty five thirty years. She runs the musicals. I run
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  Speaker 2: the place. That's kind of where we're at. But you
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  Speaker 2: know she's miss Finger. But I'm brick.
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  Speaker 4: So what are your favorite plays to do? Oh?
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  Speaker 2: I love Sam Shepherd, Sam Shepherd.
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  Speaker 1: Shepherd, Samuel Shepherd. Without Samuel Shepherd, we would all be
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  Speaker 1: out of a job.
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  Speaker 4: A man of my heart, a man of my soul,
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  Speaker 4: A man I would say, dear pushes.
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  Speaker 3: Me A say I'd say, Sam Shepherd, why don't you
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  Speaker 3: go true West in the corner because I will go
• 8:01
  Speaker 3: up and down those owls.
• 8:05
  Speaker 4: You want to have sex with him?
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  Speaker 1: I just me now, love that is fascinating.
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  Speaker 4: I love you West.
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  Speaker 3: It's my favorite place.
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  Speaker 1: Oh, I love it, and I love fool for love.
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  Speaker 1: I love so.
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  Speaker 4: My program is a very interesting program because I teach
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  Speaker 4: as an all boys high school. These are boys forced
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  Speaker 4: to become men, and they need a presence. My job
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  Speaker 4: in the school is to teach them one thing. It's
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  Speaker 4: to teach some Shakespeare. It's to teach them the Great American Novel.
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  Speaker 4: It's the teacher some theater. But mostly it is to
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  Speaker 4: teach them how to be men.
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  Speaker 2: Wait, so you teach them, you use English too.
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  Speaker 4: I teach the Great American Novel.
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  Speaker 1: So it's a course de voted exclusively to the Great
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  Speaker 1: American no.
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  Speaker 4: Great American Novel, which is Grapes of Wrath and the Pearl.
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  Speaker 2: So you teach English, and then you do theater.
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  Speaker 4: I do the Great American Shakespeare. And then I teach
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  Speaker 4: them the theater in our classes, in our plays, in
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  Speaker 4: our rehearsals. That's when we are teaching them that. And
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  Speaker 4: these boys, let me tell you something about men schools.
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  Speaker 4: They are pushing boys to be.
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  Speaker 3: Men.
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  Speaker 4: And what does it mean to be a man in
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  Speaker 4: America right now? It is not what I'm trying to
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  Speaker 4: teach them. I'm trying to teach them empathypathy, crying. I'm
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  Speaker 4: trying to teach them how to hold dear in their
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  Speaker 4: eyes and.
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  Speaker 1: Not be afraid. And that's just the thing that I
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  Speaker 1: tell my students, because I teach primarily freshman year theater,
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  Speaker 1: and so I tell them the door to the theater,
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  Speaker 1: the stage door is wide open, and if you'd like
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  Speaker 1: to come in, it is always open to you. And
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  Speaker 1: they don't always listen because when I'm not teaching theater
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  Speaker 1: they had a sort of a bit of staffing issue.
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  Speaker 1: I teach geometry as well, and let me do I do? Yes?
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  Speaker 1: And I are you a mathematician? No, I am out
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  Speaker 1: of my depth. But what I try to do. What's
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  Speaker 1: important about teaching any subject is that you sort of
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  Speaker 1: you give it the old college try. I popped open
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  Speaker 1: a geometry textbook and I had no clue what the
• 10:45
  Speaker 1: numbers and the shapes were talking about, but I tried
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  Speaker 1: to infer what they were trying to show me. And
• 10:53
  Speaker 1: what they were showing me was a very new and
• 10:58
  Speaker 1: very original fan and fiction idea for a Fool for
• 11:03
  Speaker 1: Love sequel called Schmool for Lover Boy. And that is
• 11:08
  Speaker 1: what more time smool for Lovaboy.
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  Speaker 2: What happens?
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  Speaker 3: So what happened to May?
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  Speaker 1: And the May is having a very tough conversation with
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  Speaker 1: her parents about what happened. Now one of them was shot,
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  Speaker 1: I believe at some point, and they were and they
• 11:31
  Speaker 1: had sex, of course, and so it was a very
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  Speaker 1: uncomfortable conversation. Schmooll for Lover Boy reimagines them doing a
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  Speaker 1: deep dive on it in a sort of a mcbirthian
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  Speaker 1: And I said the name of the Scottish play, and
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  Speaker 1: I do apologize.
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  Speaker 2: Hey, that's actually a cardinal sin. You can't say that name. Sorry,
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  Speaker 2: you can't say that.
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  Speaker 3: But here's what they toss away the key. I am
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  Speaker 3: a stickler for that superstition. And we are not in
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  Speaker 3: the theater. This is a white sike in Burbank. I mean,
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  Speaker 3: this is not the theater. And I know that theater
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  Speaker 3: is everywhere. But you can say that word and I'm
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  Speaker 3: not worried about it unless we are in the Lord's Place,
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  Speaker 3: which is a theater.
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  Speaker 2: If I don't want to say it, I'm sorry. I'm
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  Speaker 2: a bit of a troublemaker. I was definitely a bit
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  Speaker 2: of a troublemaker at the actor's studio too.
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  Speaker 3: So, oh my god, you.
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  Speaker 1: Were at Cody, I would invite you into the space
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  Speaker 1: to say it. Name the thing that fears you?
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  Speaker 2: Should I say say it?
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  Speaker 3: What it fears you?
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  Speaker 2: Okay, well it fears me. Uh, I'm saying it.
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  Speaker 3: Macbeth fair God good, I'll do it now. Because I
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  Speaker 3: love fear and I love discomfort, and as an artist,
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  Speaker 3: I run towards it. The word I'm the scary, the
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  Speaker 3: scary thing here it is men Macbeth.
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  Speaker 4: Did you almost say menopause? Yes?
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  Speaker 1: Oh, now a very interesting subtext that you almost inserted
• 13:06
  Speaker 1: menopause into the space, almost.
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  Speaker 3: Like a surprise breath. A surprise breath.
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  Speaker 2: Nancy or the odd or not? You want to join us?
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  Speaker 2: And the water's fine.
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  Speaker 1: Nancy, I invite you to facehood fear swallowing artists table
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  Speaker 1: and say the name of the Scottish.
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  Speaker 4: What did you say swallowing her? Come?
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  Speaker 3: I have a problem with the school district. I get
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  Speaker 3: a little wackety.
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  Speaker 4: Okay, I've never ever said this word, because I believe
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  Speaker 4: Shakespeare is everywhere. But for my friend, I believe.
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  Speaker 1: He is.
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  Speaker 3: It's not him that.
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  Speaker 4: You like in America and the youth of England. He lives,
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  Speaker 4: his work lives.
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  Speaker 1: When I go to the bank, I see Midsummer playing
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  Speaker 1: before me. I see you fellow in the drive through
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  Speaker 1: car wash line.
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  Speaker 3: It's all there, exactly How I can I can get
• 14:21
  Speaker 3: behind this a little bit when I every time I
• 14:24
  Speaker 3: go to a beach, I hear monologue.
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  Speaker 4: I will say it for my fellow artists and for
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  Speaker 4: my fellow directors.
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  Speaker 2: Gold Cartoon, Nancy, what is going on? If you don't
• 14:39
  Speaker 2: want to, I'm sorry. I'm not trying to pressure space.
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  Speaker 4: No no, no, no, let me do this.
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  Speaker 3: Go start from there, Go from there.
• 14:47
  Speaker 1: From there, go from there, go from there, go from there,
• 14:51
  Speaker 1: stay there, go from there.
• 14:55
  Speaker 3: Don't relian humor.
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  Speaker 1: Play it for laps.
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  Speaker 2: Use it, say it, use it, meet me, use it louder,
• 15:04
  Speaker 2: say it so I can hear it. That's enough. You
• 15:09
  Speaker 2: can stop. You can stop saying.
• 15:17
  Speaker 3: Now you're really calling the youth in the UK.
• 15:21
  Speaker 1: Moved to tears By that you are weeping right now.
• 15:25
  Speaker 3: Let me tell you that is where laugh begins. Is
• 15:28
  Speaker 3: when you can stop.
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  Speaker 4: I am also weeping and I am also crying.
• 15:33
  Speaker 1: So here is a question that's been on my mind
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  Speaker 1: ever since all you brilliant artists entered the space. How
• 15:40
  Speaker 1: did you enter the space of teaching theater?
• 15:45
  Speaker 2: Oh that's a great question. Oh yeah, yeah, Well, I,
• 15:52
  Speaker 2: like I said, I lived in New York for a while.
• 15:57
  Speaker 1: Please pray tell a Manhattan, Yeah, Brooklyn.
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  Speaker 4: Queen's the Queen's gambit.
• 16:05
  Speaker 2: I lived, I lived, I lived in Bedsta, I lived
• 16:12
  Speaker 2: in Brooklyn. I lived in Brooklyn, Brooklyn. I said that
• 16:16
  Speaker 2: I lived in green Point.
• 16:18
  Speaker 4: Yeah, Brooklyn, I love.
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  Speaker 2: Yeah. So I lived there and I was trying to
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  Speaker 2: be an actor. You know. I moved out there. I
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  Speaker 2: went to Sunny Purchase.
• 16:30
  Speaker 1: You don't have to try to be an actor, you
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  Speaker 1: simply are.
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  Speaker 2: No, not in New York. You have to try. You
• 16:35
  Speaker 2: have to try really hard to kind of succeed, and
• 16:37
  Speaker 2: you have to work really hard. And it was one
• 16:42
  Speaker 2: of the toughest times in my life. And I really,
• 16:45
  Speaker 2: I really had a lot of passion for it, and
• 16:47
  Speaker 2: it didn't didn't quite work out.
• 16:49
  Speaker 4: Let me guess.
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  Speaker 1: Was it like the place Circle Mirror Transformation, where everyone
• 16:55
  Speaker 1: is doing acting exercises over and over and over and
• 16:59
  Speaker 1: over and it seems as if it would never end.
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  Speaker 2: No, it's more like our town where everyone around you
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  Speaker 2: is like the stage manager and they know you're about
• 17:11
  Speaker 2: to die, but you don't. Is how it feels for me.
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  Speaker 2: That's how that was kind of my metaphor a little
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  Speaker 2: bit of.
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  Speaker 1: So.
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  Speaker 2: Yeah, I ended up going back home. I grew up
• 17:24
  Speaker 2: about forty five minutes from Duncanville. So I applied for theater,
• 17:29
  Speaker 2: did you guys, I mean I'm sure you guys did
• 17:31
  Speaker 2: the acting life. I'm sure you guys tried to be actions.
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  Speaker 2: Not for me, never won. I wouldn't do it well.
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  Speaker 1: I maintained that I am an actor as is we
• 17:41
  Speaker 1: are all actors. But I got into theater teaching because
• 17:46
  Speaker 1: my mother was a theater teacher Wow, And I was
• 17:51
  Speaker 1: so inspired by her journey as a theater professor at
• 17:57
  Speaker 1: UC Riverside that I knew that's exactly what I wanted
• 18:00
  Speaker 1: to do. So when I graduated from Eagle Rock High School,
• 18:06
  Speaker 1: I took my diploma, I walked out the door, and
• 18:11
  Speaker 1: then I made a quick U turn and walked right
• 18:14
  Speaker 1: back into the office and said, give me a job,
• 18:18
  Speaker 1: and they.
• 18:18
  Speaker 4: Gave you geometry.
• 18:20
  Speaker 1: He gave me geometry slash intro to Theater, which I
• 18:26
  Speaker 1: guess we've never quite been clear with the district which
• 18:30
  Speaker 1: one I'm fully teaching.
• 18:33
  Speaker 3: You're not fully teaching either.
• 18:34
  Speaker 4: How many classes?
• 18:36
  Speaker 2: So is it the same class or do you have
• 18:38
  Speaker 2: some periods you're teaching intro to gel and some are
• 18:41
  Speaker 2: doing theater.
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  Speaker 1: I'd like to say they're all theater, but the technical
• 18:45
  Speaker 1: breakdown is I have two periods in the morning where
• 18:49
  Speaker 1: it is intro to theater, and we have two different
• 18:52
  Speaker 1: classes cycle through and then four periods in the afternoon
• 18:57
  Speaker 1: where I am teaching and advanced scene your level geometry.
• 19:03
  Speaker 1: And those students, I would say are the greatest thespians
• 19:07
  Speaker 1: of all because they don't know what's happening to them.
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  Speaker 4: Nothing makes some of the stronger thespian than being thrown
• 19:16
  Speaker 4: into the middle of confusion.
• 19:17
  Speaker 3: What's a good actor not knowing what's going on?
• 19:20
  Speaker 2: Discartian wonder? You know, Rene Descartes used to talk about
• 19:23
  Speaker 2: wonder exactly exactly.
• 19:27
  Speaker 4: I started as a Shakespearean actor. You did, Yes, I
• 19:32
  Speaker 4: would do a Shakespeare fun festival every summer where I
• 19:38
  Speaker 4: would do three to five Shakespeare plays.
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  Speaker 3: Rep in rep in rep Yes.
• 19:47
  Speaker 4: Yes, And what we would do is put them on
• 19:50
  Speaker 4: for the whole whole town. I was in?
• 19:53
  Speaker 1: Which town, Prato?
• 19:54
  Speaker 4: This is Gardena, which is not receptive to Shakespeare. Butforni Guardena, California.
• 20:01
  Speaker 2: Yes, they really.
• 20:02
  Speaker 4: Near near roundabout Arcadia, just lower and more east west.
• 20:08
  Speaker 2: Great Tom Stopford playing Arcadia.
• 20:10
  Speaker 3: Oh Stoppard, I would I would get run over by
• 20:16
  Speaker 3: train for Tom stopperd.
• 20:18
  Speaker 4: Let's hope there's never a situation that requires but I
• 20:21
  Speaker 4: do it. So I found myself in a predicament. I
• 20:25
  Speaker 4: loved theater. I did not get into college. I was
• 20:30
  Speaker 4: older than I thought I was. I was lost.
• 20:33
  Speaker 1: Yes, yes, you are older than you thought you were.
• 20:37
  Speaker 1: Pray tell elaborate on that God that sounds so.
• 20:40
  Speaker 2: Confused, heartbreaking.
• 20:43
  Speaker 4: I got into a car crash and lost three years
• 20:46
  Speaker 4: to a coma Wow, and I woke up and I thought,
• 20:50
  Speaker 4: I didn't get into college.
• 20:53
  Speaker 6: So you didn't get into college like my coma, not
• 20:58
  Speaker 6: because of your artists.
• 21:00
  Speaker 4: And I thought, what can I remember that I love?
• 21:03
  Speaker 4: What can I remember it all? And I remember one thing.
• 21:10
  Speaker 4: I remember this. I remember to be or not to be?
• 21:18
  Speaker 4: That is the question.
• 21:24
  Speaker 2: In the mind.
• 21:27
  Speaker 4: That time I remembered spot and I thought, that's a calling.
• 21:33
  Speaker 4: I must walk myself into this boys school, and I
• 21:36
  Speaker 4: must teach boys. That's God.
• 21:40
  Speaker 3: I can't, I can't, I can't.
• 21:41
  Speaker 4: I love you.
• 21:43
  Speaker 1: First, teach boys. You must each boy, because there is
• 21:47
  Speaker 1: a good choice to teach boys. Because I have heard
• 21:49
  Speaker 1: from my colleagues that when you put on Romeo and Juliet,
• 21:52
  Speaker 1: all the girls who were not cast as Juliet are
• 21:55
  Speaker 1: waiting in the wings, mouthing Juliet's balcony monologue along with
• 22:00
  Speaker 1: her and the desperation.
• 22:02
  Speaker 4: And I would rather have three boys doing that than
• 22:04
  Speaker 4: seventeen girls.
• 22:05
  Speaker 1: I always couldn't.
• 22:06
  Speaker 3: Follow any of that. That was crazy. I mean, I'm
• 22:08
  Speaker 3: a big fan of Pinter and check Off and that
• 22:11
  Speaker 3: that whole story is in science. You had a coma
• 22:13
  Speaker 3: for three years.
• 22:14
  Speaker 4: Three years? Wow.
• 22:15
  Speaker 2: Wow. I was just gonna say, I'm glad you're working boys.
• 22:18
  Speaker 2: Boys are the worst. I say that as a boy.
• 22:20
  Speaker 2: Boys are the worst.
• 22:21
  Speaker 3: I gotta love that he has ownership of it.
• 22:23
  Speaker 4: Stop that no boys have a future and boys are
• 22:29
  Speaker 4: half of the commitment of the world.
• 22:31
  Speaker 2: No, I'm not sure. I'm just you're kind of junk.
• 22:33
  Speaker 2: I'm just kind of thinking.
• 22:35
  Speaker 4: Half of the commitment of the world is boys, just and.
• 22:39
  Speaker 1: The other half of the commitment is girls.
• 22:43
  Speaker 4: Boys and girls. And there's half a commitment.
• 22:44
  Speaker 3: If you hear a nonprofit for boys, half of the
• 22:48
  Speaker 3: commitment of.
• 22:48
  Speaker 2: The world.
• 22:52
  Speaker 4: Commitment half of the commitment of the world, meaning that
• 22:56
  Speaker 4: half of this world is committed to boys. Mother.
• 22:59
  Speaker 1: No, what you're saying is completely clear to me. Half
• 23:05
  Speaker 1: of Mother Gaya's resources are to move to to boys
• 23:09
  Speaker 1: and the other half are bestowed upon girls, and our
• 23:13
  Speaker 1: job as theater professors to navigate the song and the
• 23:18
  Speaker 1: dance of those commitments.
• 23:20
  Speaker 4: Because what is theater teaching if not teaching how to
• 23:23
  Speaker 4: be human, how to honor the commitments that the world
• 23:27
  Speaker 4: is bestowed upon you. How did you get involved, missus button? I?
• 23:35
  Speaker 3: I was a race car driver for twenty five years.
• 23:37
  Speaker 3: Oh yeah, and I was just a badass. Thanks. I
• 23:40
  Speaker 3: was just done so taching an accelerating profession.
• 23:45
  Speaker 1: Not much of a story there though, Really.
• 23:49
  Speaker 2: You don't have one story from race car driving. No,
• 23:52
  Speaker 2: who'd you race for?
• 23:53
  Speaker 3: Nice car?
• 23:54
  Speaker 2: Yeah?
• 23:55
  Speaker 4: The company that's huge.
• 23:57
  Speaker 2: Yeah, if you have a sponsor, a big sponsor, Toys, Toy.
• 24:01
  Speaker 1: You were sponsored by Toys, the concept that is fascinating.
• 24:10
  Speaker 3: Brilliant, All America Toys.
• 24:12
  Speaker 1: To be a woman in Nascar. Have you ever thought
• 24:16
  Speaker 1: of converting that experience and having the engine up on
• 24:21
  Speaker 1: a play?
• 24:22
  Speaker 3: Well, I'm so glad you said something, because I actually,
• 24:27
  Speaker 3: I actually have been working on a little something. I
• 24:31
  Speaker 3: saw La La Land and I saw Emma Stone do
• 24:37
  Speaker 3: that one woman play at the end, and I was inspired,
• 24:42
  Speaker 3: and I started writing my little stories about race car driving.
• 24:46
  Speaker 1: And is this a one woman show?
• 24:48
  Speaker 3: Yes?
• 24:49
  Speaker 4: It is. What's it called.
• 24:51
  Speaker 3: It's called room to give room, Room, Mama's home.
• 24:55
  Speaker 1: Room, to give room, Room, Mama's Home.
• 24:58
  Speaker 4: Please invite us to open.
• 25:00
  Speaker 2: I'm a huge fan of device theater and independent theater works.
• 25:03
  Speaker 2: I have a black box theater with me and a
• 25:04
  Speaker 2: couple of friends in Duncanville. We just went out an
• 25:07
  Speaker 2: old grocery store and turned into a black box.
• 25:09
  Speaker 1: Wow.
• 25:09
  Speaker 2: Kind of my passion. I've been finding a lot of stuff.
• 25:12
  Speaker 2: If you want to ever talk or device, I'm happy
• 25:14
  Speaker 2: to if you're looking for.
• 25:16
  Speaker 3: I love it. I mean, here's the thing. I have
• 25:18
  Speaker 3: a huge arts fund in my school and they wanted
• 25:22
  Speaker 3: to build huge theater and I said, no, I want
• 25:25
  Speaker 3: a black box.
• 25:26
  Speaker 2: Something about a black box?
• 25:27
  Speaker 3: Right, something about a black box?
• 25:28
  Speaker 2: You guys have black black box?
• 25:30
  Speaker 4: Oh yeah, I would say.
• 25:31
  Speaker 1: The multi purpose cafeteria we perform and has the energy
• 25:36
  Speaker 1: of a.
• 25:37
  Speaker 3: Black box in what way?
• 25:39
  Speaker 1: In that? I tell them to pretend it is one?
• 25:44
  Speaker 3: Oh I love that, I say it, So therefore it
• 25:47
  Speaker 3: is okay. Favorite shows, favorite shows.
• 25:49
  Speaker 2: Oh, we gotta talk favorite shows and we put on
• 25:51
  Speaker 2: our program.
• 25:52
  Speaker 4: Oh, I will say I did the dining room with
• 25:59
  Speaker 4: all boys, and it was an experience I did Little
• 26:03
  Speaker 4: Shop of Horrors last year with a bunch of boys,
• 26:07
  Speaker 4: and they became men. You know. To see to watch
• 26:10
  Speaker 4: two boys be eaten by a plant played by a boy,
• 26:15
  Speaker 4: and then to watch another boy be sad that those
• 26:18
  Speaker 4: two boys were eaten and another boy tried to console
• 26:21
  Speaker 4: that boy was something I will never forget.
• 26:24
  Speaker 2: Do you do gender Benning? Do you change the rolesh?
• 26:27
  Speaker 2: Do you have them play opposite sex?
• 26:30
  Speaker 4: I have them play opposite sex. Okay, it's a rip
• 26:34
  Speaker 4: roaring fun time.
• 26:35
  Speaker 2: It's funny.
• 26:36
  Speaker 4: Oh, it's very funny. Wow, it's very funny. The audience
• 26:41
  Speaker 4: loves it. At my All Boys Catholic school.
• 26:43
  Speaker 3: They hit it.
• 26:45
  Speaker 1: That's wonderful. Well. I wrote the sequel to a Fellow.
• 26:51
  Speaker 6: It's called Oh God, Oh Fellow too, and it's about
• 26:57
  Speaker 6: a fellow's one last ride around the hole.
• 27:02
  Speaker 3: Okay, here's my question. Here's my question, A right around
• 27:06
  Speaker 3: the whole thing? Does that mean like in heaven? Because
• 27:08
  Speaker 3: that play, yes, famously and.
• 27:11
  Speaker 1: Where everyone is dead, but had they lived therein lives
• 27:16
  Speaker 1: the question.
• 27:17
  Speaker 4: So it's more like a fellow gets up, let's to
• 27:21
  Speaker 4: revisit it one last lap.
• 27:24
  Speaker 1: He Oh, I love that, And I'm simplifying it, of course,
• 27:27
  Speaker 1: because I did honor the Bard and write this in
• 27:30
  Speaker 1: an iambic pentameter. But yes, sort of it leaves off,
• 27:35
  Speaker 1: it picks up on the way to heaven. Y'all go
• 27:38
  Speaker 1: and destamona and othellow, they're all standing there in the
• 27:43
  Speaker 1: void and they're saying, let's give this one more shot.
• 27:47
  Speaker 1: And then they come back to earth and they do
• 27:50
  Speaker 1: it a little differently.
• 27:51
  Speaker 3: This time, a little differently.
• 27:54
  Speaker 4: Wow, that's so fun. I write my own place too,
• 27:56
  Speaker 4: Oh you do? Does anybody else write their own place?
• 27:58
  Speaker 1: We must write a couple of Just have a play
• 28:01
  Speaker 1: rights cap sitting in your cos.
• 28:05
  Speaker 2: I used to be a really big playwright. Wrote total cliche, right,
• 28:14
  Speaker 2: please do? I wrote this play about this, you know.
• 28:18
  Speaker 2: It was a children's theater play about a gum drop
• 28:21
  Speaker 2: who wants to be a shoe box.
• 28:23
  Speaker 1: Oh.
• 28:23
  Speaker 2: It was like really like kind of about like, you know,
• 28:26
  Speaker 2: not being the right thing, but wanting to fit in.
• 28:30
  Speaker 1: What have you ever taught a younger children?
• 28:34
  Speaker 2: No, I'm not interested in that for a second. I'm
• 28:37
  Speaker 2: not interested in teaching at fourteen. Yeah, that's not I'm
• 28:40
  Speaker 2: not I'm not a babysitter. Wow, wow, teacher, I will
• 28:44
  Speaker 2: say my favorite production I ever put on. We did
• 28:46
  Speaker 2: a a modern adaptation at my guidance, modern adaptation of
• 28:53
  Speaker 2: Who's Afraid of Virginia Wolf set in high school and
• 28:56
  Speaker 2: instead of drinking alcohol, they use vape pens.
• 29:00
  Speaker 3: Wow, that is incredible.
• 29:03
  Speaker 4: Rock the scene.
• 29:04
  Speaker 2: It was pretty awesome. Yeah. I got the head of
• 29:06
  Speaker 2: the district Arts fund. He came and he said, hey,
• 29:10
  Speaker 2: I'll give you as much money as you want, like,
• 29:13
  Speaker 2: if you can do fifteen more of these shows this year,
• 29:17
  Speaker 2: you know, fifty more productions. And I said, absolutely not.
• 29:21
  Speaker 2: I can't even barely do three. I was like, I
• 29:23
  Speaker 2: don't know what's going on with him. I mean, he
• 29:25
  Speaker 2: was like Wiley. I mean, I don't know. Again, I
• 29:29
  Speaker 2: have this pull over people that's a little.
• 29:30
  Speaker 1: Too magnetic quality.
• 29:32
  Speaker 4: I was like these kids, I would follow you to
• 29:35
  Speaker 4: the ends of the world.
• 29:36
  Speaker 1: I cannot weep my eyes off.
• 29:39
  Speaker 3: Yeah, you have a Sam Shipper fuckable lack quality.
• 29:42
  Speaker 2: Oh that's that's nice.
• 29:44
  Speaker 1: I will speak clear. I'm not interested in men or
• 29:48
  Speaker 1: women or people of any kind in a sexual way.
• 29:52
  Speaker 1: But I can't believe stop staring at you.
• 29:54
  Speaker 2: Oh thanks, thanks, What's what about you? I mean, I
• 29:57
  Speaker 2: mean you are a writer, first.
• 29:58
  Speaker 3: Of all, barely, but thank you for asking.
• 30:01
  Speaker 1: He wrote a one woman show, you selling your self,
• 30:05
  Speaker 1: short girl?
• 30:09
  Speaker 4: Whoa cool it.
• 30:11
  Speaker 1: I'm sorry, I get brooked up when artists don't know
• 30:15
  Speaker 1: they're worth you little selling yourself short girl?
• 30:21
  Speaker 3: Yep, I heard it before. Oh sweetie, thank you. I'm
• 30:25
  Speaker 3: a woman, so I will.
• 30:29
  Speaker 2: Jeez, are you okay?
• 30:31
  Speaker 4: I am?
• 30:33
  Speaker 3: I'm so fine. I let's just think of what is
• 30:37
  Speaker 3: what we did recently because this year we did a
• 30:40
  Speaker 3: lot of things in rip. We did Caucasian Chalk Circle,
• 30:43
  Speaker 3: we did Raisin in the Sun, but most importantly, we
• 30:46
  Speaker 3: did Imagineary Invalid bym all year.
• 30:49
  Speaker 2: Oh yeah.
• 30:52
  Speaker 3: And what I did what was so interesting?
• 30:54
  Speaker 4: High school? Yeah.
• 30:55
  Speaker 3: And I remember when we got the okay from the
• 30:58
  Speaker 3: school that we're gonna do it all the time. Teachers
• 31:00
  Speaker 3: were like, well that little teachers relac which translation you're
• 31:03
  Speaker 3: gonna do because there's a bunch of them. And I
• 31:05
  Speaker 3: actually pulled one of the kids from the exchange programs
• 31:10
  Speaker 3: and I made her make her own translation. Wow, and
• 31:14
  Speaker 3: what came out.
• 31:16
  Speaker 4: Was wacky, so fun, so a fun show.
• 31:21
  Speaker 3: A fun show all around.
• 31:22
  Speaker 4: I just had a really it is very translating an entire.
• 31:27
  Speaker 3: Show to put on someone who's also trying to lack
• 31:31
  Speaker 3: black transition into a culture.
• 31:33
  Speaker 4: And spend more time just getting to know it.
• 31:36
  Speaker 3: But you know, God doesn't give you what you cannot handle,
• 31:41
  Speaker 3: for sure.
• 31:42
  Speaker 4: I had a fun play where we did a fun
• 31:45
  Speaker 4: modernized interpretation of Little Women. It was great.
• 31:50
  Speaker 1: And how did you make it modern?
• 31:52
  Speaker 3: Did she get the measles like do they have a
• 31:56
  Speaker 3: cell phone?
• 31:57
  Speaker 4: Yes, it's all about phone and the thing they call
• 32:01
  Speaker 4: a snapchat. Cannot understand it.
• 32:05
  Speaker 1: That's so funny because I actually did a de modernized
• 32:09
  Speaker 1: version of Sarah Rule's dead Man cell Phone. It was
• 32:16
  Speaker 1: dead Man holds Nothing, so it was pre cell phone.
• 32:21
  Speaker 1: It was pre cell phone, and he never had the
• 32:25
  Speaker 1: cell phone. He was simply deceased.
• 32:29
  Speaker 4: I wrote a very very personal play about what it
• 32:33
  Speaker 4: means to go to Costa Rica in the eighties.
• 32:39
  Speaker 1: The kids, you love that story.
• 32:41
  Speaker 4: It was a great story, and I finally put pen
• 32:43
  Speaker 4: to paper. I said, I'm telling it at this all
• 32:46
  Speaker 4: boys school with these boys, and I cast my favorite
• 32:49
  Speaker 4: student at the time, Ethan Hawk. Oh wow related and
• 32:55
  Speaker 4: him related? Yes, he was. He was just a student.
• 33:00
  Speaker 4: He was just he went from my play. He played
• 33:03
  Speaker 4: me in the Costa Rican Chronicles and then he immediately
• 33:08
  Speaker 4: went in to do at the movie where they play
• 33:12
  Speaker 4: the boys at the All Boys High School.
• 33:14
  Speaker 2: Oh, the Dead Poet Society.
• 33:15
  Speaker 4: Yes, he went from immediately from my the Coastreak Chronicles
• 33:19
  Speaker 4: into Dead Poets Society, which is funnily enough.
• 33:22
  Speaker 1: Do you ever see yourself as the Dead Poet Society?
• 33:24
  Speaker 4: I do. I believe Ethan Hawk told Robin Williams about
• 33:28
  Speaker 4: me and he and he based the character off of me.
• 33:33
  Speaker 1: Looking at that teacher, he I really see the resemblance.
• 33:37
  Speaker 3: That just blew my mom.
• 33:40
  Speaker 4: Can I say one thing, Brick, you have an energy
• 33:44
  Speaker 4: the commands a room.
• 33:47
  Speaker 1: It really does. How do your students respond to such
• 33:52
  Speaker 1: an energy of an artist or New York artist as yourself.
• 33:56
  Speaker 2: Ny A, I would say not in the way that
• 33:59
  Speaker 2: he's usually a proper I have. Yeah, I have some
• 34:04
  Speaker 2: things that I have to deal with. If I'm being explicit,
• 34:06
  Speaker 2: if I have to be kind of upfront here, I
• 34:09
  Speaker 2: have to kind of set some barriers pretty fast. I
• 34:15
  Speaker 2: tend to get a lot of people on the first
• 34:17
  Speaker 2: day in drama club, coming in a lot of the cheerleaders,
• 34:21
  Speaker 2: a lot of girls, stuff like that, and I just
• 34:23
  Speaker 2: have to make it super clear that that's not what
• 34:25
  Speaker 2: I'm about, and I'm not interested in any sort of
• 34:28
  Speaker 2: stuff like that. You know, I'm here for the work
• 34:31
  Speaker 2: and I'm here for seriousness. Hey, hey, hey, uk friend.
• 34:37
  Speaker 1: All right, it's tough because you sort of have. If
• 34:42
  Speaker 1: I were to put on my casting director's hat hat
• 34:46
  Speaker 1: and type cast you, I would say you're a really
• 34:50
  Speaker 1: attractive teacher, and I think it.
• 34:53
  Speaker 4: Must be as a really attractive teacher.
• 34:57
  Speaker 3: Yes, that is a good guesting direct Now.
• 35:00
  Speaker 1: I work in the theater world. I do not work
• 35:03
  Speaker 1: in the holly world. But if I were to do that,
• 35:06
  Speaker 1: I would typecast you as hot teacher. I must. It
• 35:10
  Speaker 1: must be difficult for you.
• 35:12
  Speaker 2: It can be. And I'll tell you what I counteracted
• 35:14
  Speaker 2: by being really mean.
• 35:16
  Speaker 3: I'll say when I put my head on your shoulder,
• 35:19
  Speaker 3: just that it felt lack a cosmic shift. It felt
• 35:23
  Speaker 3: like I really fucked up. And do you do that
• 35:26
  Speaker 3: with your students?
• 35:27
  Speaker 2: Yeah? If they cross any sort of line, I in
• 35:31
  Speaker 2: the most school appropriate way possible. I make sure that
• 35:34
  Speaker 2: they pay. I can't be a specific type of mean,
• 35:37
  Speaker 2: because a specific type of mean just draws certain people closer.
• 35:41
  Speaker 2: So it has to be a cold meat. It has
• 35:43
  Speaker 2: to be a distance you.
• 35:43
  Speaker 4: Have to set boundaries. All these girls will go with
• 35:46
  Speaker 4: the Zulu.
• 35:47
  Speaker 2: Well, so I studied Suzuki method, right, yeah, and all
• 35:50
  Speaker 2: that physicality. So when you, for example, when you put
• 35:53
  Speaker 2: your head on my shoulder just now, and if you're
• 35:56
  Speaker 2: listening to the podcast, that's when I called her a
• 35:58
  Speaker 2: friend to make it clear that I'm not interested anyway.
• 36:01
  Speaker 2: When she put her head on my shoulder, I uh,
• 36:04
  Speaker 2: I isolated that section to my body and I made
• 36:08
  Speaker 2: it incredibly cold, and I met it rigid, and I
• 36:11
  Speaker 2: made it basically like putting your head on the tundra.
• 36:15
  Speaker 3: Yeah, and the listener if I did it, and and
• 36:19
  Speaker 3: I like talking about boundaries here. I am a physical teacher,
• 36:24
  Speaker 3: I'm a dancer. I'm physical, so it is hard for
• 36:28
  Speaker 3: me not to place hands and push kids. Many times
• 36:32
  Speaker 3: when girls are learning how to belt, I push them.
• 36:35
  Speaker 3: You just them, Well, they got to wake up. And
• 36:38
  Speaker 3: what in that moment there when I put my head
• 36:41
  Speaker 3: on you, I felt like you needed touch, right, And
• 36:44
  Speaker 3: I know what somebody's body needs, right, If they.
• 36:47
  Speaker 1: Need to wake up sometimes the physical shot.
• 36:50
  Speaker 3: Oh yeah, or they need love right. I can hug people, right,
• 36:53
  Speaker 3: or if they need me to sel them in the fact.
• 36:56
  Speaker 2: So do coach, like right alongside them when they're performing.
• 36:59
  Speaker 3: Yeah, so they'll stand here and I'll and I see
• 37:01
  Speaker 3: the body. It's similar to Suzuki where I'm in there.
• 37:05
  Speaker 3: But I gotta be very careful because what I did
• 37:07
  Speaker 3: right there is I saw a knee with the human
• 37:08
  Speaker 3: body and I attended to it. And with the school system,
• 37:12
  Speaker 3: you can't do that.
• 37:13
  Speaker 1: No, no, you can't do that. Isn't an interesting blurred
• 37:18
  Speaker 1: line where you I tell all my fold.
• 37:23
  Speaker 2: It's like I can say very blurry you guys.
• 37:31
  Speaker 1: Because when you're in the theater, it's worry about connection.
• 37:36
  Speaker 1: It's about touch. It's about you go there, push your
• 37:40
  Speaker 1: body here, push your And the way you grabbed my
• 37:43
  Speaker 1: hand just now and did not let go, you were
• 37:45
  Speaker 1: communicating to me a story. Now you add in the
• 37:49
  Speaker 1: layer where everyone is fourteen year old students and you
• 37:54
  Speaker 1: have to behave as if some geometry teacher would, it
• 37:58
  Speaker 1: becomes complicated.
• 38:00
  Speaker 3: One. Oh god, I just I have that problem a lot.
• 38:03
  Speaker 3: And I apologize for that.
• 38:05
  Speaker 2: Hey, it's okay. I don't fault you for it.
• 38:07
  Speaker 3: I apologize for grabbing your hand.
• 38:09
  Speaker 1: And your apology is taken and regurgitated and accepted back
• 38:15
  Speaker 1: into the space.
• 38:16
  Speaker 4: And I would like my hands on the apology and
• 38:19
  Speaker 4: I will take it and hold it and I cry.
• 38:22
  Speaker 3: Now what she's doing listeners right now? Is she it
• 38:24
  Speaker 3: didn't grab anything. She's working with the imagination. Now, let's
• 38:28
  Speaker 3: talk about space working imagination. Because I think right here
• 38:31
  Speaker 3: there are this is a table of athletes of the imagination. Yes,
• 38:36
  Speaker 3: and what is harder then, what is freaking harder than
• 38:41
  Speaker 3: getting a hormonal teen to believe in something that they
• 38:44
  Speaker 3: cannot see? Yes, gosh, when I say that this right
• 38:50
  Speaker 3: here is a reptile, there's a reptile in my hand.
• 38:58
  Speaker 2: What show is that for? When you're doing that?
• 39:01
  Speaker 4: That's gotta be Gulliver's Travels.
• 39:03
  Speaker 3: No, it was in the Heights, really, Yes, we didn't
• 39:07
  Speaker 3: in the Height Yes, And it was when uh, it
• 39:13
  Speaker 3: was when Usnavi's character had just won the lottery. Well,
• 39:17
  Speaker 3: he just saw his grandma's lotto ticket and at the end, yes,
• 39:20
  Speaker 3: so uh he he's scared. And I couldn't get my
• 39:25
  Speaker 3: student to really feel that, so I just kept being like,
• 39:27
  Speaker 3: what you are holding is on fire a piece, you know,
• 39:30
  Speaker 3: when you have something in you. And I'm trying to
• 39:32
  Speaker 3: get a student to realize that this isn't just a
• 39:34
  Speaker 3: piece of paper. He was holding it like a damn
• 39:36
  Speaker 3: fucking prop excuse my life. Yes, you have to put
• 39:40
  Speaker 3: yourself in that moment. I said, this piece of paper
• 39:44
  Speaker 3: is alive. And I said, Dalton, what you are holding
• 39:48
  Speaker 3: is a reptile. And the kid looked at me like
• 39:52
  Speaker 3: I was frickin' bugs bunny.
• 39:54
  Speaker 1: Sometimes it's so difficult to get through to these kids
• 40:00
  Speaker 1: because you're fourteen. You're filled with all these emotions and
• 40:06
  Speaker 1: these strange new world feelings, and you're constantly looking at
• 40:12
  Speaker 1: the breast to your right or the growing to your left,
• 40:16
  Speaker 1: that you cannot focus on what's happening in midsummer Night's dream?
• 40:22
  Speaker 4: And what about the phones? The how can you imagine
• 40:31
  Speaker 4: if you're just looking at your phone?
• 40:33
  Speaker 2: I hate phones, man, I don't even actually have a phone.
• 40:36
  Speaker 1: What breck I know a young young young man as
• 40:40
  Speaker 1: such as yourself, You don't carry the device that everyone
• 40:45
  Speaker 1: else does.
• 40:46
  Speaker 3: How do you instacart your amends?
• 40:51
  Speaker 1: How do you uber you're avocado toast.
• 40:57
  Speaker 2: Well toast, but I drive?
• 40:59
  Speaker 4: How do you look up the number to your high school?
• 41:02
  Speaker 2: I know it, I mean if I need it? And
• 41:04
  Speaker 2: my MacBook has texting, and you know all.
• 41:09
  Speaker 3: You guys, I have a lexicon.
• 41:14
  Speaker 4: Yeah, my mac script.
• 41:19
  Speaker 1: Okay, I prefer my mac Beth. Thank you.
• 41:23
  Speaker 2: Now you're high on saying it.
• 41:25
  Speaker 1: I love to say it. I'm rarely not mac Beth.
• 41:33
  Speaker 1: Then let me tell you terrible things happened to me frequently. Well,
• 41:43
  Speaker 1: sometimes I'll discover I'll come outside and my car is
• 41:47
  Speaker 1: simply flipped upside down, right on its hinges, and I
• 41:51
  Speaker 1: can't figure out.
• 41:52
  Speaker 3: What car is on its hinges.
• 41:54
  Speaker 1: There is nowhere, There is no other car nearby that's
• 41:59
  Speaker 1: crashed into it.
• 42:00
  Speaker 4: Was perfectly flipped its hinges.
• 42:03
  Speaker 1: It's as if a shot and the giant beanstock came
• 42:06
  Speaker 1: by and took the car, picked it up, and flipped
• 42:09
  Speaker 1: it upside down. And that was after I told my
• 42:13
  Speaker 1: students Macbeth, macmethe, mcmack Macbeth, embrace the thing that fears you. Yes,
• 42:18
  Speaker 1: And they don't. These terrible things they just happened, and
• 42:23
  Speaker 1: no one knows why.
• 42:24
  Speaker 4: I've got a question. And I've been wondering this because
• 42:27
  Speaker 4: I love the story of teaching, and.
• 42:30
  Speaker 1: I believe it is a story.
• 42:32
  Speaker 4: Yes, the story of teaching is a story of inspiration.
• 42:35
  Speaker 4: It's a story of overcoming odds, with people. And I
• 42:40
  Speaker 4: would like to hear some inspiraing in spray in spraking
• 42:47
  Speaker 4: in spragging. I want to hear some in sprawning in
• 42:52
  Speaker 4: sprawning words words worse, dost thou protest too much? Fool
• 42:57
  Speaker 4: boy Shakespeare. I would like to ask a simple question.
• 43:03
  Speaker 4: I would like to hear some of your most inspiring
• 43:07
  Speaker 4: teachers stars.
• 43:10
  Speaker 2: Well, you know, I have several kind of I guess
• 43:16
  Speaker 2: you could consider them famous alumni. There's a wheel, Oh
• 43:19
  Speaker 2: pray tell.
• 43:21
  Speaker 1: I will put on my starstruck glasses and listen in.
• 43:24
  Speaker 3: I believe that when a teacher has good alumni, it's
• 43:28
  Speaker 3: a girl Scout badge on your your chest.
• 43:32
  Speaker 2: That's kind. I mean, these kids are really really good
• 43:34
  Speaker 2: when they come to me already, I feel really lucky.
• 43:36
  Speaker 2: I don't know what's in the water in Duncanville, but
• 43:38
  Speaker 2: I feel really grateful to have them. I have a
• 43:40
  Speaker 2: couple of kids that went on to be on teen Wolf.
• 43:44
  Speaker 2: I have a couple of kids on a high school musical,
• 43:47
  Speaker 2: the musical the series. A couple kids, yeah, a couple,
• 43:51
  Speaker 2: A couple, And they're starting to say that there's this
• 43:55
  Speaker 2: kind of like Duncanville High School to show business pipeline.
• 43:59
  Speaker 2: It's it's really exciting. It's really exciting to see I mean,
• 44:02
  Speaker 2: I'm not doing it for them. I'm more doing it
• 44:04
  Speaker 2: for the kids that show up. You know, it doesn't
• 44:08
  Speaker 2: really matter to me who's there, because it's just like,
• 44:12
  Speaker 2: you know, you're my person and I'm here with you
• 44:14
  Speaker 2: and we're doing this together. And yeah, I can't obviously
• 44:17
  Speaker 2: use that language when I'm with the girls because that
• 44:20
  Speaker 2: specific language, but that's how I feel.
• 44:24
  Speaker 3: It will sit fire.
• 44:26
  Speaker 2: Yeah, I mean, and it's good because I had a
• 44:28
  Speaker 2: lot of trouble, a lot of trouble in my own career.
• 44:33
  Speaker 2: So it's really exciting to see, you know, kids doing it.
• 44:40
  Speaker 2: It's awesome, it's really cool, and it just like makes
• 44:43
  Speaker 2: me know that I know what I'm doing, you know,
• 44:45
  Speaker 2: like I didn't give the opportunities and that's what's hard
• 44:48
  Speaker 2: for me. But I know, I know that I actually
• 44:51
  Speaker 2: knew something, and it's like really interesting that.
• 44:58
  Speaker 4: No no, no, no, no.
• 45:00
  Speaker 3: There start from there to match it, start from there.
• 45:03
  Speaker 4: Match.
• 45:04
  Speaker 2: Okay, if you guys really want me to go there.
• 45:06
  Speaker 3: Meror exercise, yes, let's exercise exercise.
• 45:09
  Speaker 2: Like you guys, and like people are saying that are like.
• 45:12
  Speaker 3: Okay, yeah, you guys.
• 45:14
  Speaker 2: So you guys saying that I'm like attracted or whatever,
• 45:17
  Speaker 2: it is awesome because I got left out of the
• 45:18
  Speaker 2: room at every audition I would go to. I was
• 45:21
  Speaker 2: like Texas hot and I was New York trash and
• 45:23
  Speaker 2: it was.
• 45:24
  Speaker 3: Like hot New York trash so hard, like it was
• 45:27
  Speaker 3: trash hard.
• 45:28
  Speaker 2: So I think I'm done because this is you guys
• 45:31
  Speaker 2: aren't listening.
• 45:31
  Speaker 3: But do you guys work in viewpoints?
• 45:33
  Speaker 1: Yeah?
• 45:33
  Speaker 2: I don't do viewpoints. Tell us an inspiring teacher story.
• 45:37
  Speaker 3: Once I found a kid at a bar my wife
• 45:42
  Speaker 3: and I tell my wife and I we were at
• 45:45
  Speaker 3: our local watering hall with Bachelor ATNA and we went
• 45:49
  Speaker 3: we went after the show, we watched Bachelor, we go
• 45:52
  Speaker 3: to the bar and I found a student there and
• 45:56
  Speaker 3: she was sitting there drinking Tennessee whiskey.
• 46:01
  Speaker 1: Did she have a fake identification? Car?
• 46:04
  Speaker 3: I didn't want to ask, because I mean, of course
• 46:08
  Speaker 3: she did if she got in. I didn't want to ask.
• 46:12
  Speaker 2: So I love shirt Michael shirtlift. What was her secret?
• 46:16
  Speaker 2: Did you feel like her? What was her moment before?
• 46:18
  Speaker 2: What was her secret?
• 46:19
  Speaker 4: Yeah?
• 46:19
  Speaker 2: Could you feel it?
• 46:20
  Speaker 3: Well? I knew her moment before was really detailed, and
• 46:25
  Speaker 3: a lot of teachers would have just yanked her out
• 46:29
  Speaker 3: or left and called the authorities. I walked right up
• 46:32
  Speaker 3: to her and I said, you know that monologue we're
• 46:37
  Speaker 3: working on from Crimes of the Heart. And I scared her.
• 46:40
  Speaker 3: She went yes. I said, I want you to do
• 46:42
  Speaker 3: that monologue right here. I said another round, gave her
• 46:46
  Speaker 3: another glass of whiskey.
• 46:47
  Speaker 4: You fed her alcohol.
• 46:48
  Speaker 3: I fed her alcohol and I said, put it on
• 46:50
  Speaker 3: my tab. And then she sat right there and then
• 46:52
  Speaker 3: I said, say the monologue, go go into it right now.
• 46:56
  Speaker 3: She stopped performing. Now this student could not stop pushing.
• 47:02
  Speaker 3: She pushed, pushed, pushed. She remember you know that you
• 47:06
  Speaker 3: know that that cartoon character Popeye.
• 47:09
  Speaker 1: No, I've never heard of that. I've never owned a television.
• 47:17
  Speaker 3: Oh it's not even that.
• 47:18
  Speaker 2: It's like very it's from the New York Times.
• 47:23
  Speaker 3: Maybe a little Donald Interest every day. Anyway, I gave
• 47:30
  Speaker 3: her my car, told her to drive herself home. And
• 47:32
  Speaker 3: it was a beautiful moment of acting.
• 47:35
  Speaker 4: So she drove home after you fed her alcohol, and I.
• 47:38
  Speaker 3: Gave her my car and she and that next morning.
• 47:40
  Speaker 3: She was a fearless woman. And what I did was
• 47:43
  Speaker 3: a risk, but it was the craziest moment of teaching
• 47:45
  Speaker 3: in my life, because I gave a kid a gun basically,
• 47:49
  Speaker 3: you know what I mean.
• 47:50
  Speaker 4: A car was more dangerous.
• 47:52
  Speaker 1: And when we hand.
• 47:53
  Speaker 3: Them these plays, we're giving them a gun. We're giving
• 47:55
  Speaker 3: them a license to kill. Yes, we're giving them a
• 47:58
  Speaker 3: license to teach a kid to say a sixteen bar cut.
• 48:01
  Speaker 3: You are selling her to the devil. She is, she's
• 48:05
  Speaker 3: she's a hearty with a body.
• 48:06
  Speaker 1: I armed all of my students one time with my
• 48:10
  Speaker 1: So these were my geometry students, okay, and they were
• 48:16
  Speaker 1: asking me, not your thing about Scalen triangles and I
• 48:21
  Speaker 1: sauc Am triangles, things that I had quite never honestly
• 48:27
  Speaker 1: heard before. And so I did what any good artist
• 48:31
  Speaker 1: would do, and I did indulge in a bit of improvisation.
• 48:37
  Speaker 1: And so I took their questions about triangles, and I thought,
• 48:40
  Speaker 1: what are these children actually trying to ask me? And
• 48:44
  Speaker 1: what I got from these questions was help me, help me,
• 48:49
  Speaker 1: help me figure out who I am? So what I
• 48:52
  Speaker 1: dare was. I lined them all up, and I had
• 48:56
  Speaker 1: each and every one of them saying, don't rain on
• 49:00
  Speaker 1: my parade, over and over and over and over again.
• 49:04
  Speaker 1: I gave them a gun.
• 49:07
  Speaker 3: You gave them a gun.
• 49:10
  Speaker 1: And the gun is a song. And if you're not
• 49:14
  Speaker 1: too careful, you can kill yourself with it, if you could,
• 49:20
  Speaker 1: if you if you let the song consume you as
• 49:25
  Speaker 1: it has me, it can be really detrimental.
• 49:29
  Speaker 4: Thank you for these stories. They were filling.
• 49:33
  Speaker 1: Do you have you don't have any inspiring story?
• 49:41
  Speaker 2: Inspired?
• 49:43
  Speaker 4: Well, it's different teaching only men, it's very different.
• 49:49
  Speaker 1: Oh, pray, tell.
• 49:51
  Speaker 4: Allow me to tell you a little fascinating.
• 49:57
  Speaker 1: Nancy perfect, wonderful. Please at the stage.
• 50:01
  Speaker 2: Will I need you to get the year.
• 50:05
  Speaker 4: Twenty sixteen. The boy Nathaniel Hotchkin, a boy of small stature.
• 50:12
  Speaker 4: And when I talk about high school boys, I talk
• 50:15
  Speaker 4: about shoulders forward, head down, hunched back, scared. They're boys.
• 50:24
  Speaker 4: I saw him in a class getting ripped apart by
• 50:27
  Speaker 4: these bullies, rip trap tripped. And I ran up to
• 50:30
  Speaker 4: these bullies. I said, h he ha ha alas poyoric
• 50:35
  Speaker 4: alas poor. They were fearful, they did not know what
• 50:41
  Speaker 4: to do. And I talked to Nathaniel astic class and
• 50:43
  Speaker 4: I said, do you know what I did? I acted powerful,
• 50:48
  Speaker 4: I acted strong. The next day Nathaniel switched schools, and.
• 50:54
  Speaker 1: I'm and what a revelatory access story.
• 51:02
  Speaker 4: I believe it was because it was a strong thing
• 51:05
  Speaker 4: to do. He founded Personal Strike and got out of
• 51:07
  Speaker 4: that story in a way.
• 51:09
  Speaker 2: You definitely save him from bullies. So that's actually really inspiring.
• 51:12
  Speaker 2: I would say thank you, of course, Nancy. I have
• 51:16
  Speaker 2: a question for you guys, A couple questions. Actually. I
• 51:20
  Speaker 2: am obviously kind of younger and working with kids. I
• 51:23
  Speaker 2: never thought I would be teaching kids, so I was
• 51:25
  Speaker 2: wondering if you guys could give me some advice on
• 51:28
  Speaker 2: different types of ways to direct students. That's possible.
• 51:33
  Speaker 1: I would love to.
• 51:35
  Speaker 3: I would love that.
• 51:36
  Speaker 2: I would love I'm working on a production of Cloud
• 51:38
  Speaker 2: nine by Carol Churchill with my kids right now.
• 51:41
  Speaker 3: I love Carol Churchill. Yeah, I think she is back
• 51:49
  Speaker 3: then Lynn Manuel Miranda.
• 51:51
  Speaker 2: I would I would hard disagree with that.
• 51:53
  Speaker 3: Why do you disagree with that?
• 51:55
  Speaker 2: I would disagree because she explored some incredible themes of
• 51:58
  Speaker 2: feminism and colonialism and imperialism and power dynamics. Not okay,
• 52:07
  Speaker 2: I guess kind of colonialism. I guess kind of you know, yes,
• 52:11
  Speaker 2: it's about colonial times. What I was gonna I just
• 52:15
  Speaker 2: have a couple of things that I'm having trouble figuring out.
• 52:17
  Speaker 2: So I have a couple of students that aren't that aren't,
• 52:21
  Speaker 2: you know, cheating out and their backs are always turning.
• 52:25
  Speaker 1: How do you guys get happens all the time in geometry.
• 52:31
  Speaker 2: But I'm talking about theater. We're gonna talk about just theater.
• 52:36
  Speaker 2: When you have a kid who's you know, turned away,
• 52:38
  Speaker 2: what's the best way to get them to turn out?
• 52:41
  Speaker 3: Such a good question, Brick, Such a wonderful question.
• 52:45
  Speaker 4: Sometimes I like to make a big noise or a stink.
• 52:50
  Speaker 1: You make a stick? Do you admit it out of
• 52:52
  Speaker 1: your own instrument?
• 52:54
  Speaker 4: You make a stink. There's two different type of stakes.
• 52:57
  Speaker 4: You make a big stink of the show? You go
• 52:59
  Speaker 4: hodgepodge hodge Hodgi podgy pod Look at me, I'm walking
• 53:03
  Speaker 4: around like a daffin little duck.
• 53:04
  Speaker 3: You are a bully, you bully. It sounds like you
• 53:09
  Speaker 3: yell in the at me.
• 53:12
  Speaker 4: Confused. I the.
• 53:18
  Speaker 3: You yell in their.
• 53:19
  Speaker 2: Faces kind of get them to turn I get well,
• 53:21
  Speaker 2: I mean, what do you do when you when you
• 53:22
  Speaker 2: have a kid who isn't cheating out?
• 53:24
  Speaker 3: I get one of those I get one of those
• 53:30
  Speaker 3: science experiment boards. You know when it sounds fair, those
• 53:33
  Speaker 3: three way boards and I tape them to them.
• 53:36
  Speaker 4: So you're the bully.
• 53:38
  Speaker 3: No, it's physical, it's the guys.
• 53:40
  Speaker 2: This is this, it's not only a safe space as
• 53:42
  Speaker 2: a brave space. I don't want us to name Carl.
• 53:45
  Speaker 4: I will never say a bad thing.
• 53:48
  Speaker 3: I will never say a bad thing about you again.
• 53:50
  Speaker 1: Okay, Roses and Thorns of the interaction we had just now.
• 53:54
  Speaker 4: Roses we made eye contact, Thorn. We both called each
• 53:59
  Speaker 4: other bullies.
• 54:00
  Speaker 3: Rose, we made on contact. Thorn. We called each other bullet.
• 54:07
  Speaker 4: Yes, we're an agreement.
• 54:08
  Speaker 1: Then that was wonderful to watch.
• 54:11
  Speaker 2: What do you guys do when kids are talking in
• 54:12
  Speaker 2: the wings a lot? How so, what do you do?
• 54:20
  Speaker 1: Yeah?
• 54:21
  Speaker 4: What do you do?
• 54:21
  Speaker 1: It's because I don't. I have not been given the
• 54:26
  Speaker 1: opportunity to direct any of the high school plays yet
• 54:30
  Speaker 1: because I teach intro to theater.
• 54:33
  Speaker 3: They gotta get you out of the academia.
• 54:35
  Speaker 1: They ground floor. Thirty five years of intro to theater,
• 54:43
  Speaker 1: I'm still waiting for the promotion to teach theater one.
• 54:47
  Speaker 1: That's the sophomore year class and they get to put
• 54:51
  Speaker 1: on a play.
• 54:51
  Speaker 2: God, how many times have you watched West Side Story
• 54:54
  Speaker 2: in class?
• 54:55
  Speaker 4: Oh?
• 54:56
  Speaker 1: More times than I have? Fingers in my brain and
• 55:05
  Speaker 1: what I do because in the multi purpose auditorium where
• 55:11
  Speaker 1: we present our final seats, which is sort of like
• 55:16
  Speaker 1: our version of putting on a play, sometimes I will
• 55:19
  Speaker 1: hear people talking backstage aka the cafeteria ladies in the
• 55:23
  Speaker 1: cafeteria portion, and I have to go over and I
• 55:27
  Speaker 1: have to say, excuse me, is that your line? And
• 55:31
  Speaker 1: I really get through to them. I am a home
• 55:33
  Speaker 1: to them that while the students are on the play,
• 55:36
  Speaker 1: they are also in the play and they play a
• 55:39
  Speaker 1: very pivotal and they play a very pivotal role. And
• 55:43
  Speaker 1: that's audience member.
• 55:46
  Speaker 4: So are the well sir.
• 55:53
  Speaker 1: It's difficult. A lot of the children request the parents
• 55:57
  Speaker 1: not come, but that's it's difficult. It's intro to theater
• 56:03
  Speaker 1: is all about planting the seed. It's about teaching these sweaty,
• 56:09
  Speaker 1: sweaty football players that there is something in Hamlet for them,
• 56:16
  Speaker 1: there is something in mother courage for them, and then
• 56:20
  Speaker 1: you send them on their way and let the seed
• 56:22
  Speaker 1: grow in theater.
• 56:24
  Speaker 4: One. I love that.
• 56:26
  Speaker 2: So I had one final question. You guys are giving
• 56:27
  Speaker 2: me such good answers for these, so I just wanted
• 56:30
  Speaker 2: one more. When you have a kid, that's flunking out.
• 56:34
  Speaker 2: You know, I don't know if you guys have a
• 56:36
  Speaker 2: rule in your school, but if they fail in their academia,
• 56:41
  Speaker 2: yeah they can't. You know, it's a paid it's a
• 56:44
  Speaker 2: it's an eligibility issue. They can't be in the show.
• 56:48
  Speaker 2: And we had to completely recast by by Birdie last
• 56:52
  Speaker 2: minute because our Conrad, our Conrad, Yeah, our Conrad was
• 56:55
  Speaker 2: getting zeros in uh in swimming. He just wouldn't get
• 56:59
  Speaker 2: in the pool. It was so frustrating.
• 57:01
  Speaker 4: Got to get zero yeah, zero, Well he was Yeah,
• 57:06
  Speaker 4: he was getting it. I mean he was education.
• 57:08
  Speaker 3: Well, that's what's.
• 57:09
  Speaker 4: The way you do.
• 57:10
  Speaker 2: I mean, how do you get a kid to care
• 57:11
  Speaker 2: enough to work on his grades in order to.
• 57:13
  Speaker 3: Do sure, I'll say this number one, Rick, I want
• 57:16
  Speaker 3: to give you a little encouragement and to start this off.
• 57:18
  Speaker 3: And I know they'll have probably amazing thing to say.
• 57:20
  Speaker 3: I'll say that you probably you already. I know you
• 57:22
  Speaker 3: did an incredible job casting this because you didn't cast
• 57:24
  Speaker 3: a good Conrad unless they're flunking. That's a good point.
• 57:28
  Speaker 2: That's a really good point. And this guy was truly
• 57:31
  Speaker 2: reminded me of myself. If I was shocked by lightning
• 57:36
  Speaker 2: at some point.
• 57:37
  Speaker 3: It's crazy. He has swimming less and then he's not
• 57:39
  Speaker 3: getting the pool. It's crazy. But I'll say, you did
• 57:42
  Speaker 3: half the battle and you won half that. Now I'll
• 57:44
  Speaker 3: hand it over for reprimanding lists.
• 57:46
  Speaker 4: I will say, first, you care about these students. It
• 57:51
  Speaker 4: is palpable. It is so obvious you care about these students.
• 57:56
  Speaker 2: Yeah I do.
• 57:57
  Speaker 4: Yeah, that's rare. That's rare. Suck suck it like you
• 58:08
  Speaker 4: mean it.
• 58:10
  Speaker 2: I'm not going to do that again. You guys have advice?
• 58:13
  Speaker 2: Do you guys have advice?
• 58:15
  Speaker 4: I would say the best advice I have for this
• 58:18
  Speaker 4: situation is to remember where we are, and you can
• 58:23
  Speaker 4: march your little button right up to that swim coach
• 58:26
  Speaker 4: and say, excuse me, this student willing to be getting
• 58:34
  Speaker 4: in the pool today, he'll be getting an A. I'll
• 58:38
  Speaker 4: teach him swimming in my classroom.
• 58:42
  Speaker 3: Oh god, that's incredible what you just did.
• 58:44
  Speaker 4: Grab don't let go amen to that. I wanted to
• 58:51
  Speaker 4: ask everyone, yes, is what is your piece of advice
• 58:57
  Speaker 4: for new theatrical peoplesh.
• 59:02
  Speaker 3: New theatrical people, new new theater students, people who.
• 59:06
  Speaker 4: Are interested or people who have been in it forever.
• 59:10
  Speaker 4: Things that can last a lifetime and things.
• 59:15
  Speaker 1: Baseless nugget of wisdom.
• 59:17
  Speaker 4: You get it.
• 59:22
  Speaker 1: Plain and I bet we could say something at the same.
• 59:27
  Speaker 2: Time and that was it. Yeah. Theater advice for me
• 59:34
  Speaker 2: is coming ready to work. And if you want to
• 59:37
  Speaker 2: go into this, if you want to come into this,
• 59:40
  Speaker 2: know what you're getting into. Don't take your youth for granted.
• 59:49
  Speaker 2: Don't waste time worrying about where the people are. Be
• 59:55
  Speaker 2: on your own journey. Be on your own path and
• 59:57
  Speaker 2: hit your mand I would kiss you. I'm not interested enough.
• 1:00:09
  Speaker 1: You are just batting them away like flies. Today it's
• 1:00:14
  Speaker 1: like wham wham. Teaching must be terribly inconvenient.
• 1:00:18
  Speaker 2: Can't even go to the doctor. They touched me too
• 1:00:21
  Speaker 2: much at the doctor.
• 1:00:24
  Speaker 4: And you are you said you were New York ugly?
• 1:00:27
  Speaker 4: What are the men in New York?
• 1:00:29
  Speaker 2: Like? Yeah? I got cast in one role in New York.
• 1:00:32
  Speaker 2: It was an off off Broadway production of Beauty the
• 1:00:34
  Speaker 2: Beast that cast me as Lafu.
• 1:00:38
  Speaker 4: Well, in Scipino, I would cast you as Scipino.
• 1:00:42
  Speaker 2: Thanks. What's advice that you guys have?
• 1:00:48
  Speaker 1: Well, my advice to any emerging artist would be to
• 1:00:55
  Speaker 1: invest in a good Patagonia jacket because it gets quite
• 1:01:02
  Speaker 1: cold in the multi purpose room where you're going to
• 1:01:05
  Speaker 1: be performing your place.
• 1:01:10
  Speaker 4: You My advice to any new student or old is
• 1:01:16
  Speaker 4: one piece of advice I learned from one of the
• 1:01:19
  Speaker 4: best theater people out there. His name Randy o'down and
• 1:01:25
  Speaker 4: he was my original teacher when I was just a
• 1:01:27
  Speaker 4: girl in high school, and he taught me this phrase
• 1:01:31
  Speaker 4: that is very, very helpful, and it is theater is
• 1:01:36
  Speaker 4: merely the theater.
• 1:01:40
  Speaker 1: And I agree with you. I think that that's fantastic advice.
• 1:01:48
  Speaker 1: I think that theater teaching is all about controlling the space,
• 1:01:56
  Speaker 1: opening up the door and telling these kids it's that
• 1:02:00
  Speaker 1: the stage is just around the corner, and when in doubt,
• 1:02:06
  Speaker 1: go on a tangent. I think that we I would
• 1:02:10
  Speaker 1: love to know from each of you because I know
• 1:02:14
  Speaker 1: we know the most powerful tool in the theater teacher's
• 1:02:18
  Speaker 1: arsenal is the tangent. What makes a good tangent?
• 1:02:25
  Speaker 2: This is a great question. Yeah, I every one of
• 1:02:28
  Speaker 2: my favorite theater teachers went off on tangents that I
• 1:02:32
  Speaker 2: didn't realize were actually lessons until they were happening to me.
• 1:02:36
  Speaker 2: That's kind of the thing about a tangent.
• 1:02:38
  Speaker 3: That sounds like a good thing. It wraps around it
• 1:02:41
  Speaker 3: wraps you and hurls you, and it throws you down exactly,
• 1:02:48
  Speaker 3: knock you off your.
• 1:02:49
  Speaker 2: Bridges, knocks me right off my bridge.
• 1:02:51
  Speaker 3: The bridge.
• 1:02:52
  Speaker 2: Yeah, I think one of my favorite tangents is, you know,
• 1:02:56
  Speaker 2: usually the dress rehearsal before opening night when we do
• 1:03:02
  Speaker 2: a musical, I like to give a big speech.
• 1:03:05
  Speaker 1: Obviously a speech, just the biggest of the well it's
• 1:03:10
  Speaker 1: part yeah, that's not that's not exactly what I was saying.
• 1:03:13
  Speaker 2: Within the speech, I like to kind of go off
• 1:03:14
  Speaker 2: on a tangent and I like to focus in on
• 1:03:18
  Speaker 2: I like to focus in on the sweatiest cast member
• 1:03:22
  Speaker 2: and I go, wow, dude, you're freaking soaked. And everyone
• 1:03:26
  Speaker 2: kind of laughs and breaks it up, and I say
• 1:03:29
  Speaker 2: what happened? Like do you have a medical I kind
• 1:03:32
  Speaker 2: of go in on him or her for them, and
• 1:03:34
  Speaker 2: I just rail them for whatever, you know, for a
• 1:03:38
  Speaker 2: little bit, and then I go, I'm sorry, did you
• 1:03:42
  Speaker 2: guys earn laughing at this? Like when they start laughing
• 1:03:44
  Speaker 2: and I say, did you guys earn laughing?
• 1:03:47
  Speaker 3: This is a beautiful agency.
• 1:03:49
  Speaker 2: I say, because guys, like, that's what you should be
• 1:03:52
  Speaker 2: looking like at the end of the show. That's you
• 1:03:55
  Speaker 2: guys should be sweaty as pigs because you guys should.
• 1:03:58
  Speaker 4: Be working as hard all the student sweaty as a pig, you.
• 1:04:00
  Speaker 2: Alwa say them they should be sweaty is big because
• 1:04:03
  Speaker 2: they need to be working hard. And it always kind
• 1:04:06
  Speaker 2: of you know, you know you do good as a
• 1:04:08
  Speaker 2: theater teacher when boom, we're silent. You know we were laughing,
• 1:04:12
  Speaker 2: and how were silent?
• 1:04:12
  Speaker 4: Boom gobsmack? Is it beautiful? Yes?
• 1:04:15
  Speaker 1: Yes, the silence is a powerful tool because I will
• 1:04:19
  Speaker 1: say when I am speaking, as I say, the theater
• 1:04:23
  Speaker 1: door is always open, so I don't try to get
• 1:04:27
  Speaker 1: attention when it is not given to me. But if
• 1:04:31
  Speaker 1: you use a tangent that is so deeply personal and
• 1:04:35
  Speaker 1: so over some would say that theater line, that is
• 1:04:42
  Speaker 1: when you get the silence in the room, and that
• 1:04:45
  Speaker 1: is when you get the attention.
• 1:04:48
  Speaker 4: The boys love when I talk about my trip to
• 1:04:51
  Speaker 4: Costa Rica in nineteen eighty four. Yes, oh the times
• 1:04:56
  Speaker 4: we had me and my girlfriends and Coast Rika drinking
• 1:05:01
  Speaker 4: it up and having a ball, sleeping with whoever we
• 1:05:05
  Speaker 4: could get our mits on. And the boys just go
• 1:05:08
  Speaker 4: wild like dogs.
• 1:05:09
  Speaker 1: Because they're not they're so sexually uncomfortable.
• 1:05:13
  Speaker 3: And so to scare your uncomfy. They're uncomfy to speak.
• 1:05:17
  Speaker 4: About taking wild like a scared dogs.
• 1:05:21
  Speaker 1: But it's important as a theater teacher to bring up
• 1:05:25
  Speaker 1: your exploits.
• 1:05:26
  Speaker 4: Your life that you've lived, because oh.
• 1:05:29
  Speaker 3: My god, I do that. I think every show open
• 1:05:32
  Speaker 3: and I do that. I gather them together and I'm like,
• 1:05:35
  Speaker 3: all right, we did it. We I said, my work
• 1:05:38
  Speaker 3: stops here. I say this is your show. Now, I say,
• 1:05:43
  Speaker 3: pass it off. I can't do it now, it's yours,
• 1:05:48
  Speaker 3: So what will you do with it? It's yours? My
• 1:05:50
  Speaker 3: hands are off. And then I always and every time
• 1:05:54
  Speaker 3: it looks like they don't know it's coming, but I
• 1:05:56
  Speaker 3: do it every time I go. I used to know
• 1:05:58
  Speaker 3: Anthony Hopkins. Yeah, I met him. He was sleeping with
• 1:06:06
  Speaker 3: my college roommate and I saw him, like, come in,
• 1:06:12
  Speaker 3: what did this happen? It happened a while back, a
• 1:06:15
  Speaker 3: long time ago. A Southern girl never reveals her ah.
• 1:06:19
  Speaker 3: So I remember he came in and out a couple
• 1:06:22
  Speaker 3: of times, and he was a focus actor. And though
• 1:06:25
  Speaker 3: he was banging and swaying in my roommate, I didn't
• 1:06:29
  Speaker 3: the kids wanted to know that. So I say, I
• 1:06:32
  Speaker 3: worked with Anthony Hopkins in theater school, and I said
• 1:06:36
  Speaker 3: he had ownership of the space, And I said, will
• 1:06:40
  Speaker 3: you have ownership tonight? And let me tell you whatever
• 1:06:43
  Speaker 3: I go on that day about what being Anthony Hopkins did.
• 1:06:47
  Speaker 3: I mean, I make it up every fucking time. I
• 1:06:50
  Speaker 3: make it up, make it up, and I see their
• 1:06:52
  Speaker 3: little eyes just get this fog, and then I go go.
• 1:06:58
  Speaker 1: It's wonderful to I love name dropping all the many
• 1:07:04
  Speaker 1: famous alumni who've come through Eagle Rock High School.
• 1:07:07
  Speaker 4: Who are they?
• 1:07:08
  Speaker 3: Such a good tool?
• 1:07:10
  Speaker 1: I'm glad you, asked counsel woman Pythea rabbin tech bogul
• 1:07:17
  Speaker 1: Martin Schrelly.
• 1:07:19
  Speaker 3: Did you teach these people geometry?
• 1:07:22
  Speaker 1: I taught them everything they know?
• 1:07:27
  Speaker 4: And this has been Artists on Artists on Artists on
• 1:07:30
  Speaker 4: Artists answering the question. Now, that's why they call usow
• 1:07:32
  Speaker 4: business good night.
• 1:07:35
  Speaker 3: I can hear you in the wings. Hi am Angela Jerretana.
• 1:07:39
  Speaker 2: I'm Jeremy Colhayne, I'm Patrick McDonald's.
• 1:07:41
  Speaker 1: And I'm Kylie Brakman. Artists on Artists on Artists on
• 1:07:44
  Speaker 1: Artists is an improvised Hollywood roundtable podcast available on iTunes
• 1:07:48
  Speaker 1: and Spotify.
• 1:07:49
  Speaker 4: You can follow us at aoaoaoa pod on Twitter and Instagram.
• 1:07:53
  Speaker 2: That's right, four a's with three o's in between. Then.
• 1:07:56
  Speaker 4: Pod music for this week's episode was provided by Gabriel Stars.
• 1:08:01
  Speaker 1: They're just like us and if you like this episode,
• 1:08:04
  Speaker 1: you can give us five of them by rating and
• 1:08:06
  Speaker 1: reviewing us on Apple Podcasts. That's all for now, Good night, Hollywood,