EPISODE · Oct 5, 2009 · 1H
Daryl Roth (#237) - October, 2009
from ATW - Downstage Center · host American Theatre Wing
Producer Daryl Roth (winner of the Tony for Proof, The Goat or Who is Sylvia? and August: Osage County), talks about her current and upcoming projects, including the Off-Broadway plays Vigil, The Temperamentals and Love, Loss and What I Wore. She also discusses how she plunged into producing with Maltby and Shire's Closer Than Ever, after having been solely a member of the audience up to that point; her ongoing partnership with producer Elizabeth McCann on the plays of Edward Albee (Three Tall Women, The Goat, Who's Afraid of Virginia Woolf?); her relationships with a number of not-for-profit theatre companies, notably the Manhattan Theatre Club; how she finds plays and what factors into her decisions on what to produce; what it's like to be both a theatre owner and an independent producer; how she varies her role from being lead producer to being "part of the team" from project to project; the show she most wishes she'd been a part of; the impact of getting letters from members of the audience, and which show of hers generated the most mail; how Wit was prevented from playing on Broadway; the painful decisions that led to closing The Mambo Kings out-of-town; and how she feels about starting a theatrical dynasty now that her son Jordan is heading Jujamcyn Theatres.
What this episode covers
Producer Daryl Roth (winner of the Tony for Proof, The Goat or Who is Sylvia? and August: Osage County), talks about her current and upcoming projects, including the Off-Broadway plays Vigil, The Temperamentals and Love, Loss and What I Wore. She also discusses how she plunged into producing with Maltby and Shire's Closer Than Ever, after having been solely a member of the audience up to that point; her ongoing partnership with producer Elizabeth McCann on the plays of Edward Albee (Three Tall Women, The Goat, Who's Afraid of Virginia Woolf?); her relationships with a number of not-for-profit theatre companies, notably the Manhattan Theatre Club; how she finds plays and what factors into her decisions on what to produce; what it's like to be both a theatre owner and an independent producer; how she varies her role from being lead producer to being "part of the team" from project to project; the show she most wishes she'd been a part of; the impact of getting letters from members of the audience, and which show of hers generated the most mail; how Wit was prevented from playing on Broadway; the painful decisions that led to closing The Mambo Kings out-of-town; and how she feels about starting a theatrical dynasty now that her son Jordan is heading Jujamcyn Theatres.
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Daryl Roth (#237) - October, 2009
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