January 13, 2026 • 52 mins
This episode is pure theater magic. We sit down with Barry Edelstein, Artistic Director of Old Globe Theatre, as he kicks off the year with Hedda Gabler—starring Katie Holmes. Barry is a producer, director, author, teacher, actor, Rhodes Scholar, Tufts and Oxford alum—and one of the world’s leading authorities on Shakespeare. His insight, passion, and command of storytelling will have you absolutely riveted.
This is one heck of an interview, and a true honor to have him on set with us.
Get your tickets now at theoldglobe.org. Use code LCAD! ❤️ Love your podcast!
Become a supporter of this podcast: https://www.spreaker.com/podcast/laura-cain-after-dark--4162487/support.
SUBSCRIBE to our YouTube Channel, FOLLOW us on Instagram, Facebook, and TikTok, SHARE, LIKE, and by all means COMMENT. We love your feedback. Thanks for being part of the Laura Cain After Dark family. Love your podcast!
This is one heck of an interview, and a true honor to have him on set with us.
Get your tickets now at theoldglobe.org. Use code LCAD! ❤️ Love your podcast!
Become a supporter of this podcast: https://www.spreaker.com/podcast/laura-cain-after-dark--4162487/support.
SUBSCRIBE to our YouTube Channel, FOLLOW us on Instagram, Facebook, and TikTok, SHARE, LIKE, and by all means COMMENT. We love your feedback. Thanks for being part of the Laura Cain After Dark family. Love your podcast!
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Episode Transcript
Available transcripts are automatically generated. Complete accuracy is not guaranteed.
Speaker 1 (00:05):
The stories are crazy, the real deal. Eric's the talent
people with says he's kind. Hello, let me get some
kind of crass are Claire Brush? It is the show
super plain nerd always in the note, we guarantee to
make you laugh. Class Sure we're late, uncle, you see
belts and don't be late. Here we go, get ready,
it'll be great.
Speaker 2 (00:22):
On with the show.
Speaker 3 (00:26):
Hello, everybody, Welcome to Laura Kane after Dark.
Speaker 4 (00:30):
This is an extremely special episode because I am like,
I'm so nervous, I'm kind of shaking right now. We
have Barry Edelstein. He is the artistic director of the
Old Globe, the gem of San Diego, the classic, the wonderful.
Speaker 3 (00:48):
The Old, the launching pad for so many incredible shows,
the shows that are there, incredible.
Speaker 2 (00:58):
It's one of the things Sandy it goes known for.
Speaker 3 (01:00):
Of course, this is very welome to the show.
Speaker 2 (01:05):
Thank you for having me. I'm so happy to be
with you. Thank you.
Speaker 4 (01:08):
Okay, well, thank you for taking time out of your
busy schedule because I know you are in the first
week of rehearsals for Headache Gabbler right, starring Katie Holmes.
Speaker 3 (01:20):
Yes, so you are directing. Yeah, okay, can you.
Speaker 4 (01:24):
Tell us first of all, how's it going and what
is the story about?
Speaker 2 (01:34):
Sure, well, it's going great. I mean, Katie is amazing,
incredible actor, nicest person in the world, and the room
is full of incredible people. The rest of the cast.
There are seven actors in the show, so six other
actors in the show. Then there's somebody who's adapted the
play because it's an old classic from one hundred and
fifty years ago in Norway. So we have this very
(01:55):
famous writer who's adapted it, all these incredible designers, a
very famous miscomposer who's written music for it. So it's
like a you know, Cadillac. People still drive Cadillacs. It's
still a Cadillac of the show. Now what is Rolls Royce,
I don't.
Speaker 3 (02:12):
Know what is day one?
Speaker 4 (02:14):
Like, when you gather all these incredible people together, what
is what?
Speaker 3 (02:19):
What do you start.
Speaker 2 (02:19):
Doing in the world? You just want to you know,
you want to go run to the bathroom and throw up.
And he's so nervous making you know, well, let me
can I can I tell you what it is? You
tell you what the play is over? So this play
is called Hedda Gabler it's somebody's name. It's this woman's name,
Hedda Gabbler, and it's a play by a guy named
Henrik Ibsen ib s E. N Ibsen, who is the
(02:42):
father of modern drama. He was active in Norway at
the end of the nineteenth and the very beginning of
the twentieth century, and he is a guy who revolutionized
the theater. Up until him, people wrote plays about kings
and queens and aristocrats, and they made big, long speeches
and they were these big epic things. And Ibsen came
along and he said, I want to write a play
about regular people, about marriage, about family, about people having
(03:05):
trouble in their business, about people who are complicated, people
who change their minds, people who are argumentative, people who
are difficult, people who are looking for happiness, people who
are happy for a minute, and then not people who
just speak regular language. So he changed everything. There's theater
before Ibsen, and then there's theater after Ibsen one hundred
(03:26):
and fifty years ago. Yeah, and everybody you think about,
like Eugene O'Neil, Arthur Miller, the big names of the
American theater, Tennessee Williams, they're all influenced by him. Everything
that came after is influenced by him, because he put
psychology and realism and just normal human behavior and human.
Speaker 3 (03:44):
People on stage and feminism too well.
Speaker 2 (03:47):
So this is his masterpiece. Hedda Gabler is his masterpiece.
He wrote I don't know fifteen plays, and this is
his absolute masterpiece. And it's a play about a woman
who gets married who's excuse me, recovering from cole to
I apologize, whose options in society are limited by a
lot of things, by the patriarchy for sure. So it's
(04:07):
a feminist play and early feminist play about a woman
trying to find her way in a world of men
who want women only to be wives and mothers and
to keep quiet and let the men sort of have
all the power in the world. But also it's a
play about a woman who has an imagination that is
beyond what the people. It's set in a small college town,
in a kind of provincial town, a few hours outside
(04:29):
the big city. And she gets married to this guy
because she's reaching a certain age where she feels like
she's got to get married, but she doesn't really love him.
There's a boy from her past who shows up, who's
this genius writer, and she realizes that the options that
are available to her are never going to make her happy,
so she tries to engineer her life by manipulating all
the people around her into an outcome that she thinks
(04:51):
might make her happy, and it doesn't work out.
Speaker 3 (04:54):
Well, what oh boy, awesome part Z.
Speaker 2 (05:00):
It's the Hamlet of for women. It's the Hamlet for women.
And it's one of these plays that's played by gigantic actresses.
I mean, Kate Blanchette, you know Ingrid Bergman, Diana Rigg,
Judy Dench. I mean, you know, you go down the list.
Every major actress takes a shot at it, just the
way every major actor takes a shot at Hamlet.
Speaker 4 (05:23):
Now I know that you and Katie were together on
The Wanderers, that's right, which was in New York. Yes,
And is that how you guys became friends? Is that
how you decided, Hey, she's the one I want.
Speaker 2 (05:35):
So we did a play at the Globe in twenty
eighteen called The Wanderers. And the thing about the Old
Globe in San Diego is that we start plays that
then go on to lives in New York, on Broadway,
off Broadway, around the country and in fact around the world.
So we did this play in twenty eighteen called The Wanderers,
did it in New York with a different cast, and
Katie got involved. So that was in twenty twenty three,
and I directed that and we just hit it off.
(05:57):
You know. It's one of those things you sometimes an
actor in a director to get along. Well, sometimes they don't.
The two of us just really got along well. We
had a fantastic time together. So when it was done,
I said, hey, listen, Katie, I run this wonderful theater
in San Diego. Why don't you come out. She said,
as soon as my daughter goes off to college, I'll
be free and I'll come out.
Speaker 3 (06:15):
Wow.
Speaker 2 (06:15):
So for sure. So that was so, and she's a
freshman in college now is Katie's daughter, And so we
put a list of plays together. Heada was on the list,
and she said, yeah, I think I'd really like to
take crack at.
Speaker 3 (06:27):
Them, because that's gonna be a challenge.
Speaker 2 (06:30):
Yeah. No, it's no joke. It's no joke because it
requires everything. She's a victim, she's also a tyrant. She's vulnerable,
she's also mean, she's manipulative, but she's also kind of sweet.
It's just every color in the rainbow.
Speaker 3 (06:44):
Wow.
Speaker 2 (06:45):
Yeah, it's great.
Speaker 4 (06:46):
And is there going to be any kind of are
you twisting it in any way, like in a certain
way to make it more I don't know.
Speaker 3 (06:55):
Modern.
Speaker 2 (06:57):
That's a great question. So the play was written in
norm Rwegian in the eighteen nineties, so the first thing
you have to do is translated into English. And we
have hired somebody who has made in what we're calling
a new version of the play. This very famous writer
named Aaron Cresita Wilson. You know a movie called Secretary,
Oh my gosh, she wrote that, and you know, this
(07:18):
is kind of that's if you know the movie. It's
sort of a sexy movie about women and women finding
their power. So what we did is we got a
literal translation from Norwegian into English by a scholar who says,
this is what this line means. And in Norwegian there's
a pond, but in English it's hard to get. And
this is a reference to this in that it's like
huge long thing that explains the whole thing in English.
(07:41):
And then Aarin took that and sort of made it
into her voice. So we're premiering this brand new version
of the play it's going to be set in eighteen
nineties in Norway. It's going to look like that, but
we're stripping it way back. There's not going to be
like fru fru and tea sets and curtains and like
antique furniture. It's going to be very sleek and very spare,
(08:01):
and so it has a kind of modern feeling about it,
even though it's still in Norway in eighteen ninety very cool.
Speaker 4 (08:08):
Now tickets are already on sale. We did have a
little bit of a pre sale, but now general tickets
are available.
Speaker 3 (08:14):
They are when is the when's opening nights?
Speaker 2 (08:17):
Opening night is February twelfth, but in the theater there's
a period called previews where you do the show in
front of audiences and work on it in the afternoon
and make changes. So that starts on the eighth I
think of February, the seventh of February, the seventh of February,
and the official opening night is the twelfth of February,
and then it goes on for some weeks after that.
Speaker 3 (08:37):
Are you a little bit stressed because it's like almost
only a month old?
Speaker 4 (08:42):
Yeah?
Speaker 2 (08:42):
I know, Well, you know that's the thing we don't
we do them fast, but you know it's ninety minutes
it's going to it's ninety minutes without an intermission, so
you know, it goes fast. It's really sleek. It's really cool.
The other thing that the show has is live music.
So when I direct plays, I like to put live
music in the places because I feel like it kind
of lifts it and makes it fun. So we got
(09:03):
another super duperstar, this woman named Caroline Shaw, who has
four Grammy Awards and a Pulitzer Prize, and she is
no joke. She is really many people consider the leading
composer of classical music in America. Young woman. She's in
her forties and she has written a piano score. So
there's going to be a live pianist on stage playing
because in the play, Hedda has a piano, and Heada
(09:26):
goes and plays the piano every once in a while.
It's this very important object to her. The only thing
that she she's moved into this new house and the
only thing of hers that's in this new house that
belongs to her husband is her piano. So it's a
very important her. So we have this person up there
playing the piano the whole way. Kind of cool.
Speaker 4 (09:41):
You curate the entire season for the Old Globe twenty
twenty six twenty seven season, Can.
Speaker 3 (09:48):
You give us what's coming up?
Speaker 4 (09:52):
Like, Yeah, like some highlights and things we can look
forward to.
Speaker 3 (09:55):
Yes, this great production.
Speaker 2 (09:58):
So as the artistic director of the Globe, my job
is to pick the stuff that we produce and then
pick the artists who do it. So I hired the directors,
and then we hire the actors and the designers. The
Globe does other stuff. We have a drama school at
the University of San Diego where we train actors. We
also have something we call Arts Engagement, where we bring
theater out into the community and particularly into underserved and
(10:20):
historically marginalized community. So we're in prisons and homeless shelters
and refugee centers and senior centers and libraries and schools
and stuff all over San Diego County. But the main
thing that we do is we put on sixteen professional
theater productions a year in three theaters in Balboa Park.
So we do two Shakespeare's outside this year, we're doing
(10:41):
a Measure for Measure and I'm directing much Ado about Nothing. Oh,
so that'll be fun. And then we do musicals that
go to Broadway. We're doing this big musical called begin Again,
with a score by you know the band Train.
Speaker 3 (10:54):
Yes.
Speaker 4 (10:54):
I was going to mention this last week and I
was like, okay, wait, I'm not sure if I'm all
allowed to say it, but I was so excited.
Speaker 3 (11:02):
This is huge. The Train is incredible.
Speaker 2 (11:05):
Yep. Train is cool. And it's this movie beginning against
a movie from twenty twenty something, I don't know, a
couple of years ago, this Mark Ruffalo movie, and it's
a stage adaptation of that. So that's going to be
a lot of fun. And then we're doing a famous
August Wilson play called Fences. We're doing a play called
which is one of his masterpieces. We're doing a play
(11:27):
called Kim's Convenience, which was a play that then turned
into a Netflix series about a guy who owns a
bodega in Toronto and his family and how that works.
We're doing a stage adaptation of Hitchcock's movie North By
Northwest by this very famous English theater director. So this
will be the American premiere of that. That's super cool,
full of music and movement. And they figure out how
(11:48):
to do the airplane scene and the Mount Rushmore scene,
all that stuff. It's really sweet, really great. Then we're
doing a bunch of new plays by writers that are new.
Big thing that the Globe does as world premieres of
play by new writers. So in our small theater we
tend to do plays by writers making their first time
having a play produced. That sometimes the Globe commissions, and
(12:10):
sometimes we premiere shows in San Diego that have been
done in New York before. And then the thing that's
happening alongside had a Gabbler is something I'm really looking
forward to. I don't know how many English majors are
out there watching, but there's a very famous short story
by Herman Melville who wrote Moby Dick, and one of
his most famous short stories is called bartleby the Scrivener.
(12:31):
And we've commissioned a wonderful theater company in New York
called Fiasco to make this into a play. And it's
really fun and wonderful. So it's a season that has
comedy and drama that has fancy people in it and
young people that nobody's heard of. It's got Shakespeare, it's
got music. It's wonderful. People don't know that the old
(12:52):
Globe is the largest regional theater in the United States
outside of New York City.
Speaker 4 (12:58):
Wow, and we're talking La too. Wow. Now, when you
if somebody is listening to like, Okay, I want to
go to that one, that one, that one, that one,
they can pick and choose and make their own package.
Speaker 2 (13:14):
That's right. You can subscribe and make your own package,
and you get as a subscriber, you get less expensive
prices than if you buy individual tickets for each show.
You can also just go on a website and pick
the show you want to see, buy a ticket, come
on over.
Speaker 4 (13:28):
Oh my gosh, Eric and I are going to see
every single one because we're so excited.
Speaker 2 (13:32):
Yeah, that's great stuff, a wonderful company.
Speaker 4 (13:34):
I'm going to brag about you a little bit, okay, okay,
because obviously Barry has some immense experience under his belt.
He's not only a director, he's a producer, he's an author,
he's an educator. He The Winner's Tale, Othello Romeo and
(13:54):
Juliet Hamlet, All's Well, the ns Well, the Wanderers, The.
Speaker 3 (13:59):
Merchant of Venice with al Pacino. You've worked with al Pucino.
Speaker 2 (14:02):
Yeah, what was that? Incredible spectacular He's amazing. He's a giant,
you know, has these great stories, tell stories all the time.
He's funny.
Speaker 3 (14:13):
I mean, do you have to direct him or does
he know what to do?
Speaker 2 (14:15):
Yeah? So I produced that show. It was directed by
a wonderful guy named Daniel Sullivan. But my job was
to get with al Pacino and help him figure out
how to speak the Shakespeare text because he played Shylock,
the famous character Shylock in The Merchant of Venice has
these big, long speeches. So I would get in a
room with them and we would spend hours just sort
(14:37):
of working on those speeches together as amazing experience.
Speaker 4 (14:39):
What's the most important thing you teach an actor who
is who is portraying a Shakespeare character? Like, what is
the one thing that they really need to know and learn?
Speaker 2 (14:52):
So Shakespeare's language, although it's four hundred years old and
sounds kind of odd, is basically English, just like you
and I are speaking today. The rules are a little different,
the grammar is a little different, but basically it's English.
So the most important thing that you have to do
when you're acting Shakespeare or anything is what we're doing
right now, which is you have a thought in your head,
(15:13):
and then you choose language to express that thought. I
don't know what I'm going to say when you ask
me a question. I'm having a thought, and I've got
to figure out what words am I going to use
in order to put that thought into the air. And
my brain goes to work and it comes up with
words that it then sends to my mouth and my
tongue and my lips, and those words go out into
(15:35):
the world. So when we work on Shakespeare, that's what
we do. We go, what's the thought there? What's the
thought that Shylock is actually trying to communicate? Oh, I
understand what he's trying to say. Now, why is he
using those words in order to communicate that thought? And
it creates the opportunity for the human brain to think
up the words right as you're going, as opposed to thinking,
(15:57):
oh Shakespeare wrote that, and I have to recite them,
or Shakespeare wrote that, I have to make it sound
a certain way. No, no, no, You're just a person
in a situation thinking and speaking. It makes that's what.
Speaker 4 (16:07):
We do so much sense because you've seen that kind
of Shakespeare that you've just said, and then you've seen
the good Shakespeare. Yeah, now somebody who is maybe not
a Shakespeare fan because it's it's difficult to follow.
Speaker 3 (16:21):
Sometimes it's it's a there's a lot, a lot of dialogue.
Speaker 4 (16:27):
What would you say to somebody to learn how to listen, Yeah,
properly to get it well.
Speaker 2 (16:32):
So one of the things, you know, a theater like
the Globe, it's clear right, like we're we're we're the
top of the game. We know how to do it.
The directors we hire know how to do it. The
actors we hire know how to do it. The actors
we train in our training program know how to do it.
So it's good to go to a really major theater
company to see it for the first time because you
can bank on the fact that there are people who
(16:53):
are doing it at a kind of high level and
you're going to be able to follow it. But the
other thing I would say is you got to just
sit with it for second and trust the fact that
it's English, right, Like here's a line of Shakespeare. Oh
she's warm. Now, that's a famous line from a famous
play of Shakespeare. Oh she's warm. Nothing Shakespearean about that,
(17:13):
that's just English, right. I mean, here, I'm gonna touch you.
Oh she's warm. Right there you go Shakespeare, So not
everything is complicated. Oh what is this quintessence of dust?
It's not very little of Shakespeare as all of that.
A lot of it is just pretty plain English. It's
just that since it's four hundred years old, the rules
(17:34):
are a little bit different. Yeah, so I think I
would say to most people, listen, you speak English, trust it,
sit there, let it wash over you. Your ears will tune in.
And there are costumes, there's color, there's music, there's people
moving around, there's actors being intense and communicating the story.
You'll follow.
Speaker 4 (17:52):
It very just happens to be. And I wanted to
say the but I will say one of the just
so I'm not, you know, embarrassing you or anything leading
authorities on the works of Shakespeare in America. And I
want to say.
Speaker 3 (18:11):
The world, well, that's very kind because.
Speaker 4 (18:14):
This man right here, he started at Toughs. Then he
went to Oxford where he was a Rhodes scholar.
Speaker 3 (18:24):
And you know what that means. He got to go
to school for three years, full on, full.
Speaker 4 (18:31):
Ride because of his intellect and because of his his talent.
Speaker 2 (18:37):
You are embarrassing, but this is embarrassing me, a Rhodes scholar.
Speaker 3 (18:42):
This is not a joke. I read that. I was like,
oh my god, I'm not worthy. He doesn't need he
cannot be in my house.
Speaker 2 (18:48):
The way it looks right, your house is love.
Speaker 3 (18:51):
My god, you're so nice.
Speaker 4 (18:53):
Now, okay, let's start at the beginning. What were you
like as a kid. How did theater like come into
your life?
Speaker 2 (19:00):
Wow, that's such a good question. I was nerdy, I was.
I was a chubby, nerdy kid. Who you know. I
read the New York Times when I was four years old,
and you know, I was precocious and of pain, and
you know, and I watched way too much TV and
like like, what, oh well, my vintage is like so
Channel eleven in New York City reruns after School F
(19:23):
Troop and Superman and Batman, and I love Lucy and
Abbot and Costello and the Honeymooners. That vintage of like
rerun television, you know, F Troop. My god, anybody even
know what that is?
Speaker 3 (19:35):
And I've heard it F Troop.
Speaker 2 (19:38):
F Troop would be canceled in a New York minute.
If you put that show on right now, it'll be
awful for you could even start, yes, terrible anyway. Yeah,
so I you know, and I was sort of a tubby,
you know, yeah, I don't know, a little dark, sort
of lone loaner of a guy. And when I got
to junior high there was a charismatic theater teacher and
(20:04):
that's changed my life, my life, you know, in in
junior high, in high school, in undergraduate and at Oxford
there were individual teachers who changed the direction of my life.
And without them, I wouldn't be sitting where I'm sitting today.
I just was a you know, sort of a roly poly,
dumpy kid who you know, was smart and you know,
(20:28):
a little caustic and h and these teachers sort of
set me straight. You know. I revere teachers and love
teachers because the story of my life has been absolutely
about the transformation that a caring, loving, invested teacher can
make in a kid.
Speaker 3 (20:46):
Did you start in acting in production?
Speaker 2 (20:49):
Yes, everybody does. Everybody you know who's in the professional
theater in any capacity started as an actor.
Speaker 3 (20:56):
And then and then it just kind of went.
Speaker 2 (20:58):
And then they yeah, and then and then and then
they move along and then they then they move on
to some other things. So, yeah, I was an actor.
I wasn't a very good actor, and and and also
I was since I was a smarty guy, a smart
alec guy, I was much more interested in the whole story.
When you're an actor, you got to really be concerned
with just you, your part, your lines, what your part
(21:20):
of the story is. But I always wanted to know,
like why why is that happening over there? And why
is that guy doing that over there? And why is
that entrance happening over there? And why is the play
set up this way? So a great teacher said to me,
you know you are You're a director. You're thinking like
a director. That's what you should look at. And I did.
Speaker 3 (21:36):
What was your first production you ever directed?
Speaker 2 (21:40):
Wow? You know I did? You start out doing scenes
from plays? I remember doing a scene from Hamlet and uh,
and I did it outside in uh in like on
campus of Tufts when I started directing, and uh, we
were we were doing the graveyard scene and we started
digging up this lawn and the campus cops came and
(22:03):
shut us down because I was digging up this lawn
at night. Yeah, I did that. I did I. Eventually
later I directed a production of Hamlet at Oxford University
at one of the colleges, and we needed a chair
to be the king's throne. So I just walked into
this room and I grabbed a chair, and it turns
out it was this like four hundred year old antique
(22:26):
Jacoby and chair, and I got busted by the campus.
Speaker 3 (22:30):
Cops again breakoff things.
Speaker 2 (22:32):
Yeah, no, thank goodness.
Speaker 4 (22:34):
What is your most to date. I know this is
probably going to be a difficult question, but what is
your most proud what's your most proudest achievement.
Speaker 3 (22:46):
In the theater? I mean, I know, children and raised
probably the.
Speaker 2 (22:50):
Most true as you know, Wow, I don't know. I mean,
I've been blessed. I've had so many amazing, wonderful opportunities
in my career in the theater. I've done productions that
have been acclaimed, productions that have sort of transformed my
life in some ways. But you know, I guess I
would say, really truthfully, the chapter of my life. I've
(23:10):
been at the Old Globe for thirteen years. It has
been so amazing and what we've been able to build
here in San Diego, and the work that we're doing
out in the neighborhoods of San Diego, and just the
fact that in the post pandemic moment, when theaters in
America are struggling, the globe is thriving and doing great.
I'm so very proud of that. That's amazing.
Speaker 3 (23:31):
Talk about like talk about the work you do out
in the community. What kind of productions do you bring to.
Speaker 2 (23:38):
So we do a whole bunch of different things. We
have about thirteen or fourteen different programs. Some of them
are performance. So we once a year we produce a
Shakespeare play and then we tour it for a month
to these venues, to libraries, to church basements where a
refugee community is based, to a facility for at risk youth,
(23:59):
to a social hall at the Navy base for naval
for the naval community and their families. Prisons where we
partner with the California Department of Correction and Rehabilitation, so we're.
Speaker 3 (24:14):
In prisons DA.
Speaker 2 (24:15):
Well, it's amazing. So that's the performance piece of it.
But most of it, we do workshops where we teach
people how to write plays. We do workshops that are
about Shakespeare and the ideas in Shakespeare and that sort
of speak to self expression. We do job training workshops.
We do workshops where people can understand all the different
crafts of theater that are not acting and writing. You know,
(24:36):
there's carpentry, there's electrics, there's all that sorts of stuff.
So this huge range of programs that dig into all
the different ways that theater can be meaningful in people's lives.
The prison program is the most absolutely amazing thing. The
globe has the largest program of theater with incarcerated populations
of any institutional theater in the country. And we have
(24:58):
these wonderful people in our theater that have devised something
called reflecting Shakespeare. And the way it works is they
go into the prison and with a Shakespeare play and
they'll no no, no, no, no, no no, and they
just take the text and they and they read through
the text with these guys, some of whom are you know,
highly educated, some of who have very little education, some
(25:19):
of whom maybe have had some experience in the theater before,
some who haven't. And all they do is dig into
the themes. So let's say they're working on Hamlet. A
big theme in Hamlet is revenge, So they'll talk about
the language of the play and the idea of revenge
as Shakespeare expresses it, and then they ask these guys
to write their own material about the theme of revenge
(25:42):
or you know, banishment or grief or family, whatever, whatever
the subject may be, or laughter or joy, you know, whatever,
whatever the particular play is pointing to. And these guys
do these writing exercises, so the Shakespeare language and their
own language are kind of bouncing off each other, kind
of in conversation with each other, and it's absolutely extraordinary,
(26:03):
you know. I mean, if you want to if you
want to understand something deep, there's this famous speech in
Romeo and Juliet where Romeo gets banished and he has
this incredibly long, wonderful, complicated speech about what it feels
like to be banished. If you want to think about banishment,
about what it feels like to be sent out, talk
to a guy who's been in prison for twenty five years.
(26:24):
You know, the depth and power of their of their
relationship to this language is absolutely incredible, you know, it's amazing.
So these guys come up with this stuff that's just
beautiful and powerful, and it's really life changing for them.
And one of the miracles of the Old Globe is
we now have four people on our staff working at
(26:45):
the Old Globe who we first met when they were
incarcerated taking these programs, and then they were subsequently released
from prison and now they work at the Old Globe,
which is incredible beautiful. Yeah.
Speaker 4 (26:58):
Now our producer, Claire was all aided because she really
enjoys the Shakespeare festival that happens on one of your
three stages at the Old Globe. Claire, do you have
any questions about your favorite thing?
Speaker 3 (27:15):
The outdoor Shakespeare is my absolute favorite. Do people like
dress up?
Speaker 4 (27:20):
Do people like come all like dressed up or they
just come to watch or is it like, what is
the festival? Well?
Speaker 2 (27:26):
Yeah, it's really fun. It's really one. First of all,
it's absolutely beautiful. You know when you're out there on
a July nightly and it's yeah, it's it's like starts
Memorial Day and goes to Labor Day. So it's basically
the summer months and you know San Diego at that
time of year. You got to be kidding me, right,
it's little place in the world, you know, and the
(27:47):
moon and the stars, and we're right next to the
San Diego Zoo, so every once in a while you
can hear animals in the zoo or birds or whatever.
You know, it's just spectacular, and Shakespeare wrote His Place
for an outdoor theater in London, and so there's something
about Shakespeare under the open sky that's magical and special.
It's really great.
Speaker 4 (28:07):
I think that if Shakespeare were alive today and he
was around our age group, do you think you guys
would be like close friends. Is he somebody that was tortured?
Is he somebody that was a good person in a
happy person?
Speaker 2 (28:27):
You know? One of the weird things about Shakespeare is
that he did not leave a whole lot of traces.
There's there's a bunch of legal documents, some lawsuits that
he was part of, some some some records about the
birth and death dates of his children and stuff like that,
but there's very very little about who he was as
a man. All we have is this body of plays,
(28:49):
and you can guess some things about him. He's funny,
sharp witted, obviously, deep and wise. But I don't know.
I mean, I I got to say, I've never really
been all that interested in Shakespeare's a man. There's this
movie out Hamnet, you know, all about Shakespeare's loss of
his son and how that led him to write Hamlet,
and I go, yeah, I'd rather just read Hamlet, and
(29:11):
I kind of have my own relationship to him as
a writer of plays. You know, I don't know. People
ask me, would you want to go back in time?
And I always say, if I could bring a suitcase
full of antibiotics.
Speaker 4 (29:22):
Sure, you know, you know, get like what you whatever,
You get a paper cut in Shakespeare's day, you're a
dead man, you know, like, Okay, I'll go back to
I'll go back to fifteen ninety nine if I can
have a suitcase full of penicela, you know, then I'll
(29:42):
go an author to talk about the books you've written.
Speaker 2 (29:45):
Yes, I wrote written two books. I wrote a book
that is now the standard text about Shakespearean acting. It's
called Thinking Shakespeare, and it's it's taught in schools that
teach actors, and it goes to that stuff that I
was talking about before, about how to get the thoughts
of Shakespeare clear when you're acting. And then I wrote
a book called Bardisms Shakespeare for All Occasions. And the
(30:07):
reason is that people would always ask me, Hey, I
have to give a toast at a wedding, can you
give me a Shakespeare quote? Or I'm speaking at a funeral,
can you give me a Shakespeare quote constantly call. So
I wrote a book that collects all this stuff. You know,
if somebody's graduating from high school, here's a good quote
(30:27):
about it. If somebody you know, just got fired from
his job, here's a quote that'll comfort him. If you
got you're going to ask me for one off the
top of my head, I'm going to have a hard
time doing it.
Speaker 3 (30:36):
Okay, we see. So Barry's almost like a doctor where
it's somebody comes up to him and says, hey, it
hurts when I do this, and he's like, well, then
don't do that. Yeah, I'm not going to quite know
what to say yet.
Speaker 4 (30:50):
But there's not one line that you can off the
top of your head besides the warm one.
Speaker 2 (30:56):
Oh okay, all right, well I'll give you one. So
we were in rehearsal the other day on heada gabbler
and my friend Erin, who wrote the play that I
was telling you about, who adapted the play, hasn't been
in a rehearsal room in a long time, just because
she's been doing movies. So she said, you know, it
(31:17):
really feels special to be back doing this after such
a long time. And I said, if all the year
we're playing holidays to sport would be as tedious as
to work. But when they seldom come, they wished for come. Right,
So that's Shakespeare. So if every day was a holiday,
it would be boring, but when it only comes once
(31:39):
in a while, it feels fantastic. That's what that says.
So I just said that to Erin and she looked
at me and she said, oh, shut up.
Speaker 3 (31:48):
That book of yours I'm buying. Okay. Should never told
her because she's gonna start quoting. Shakespeare was out for
every occasion.
Speaker 2 (31:59):
I asked, you got to do it? Oh my, we
all need better language in the world.
Speaker 3 (32:03):
Yes, we do. The world.
Speaker 2 (32:05):
The world is better when people use big words and
when people use complicated language. It's nice. It makes you
feel human, It makes you feel like there's something special,
especially in this culture we're in at the moment, a
very very like Twitter and TikTok and everything is very flattened,
you know. So I like the idea of putting Shakespeare
into the world as much as we can.
Speaker 4 (32:26):
Speaking of social media and looking at things and reading things.
Speaker 3 (32:30):
Do you.
Speaker 4 (32:32):
Read like after your head? Just say after head. The
day it drops and everybody sees it and then they
write about it.
Speaker 2 (32:42):
Do you read those the reviews? Yes, not until after
the show is done. I don't read them. I don't
read them until the show's completely done.
Speaker 4 (32:51):
Because why would you have that in your head if
it was anything, But if it's something like.
Speaker 3 (32:56):
Well, you know what you're so that's and then I
read them.
Speaker 2 (32:58):
As the producer of the Old Globe, I read the
reviews of the shows that we produce that I haven't
made myself, because as the producer of the Old Globe,
I need to know what the community is thinking. I
need to know what the critics is saying. But when
it's my own work, I just stay clear until the
show's done.
Speaker 4 (33:12):
What's the biggest production that has come out of the
Old Globe since you've been there.
Speaker 2 (33:18):
That's a really good question. Well, let's see. In the
time I've been at the Old Globe, we've sent seven
shows to Broadway. One of them won the musical The
Tony for Best Musical, Gentleman's Guide to Love and Murder
in twenty fourteen. Something like that. Steve Martin had a
musical called Bright Star. Oh Yes, we did a jukebox
musical of the songs of Huey Lewis and the News
(33:40):
called the Harder rock and Roll that went to Broadway,
almost famous, the musical based almost famous that went to Broadway.
So we do that. We do that a lot of times.
The biggest show the Globe has ever produced would be
Come Fall in Love. We did an adaptation of a
Bollywood a very famous Bollywood movie that people know called
(34:03):
d DLJ which are the first initials of the of
the title of it in Hindi. And this it's this
like the most famous Bollywood movie ever. And we do
this huge When was that twenty twenty one, twenty twenty two,
twenty twenty two, something like that. Yeah, So we do
these big, big shows and then we also do like
the last right before New Year's we had a show
(34:26):
in our small theater with just one guy telling the
story of his life. Who's a guy, who's this amazing
guy who had had a career as a jockey and
then then became a Broadway dancer and he made this
theater piece about his own life. It's just one guy
for ninety minutes doing his own thing. And then on
the other hand, we do these big, giant musicals. It's fun.
Speaker 4 (34:43):
Wow, Okay, somebody who's watching or listening that has never
been to live theater, talk to them, Yeah, you know.
Speaker 2 (34:54):
Okay, Hi, Hi there at you and hi there you.
You know, it's a beautiful, wonderful art goes back thousands
of years, and the arts do many wonderful things. Movies
are great, television is great, painting is great, poetry is great,
dance is great. But there's something about the theater, which
is watching a human being have an experience right in
(35:15):
front of you, breathing the same area you're breathing at
the very same moment that you are in it that
is magical and special and kind of unique in the
world of the arts, you know, because and here's something
that a teacher of mine once told me which I
think sort of really captures it. Imagine you go to
a movie theater to go watch a movie. You walk
in there and there's nobody in the movie theater. You think, great,
(35:40):
I get this whole thing to myself. But if you
go into a live theater and you walk in and
there's nobody there, you think, oh, this is rotten. Because
the magic about theater is you're having this experience with
an audience all at the same time and what's going
to happen tonight will not happen exactly the same way
tomorrow night. It'll be ever so slightly different because it's live,
(36:01):
because the vibe that's in the room changes things. So
it's got this some sort of lightning in a bottle
aspect to it. So it's really special and unique and
unusual and deeply deeply touching and affecting. So I would
say to anybody who's never been there before, you know,
give it a try. The Globe has all kinds of
ticketing programs available that make it possible to get in
(36:24):
there for basically the some not too far much more
than the movie ticket would be, you know, and.
Speaker 3 (36:31):
Old Globe dot org, the old old Globe dot org.
And you can see all the productions that.
Speaker 2 (36:36):
Are come check it out. And there's Katie Holmes, you know,
right there, live right in front of you, not on
some screen that she shot a year and a half
ago and now it's finally there, but like rite this moment,
live in front of you. There she is, Oh my god, And.
Speaker 3 (36:49):
You know what, she could be down at the Starbucks
before she comes to rehearsal. Yeah, and you might see
her in town.
Speaker 2 (36:57):
Yeah, everybody's in belbox. Everybody excuse me on our lunch
break in Balboa Park.
Speaker 4 (37:01):
There she is, Oh my gosh, Now, how long do
you rehearse every day to get this ready in a month.
Speaker 2 (37:11):
Well, so, the actors are members of a union called
Actors' Equity Association, and there's a complicated set of rules. Basically,
there's two ways you can do it. You can do
six hours straight or you can go seven hours out
of eight with a one hour lunch break. So we
generally work from noon to six every day. Okay, on
Saturdays we work longer because just because five days a week,
(37:34):
and then we take Sundays and Mondays off and then
we're back at it Tuesday through Saturday.
Speaker 3 (37:38):
She's going to be so phenomenal in this rule, I
cannot eat.
Speaker 2 (37:42):
Yeah, that's great.
Speaker 3 (37:44):
I just, I just I love.
Speaker 4 (37:47):
Also that the Globe does this community outreach, and I
love that you're teaching future generations about this old school
from I mean, theater dates back to ancient Greece.
Speaker 2 (38:02):
Ancient Greece a.
Speaker 4 (38:02):
Long time ago, and so keep it alive and to
keep it fresh, that's what I feel like the Old
Globe does best.
Speaker 2 (38:10):
Yeah, I was in Athens two years ago with my
family on vacation, you know, and we went to the
Acropolis and you go and there's this theater, you know,
And I'm standing there in this ancient theater thinking saying
to my kids, I still do this. There were somebody
back here, coming back here two thousand years ago, standing
here telling a story to a bunch of people sitting
(38:31):
in those rows of seats. I'm still doing it.
Speaker 3 (38:34):
Weird? Do you want to just keep Do you love
it that much that you just want to keep doing it.
Speaker 2 (38:40):
Until I totally love it. I love it and I
think it's important, and I think it really matters, and
I think it makes it different. I've seen it make
gigantic differences to people's lives, not just guys in prison,
but artists doing incredible work, audience members seeing a moment
on stage that touches them in some very very deep place.
(39:00):
You know. It's it's an amazingly powerful thing. And I
also think that at the moment where everybody's so mad
at each other and we're all fighting with each other,
this art form brings people together. And the beautiful thing
about coming to the Old Globe is you're sitting next
to a total stranger, and they might be a different race,
different age, different socioeconomic background, different regional background, different level
(39:24):
of education from you, different from you in nine hundred ways.
But the lights go out and you're sitting together having
this same experience, watching this woman go through this problem
in her life, and you're touched in the same way.
So the theater reminds us that we all share one humanity,
and at this moment in our culture, what could be
(39:44):
more important than reminding each other the things that we
have in common. And that's why I love it and
care about it so much.
Speaker 4 (39:51):
Gosh, God, you're like making me tear up a little
bit because it's so it's so true, and it's so
important especially now.
Speaker 2 (40:00):
Yeah, and it's an angry moment in the world, and
it's nice to be reminded that we don't have to
be so angry at each other all the time.
Speaker 4 (40:07):
Now, the old globe, when you sit there, you're going
to have an enjoyable, great time. No, Hetta might get
a little angry at some point because she's kind of
a mess.
Speaker 2 (40:16):
Yeah, I mean, hots, make no mistake, it's a drama,
you know, it's a drama.
Speaker 3 (40:21):
It's not a comedy, but she's a great.
Speaker 2 (40:24):
The thing about drama is it's cathartic. You know. It
releases something in you, you know, and you're watching actors
at the top of their game and a writer at
the top of her game, and artists who are doing
this beautiful thing. You know, it's a highly beautiful piece
of art that you're watching. So even though the subject
matter is tough, there's something beautiful about experiencing it.
Speaker 3 (40:45):
My daughter is a theater major at FIDA.
Speaker 2 (40:48):
Amazing, And what.
Speaker 4 (40:50):
Is one piece of advice you could give to any
theater major that is looking to be someday on the
stage at the Old Will under your direct I.
Speaker 2 (41:00):
Will tell you. Here's here's the speech I give to
students all the time. If somebody says to you, I
want to be an athlete, you go, uh, okay, what
are you even talking? What do you mean? You want
to you want to play baseball? You want to play
you want to play curling, you want to skate? You know,
what do you mean you want to be an athlete?
People say I want to be an actor, and I say, well,
what kind of actor do you want to be? What
do you want to be? Do you want to be
(41:21):
a film actor, you want to be a TV actor?
Do you want to be on soap operas? Do you
want to do Shakespeare? Do you want to do new plays?
Do you want to do avant garde theater? And the
thing I tell my students is try and be specific,
because this big broad idea of I want to be
an actor is too big to do anything about. But
if you can say, you know what I want to
(41:43):
do Shakespeare, that's what I want to do, or what
I care about are new plays that are exploring complicated, political,
gnarly themes, then then that's different, and there there's a
path to go down each one of those things that's specific,
that's different from each one of those other paths. So
(42:05):
that's what I tell my students. Try to imagine as
specifically as you can what you think that kind of
acting that you want to do really is. And it
doesn't rule out all the other things. It doesn't close
any doors. Right. I knew very young in my life,
when I was at Oxford. I said, here's all I know.
I want to go back to the United States where
(42:25):
I'm from, and I want to do Shakespeare. That's it.
I've ended up doing new plays other classics, musicals, all
kinds of stuff, right, but this one focus sort of
carried me through, that got me started, that got me
on a path, that got me into relationships with interesting
and important people. So that's what I would say to
(42:46):
your daughter. You know, she's in New York right weekends
when she's not at school, go see as much different
theater as she can, and so that she figures out
what kind she really wants to do.
Speaker 3 (42:57):
Well, that is such great advice.
Speaker 4 (43:00):
Even say that about like manifesting things be as specific
as possible, because the even with New Year's resolutions, I agree,
I want to get in better shape. Okay, well, how
like let's like let's get more specific. That was like
such great advice. I just I mean, I don't even know.
Speaker 3 (43:20):
What else to say except for that.
Speaker 4 (43:23):
I mean, you've taught at Julliard, you've taught at USC,
you've taught at you know, Oxford, I think you've talked it,
and you've taught at n YU.
Speaker 3 (43:35):
I mean these are all the top of the top.
Speaker 2 (43:38):
Yes, well, you know I'm old. I mean that's you're not.
You know, you know, the things stick around all you
stick around long enough. You know, I was at Oxford
forty years ago. I got my Rhodes scholarship forty years ago.
Feel like another lifetime forty years terrifying.
Speaker 4 (43:55):
No, you look right, and I know how old you
are and you're we're all like in the same age bracket.
Speaker 2 (44:01):
Well you know, hey, you know what? I love what
I do? You want to stay young, you gotta love
what you do?
Speaker 3 (44:06):
Absolutely?
Speaker 4 (44:08):
And is it I mean, is it true when they
say love what you do and the money will follow.
Speaker 2 (44:13):
Yeah, I don't know about that, you know, And I
remember hearing that.
Speaker 3 (44:17):
I'm like, oh, well, so far, I don't know about
the one thing.
Speaker 2 (44:20):
I will love what you do and you won't work
a day in your life, right, Yeah, that's that's really true.
Love what you do and it ain't work. It's fun.
Speaker 3 (44:27):
What play was that from?
Speaker 2 (44:29):
I don't know. Yeah, good question.
Speaker 3 (44:32):
And have you ever done movies? And did you kind
of just.
Speaker 2 (44:35):
I made one movie, I made a short film and
I just didn't didn't dig it, didn't know what I
was doing.
Speaker 3 (44:41):
A whole different things.
Speaker 2 (44:42):
It's so totally different. It's it's it has nothing to
do with the live theater.
Speaker 3 (44:46):
It's very very different, not as exciting.
Speaker 2 (44:49):
I don't know, people love it. You know, Katie makes
Katie's director. She's directed a bunch of films. She loves it.
She loves making films, and and she goes back and
forth from the theater to film.
Speaker 4 (44:58):
It seems like she's like she's like like heading in
more to the theater world.
Speaker 2 (45:04):
Well, she's been doing a lot of but you know,
the thing about her is she's an artist. You know,
she's an artist with a voracious appetite and a real curiosity.
So you know, she she's got this whole life in
fashion where she's doing really creative things in fashion and
in that whole universe. She's a dancer, she's a film director,
she's a writer, she's an actor. She's on stage, she's
(45:26):
on screen. It's amazing she is. She's coming into a
period in her life where I think major creative things
are going to happen, and I'm so happy that she's here.
She's just honored the old Globe and what a thrill
for San Diego. I have this giant star close to her. Yeah,
sort of great, and I you know, she's going to
(45:47):
be doing amazing things in the years I head starting
with this terrific performance in HEADA well.
Speaker 4 (45:52):
Katie Holmes is a huge name. Albacina is a huge name.
Can you just maybe give us a drop a couple
more on our lap?
Speaker 2 (46:00):
You really want me to name drop? Okay? Yeah, so
absolutely so. I directed Uma Thurman in her stage debut
years ago. I directed Gwyneth Paltrow in a Shakespeare play.
That the first thing she did after winning her oscar,
So that was fun. Right after she won her oscar,
she came into Shakespeare. I have had a long relationship
(46:21):
with Steve Martin and pretty much every one of his
theater projects I've been involved with one way or the other. Yeah,
going back, going back thirty years.
Speaker 3 (46:31):
Do you laugh like it?
Speaker 2 (46:35):
Just like he's a genuinely funny human being.
Speaker 4 (46:37):
Like that's like just just sitting here.
Speaker 2 (46:40):
He's just funny, genuinely, genuinely funny and also the nicest,
most generous guy you can ever imagine. Incredible guy.
Speaker 3 (46:48):
Would kind of want to hear about the ones that
aren't so nice, but I'm not.
Speaker 2 (46:51):
Going to do that to you, you know what. I honestly,
in my experience, they are very few. Most of them
are wonderful, you know, because people, they're real artists. Scenarios
are wonderful human beings who care you know. Yeah, I'll
let's see who else. John Taturo Hawk, Mm yeah, Blair Underwood,
(47:12):
Richard Thomas, Oh my god, yeah, lots of people.
Speaker 3 (47:15):
That's oh, that's it, okay, whatever, what see?
Speaker 4 (47:19):
We are sitting with actual theater royalty like like in
so many ways.
Speaker 2 (47:26):
I don't know about that. It's the old Globe, that's
the that's the royal place. I'm just the happy guy
who gets to sit in the chair for a period
of time.
Speaker 3 (47:32):
The old Globe dot Org.
Speaker 4 (47:36):
I don't know if U is Dave Henson, the the
pr MAR marketing is sitting here, and I don't know
if they are still able to use our little code
for the handling fees.
Speaker 3 (47:52):
I don't know. I don't know.
Speaker 4 (47:53):
What do you think are footing on the spot. If
they want to buy, we can figure it out. We
will announce it. We all know on our Thursday show.
When you buy tickets, you might, you know, get a
little break if you.
Speaker 3 (48:05):
Put in a coat.
Speaker 4 (48:06):
Maybe that was pre sale, but but I know that
I want.
Speaker 3 (48:11):
I want to see all you guys there. Eric and
I are going to be there. We probably a couple time.
Speaker 2 (48:16):
Let me know when you're going to be there so
I can say hi.
Speaker 3 (48:18):
Oh my god, wow, did you come out at the end,
and like.
Speaker 2 (48:21):
No, no, no, no, but I'm there a lot. No,
I don't come out, No, but I'm there a lot,
you know, because it's fun. I love being there.
Speaker 3 (48:27):
Are you like up in a booth somewhere like, no,
we're the headphones.
Speaker 2 (48:30):
Sitting in the audience everything.
Speaker 3 (48:33):
Yeah, I'm going to point you out. I'm going to
show in my.
Speaker 2 (48:36):
Life sitting in the audience. And the way it works
is so uh, when I'm watching the show, I see
things that I want to change tomorrow, right, So you
take notes and then the next day you bring the
actors together for a note session. But the way we
do it in the theater is I sit with an
assistant and I dictate my notes to the assistant because
(48:59):
I if I if I take my eyes off the
stage to write something down, I'll miss something. So the
director sits with an assistant. Sometimes they'll have a laptop
on night mode and just type quietly. Sometimes they'll have
a pad and write it out. And so you're constantly
leaning over and going, she should wait, she should wait
before she makes that move, and and I always say
(49:21):
to the people sitting in front of me and behind me. Hi,
I'm the director. I'm going to be whispering. I'm sorry.
I really don't want to.
Speaker 3 (49:28):
I'm kind of a big deal.
Speaker 2 (49:29):
I'm writing notes and people are generally pretty cool.
Speaker 4 (49:32):
They are, they are, Oh my gosh, Well, it has
been like such an incredible pleasure to have you.
Speaker 3 (49:40):
I could talk to you, my gosh all night.
Speaker 2 (49:43):
I've enjoyed every second of it. Happy to be here
in your beautiful house and welcoming me so warmly. Thank you.
Speaker 4 (49:52):
You know, it's so funny, like we had kind of
a flood in our back patio, so all our patio
frenchure is like on our walkway.
Speaker 3 (49:58):
And so I had to warn them before. I was
so nervous something. He's the artistic director.
Speaker 4 (50:03):
He's going to come walking and going, okay, am I
in a hoarder's house, Sanford and Son anybody.
Speaker 2 (50:08):
No, not in the least. I watched that too, that
was on alongside Yeah f Troop true, so I know
the reference.
Speaker 4 (50:17):
Oh yeah, well, okay, it's the old Globe dot org everybody,
and now you do not want to miss this season.
Speaker 3 (50:25):
And again, Train's gonna be writing music for begin again,
which is coming up? When is that?
Speaker 2 (50:30):
Froming September?
Speaker 3 (50:31):
September.
Speaker 4 (50:33):
In the meantime, there's all those Oh my gosh, it's
just such a great variety of shows, something for everyone.
Let's all start off and see head starting on February.
Speaker 2 (50:45):
Twelfth, February seventh.
Speaker 3 (50:46):
I know, but isn't that for like special people?
Speaker 2 (50:48):
No previews February seventh, opening night February twelve, so people like.
Speaker 3 (50:53):
Yeah, so we can okay, yeah, well heck I want to.
Speaker 2 (50:57):
Be the one see it more than once. I plan to.
Speaker 3 (51:01):
I plan to.
Speaker 4 (51:03):
Is there anything you want to say to anybody before you?
You go and go to sleep so you can get
up tomorrow morning.
Speaker 2 (51:10):
And I'm just so grateful for everybody's interest. You know,
check out Live Theater. It's magical and special and if
you're near San Diego, it's a great theater town. And
if you're not near San Diego, go to your local
professional theater company and check it out.
Speaker 3 (51:22):
Awesome.
Speaker 4 (51:23):
Thank you so much, very nesty, Thank you our dist
director of the Old Globe.
Speaker 3 (51:28):
You will see you.
Speaker 2 (51:29):
Thank you.
Speaker 3 (51:30):
Oh I don't do that.
Speaker 2 (51:31):
I do do that.
Speaker 3 (51:33):
That's nice.
Speaker 2 (51:33):
Lucky me.
Speaker 3 (51:34):
You've got that cough and everything but I'm not gonna
worry about that now.
Speaker 2 (51:36):
I'm fine.
Speaker 4 (51:37):
I know your doctor cleared you. Okay, we say something
at the end of World Podcast. I'll see it first,
then you say it, and then Eric will say it's
really easy.
Speaker 3 (51:46):
That's how we sign off. Okay, thank you so much
for listening and watching.
Speaker 4 (51:50):
This has been such a great episode and I'm just
so thrilled and love your podcast.
Speaker 2 (51:57):
Love your podcast, love your part, love your podcast.
Speaker 3 (52:00):
Ah, I love you, my sleep babies. Bye, everybody.
The stories are crazy, the real deal. Eric's the talent
people with says he's kind. Hello, let me get some
kind of crass are Claire Brush? It is the show
super plain nerd always in the note, we guarantee to
make you laugh. Class Sure we're late, uncle, you see
belts and don't be late. Here we go, get ready,
it'll be great.
Speaker 2 (00:22):
On with the show.
Speaker 3 (00:26):
Hello, everybody, Welcome to Laura Kane after Dark.
Speaker 4 (00:30):
This is an extremely special episode because I am like,
I'm so nervous, I'm kind of shaking right now. We
have Barry Edelstein. He is the artistic director of the
Old Globe, the gem of San Diego, the classic, the wonderful.
Speaker 3 (00:48):
The Old, the launching pad for so many incredible shows,
the shows that are there, incredible.
Speaker 2 (00:58):
It's one of the things Sandy it goes known for.
Speaker 3 (01:00):
Of course, this is very welome to the show.
Speaker 2 (01:05):
Thank you for having me. I'm so happy to be
with you. Thank you.
Speaker 4 (01:08):
Okay, well, thank you for taking time out of your
busy schedule because I know you are in the first
week of rehearsals for Headache Gabbler right, starring Katie Holmes.
Speaker 3 (01:20):
Yes, so you are directing. Yeah, okay, can you.
Speaker 4 (01:24):
Tell us first of all, how's it going and what
is the story about?
Speaker 2 (01:34):
Sure, well, it's going great. I mean, Katie is amazing,
incredible actor, nicest person in the world, and the room
is full of incredible people. The rest of the cast.
There are seven actors in the show, so six other
actors in the show. Then there's somebody who's adapted the
play because it's an old classic from one hundred and
fifty years ago in Norway. So we have this very
(01:55):
famous writer who's adapted it, all these incredible designers, a
very famous miscomposer who's written music for it. So it's
like a you know, Cadillac. People still drive Cadillacs. It's
still a Cadillac of the show. Now what is Rolls Royce,
I don't.
Speaker 3 (02:12):
Know what is day one?
Speaker 4 (02:14):
Like, when you gather all these incredible people together, what
is what?
Speaker 3 (02:19):
What do you start.
Speaker 2 (02:19):
Doing in the world? You just want to you know,
you want to go run to the bathroom and throw up.
And he's so nervous making you know, well, let me
can I can I tell you what it is? You
tell you what the play is over? So this play
is called Hedda Gabler it's somebody's name. It's this woman's name,
Hedda Gabbler, and it's a play by a guy named
Henrik Ibsen ib s E. N Ibsen, who is the
(02:42):
father of modern drama. He was active in Norway at
the end of the nineteenth and the very beginning of
the twentieth century, and he is a guy who revolutionized
the theater. Up until him, people wrote plays about kings
and queens and aristocrats, and they made big, long speeches
and they were these big epic things. And Ibsen came
along and he said, I want to write a play
about regular people, about marriage, about family, about people having
(03:05):
trouble in their business, about people who are complicated, people
who change their minds, people who are argumentative, people who
are difficult, people who are looking for happiness, people who
are happy for a minute, and then not people who
just speak regular language. So he changed everything. There's theater
before Ibsen, and then there's theater after Ibsen one hundred
(03:26):
and fifty years ago. Yeah, and everybody you think about,
like Eugene O'Neil, Arthur Miller, the big names of the
American theater, Tennessee Williams, they're all influenced by him. Everything
that came after is influenced by him, because he put
psychology and realism and just normal human behavior and human.
Speaker 3 (03:44):
People on stage and feminism too well.
Speaker 2 (03:47):
So this is his masterpiece. Hedda Gabler is his masterpiece.
He wrote I don't know fifteen plays, and this is
his absolute masterpiece. And it's a play about a woman
who gets married who's excuse me, recovering from cole to
I apologize, whose options in society are limited by a
lot of things, by the patriarchy for sure. So it's
(04:07):
a feminist play and early feminist play about a woman
trying to find her way in a world of men
who want women only to be wives and mothers and
to keep quiet and let the men sort of have
all the power in the world. But also it's a
play about a woman who has an imagination that is
beyond what the people. It's set in a small college town,
in a kind of provincial town, a few hours outside
(04:29):
the big city. And she gets married to this guy
because she's reaching a certain age where she feels like
she's got to get married, but she doesn't really love him.
There's a boy from her past who shows up, who's
this genius writer, and she realizes that the options that
are available to her are never going to make her happy,
so she tries to engineer her life by manipulating all
the people around her into an outcome that she thinks
(04:51):
might make her happy, and it doesn't work out.
Speaker 3 (04:54):
Well, what oh boy, awesome part Z.
Speaker 2 (05:00):
It's the Hamlet of for women. It's the Hamlet for women.
And it's one of these plays that's played by gigantic actresses.
I mean, Kate Blanchette, you know Ingrid Bergman, Diana Rigg,
Judy Dench. I mean, you know, you go down the list.
Every major actress takes a shot at it, just the
way every major actor takes a shot at Hamlet.
Speaker 4 (05:23):
Now I know that you and Katie were together on
The Wanderers, that's right, which was in New York. Yes,
And is that how you guys became friends? Is that
how you decided, Hey, she's the one I want.
Speaker 2 (05:35):
So we did a play at the Globe in twenty
eighteen called The Wanderers. And the thing about the Old
Globe in San Diego is that we start plays that
then go on to lives in New York, on Broadway,
off Broadway, around the country and in fact around the world.
So we did this play in twenty eighteen called The Wanderers,
did it in New York with a different cast, and
Katie got involved. So that was in twenty twenty three,
and I directed that and we just hit it off.
(05:57):
You know. It's one of those things you sometimes an
actor in a director to get along. Well, sometimes they don't.
The two of us just really got along well. We
had a fantastic time together. So when it was done,
I said, hey, listen, Katie, I run this wonderful theater
in San Diego. Why don't you come out. She said,
as soon as my daughter goes off to college, I'll
be free and I'll come out.
Speaker 3 (06:15):
Wow.
Speaker 2 (06:15):
So for sure. So that was so, and she's a
freshman in college now is Katie's daughter, And so we
put a list of plays together. Heada was on the list,
and she said, yeah, I think I'd really like to
take crack at.
Speaker 3 (06:27):
Them, because that's gonna be a challenge.
Speaker 2 (06:30):
Yeah. No, it's no joke. It's no joke because it
requires everything. She's a victim, she's also a tyrant. She's vulnerable,
she's also mean, she's manipulative, but she's also kind of sweet.
It's just every color in the rainbow.
Speaker 3 (06:44):
Wow.
Speaker 2 (06:45):
Yeah, it's great.
Speaker 4 (06:46):
And is there going to be any kind of are
you twisting it in any way, like in a certain
way to make it more I don't know.
Speaker 3 (06:55):
Modern.
Speaker 2 (06:57):
That's a great question. So the play was written in
norm Rwegian in the eighteen nineties, so the first thing
you have to do is translated into English. And we
have hired somebody who has made in what we're calling
a new version of the play. This very famous writer
named Aaron Cresita Wilson. You know a movie called Secretary,
Oh my gosh, she wrote that, and you know, this
(07:18):
is kind of that's if you know the movie. It's
sort of a sexy movie about women and women finding
their power. So what we did is we got a
literal translation from Norwegian into English by a scholar who says,
this is what this line means. And in Norwegian there's
a pond, but in English it's hard to get. And
this is a reference to this in that it's like
huge long thing that explains the whole thing in English.
(07:41):
And then Aarin took that and sort of made it
into her voice. So we're premiering this brand new version
of the play it's going to be set in eighteen
nineties in Norway. It's going to look like that, but
we're stripping it way back. There's not going to be
like fru fru and tea sets and curtains and like
antique furniture. It's going to be very sleek and very spare,
(08:01):
and so it has a kind of modern feeling about it,
even though it's still in Norway in eighteen ninety very cool.
Speaker 4 (08:08):
Now tickets are already on sale. We did have a
little bit of a pre sale, but now general tickets
are available.
Speaker 3 (08:14):
They are when is the when's opening nights?
Speaker 2 (08:17):
Opening night is February twelfth, but in the theater there's
a period called previews where you do the show in
front of audiences and work on it in the afternoon
and make changes. So that starts on the eighth I
think of February, the seventh of February, the seventh of February,
and the official opening night is the twelfth of February,
and then it goes on for some weeks after that.
Speaker 3 (08:37):
Are you a little bit stressed because it's like almost
only a month old?
Speaker 4 (08:42):
Yeah?
Speaker 2 (08:42):
I know, Well, you know that's the thing we don't
we do them fast, but you know it's ninety minutes
it's going to it's ninety minutes without an intermission, so
you know, it goes fast. It's really sleek. It's really cool.
The other thing that the show has is live music.
So when I direct plays, I like to put live
music in the places because I feel like it kind
of lifts it and makes it fun. So we got
(09:03):
another super duperstar, this woman named Caroline Shaw, who has
four Grammy Awards and a Pulitzer Prize, and she is
no joke. She is really many people consider the leading
composer of classical music in America. Young woman. She's in
her forties and she has written a piano score. So
there's going to be a live pianist on stage playing
because in the play, Hedda has a piano, and Heada
(09:26):
goes and plays the piano every once in a while.
It's this very important object to her. The only thing
that she she's moved into this new house and the
only thing of hers that's in this new house that
belongs to her husband is her piano. So it's a
very important her. So we have this person up there
playing the piano the whole way. Kind of cool.
Speaker 4 (09:41):
You curate the entire season for the Old Globe twenty
twenty six twenty seven season, Can.
Speaker 3 (09:48):
You give us what's coming up?
Speaker 4 (09:52):
Like, Yeah, like some highlights and things we can look
forward to.
Speaker 3 (09:55):
Yes, this great production.
Speaker 2 (09:58):
So as the artistic director of the Globe, my job
is to pick the stuff that we produce and then
pick the artists who do it. So I hired the directors,
and then we hire the actors and the designers. The
Globe does other stuff. We have a drama school at
the University of San Diego where we train actors. We
also have something we call Arts Engagement, where we bring
theater out into the community and particularly into underserved and
(10:20):
historically marginalized community. So we're in prisons and homeless shelters
and refugee centers and senior centers and libraries and schools
and stuff all over San Diego County. But the main
thing that we do is we put on sixteen professional
theater productions a year in three theaters in Balboa Park.
So we do two Shakespeare's outside this year, we're doing
(10:41):
a Measure for Measure and I'm directing much Ado about Nothing. Oh,
so that'll be fun. And then we do musicals that
go to Broadway. We're doing this big musical called begin Again,
with a score by you know the band Train.
Speaker 3 (10:54):
Yes.
Speaker 4 (10:54):
I was going to mention this last week and I
was like, okay, wait, I'm not sure if I'm all
allowed to say it, but I was so excited.
Speaker 3 (11:02):
This is huge. The Train is incredible.
Speaker 2 (11:05):
Yep. Train is cool. And it's this movie beginning against
a movie from twenty twenty something, I don't know, a
couple of years ago, this Mark Ruffalo movie, and it's
a stage adaptation of that. So that's going to be
a lot of fun. And then we're doing a famous
August Wilson play called Fences. We're doing a play called
which is one of his masterpieces. We're doing a play
(11:27):
called Kim's Convenience, which was a play that then turned
into a Netflix series about a guy who owns a
bodega in Toronto and his family and how that works.
We're doing a stage adaptation of Hitchcock's movie North By
Northwest by this very famous English theater director. So this
will be the American premiere of that. That's super cool,
full of music and movement. And they figure out how
(11:48):
to do the airplane scene and the Mount Rushmore scene,
all that stuff. It's really sweet, really great. Then we're
doing a bunch of new plays by writers that are new.
Big thing that the Globe does as world premieres of
play by new writers. So in our small theater we
tend to do plays by writers making their first time
having a play produced. That sometimes the Globe commissions, and
(12:10):
sometimes we premiere shows in San Diego that have been
done in New York before. And then the thing that's
happening alongside had a Gabbler is something I'm really looking
forward to. I don't know how many English majors are
out there watching, but there's a very famous short story
by Herman Melville who wrote Moby Dick, and one of
his most famous short stories is called bartleby the Scrivener.
(12:31):
And we've commissioned a wonderful theater company in New York
called Fiasco to make this into a play. And it's
really fun and wonderful. So it's a season that has
comedy and drama that has fancy people in it and
young people that nobody's heard of. It's got Shakespeare, it's
got music. It's wonderful. People don't know that the old
(12:52):
Globe is the largest regional theater in the United States
outside of New York City.
Speaker 4 (12:58):
Wow, and we're talking La too. Wow. Now, when you
if somebody is listening to like, Okay, I want to
go to that one, that one, that one, that one,
they can pick and choose and make their own package.
Speaker 2 (13:14):
That's right. You can subscribe and make your own package,
and you get as a subscriber, you get less expensive
prices than if you buy individual tickets for each show.
You can also just go on a website and pick
the show you want to see, buy a ticket, come
on over.
Speaker 4 (13:28):
Oh my gosh, Eric and I are going to see
every single one because we're so excited.
Speaker 2 (13:32):
Yeah, that's great stuff, a wonderful company.
Speaker 4 (13:34):
I'm going to brag about you a little bit, okay, okay,
because obviously Barry has some immense experience under his belt.
He's not only a director, he's a producer, he's an author,
he's an educator. He The Winner's Tale, Othello Romeo and
(13:54):
Juliet Hamlet, All's Well, the ns Well, the Wanderers, The.
Speaker 3 (13:59):
Merchant of Venice with al Pacino. You've worked with al Pucino.
Speaker 2 (14:02):
Yeah, what was that? Incredible spectacular He's amazing. He's a giant,
you know, has these great stories, tell stories all the time.
He's funny.
Speaker 3 (14:13):
I mean, do you have to direct him or does
he know what to do?
Speaker 2 (14:15):
Yeah? So I produced that show. It was directed by
a wonderful guy named Daniel Sullivan. But my job was
to get with al Pacino and help him figure out
how to speak the Shakespeare text because he played Shylock,
the famous character Shylock in The Merchant of Venice has
these big, long speeches. So I would get in a
room with them and we would spend hours just sort
(14:37):
of working on those speeches together as amazing experience.
Speaker 4 (14:39):
What's the most important thing you teach an actor who
is who is portraying a Shakespeare character? Like, what is
the one thing that they really need to know and learn?
Speaker 2 (14:52):
So Shakespeare's language, although it's four hundred years old and
sounds kind of odd, is basically English, just like you
and I are speaking today. The rules are a little different,
the grammar is a little different, but basically it's English.
So the most important thing that you have to do
when you're acting Shakespeare or anything is what we're doing
right now, which is you have a thought in your head,
(15:13):
and then you choose language to express that thought. I
don't know what I'm going to say when you ask
me a question. I'm having a thought, and I've got
to figure out what words am I going to use
in order to put that thought into the air. And
my brain goes to work and it comes up with
words that it then sends to my mouth and my
tongue and my lips, and those words go out into
(15:35):
the world. So when we work on Shakespeare, that's what
we do. We go, what's the thought there? What's the
thought that Shylock is actually trying to communicate? Oh, I
understand what he's trying to say. Now, why is he
using those words in order to communicate that thought? And
it creates the opportunity for the human brain to think
up the words right as you're going, as opposed to thinking,
(15:57):
oh Shakespeare wrote that, and I have to recite them,
or Shakespeare wrote that, I have to make it sound
a certain way. No, no, no, You're just a person
in a situation thinking and speaking. It makes that's what.
Speaker 4 (16:07):
We do so much sense because you've seen that kind
of Shakespeare that you've just said, and then you've seen
the good Shakespeare. Yeah, now somebody who is maybe not
a Shakespeare fan because it's it's difficult to follow.
Speaker 3 (16:21):
Sometimes it's it's a there's a lot, a lot of dialogue.
Speaker 4 (16:27):
What would you say to somebody to learn how to listen, Yeah,
properly to get it well.
Speaker 2 (16:32):
So one of the things, you know, a theater like
the Globe, it's clear right, like we're we're we're the
top of the game. We know how to do it.
The directors we hire know how to do it. The
actors we hire know how to do it. The actors
we train in our training program know how to do it.
So it's good to go to a really major theater
company to see it for the first time because you
can bank on the fact that there are people who
(16:53):
are doing it at a kind of high level and
you're going to be able to follow it. But the
other thing I would say is you got to just
sit with it for second and trust the fact that
it's English, right, Like here's a line of Shakespeare. Oh
she's warm. Now, that's a famous line from a famous
play of Shakespeare. Oh she's warm. Nothing Shakespearean about that,
(17:13):
that's just English, right. I mean, here, I'm gonna touch you.
Oh she's warm. Right there you go Shakespeare, So not
everything is complicated. Oh what is this quintessence of dust?
It's not very little of Shakespeare as all of that.
A lot of it is just pretty plain English. It's
just that since it's four hundred years old, the rules
(17:34):
are a little bit different. Yeah, so I think I
would say to most people, listen, you speak English, trust it,
sit there, let it wash over you. Your ears will tune in.
And there are costumes, there's color, there's music, there's people
moving around, there's actors being intense and communicating the story.
You'll follow.
Speaker 4 (17:52):
It very just happens to be. And I wanted to
say the but I will say one of the just
so I'm not, you know, embarrassing you or anything leading
authorities on the works of Shakespeare in America. And I
want to say.
Speaker 3 (18:11):
The world, well, that's very kind because.
Speaker 4 (18:14):
This man right here, he started at Toughs. Then he
went to Oxford where he was a Rhodes scholar.
Speaker 3 (18:24):
And you know what that means. He got to go
to school for three years, full on, full.
Speaker 4 (18:31):
Ride because of his intellect and because of his his talent.
Speaker 2 (18:37):
You are embarrassing, but this is embarrassing me, a Rhodes scholar.
Speaker 3 (18:42):
This is not a joke. I read that. I was like,
oh my god, I'm not worthy. He doesn't need he
cannot be in my house.
Speaker 2 (18:48):
The way it looks right, your house is love.
Speaker 3 (18:51):
My god, you're so nice.
Speaker 4 (18:53):
Now, okay, let's start at the beginning. What were you
like as a kid. How did theater like come into
your life?
Speaker 2 (19:00):
Wow, that's such a good question. I was nerdy, I was.
I was a chubby, nerdy kid. Who you know. I
read the New York Times when I was four years old,
and you know, I was precocious and of pain, and
you know, and I watched way too much TV and
like like, what, oh well, my vintage is like so
Channel eleven in New York City reruns after School F
(19:23):
Troop and Superman and Batman, and I love Lucy and
Abbot and Costello and the Honeymooners. That vintage of like
rerun television, you know, F Troop. My god, anybody even
know what that is?
Speaker 3 (19:35):
And I've heard it F Troop.
Speaker 2 (19:38):
F Troop would be canceled in a New York minute.
If you put that show on right now, it'll be
awful for you could even start, yes, terrible anyway. Yeah,
so I you know, and I was sort of a tubby,
you know, yeah, I don't know, a little dark, sort
of lone loaner of a guy. And when I got
to junior high there was a charismatic theater teacher and
(20:04):
that's changed my life, my life, you know, in in
junior high, in high school, in undergraduate and at Oxford
there were individual teachers who changed the direction of my life.
And without them, I wouldn't be sitting where I'm sitting today.
I just was a you know, sort of a roly poly,
dumpy kid who you know, was smart and you know,
(20:28):
a little caustic and h and these teachers sort of
set me straight. You know. I revere teachers and love
teachers because the story of my life has been absolutely
about the transformation that a caring, loving, invested teacher can
make in a kid.
Speaker 3 (20:46):
Did you start in acting in production?
Speaker 2 (20:49):
Yes, everybody does. Everybody you know who's in the professional
theater in any capacity started as an actor.
Speaker 3 (20:56):
And then and then it just kind of went.
Speaker 2 (20:58):
And then they yeah, and then and then and then
they move along and then they then they move on
to some other things. So, yeah, I was an actor.
I wasn't a very good actor, and and and also
I was since I was a smarty guy, a smart
alec guy, I was much more interested in the whole story.
When you're an actor, you got to really be concerned
with just you, your part, your lines, what your part
(21:20):
of the story is. But I always wanted to know,
like why why is that happening over there? And why
is that guy doing that over there? And why is
that entrance happening over there? And why is the play
set up this way? So a great teacher said to me,
you know you are You're a director. You're thinking like
a director. That's what you should look at. And I did.
Speaker 3 (21:36):
What was your first production you ever directed?
Speaker 2 (21:40):
Wow? You know I did? You start out doing scenes
from plays? I remember doing a scene from Hamlet and uh,
and I did it outside in uh in like on
campus of Tufts when I started directing, and uh, we
were we were doing the graveyard scene and we started
digging up this lawn and the campus cops came and
(22:03):
shut us down because I was digging up this lawn
at night. Yeah, I did that. I did I. Eventually
later I directed a production of Hamlet at Oxford University
at one of the colleges, and we needed a chair
to be the king's throne. So I just walked into
this room and I grabbed a chair, and it turns
out it was this like four hundred year old antique
(22:26):
Jacoby and chair, and I got busted by the campus.
Speaker 3 (22:30):
Cops again breakoff things.
Speaker 2 (22:32):
Yeah, no, thank goodness.
Speaker 4 (22:34):
What is your most to date. I know this is
probably going to be a difficult question, but what is
your most proud what's your most proudest achievement.
Speaker 3 (22:46):
In the theater? I mean, I know, children and raised
probably the.
Speaker 2 (22:50):
Most true as you know, Wow, I don't know. I mean,
I've been blessed. I've had so many amazing, wonderful opportunities
in my career in the theater. I've done productions that
have been acclaimed, productions that have sort of transformed my
life in some ways. But you know, I guess I
would say, really truthfully, the chapter of my life. I've
(23:10):
been at the Old Globe for thirteen years. It has
been so amazing and what we've been able to build
here in San Diego, and the work that we're doing
out in the neighborhoods of San Diego, and just the
fact that in the post pandemic moment, when theaters in
America are struggling, the globe is thriving and doing great.
I'm so very proud of that. That's amazing.
Speaker 3 (23:31):
Talk about like talk about the work you do out
in the community. What kind of productions do you bring to.
Speaker 2 (23:38):
So we do a whole bunch of different things. We
have about thirteen or fourteen different programs. Some of them
are performance. So we once a year we produce a
Shakespeare play and then we tour it for a month
to these venues, to libraries, to church basements where a
refugee community is based, to a facility for at risk youth,
(23:59):
to a social hall at the Navy base for naval
for the naval community and their families. Prisons where we
partner with the California Department of Correction and Rehabilitation, so we're.
Speaker 3 (24:14):
In prisons DA.
Speaker 2 (24:15):
Well, it's amazing. So that's the performance piece of it.
But most of it, we do workshops where we teach
people how to write plays. We do workshops that are
about Shakespeare and the ideas in Shakespeare and that sort
of speak to self expression. We do job training workshops.
We do workshops where people can understand all the different
crafts of theater that are not acting and writing. You know,
(24:36):
there's carpentry, there's electrics, there's all that sorts of stuff.
So this huge range of programs that dig into all
the different ways that theater can be meaningful in people's lives.
The prison program is the most absolutely amazing thing. The
globe has the largest program of theater with incarcerated populations
of any institutional theater in the country. And we have
(24:58):
these wonderful people in our theater that have devised something
called reflecting Shakespeare. And the way it works is they
go into the prison and with a Shakespeare play and
they'll no no, no, no, no, no no, and they
just take the text and they and they read through
the text with these guys, some of whom are you know,
highly educated, some of who have very little education, some
(25:19):
of whom maybe have had some experience in the theater before,
some who haven't. And all they do is dig into
the themes. So let's say they're working on Hamlet. A
big theme in Hamlet is revenge, So they'll talk about
the language of the play and the idea of revenge
as Shakespeare expresses it, and then they ask these guys
to write their own material about the theme of revenge
(25:42):
or you know, banishment or grief or family, whatever, whatever
the subject may be, or laughter or joy, you know, whatever,
whatever the particular play is pointing to. And these guys
do these writing exercises, so the Shakespeare language and their
own language are kind of bouncing off each other, kind
of in conversation with each other, and it's absolutely extraordinary,
(26:03):
you know. I mean, if you want to if you
want to understand something deep, there's this famous speech in
Romeo and Juliet where Romeo gets banished and he has
this incredibly long, wonderful, complicated speech about what it feels
like to be banished. If you want to think about banishment,
about what it feels like to be sent out, talk
to a guy who's been in prison for twenty five years.
(26:24):
You know, the depth and power of their of their
relationship to this language is absolutely incredible, you know, it's amazing.
So these guys come up with this stuff that's just
beautiful and powerful, and it's really life changing for them.
And one of the miracles of the Old Globe is
we now have four people on our staff working at
(26:45):
the Old Globe who we first met when they were
incarcerated taking these programs, and then they were subsequently released
from prison and now they work at the Old Globe,
which is incredible beautiful. Yeah.
Speaker 4 (26:58):
Now our producer, Claire was all aided because she really
enjoys the Shakespeare festival that happens on one of your
three stages at the Old Globe. Claire, do you have
any questions about your favorite thing?
Speaker 3 (27:15):
The outdoor Shakespeare is my absolute favorite. Do people like
dress up?
Speaker 4 (27:20):
Do people like come all like dressed up or they
just come to watch or is it like, what is
the festival? Well?
Speaker 2 (27:26):
Yeah, it's really fun. It's really one. First of all,
it's absolutely beautiful. You know when you're out there on
a July nightly and it's yeah, it's it's like starts
Memorial Day and goes to Labor Day. So it's basically
the summer months and you know San Diego at that
time of year. You got to be kidding me, right,
it's little place in the world, you know, and the
(27:47):
moon and the stars, and we're right next to the
San Diego Zoo, so every once in a while you
can hear animals in the zoo or birds or whatever.
You know, it's just spectacular, and Shakespeare wrote His Place
for an outdoor theater in London, and so there's something
about Shakespeare under the open sky that's magical and special.
It's really great.
Speaker 4 (28:07):
I think that if Shakespeare were alive today and he
was around our age group, do you think you guys
would be like close friends. Is he somebody that was tortured?
Is he somebody that was a good person in a
happy person?
Speaker 2 (28:27):
You know? One of the weird things about Shakespeare is
that he did not leave a whole lot of traces.
There's there's a bunch of legal documents, some lawsuits that
he was part of, some some some records about the
birth and death dates of his children and stuff like that,
but there's very very little about who he was as
a man. All we have is this body of plays,
(28:49):
and you can guess some things about him. He's funny,
sharp witted, obviously, deep and wise. But I don't know.
I mean, I I got to say, I've never really
been all that interested in Shakespeare's a man. There's this
movie out Hamnet, you know, all about Shakespeare's loss of
his son and how that led him to write Hamlet,
and I go, yeah, I'd rather just read Hamlet, and
(29:11):
I kind of have my own relationship to him as
a writer of plays. You know, I don't know. People
ask me, would you want to go back in time?
And I always say, if I could bring a suitcase
full of antibiotics.
Speaker 4 (29:22):
Sure, you know, you know, get like what you whatever,
You get a paper cut in Shakespeare's day, you're a
dead man, you know, like, Okay, I'll go back to
I'll go back to fifteen ninety nine if I can
have a suitcase full of penicela, you know, then I'll
(29:42):
go an author to talk about the books you've written.
Speaker 2 (29:45):
Yes, I wrote written two books. I wrote a book
that is now the standard text about Shakespearean acting. It's
called Thinking Shakespeare, and it's it's taught in schools that
teach actors, and it goes to that stuff that I
was talking about before, about how to get the thoughts
of Shakespeare clear when you're acting. And then I wrote
a book called Bardisms Shakespeare for All Occasions. And the
(30:07):
reason is that people would always ask me, Hey, I
have to give a toast at a wedding, can you
give me a Shakespeare quote? Or I'm speaking at a funeral,
can you give me a Shakespeare quote constantly call. So
I wrote a book that collects all this stuff. You know,
if somebody's graduating from high school, here's a good quote
(30:27):
about it. If somebody you know, just got fired from
his job, here's a quote that'll comfort him. If you
got you're going to ask me for one off the
top of my head, I'm going to have a hard
time doing it.
Speaker 3 (30:36):
Okay, we see. So Barry's almost like a doctor where
it's somebody comes up to him and says, hey, it
hurts when I do this, and he's like, well, then
don't do that. Yeah, I'm not going to quite know
what to say yet.
Speaker 4 (30:50):
But there's not one line that you can off the
top of your head besides the warm one.
Speaker 2 (30:56):
Oh okay, all right, well I'll give you one. So
we were in rehearsal the other day on heada gabbler
and my friend Erin, who wrote the play that I
was telling you about, who adapted the play, hasn't been
in a rehearsal room in a long time, just because
she's been doing movies. So she said, you know, it
(31:17):
really feels special to be back doing this after such
a long time. And I said, if all the year
we're playing holidays to sport would be as tedious as
to work. But when they seldom come, they wished for come. Right,
So that's Shakespeare. So if every day was a holiday,
it would be boring, but when it only comes once
(31:39):
in a while, it feels fantastic. That's what that says.
So I just said that to Erin and she looked
at me and she said, oh, shut up.
Speaker 3 (31:48):
That book of yours I'm buying. Okay. Should never told
her because she's gonna start quoting. Shakespeare was out for
every occasion.
Speaker 2 (31:59):
I asked, you got to do it? Oh my, we
all need better language in the world.
Speaker 3 (32:03):
Yes, we do. The world.
Speaker 2 (32:05):
The world is better when people use big words and
when people use complicated language. It's nice. It makes you
feel human, It makes you feel like there's something special,
especially in this culture we're in at the moment, a
very very like Twitter and TikTok and everything is very flattened,
you know. So I like the idea of putting Shakespeare
into the world as much as we can.
Speaker 4 (32:26):
Speaking of social media and looking at things and reading things.
Speaker 3 (32:30):
Do you.
Speaker 4 (32:32):
Read like after your head? Just say after head. The
day it drops and everybody sees it and then they
write about it.
Speaker 2 (32:42):
Do you read those the reviews? Yes, not until after
the show is done. I don't read them. I don't
read them until the show's completely done.
Speaker 4 (32:51):
Because why would you have that in your head if
it was anything, But if it's something like.
Speaker 3 (32:56):
Well, you know what you're so that's and then I
read them.
Speaker 2 (32:58):
As the producer of the Old Globe, I read the
reviews of the shows that we produce that I haven't
made myself, because as the producer of the Old Globe,
I need to know what the community is thinking. I
need to know what the critics is saying. But when
it's my own work, I just stay clear until the
show's done.
Speaker 4 (33:12):
What's the biggest production that has come out of the
Old Globe since you've been there.
Speaker 2 (33:18):
That's a really good question. Well, let's see. In the
time I've been at the Old Globe, we've sent seven
shows to Broadway. One of them won the musical The
Tony for Best Musical, Gentleman's Guide to Love and Murder
in twenty fourteen. Something like that. Steve Martin had a
musical called Bright Star. Oh Yes, we did a jukebox
musical of the songs of Huey Lewis and the News
(33:40):
called the Harder rock and Roll that went to Broadway,
almost famous, the musical based almost famous that went to Broadway.
So we do that. We do that a lot of times.
The biggest show the Globe has ever produced would be
Come Fall in Love. We did an adaptation of a
Bollywood a very famous Bollywood movie that people know called
(34:03):
d DLJ which are the first initials of the of
the title of it in Hindi. And this it's this
like the most famous Bollywood movie ever. And we do
this huge When was that twenty twenty one, twenty twenty two,
twenty twenty two, something like that. Yeah, So we do
these big, big shows and then we also do like
the last right before New Year's we had a show
(34:26):
in our small theater with just one guy telling the
story of his life. Who's a guy, who's this amazing
guy who had had a career as a jockey and
then then became a Broadway dancer and he made this
theater piece about his own life. It's just one guy
for ninety minutes doing his own thing. And then on
the other hand, we do these big, giant musicals. It's fun.
Speaker 4 (34:43):
Wow, Okay, somebody who's watching or listening that has never
been to live theater, talk to them, Yeah, you know.
Speaker 2 (34:54):
Okay, Hi, Hi there at you and hi there you.
You know, it's a beautiful, wonderful art goes back thousands
of years, and the arts do many wonderful things. Movies
are great, television is great, painting is great, poetry is great,
dance is great. But there's something about the theater, which
is watching a human being have an experience right in
(35:15):
front of you, breathing the same area you're breathing at
the very same moment that you are in it that
is magical and special and kind of unique in the
world of the arts, you know, because and here's something
that a teacher of mine once told me which I
think sort of really captures it. Imagine you go to
a movie theater to go watch a movie. You walk
in there and there's nobody in the movie theater. You think, great,
(35:40):
I get this whole thing to myself. But if you
go into a live theater and you walk in and
there's nobody there, you think, oh, this is rotten. Because
the magic about theater is you're having this experience with
an audience all at the same time and what's going
to happen tonight will not happen exactly the same way
tomorrow night. It'll be ever so slightly different because it's live,
(36:01):
because the vibe that's in the room changes things. So
it's got this some sort of lightning in a bottle
aspect to it. So it's really special and unique and
unusual and deeply deeply touching and affecting. So I would
say to anybody who's never been there before, you know,
give it a try. The Globe has all kinds of
ticketing programs available that make it possible to get in
(36:24):
there for basically the some not too far much more
than the movie ticket would be, you know, and.
Speaker 3 (36:31):
Old Globe dot org, the old old Globe dot org.
And you can see all the productions that.
Speaker 2 (36:36):
Are come check it out. And there's Katie Holmes, you know,
right there, live right in front of you, not on
some screen that she shot a year and a half
ago and now it's finally there, but like rite this moment,
live in front of you. There she is, Oh my god, And.
Speaker 3 (36:49):
You know what, she could be down at the Starbucks
before she comes to rehearsal. Yeah, and you might see
her in town.
Speaker 2 (36:57):
Yeah, everybody's in belbox. Everybody excuse me on our lunch
break in Balboa Park.
Speaker 4 (37:01):
There she is, Oh my gosh, Now, how long do
you rehearse every day to get this ready in a month.
Speaker 2 (37:11):
Well, so, the actors are members of a union called
Actors' Equity Association, and there's a complicated set of rules. Basically,
there's two ways you can do it. You can do
six hours straight or you can go seven hours out
of eight with a one hour lunch break. So we
generally work from noon to six every day. Okay, on
Saturdays we work longer because just because five days a week,
(37:34):
and then we take Sundays and Mondays off and then
we're back at it Tuesday through Saturday.
Speaker 3 (37:38):
She's going to be so phenomenal in this rule, I
cannot eat.
Speaker 2 (37:42):
Yeah, that's great.
Speaker 3 (37:44):
I just, I just I love.
Speaker 4 (37:47):
Also that the Globe does this community outreach, and I
love that you're teaching future generations about this old school
from I mean, theater dates back to ancient Greece.
Speaker 2 (38:02):
Ancient Greece a.
Speaker 4 (38:02):
Long time ago, and so keep it alive and to
keep it fresh, that's what I feel like the Old
Globe does best.
Speaker 2 (38:10):
Yeah, I was in Athens two years ago with my
family on vacation, you know, and we went to the
Acropolis and you go and there's this theater, you know,
And I'm standing there in this ancient theater thinking saying
to my kids, I still do this. There were somebody
back here, coming back here two thousand years ago, standing
here telling a story to a bunch of people sitting
(38:31):
in those rows of seats. I'm still doing it.
Speaker 3 (38:34):
Weird? Do you want to just keep Do you love
it that much that you just want to keep doing it.
Speaker 2 (38:40):
Until I totally love it. I love it and I
think it's important, and I think it really matters, and
I think it makes it different. I've seen it make
gigantic differences to people's lives, not just guys in prison,
but artists doing incredible work, audience members seeing a moment
on stage that touches them in some very very deep place.
(39:00):
You know. It's it's an amazingly powerful thing. And I
also think that at the moment where everybody's so mad
at each other and we're all fighting with each other,
this art form brings people together. And the beautiful thing
about coming to the Old Globe is you're sitting next
to a total stranger, and they might be a different race,
different age, different socioeconomic background, different regional background, different level
(39:24):
of education from you, different from you in nine hundred ways.
But the lights go out and you're sitting together having
this same experience, watching this woman go through this problem
in her life, and you're touched in the same way.
So the theater reminds us that we all share one humanity,
and at this moment in our culture, what could be
(39:44):
more important than reminding each other the things that we
have in common. And that's why I love it and
care about it so much.
Speaker 4 (39:51):
Gosh, God, you're like making me tear up a little
bit because it's so it's so true, and it's so
important especially now.
Speaker 2 (40:00):
Yeah, and it's an angry moment in the world, and
it's nice to be reminded that we don't have to
be so angry at each other all the time.
Speaker 4 (40:07):
Now, the old globe, when you sit there, you're going
to have an enjoyable, great time. No, Hetta might get
a little angry at some point because she's kind of
a mess.
Speaker 2 (40:16):
Yeah, I mean, hots, make no mistake, it's a drama,
you know, it's a drama.
Speaker 3 (40:21):
It's not a comedy, but she's a great.
Speaker 2 (40:24):
The thing about drama is it's cathartic. You know. It
releases something in you, you know, and you're watching actors
at the top of their game and a writer at
the top of her game, and artists who are doing
this beautiful thing. You know, it's a highly beautiful piece
of art that you're watching. So even though the subject
matter is tough, there's something beautiful about experiencing it.
Speaker 3 (40:45):
My daughter is a theater major at FIDA.
Speaker 2 (40:48):
Amazing, And what.
Speaker 4 (40:50):
Is one piece of advice you could give to any
theater major that is looking to be someday on the
stage at the Old Will under your direct I.
Speaker 2 (41:00):
Will tell you. Here's here's the speech I give to
students all the time. If somebody says to you, I
want to be an athlete, you go, uh, okay, what
are you even talking? What do you mean? You want
to you want to play baseball? You want to play
you want to play curling, you want to skate? You know,
what do you mean you want to be an athlete?
People say I want to be an actor, and I say, well,
what kind of actor do you want to be? What
do you want to be? Do you want to be
(41:21):
a film actor, you want to be a TV actor?
Do you want to be on soap operas? Do you
want to do Shakespeare? Do you want to do new plays?
Do you want to do avant garde theater? And the
thing I tell my students is try and be specific,
because this big broad idea of I want to be
an actor is too big to do anything about. But
if you can say, you know what I want to
(41:43):
do Shakespeare, that's what I want to do, or what
I care about are new plays that are exploring complicated, political,
gnarly themes, then then that's different, and there there's a
path to go down each one of those things that's specific,
that's different from each one of those other paths. So
(42:05):
that's what I tell my students. Try to imagine as
specifically as you can what you think that kind of
acting that you want to do really is. And it
doesn't rule out all the other things. It doesn't close
any doors. Right. I knew very young in my life,
when I was at Oxford. I said, here's all I know.
I want to go back to the United States where
(42:25):
I'm from, and I want to do Shakespeare. That's it.
I've ended up doing new plays other classics, musicals, all
kinds of stuff, right, but this one focus sort of
carried me through, that got me started, that got me
on a path, that got me into relationships with interesting
and important people. So that's what I would say to
(42:46):
your daughter. You know, she's in New York right weekends
when she's not at school, go see as much different
theater as she can, and so that she figures out
what kind she really wants to do.
Speaker 3 (42:57):
Well, that is such great advice.
Speaker 4 (43:00):
Even say that about like manifesting things be as specific
as possible, because the even with New Year's resolutions, I agree,
I want to get in better shape. Okay, well, how
like let's like let's get more specific. That was like
such great advice. I just I mean, I don't even know.
Speaker 3 (43:20):
What else to say except for that.
Speaker 4 (43:23):
I mean, you've taught at Julliard, you've taught at USC,
you've taught at you know, Oxford, I think you've talked it,
and you've taught at n YU.
Speaker 3 (43:35):
I mean these are all the top of the top.
Speaker 2 (43:38):
Yes, well, you know I'm old. I mean that's you're not.
You know, you know, the things stick around all you
stick around long enough. You know, I was at Oxford
forty years ago. I got my Rhodes scholarship forty years ago.
Feel like another lifetime forty years terrifying.
Speaker 4 (43:55):
No, you look right, and I know how old you
are and you're we're all like in the same age bracket.
Speaker 2 (44:01):
Well you know, hey, you know what? I love what
I do? You want to stay young, you gotta love
what you do?
Speaker 3 (44:06):
Absolutely?
Speaker 4 (44:08):
And is it I mean, is it true when they
say love what you do and the money will follow.
Speaker 2 (44:13):
Yeah, I don't know about that, you know, And I
remember hearing that.
Speaker 3 (44:17):
I'm like, oh, well, so far, I don't know about
the one thing.
Speaker 2 (44:20):
I will love what you do and you won't work
a day in your life, right, Yeah, that's that's really true.
Love what you do and it ain't work. It's fun.
Speaker 3 (44:27):
What play was that from?
Speaker 2 (44:29):
I don't know. Yeah, good question.
Speaker 3 (44:32):
And have you ever done movies? And did you kind
of just.
Speaker 2 (44:35):
I made one movie, I made a short film and
I just didn't didn't dig it, didn't know what I
was doing.
Speaker 3 (44:41):
A whole different things.
Speaker 2 (44:42):
It's so totally different. It's it's it has nothing to
do with the live theater.
Speaker 3 (44:46):
It's very very different, not as exciting.
Speaker 2 (44:49):
I don't know, people love it. You know, Katie makes
Katie's director. She's directed a bunch of films. She loves it.
She loves making films, and and she goes back and
forth from the theater to film.
Speaker 4 (44:58):
It seems like she's like she's like like heading in
more to the theater world.
Speaker 2 (45:04):
Well, she's been doing a lot of but you know,
the thing about her is she's an artist. You know,
she's an artist with a voracious appetite and a real curiosity.
So you know, she she's got this whole life in
fashion where she's doing really creative things in fashion and
in that whole universe. She's a dancer, she's a film director,
she's a writer, she's an actor. She's on stage, she's
(45:26):
on screen. It's amazing she is. She's coming into a
period in her life where I think major creative things
are going to happen, and I'm so happy that she's here.
She's just honored the old Globe and what a thrill
for San Diego. I have this giant star close to her. Yeah,
sort of great, and I you know, she's going to
(45:47):
be doing amazing things in the years I head starting
with this terrific performance in HEADA well.
Speaker 4 (45:52):
Katie Holmes is a huge name. Albacina is a huge name.
Can you just maybe give us a drop a couple
more on our lap?
Speaker 2 (46:00):
You really want me to name drop? Okay? Yeah, so
absolutely so. I directed Uma Thurman in her stage debut
years ago. I directed Gwyneth Paltrow in a Shakespeare play.
That the first thing she did after winning her oscar,
So that was fun. Right after she won her oscar,
she came into Shakespeare. I have had a long relationship
(46:21):
with Steve Martin and pretty much every one of his
theater projects I've been involved with one way or the other. Yeah,
going back, going back thirty years.
Speaker 3 (46:31):
Do you laugh like it?
Speaker 2 (46:35):
Just like he's a genuinely funny human being.
Speaker 4 (46:37):
Like that's like just just sitting here.
Speaker 2 (46:40):
He's just funny, genuinely, genuinely funny and also the nicest,
most generous guy you can ever imagine. Incredible guy.
Speaker 3 (46:48):
Would kind of want to hear about the ones that
aren't so nice, but I'm not.
Speaker 2 (46:51):
Going to do that to you, you know what. I honestly,
in my experience, they are very few. Most of them
are wonderful, you know, because people, they're real artists. Scenarios
are wonderful human beings who care you know. Yeah, I'll
let's see who else. John Taturo Hawk, Mm yeah, Blair Underwood,
(47:12):
Richard Thomas, Oh my god, yeah, lots of people.
Speaker 3 (47:15):
That's oh, that's it, okay, whatever, what see?
Speaker 4 (47:19):
We are sitting with actual theater royalty like like in
so many ways.
Speaker 2 (47:26):
I don't know about that. It's the old Globe, that's
the that's the royal place. I'm just the happy guy
who gets to sit in the chair for a period
of time.
Speaker 3 (47:32):
The old Globe dot Org.
Speaker 4 (47:36):
I don't know if U is Dave Henson, the the
pr MAR marketing is sitting here, and I don't know
if they are still able to use our little code
for the handling fees.
Speaker 3 (47:52):
I don't know. I don't know.
Speaker 4 (47:53):
What do you think are footing on the spot. If
they want to buy, we can figure it out. We
will announce it. We all know on our Thursday show.
When you buy tickets, you might, you know, get a
little break if you.
Speaker 3 (48:05):
Put in a coat.
Speaker 4 (48:06):
Maybe that was pre sale, but but I know that
I want.
Speaker 3 (48:11):
I want to see all you guys there. Eric and
I are going to be there. We probably a couple time.
Speaker 2 (48:16):
Let me know when you're going to be there so
I can say hi.
Speaker 3 (48:18):
Oh my god, wow, did you come out at the end,
and like.
Speaker 2 (48:21):
No, no, no, no, but I'm there a lot. No,
I don't come out, No, but I'm there a lot,
you know, because it's fun. I love being there.
Speaker 3 (48:27):
Are you like up in a booth somewhere like, no,
we're the headphones.
Speaker 2 (48:30):
Sitting in the audience everything.
Speaker 3 (48:33):
Yeah, I'm going to point you out. I'm going to
show in my.
Speaker 2 (48:36):
Life sitting in the audience. And the way it works
is so uh, when I'm watching the show, I see
things that I want to change tomorrow, right, So you
take notes and then the next day you bring the
actors together for a note session. But the way we
do it in the theater is I sit with an
assistant and I dictate my notes to the assistant because
(48:59):
I if I if I take my eyes off the
stage to write something down, I'll miss something. So the
director sits with an assistant. Sometimes they'll have a laptop
on night mode and just type quietly. Sometimes they'll have
a pad and write it out. And so you're constantly
leaning over and going, she should wait, she should wait
before she makes that move, and and I always say
(49:21):
to the people sitting in front of me and behind me. Hi,
I'm the director. I'm going to be whispering. I'm sorry.
I really don't want to.
Speaker 3 (49:28):
I'm kind of a big deal.
Speaker 2 (49:29):
I'm writing notes and people are generally pretty cool.
Speaker 4 (49:32):
They are, they are, Oh my gosh, Well, it has
been like such an incredible pleasure to have you.
Speaker 3 (49:40):
I could talk to you, my gosh all night.
Speaker 2 (49:43):
I've enjoyed every second of it. Happy to be here
in your beautiful house and welcoming me so warmly. Thank you.
Speaker 4 (49:52):
You know, it's so funny, like we had kind of
a flood in our back patio, so all our patio
frenchure is like on our walkway.
Speaker 3 (49:58):
And so I had to warn them before. I was
so nervous something. He's the artistic director.
Speaker 4 (50:03):
He's going to come walking and going, okay, am I
in a hoarder's house, Sanford and Son anybody.
Speaker 2 (50:08):
No, not in the least. I watched that too, that
was on alongside Yeah f Troop true, so I know
the reference.
Speaker 4 (50:17):
Oh yeah, well, okay, it's the old Globe dot org everybody,
and now you do not want to miss this season.
Speaker 3 (50:25):
And again, Train's gonna be writing music for begin again,
which is coming up? When is that?
Speaker 2 (50:30):
Froming September?
Speaker 3 (50:31):
September.
Speaker 4 (50:33):
In the meantime, there's all those Oh my gosh, it's
just such a great variety of shows, something for everyone.
Let's all start off and see head starting on February.
Speaker 2 (50:45):
Twelfth, February seventh.
Speaker 3 (50:46):
I know, but isn't that for like special people?
Speaker 2 (50:48):
No previews February seventh, opening night February twelve, so people like.
Speaker 3 (50:53):
Yeah, so we can okay, yeah, well heck I want to.
Speaker 2 (50:57):
Be the one see it more than once. I plan to.
Speaker 3 (51:01):
I plan to.
Speaker 4 (51:03):
Is there anything you want to say to anybody before you?
You go and go to sleep so you can get
up tomorrow morning.
Speaker 2 (51:10):
And I'm just so grateful for everybody's interest. You know,
check out Live Theater. It's magical and special and if
you're near San Diego, it's a great theater town. And
if you're not near San Diego, go to your local
professional theater company and check it out.
Speaker 3 (51:22):
Awesome.
Speaker 4 (51:23):
Thank you so much, very nesty, Thank you our dist
director of the Old Globe.
Speaker 3 (51:28):
You will see you.
Speaker 2 (51:29):
Thank you.
Speaker 3 (51:30):
Oh I don't do that.
Speaker 2 (51:31):
I do do that.
Speaker 3 (51:33):
That's nice.
Speaker 2 (51:33):
Lucky me.
Speaker 3 (51:34):
You've got that cough and everything but I'm not gonna
worry about that now.
Speaker 2 (51:36):
I'm fine.
Speaker 4 (51:37):
I know your doctor cleared you. Okay, we say something
at the end of World Podcast. I'll see it first,
then you say it, and then Eric will say it's
really easy.
Speaker 3 (51:46):
That's how we sign off. Okay, thank you so much
for listening and watching.
Speaker 4 (51:50):
This has been such a great episode and I'm just
so thrilled and love your podcast.
Speaker 2 (51:57):
Love your podcast, love your part, love your podcast.
Speaker 3 (52:00):
Ah, I love you, my sleep babies. Bye, everybody.
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