Off Book - A Podcast By The Young Vic

Stage royalty, Sharon D. Clarke speaks to Off Book about her role as Linda Loman, her journey into Theatre and what it meant to her to win the Olivier Award for Best Actress in a Musical. Sharon also shares an insight into what it's like rehearsing Blues In the Night and performing Death of a Salesman and the importance of having a family of good people around you. Off Book is a podcast from Young Vic where we shine a light on the creatives that are inspiring us and a candid discussion about their career so far.

Wendell Pierce first visited London over 40 years ago, what does it mean to make his London debut and join the select group who have played Willy Loman in 'the American Hamlet' Arthur Miller's Death of a Salesman. Wendell talks about his first steps into Theatre, navigating through the industry and how political activism is a part of his identity as an artist. Off Book is a podcast from Young Vic where we shine a light on the creatives that are inspiring us and a candid discussion about their career so far.

Multi award winning Writer, Actor and Performer Emma Dennis-Edwards talks to Off Book about her new play The American Dream 2.0, a politically charged dystopian play about hope, idealism and humanity. Off Book is a podcast from Young Vic where we shine a light on the creatives that are inspiring us and a candid discussion about their career so far.

Director of Danai Gurira's The Convert, Ola Ince joins us as the first director to return to our tiny recording studio. We caught up on the very busy two and a half years Ola has had since she was last on Off Book where she spoke about her Genesis show, The Dutchman by Amiri Baraka. Naturally, Dan and Ola talk about the current YV main house show, The Convert based in what is now Zimbabwe in the late 1800s. Ola talks about how Gurira's text explores what it means to indoctrinate and colonise people and discusses how the creative team and cast work with the audience's big reactions to the show. We cover Ola's time spent as Associate Director for Tina the Musical and the development of 2017's Start Swimming with James Fritz and the YV's Taking Part team. Ola also talked to Dan about her recent Royal Court production Poet in Da Corner, a grime musical featuring Debris Stevenson and how they wanted to ensure they represented Grime as an art form, as well as broadly how power is addressed and feeds into to l

Writer, director, actor, musician and YV’s artistic director - Kwame Kwame Kwei-Armah joins Dan in the studio to talk about his return to London after 7 years in the US, and his most recent musical foray into Shakespeare with Twelfth Night. They chat about upcoming production of The Convert written by Danai Gurira and starring her Black Panther co-star Letitia Wright, alongside Kwame’s ongoing digital projects including My England, a response to his perceived changes in living in England since his childhood in Southall. We also talk about the upcoming 2019 Season, with shows including creatives Idris Elba, Marianne Elliot, and Yael Faber, and the incredible acting talents of Sharon D. Clarke, Arinzé Kene and Wendell Pierce.

This month, Dan de la Motte was joined in the old YV stationary cupboard by stage icon, Jenna Russell. We hear how Sylvia Young was integral to giving teenage Jenna a start in theatre and a way out of 'normal' schooling, as well as talking about her successes later in life in productions such as Grey Gardens, Into The Woods and of course, Sam Gold's production of Fun Home at the Young Vic.

Debbie Hannan, Genesis Future Director Award Winner and recent director of Naomi Wallace's Things of Dry Hours joined us for a chat this month. We discuss what initially got her interested in theatre whilst "being an incredibly bossy child with large imagination" and the early influences of the Fringe Festival, as well as her journey from the suburbs of Edinburgh to the Young Vic Stage via the Royal Conservatoire of Scotland and the Royal Court. Debbie also discusses what self identifying as a working class director means in today's industry, as well as her approach to Things of Dry Hours; acknowledging and interrogating "who has the right to tell what story and how" and being a white director directing a story set in 1930s Alabama in which race is so integral.

Guest host, comedian and podcaster Sofie Hagen is joined by Alison Bechdel, the cartoonist who wrote the graphic novel Fun Home for a special Off Book episode. Alison and Sofie discuss Alison's the graphic novel, the autobiographical coming of age and coming out story that delves into her childhood memories and her relationship with her father. They also talk about the musical's role for queer audiences to be seen and represented on stage as well as why Alison chose drawing cartoons as a means of artistic expression as well as storing and processing memories.

The Brothers Size writer and Oscar winner Tarell Alvin McCraney joined us in Feb 2018 during the revival of the Young Vic's production of his play, The Brothers Size, directed by Bijan Sheibani. Tarell discusses his Brother/Sister trilogy of plays and how he came to write these incredibly powerful shows after originally starting out as an actor and later collaborating with Peter Brook and David Lan and working at the RSC. He also explores what it meant to train as an 'artist' and how you learn to express yourself and find your voice. And of course we also discuss Moonlight and *that* suit at the Oscars and if fame has changed who he works with or how he works. Tarell also discusses why teaching has always been an important part of what he does, starting aged 12 supporting his peers at school to his classes and programs of high school and college students.

Having worked back to back on The Jungle and The Inheritance at the Young Vic, Justin Martin, long-time collaborator with Stephen Daldry, spoke to us about his "14 year conversation" with the Oscar nominated director and his career to date making "theatre that's necessary" and getting his work "off the arts pages...and finding yourself part of the national conversation". An Australian native, Justin talks through his first experiences with theatre between his early musicals and trying to break down his family's comic timing. Justin also discusses taking Billy Elliot to the US, developing The Jungle with Stephen Daldry and Joe Robinson and Joe Murphy and the differences between directing for theatre and his work as associate director on Netflix's The Crown and The Inheritance at the Young Vic.

Writer of The Inheritance, Matthew Lopez joins us to discuss his hilarious and profound heart-breaking play in two parts, directed by Stephen Daldry. Matthew discusses everything from his upbringing in the Florida panhandle and seeing Peter Pan on broadway to his aunt's Tony award and writing about a community and safe spaces in The Whipping Man. We also deep dive into the issues from The Inheritance, writing from personal experience and casting straight men as gay characters.

“We should be thinking about the totality of people’s experience” The Young Vic’s Artistic Director, David Lan spoke to us about well, everything. And in a beautiful twist of fate we happened to chat on the 18th anniversary of him starting the role. We cover his politicised upbringing growing up in Cape Town as a second generation Eastern European migrant, his first forays into theatre and the arts, his move to the UK in the 70s and how the London theatre scene has changed for the better. David names a few of his favourite productions from his tenure and how he’s balanced his time producing shows, leading a team of over 50 people and ensuring the artistic and financial success of the Young Vic.

Olivier Award-winner Juliet Stevenson joins us this week following her recent production of Wings at the Young Vic. Juliet discusses her recent performances in Wings, Happy Days and Hamlet, the limitations still faced by women in theatre, and her activism and response to the refugee crisis.

Nancy Medina, Genesis Future Director Award winner and director of Yellowman joins us this week. Nancy discusses directing Dael Orlandersmith's Pulitzer nominated play and their conversations ahead of it coming to the Young Vic, how growing up in Brooklyn influenced Nancy's work and what being a director of colour is like in 2017. We'd also recommend you stick around 'til the very end to catch a little surprise from a special guest.

Natalie Abrahami got her theatre break as the Royal Court Graduate Trainee, before winning the JMK Award at Battersea Arts Centre in 2005. A spell at the Gate theatre followed, and then associate director at the Young Vic. Natalie spoke to us about these experiences, the difference between directing for stage and screen, embedding sustainability into theatre making, as well as her friendship with Juliet Stevenson, and their current production of Wings at the Young Vic.

"The goal is to get to the age of 80 and not be bruised by the experience" JMK Award Winner 2017, former Fat Git and My Name is Rachel Corrie director Josh Roche chatted to us about his first forays into theatre from Tunbridge Wells and Warwick and beyond. Josh also discussed his optimism about millennials, why it's so important to be persistent as a director as well as the importance of political theatre. Enjoy the podcast? Let us know on Twitter, @youngvictheatre and leave us a review on Souncloud, iTunes or wherever you listen to your podcasts.

Theatre maker and Dramaturg Zoë Svendsen joined us earlier in 2017 to discuss the important role dramaturgy plays in theatre and how she discovered dramaturgy was part of what she wanted to do. Zoë discusses the Berlin theatre scene and recent productions at the YV with Joe Hill-Gibbins; Measure for Measure and A Midsummer Night's Dream. We also hear about the development of Shakespearonomics with journalist an economist Paul Mason. Let us know what you think of Off Book by sending us a tweet (twitter.com/youngvictheatre) and leave a review on iTunes or some love on Soundcloud.

Performer and Artistic Director of Riksteatern in Sweden, Josette Bushell-Mingo OBE joins us to discuss her journey from London's East End to Stockholm. We talk about how whether the arts is in a better and more diverse place than when Josette launched PUSH festival in 2000 which promoted black theatre, how Nina Simone became her "GPS" and how important the education and delivery of her production, Nina: A story about me and Nina Simone in particular is so important to its staging. Let us know what you think of our quick fire round by sending us a tweet (twitter.com/youngvictheatre) and leave us a review on iTunes or some love on Soundcloud.

Taio Lawson's relationship with the Young Vic started when he visited as a school kid and watched someone fry an egg on stage in The Three Musketeers. Nearly 17 years later he's worked on Matthew Xia's production of Sizwe Banzi is Dead and is currently the Jerwood Assistant Director to Joe Wright on his production of Bertolt Brecht's Life of Galileo. From his first theatre company, Metal Mouth to The Brit School and studying Anthropology at university, Taio talks about why Prince and Ultz are some of the most influential people on his career to date, how he approaches working as a director and how that differs to when he's assisting others as well as why he always takes a tooth brush into every rehearsal room. This episode features a short snippet of Joss Ryan's Digital Love for a new feature and if you've got a pretty sweet sound set up you might even catch the bass line from Tom Rowland's music from Life of Galileo going on in the Main House during the recording. Let us know what you think of our quick fi

British film and theatre director Joe Wright came in this month to discuss his return to the Young Vic with Brecht's Life of Galileo following his 2013 production of Season in the Congo. We discuss Joe's early life spent working at the family's Little Angel Theatre and how that's shaped both his film and theatre work to date, as well as how he accidentally fell into directing period dramas after planning to do gritty social realistic films. We also cover Life of Galileo's exciting creative collaborations and the differences between directing for film and theatre.