Atw - Downstage Center

Shuler Hensley, the creature from "Young Frankenstein", talks about the development of his character in the new Mel Brooks musical, as well as his seeming affinity for playing monsters; sings a bit from "The Phantom Of The Opera" in German, recreating the role he played in Hamburg a decade ago; recalls the experience of playing Jud Fry in "Oklahoma", contrasting the London and New York runs; describes the cast's training in simian mannerisms and theatrical flying for "Tarzan"; and draws an unexpected parallel between "The Great American Trailer Park Music" and a Jessye Norman recital. Original air date - November 23, 2007.

Terrence McNally talks about "The Ritz" then (1975) and now (the current Roundabout revival) and reveals his own cameo performance at the show's first opening night; describes his emergence as a playwright in the Off-Off-Broadway scene of the 1960s; considers the extraordinary run of productions he had at Manhattan Theatre Club from the mid-80s to mid-90s, as well as their culmination in the controversial production of Corpus Christi; remembers his work on such musicals as "The Rink", "Kiss of the Spider Woman" and "Ragtime"; and explains the difference between writing musicals and opera, specifically his adaptation of "Dead Man Walking". Original air date - November 16, 2007.

Judy Kuhn reflects on returning to the cast of "Les Misérables" 20 years after appearing in the original Broadway cast and how her perspective has changed now that she's playing Fantine, the mother of her original character Cosette; recounts her Broadway debut in "The Mystery of Edwin Drood", including living through every understudy's nightmare; describes the challenges of the fabled but troubled production of "Rags"; explains how "Chess" was restructured between its London and New York debuts; and talks about her affinity for the work of songwriter Laura Nyro. Original air date - November 9, 2007.

Kevin Chamberlin talks about his role in the Roundabout Theatre revival of Terrence McNally's "The Ritz", including whether his "midwestern" looks match up to his character of Gaetano Proclo; how his seasons in the acting company at the McCarter Theatre led to his first New York gig Off-Broadway in "Smoke on the Mountain"; why the Drama Department's "As Thousands Cheer" was his happiest time in the theatre ; what his experience was creating the role of Horton in "Seussical"; how Claudia Shear created a role for him in "Dirty Blonde"; and why he's skeptical of the workshop process, following stints in William Finn's "Muscle" and Stephen Sondheim's "Wise Guys". Original air date - November 2, 2007.

The new artistic director of California's La Jolla Playhouse, Christopher Ashley, talks about his plans for the theatre, including whether he sees himself continuing or departing from the repertoire of his predecessor, Des McAnuff; explains how he found himself with an agent by age 22; describes his long-standing working relationships with playwrights Douglas Carter Beane and Paul Rudnick; considers the process of creating new musicals out of existing songs and how audience expectations are heightened for that music; and describes the evolution of of "Xanadu" the musical from social commentary to comic love story. Original air date - October 26, 2007.

F. Murray Abraham talks about his role as a dangerous yet avid stamp collector in Theresa Rebeck's "Mauritius", a role he compares to Shakespeare's Mercutio; describes his transition from gang punk to aspiring actor in his Texas youth -- including the accent he had to lose; remembers his audition for Harold Pinter for what became his Broadway debut; clarifies his unique connection to a famous ad campaign; considers his experiences playing countless classical roles; and recalls his appearances in many early works by Terrence McNally, including creating the role of Chris in the original production of "The Ritz". Original air date - October 19, 2007.

Kristen Johnston talks about her nightly mantra that prepares her to go on stage in the current Atlantic Theatre Company production of Lucy Thurber's "Scarcity"; recalls her early years as drama student and how teachers tried to steer her out of the profession, as well as her joy at becoming a student at the Atlantic with teachers like William H. Macy and David Mamet; shares which of her performances she feels were not successful -- as well as the role where she thinks she finally found the ideal blend of herself and her character; and talks about her enthusiasm for teaching and why for one of her very next projects, we'll likely see her as a director. Original air date - October 12, 2007.

James Houghton, the founding artistic director of New York's Signature Theater Company discusses the impulse that began the acclaimed Off-Broadway theater, which each season produces the work of a single playwright, and how that mission is still being played out 17 years later, and also describes the start of his tenure as director of the Drama Division at the famed Juilliard School -- including how it feels to fill the shoes of the esteemed John Houseman, who had given Houghton one of his first acting jobs more than 20 years ago. Original air date – October 5, 2007.

Playwright Horton Foote reflects on his long career, including the traveling tent shows that first inspired his love of theatre; the contrast between his Texas neighbors' responses to his winning the Oscar and the Pulitzer; Brooks Atkinson and Ben Brantley's differing opinions on "The Trip To Bountiful"; his appreciation for theatres like Signature and Primary Stages, for giving him homes for his work; the experience of returning to Broadway with "The Young Man From Atlanta" after a hiatus of forty years; and how closely his characters model on some of their real-life inspirations. Original air date – September 28, 2007.

Upon her return to the Broadway production, "Wicked"'s original Madame Morrible, Carole Shelley, talks about whether she's hissed as a villain by fans on the street; explains how a childhood incident almost kept her off the musical stage; recalls her "trifecta of success" in "The Odd Couple", appearing in the Broadway, film and TV versions; remembers an agent who wanted to steer her away from appearing in "The Elephant Man"; and reflects on her only two appearances on the English stage since she emigrated to New York over forty years ago. Original air date – September 14, 2007.

"Xanadu" star Kerry Butler talks about her childhood performances of Olivia Newton-John songs and how they've informed her Broadway role as Kira, as well as the ins and outs of roller-skating on stage; her deep affection for the musical "Blood Brothers" and her experience in the Broadway production; her separate appearances in two somewhat blood-thirsty musicals, "Bat Boy" and "Little Shop Of Horrors"; why she took the originally underdeveloped role of Penny in the original "Hairspray"; and which of her roles fans most frequently mention when she meets them at the stage door. Original air date – September 7, 2007.

Days after joining the "Hairspray" cast as Velma von Tussle, Michele Pawk talks about the experience of being "put into" a long-running show and how one finds their character in that situation; shares her journey from a "Broadway-style" revue at Disney World to her first Broadway appearance in "Mail"; describes how she turned down an offer to appear in "Crazy For You", only to get a second offer months later for a more prominent role; recalls her experiences working on the new musicals "Seussical" and "Bounce"; reveals some guidance she received from Carol Burnett while playing Burnett's mother in "Hollywood Arms", and offers a special message to those who see try-outs and early previews of new shows and write about them on the Internet. Original air date – August 31, 2007.

"Wall Street Journal" drama critic Terry Teachout talks about his theatergoing experiences over the four years he's held that position, including what he's learned and what has surprised him; reveals the results of focus group research on arts coverage at the "Journal", and how it has influenced his reviewing; explains why he is an inveterate blogger and how he compares bloggers to old media arts critics; shares the story of how he came to be commissioned by Santa Fe Opera to write the libretto for a new work to premiere in 2009 -- as well as why we won't be seeing his one playwriting effort on stage anytime soon; and declares his opinion on the role of enthusiasm in arts criticism. Original air date – August 24, 2007.

Stage and film actor Anthony Rapp, upon his return to the long-running show "Rent", talks about working with the show's composer Jonathan Larson; the longevity and impact of "Rent"; getting his first professional audition for "Mr. Scrooge" at age 8; previewing "The Little Prince and The Aviator" on Broadway; meeting and later auditioning for director John Guare for "Six Degrees of Separation"; acting opposite Stockard Channing; how his mother was supportive, and how he'd like to work again with his brother, playwright/director Adam Rapp; playing the title role in "You're A Good Man, Charlie Brown" alongside Roger Bart (Snoopy) in a short 5-month Broadway run; the long process of writing his book "Without You: A Memoir of Love, Loss, and the Musical Rent"; and his future plans. Original air date – August 17, 2007.

Actress Debra Monk talks about her six year journey through the development of the musical "Curtains", and passionately reflects on the things she learned from the legendary team of Kander and Ebb on both "Curtains" and "Steel Pier"; recalls how she came to create both "Pump Boys And Dinettes" and "Oil City Symphony", and why she worried that she'd never be seen as anything but a country singer after the success of the first show; ponders what prompted Lanford Wilson to write a role specifically for her in the drama "Redwood Curtain"; and discusses her experiences on two Sondheim shows -- the first Broadway revival of "Company" and the original Off-Broadway premiere of "Assassins". Original air date – August 10, 2007.

John P. Connolly, the new executive director of Actors Equity Association, the union of professional actors and stage managers, talks about the challenges and concerns facing the union and its members, chronicles his own professional career as an actor and how he became increasingly involved with union activities, recounts his own transition from being the elected head of AFTRA to the number one staff position at AEA, and explains why we won't be seeing him on stage or screen anytime soon. Original air date – August 3, 2007.

Actor Stephen Lang describes his process developing the book "Beyond Glory" for the stage, why he was drawn to portray eight recipients of the Medal of Honor, and how his tribute is perceived amidst present-day war politics; considers why, with no military background of his own, many of his major roles have been playing military men of varying stripes; reviews his performances in varying roles in multiple productions of "Hamlet", and why he's learned more about the title role in the fifteen years since he's played it himself than in all the years leading up to it; and declares playwright Aaron Sorkin to be today's George Bernard Shaw. Original air date – July 27, 2007.

Producer Dori Berinstein discusses the process behind creating the film "ShowBusiness: The Road to Broadway", her unprecedented chronicle of the 2003-2004 theatrical season, including how she winnowed 250 hours of film down to less than two and why the film's narrator Alan Cumming largely ended up on the cutting room floor; talks about how she got in theatre by way of film producing, including her role as a production executive on "Dirty Dancing"; and surveys her theatrical credits from Bill Irwin and David Shiner in "Fool Moon" to her current project, "Legally Blonde". Original air date – July 20, 2007.

Director Michael Wilson discusses his work on the first Broadway revival of John Van Druten's "Old Acquaintance" at the Roundabout and why the play is so different than the Bette Davis film; describes his theatrical education while working as house manager and company manager at Cambridge's American Repertory Theatre; recalls his hiring as artistic director of the Hartford Stage Company after many years of seeing the company's productions from the audience; explains his affinity for the work of Tennessee Williams and the ongoing Williams marathon in Hartford; and describes his ongoing professional relationships with actresses Annalee Jeffries and Elizabeth Ashley and the playwright Horton Foote. Original air date – July 13, 2007.

Actress Vanessa Redgrave explains why, despite the character name in the program, she's not specifically playing "Joan Didion" in Broadway's "The Year Of Magical Thinking"; explores the transformation of Wallace Shawn's "The Fever" from stage monologue to multi-character film; considers the experience of working with the many members of her acclaimed multi-generational family of actors and directors; discusses why she has tackled Shakespeare's "Antony And Cleopatra", as both actor and director in five different productions; declares that theatre should really performed outdoors in the blazing sun; and recalls childhood memories of her earliest experiences in the theatre -- as well as idyllic moments in her youth gathered with her parents and siblings around a piano singing Broadway show tunes. Original air date – July 6, 2007.