Writer

Jack Canfora Continues to Learn as a Playwright, Even From His Critics

Writing is by its very nature, a solitary practice. Whether with pen and paper or in front of a computer screen, it is generally time spent alone, creating a world of characters and stories. Acting, on the other hand is generally a collaborative and shared effort in bringing those characters and stories to life. Psychologist Marti Olsen Laney says that writing and speaking use different pathways in the brain. Extroverts tend to speak more easily in front of others, while the writing pathways simply seem to flow more fluently and easily for introverts. So it is always a unique combination when a playwright becomes an actor or vice versa.
Jack began his theater career as an actor, but now primarily writes plays like Jericho and Poetic License, both critically-praised works for their dialogue. In our conversation, we talk about these two plays as well as some of the hard lessons he’s learned in producing plays in general. We also discuss the parallels between acting and writing, and how each one has helped improve the other. But like any creative endeavor, it’s a back-and-forth process of elimination, that includes being able to take feedback and comments. So with this episode I’m going to start sharing comments I get from listeners like you. Because whether its podcasting or playwriting, it’s important to highlight and expand upon what works and either improve or outright eliminate what doesn’t.
 
Timeline of this episode's conversation:
03:00 - Jack's start in playwriting 
07:47 - Story #1: Learning from a harsh but accurate NY Times review
17:56 - Story #2: A high-profile play reading that didn't go as Jack had hoped 
22:57 - The collaborative nature of playwriting
27:46 - Story #3: Jack's major stumble as an actor...in his own play
33:17 - Working with directors as a playwright (and actor)
 
 
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If you wanna listen to our full conversations with guests as well as get early access to episodes from now on, then become a monthly or yearly subscriber to Why I’ll Never Make It. Though producing this podcast is rewarding in its own way, I’m essentially a one-man operation, and it is both costly and time-intensive to put together each episode. So for just $5-10/month you’ll not only support these podcasting efforts, but you’ll also get to access to these extended conversations and other bonus content. Your financial support of this podcast is greatly appreciated:
Subscribe as a WINMI Producer to get early access and bonus content  
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If you'd like to support, but have limited funds to do so, then contact me directly for access to the bonus content.
 
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Why I’ll Never Make It is an award-winning, Top 25 Theater Podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones, and it is a production of WINMI Media, LLC. Background music in this episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.

Michael Kushner Embraces and Defends the Multi-Hyphenate Performing Artist

There was a study that came out the year before the pandemic called “Quantifying and Predicting Success in Show Business.” It starts off by saying that the unemployment rate for actors hovers around 90% —now, this was before Covid, when unemployment shot up to 100% for all actors. More recent statistics, however, show us bouncing back with about 85% of actors unemployed at any given time, while only 12.08% earn more than $1000 a year. Now, any actor who’s been around for a while has probably heard these doomsday numbers before. But if there’s one thing I hope that you’ve gathered from listening to this podcast, is that “making it” can mean many different things, and it can happen in any number of ways. This is why being a multi-hyphenate can be extremely beneficial, not only for us professionally but personally as well.
Michael Kushner is an expert at multi-hyphenating—he's producer, director, podcaster, actor, photographer, and educator. Earlier this year he added author to that list, when he released his first book titled How to Be a Multi-Hyphenate in the Theatre Business. It’s full of conversations, advice, and tips from his wonderful podcast called Dear Multi-Hyphenate. More importantly, though, he’s the partner, and soon to be husband of another former guest of this podcast, Remy Germinario, and so it’s great to bring Michael here to talk about his own career—the challenges he’s faced in figuring out its many paths and what it’s taught him about his own value and worth as an artist. 
Timeline of this episode's conversation, including the bonus segments:
03:17 - Michael and Patrick discuss his upcoming marriage 
4:26 - Story #1: Almost making his New York City debut
14:07 - Story #2: The long-term effect of Covid on his life and work
20:16 - How Michael juggles all the various jobs he has 
29:25 - Story #3: Why people think he's given up acting (even though he hasn't)
36:53 - Creating and producing his own one-man show
43:32 - What led him to write a book about being a multi-hyphenate
49:36 - Bonus Segment: Michael's audition story for 13 the Musical on Broadway
53:49 - Bonus Segment: Michael answering the Final Five questions
 
 
Subscribe to WINMI
If you wanna get the full conversations of previous and future episodes (which include Audition Stories and the Final Five questions) as well as get early access to these episodes without pesky promotions, then become a monthly or yearly subscriber to Why I’ll Never Make It. Though producing this podcast is rewarding in its own way, I’m essentially a one-man operation, and it is both costly and time-intensive to put together each episode. So for just $5-10/month you’ll not only support these podcasting efforts, but you’ll also get to access to these extended conversations and other bonus content. Your financial support of this podcast is greatly appreciated:
Subscribe as a WINMI Producer to get early access and bonus content  
Make a one-time Donation to support transcripts and podcast production
If you'd like to support, but have limited funds to do so, then contact me directly for easier access to the bonus content.
 
Follow WINMI: Website | Instagram | Twitter | YouTube
----------
Why I’ll Never Make It is an award-winning, Top 25 Theater Podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones, and it is a production of WINMI Media, LLC. Background music in this episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.

Simon Tam and The Slants Battle Asian Stereotypes and the Supreme Court

During the past 30 years there’s been a growing list of pop and rock musicians trying their hand at musical theater. And they range in style and scope from artists like Cindy Lauper, Dolly Parton, and Elton John to rock bands like The Who, Green Day, and The Go-Go’s. Well, today’s guest has been venturing into musical theater and is from a band you may not have heard of, but their name is certainly one you’re not likely to forget: The Slants.
Simon Tam, founder and bassist of the all-Asian rock band, has recently begun a transition from rock star to musical writer, and he shares why this new artistic endeavor is so important to him. But his path up till now has taken some surprising turns...
We talk about the bullying he faced as a child just because he’s Chinese. He gives the reasons why he and the band turned down not one but two million-dollar contracts. And then there's the famous eight-year trademark battle that ultimately landed him and the band’s name at the Supreme Court. It’s what has branded Simon as a Troublemaker -- a name he now wears as a badge of honor.
Timeline of this episode and relevant weblinks:
01:49 - Welcome and Simon talks about the impact of theater
06:11 - Story #1: Being bullied at a young age
10:03 - Asian racism and his parent's struggles
14:28 - Story #2: The trademark battle and the Supreme Court
24:15 - The impact of the court case on the band
33:51 - Story #3: Turning down million-dollar contracts
46:29 - An NPR feature that put The Slants on the map
48:52 - The growth and reach of The Slants Foundation
 
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Stop Bullying
Bullying has been part of school, and even workplaces, for years. Sometimes it involves physical attacks and intimidation or verbal attacks like what Simon had to deal with when he was young (name calling, teasing, and taunting). But it can also be indirect, such as spreading rumors or trying to make others reject someone. More recently, though, technology and social media have created a new venue for bullying that has expanded its reach. Cyberbullying happens online like YouTube, Instagram, and Snapchat, where bullies can send hurtful, ongoing messages 24 hours a day. Adult bullying is a thing, too. 
Preventing and stopping bullying involves a commitment to creating a safe environment where children can thrive, socially and academically, without being afraid. The same can be said of theaters, rehearsal rooms, on-set, and backstage as well and the importance of providing dependable, non-toxic conditions to do the best work possible. Studies done from the early 2000s found that 30 percent of Americans will be bullied over the course of their careers. 
 
 
Audition Story
The Slants took band membership very seriously, and Simon used to make candidates applying for my band fill out a 4 page questionnaire, then audition on stage in an empty venue while being filmed. With a monthly or yearly subscription you not only help WINMI Podcast production, but you also get to listen to more in-depth and behind-the-scenes stories like this one -- all on your favorite podcast app. Become a WINMI Producer today!
The Slants Foundation
In 2018, members of Asian-American dance rock band The Slants decided to expand their cultural work by using their platform, resources, and experience to better serve the community. This nonprofit organization is dedicated to changing culture using arts and activism. They seek to amplify underrepresented voices, especially those within the Asian-American community and those addressing controversial and timely issues through a social justice lens. If you're an AAPI artist or what to join their cause, please learn more about The Slants Foundation.
 
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Why I’ll Never Make It is an award-winning, Top 25 Theater Podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones, and it is a production of WINMI Media, LLC. Background music in this episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.
 

Joe DiPietro and How Theater Has Made a Difference in His Own Life and Others

For the past 23 years, a non-profit theater company called Only Make Believe has been creating and performing live in-person and virtual interactive theater for children in hospitals, care facilities, and special education programs. It started here in New York City but has since opened an office Washington, DC with some outreach in other cities as well. In the next episode you’ll hear an encore presentation of my conversation with founder Dena Hammerstein. But for today, I’m sitting down with one of the board members and the director of their annual gala, who has known Dena and OMB since its inception.
Joe DiPietro is certainly no stranger to theater and has been writing for the stage since 1991. His musicals and plays have received multiple awards and nominations on and off-Broadway, including Memphis starring Montego Glover and All Shook Up with Cheyenne Jackson. He talks about these two talented performers and shares his affection for Only Make Believe.
We also get into two of his most recent Broadway shows: Diana, the Musical and Living on Love, his lone Broadway play so far (starring former WINMI guest Douglas Sills). Both shows had their own challenges coming to and surviving on Broadway. In fact, Diana filmed their stage production for Netflix during the Covid shutdown, and that movie notoriously went on to win Golden Raspberry Awards for Worst Screenplay and Worst Picture, among others. But Joe takes it all in stride and shares with us not only his passion for theater but also what has kept him going through the ups and downs.
You can support Why I’ll Never Make It as well through Subscriptions or Donations.
03:02 - Joe's introduction to theater
05:30 - Only Make Believe and its mission
13:58 - Montego Glover and Cheyenne Jackson
19:32 - How you can help OMB and WINMI
21:37 - Diana, the Musical
34:31 - Living on Love
45:16 - His theater writing process
 
Staying cooped up anywhere can be difficult for anyone, but facing the four walls of a hospital room 24/7 can be especially tough -- draining even. For more than 20 years, Only Make Believe has brought happiness to thousands of children in hospitals and care facilities in New York City and the DC area through live interactive theater. To date, approximately 95,000 children have been impacted by OMB’s services, and that number continues to grow each year.
Because OMB knows that “freeing a child’s imagination is a valuable part of the healing process,” the organization works with a team of professional actors to provide interactive theater for sick children using nothing by a backdrop, along with a supply of props, costumes and imagination, of course.
What happens next is quite magical to say the least. By the end of an OMB show, the same children who were having the worst day imaginable and didn’t intend on participating are dancing, laughing and having fun. Professional actor Chris Wilson, who has since gone on to become OMB's Director of Programming & Communications, calls days like this a job well done. “Only Make Believe allows theater to become a truly immersive experience. The actors transform the space, interact with the audience, and adjust the show to the needs of each group of children,” Wilson said. “I am a firm believer that the performing arts have the ability to allow children to think and grasp concepts in a different way.”
Learn more about Only Make Believe and how you can help.
 
The 2022 Only Make Believe Gala
Join OMB as they celebrate those who inspire us with their dedication to philanthropy and raise funds to support our interactive theatre programming in hospitals, care facilities, and schools with special education programs. They have garnered so much the support for their virtual & hybrid galas over the past 2 years, and are certainly ecstatic to be BACK ON BROADWAY in person with former WINMI guests like Brad Oscar and Kathryn Allison. Only Make Believe's annual gala has earned a reputation as New York’s most entertaining and unique charity event of the season! 
 

Marc Acito and the Steep Learning Curve from Theater Writer to Filmmaker

Sometime before the pandemic, I auditioned for a small off-Broadway production of the Lerner and Loewe musical The Day Before Spring. It was at the York Theater, which is known for reviving or refreshing older musicals that may not be done very much. I wasn’t cast in that particular production, and like most failed auditions I put it out of my mind as soon as it was done. But I do remember the director behind the table, and so I finally reached out to bring him onto the podcast.
Marc Acito is a playwright, novelist, and director. He talks about the work that he does in adapting older shows or contemporary works, bringing fresh set of eyes and perspective to creative process. Marc is also a writer of his own work from plays like Bastard Jones and novels including How I Paid for College: A Novel of Sex, Theft, Friendship and Musical Theater to short films like Mad/Woman. And through each of these mediums, he’s had his stumbles and failures, but he’d be the first to tell you how grateful he is for those lessons learned. 
Learn more about WINMI Podcast at whyillnevermakeit.com 
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Why I’ll Never Make It is hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a Top 25 Theater Podcast on Feedspot and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance. 
Background music in the episode by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License.
 
 
MAD / WOMAN
Storm Large mostly writes about two subjects: female empowerment and mental illness. Applying her songs to Charlotte Perkins Gilman's feminist classic "The Yellow Wallpaper" felt as if they were written for the material. Storm and I bonded in 2007 over the shared experiences of being just commercial enough for everyone to wonder why we weren't more successful and just alternative enough to sabotage ourselves. Perhaps not coincidentally, we both survived mentally ill mothers. At least twice mine woke up in a pool of her own blood after being beaten senseless by a raging boyfriend.
Because I wanted to create a subjective experience as liberated from the male gaze as possible, hiring an all-female crew proved essential. Their and Storm's input influenced innumerable decisions I never would have had the insight nor courage to make. I'll be forever grateful to them as well as the diverse group of post-production artists who essentially served as my film school for my filmmaking debut.
Watch it on Film Freeway 
 
Final Five with Marc Acito
After this main conversation, Marc stuck around to answer the five final questions. He shares his definition of "making it" as well as what keeps most Broadway shows from doing the same. He also discusses minimum wage, happy marriages, and one of the best theater people around, Andre DeShields. Read it all on the WINMI Blog.
Follow Marc: Website | LinkedIn 
 

Steve Harper Talks About Non-Traditional Casting & Writing for Superheroes Like Stargirl

One of the themes of this podcast has been actors figuring out ways to be successful, even when the industry isn’t making that path an easy one. It can require to go beyond our actor training and discover new and hidden talents within ourselves as we forge new paths or even new careers.
Steve Harper is an actor, writer, and producer of the stage and screen. He shares his own real life actor’s nightmare in a Shakespeare production in Cincinnati. But we also discuss how he found himself without a plentiful array of shows and roles he could connect with, so he began writing and producing theater, which in turn led him into television and writing for superheroes like Stargirl as well.
We talk about the collaborative process of TV writing versus his singular process of writing for theater. He has a new collection of his short plays recently published that leads us into a delicate yet important conversation of race and non-traditional casting and what it means to be a black actor in theater. 
Learn more about WINMI Podcast at whyillnevermakeit.com 
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A Few Short Plays to Save the World by Steve Harper
With a focus on inclusivity, humor, and insight, Harper brings current subjects to light in an enduring and entertaining way, much in the same way that his work does writing and producing for TV shows such as the CW’s “Stargirl”, “God Friended Me” and ABC’s “American Crime”. 
The plays were originally performed at theaters such as The American Airlines Theater on Broadway, The John Houseman Studio (NYC), New Jersey’s Vivid Stage, The American Theater Company (Chicago), Baltimore Playwrights Festival, Northwestern University’s Wirtz Center and The Falcon Theater in L.A. (NBC Universal) to name a few.  
Buy it on Amazon or at a book shop near you.
 
Follow Steve: Website / YouTube / Twitter / IMDB 
 
 

Andrew Lippa Shares Disappointments and Lessons Learned as a Broadway Composer & Lyricist (REWIND)

Back in the summer of 2020, the lockdowns were in full swing, there was so much uncertainty around Covid and what the pandemic would mean for the arts, and there was a new Netflix docuseries everyone was talking about, a little show called Tiger King. Well, in the midst of all that I sat down with composer and lyricist Andrew Lippa. He talked about a few of his bigger profile shows like The Addams Family, Big Fish, and of course The Wild Party as well as a Tiger King parody he did with Kristin Chenoweth.
We discuss the years of writing and rewriting he's put into his various shows as well as the challenges and big budgets that come with creating a Broadway musical—something that I have seen firsthand this summer with Anne of Green Gables and its continuing creative journey. So join me as I take a look back at this insightful and honest conversation with my friend and fellow artist Andrew Lippa. (Recorded April 8, 2020)
Website - https://andrewlippa.com
Twitter - https://twitter.com/lippaofficial
Instagram - https://www.instagram.com/lippaandrew
Recent shows: The Man in the Ceiling, I Am Harvey Milk, Unbreakable
Join Why I’ll Never Make It as a monthly supporterto get access to Bonus Episodes and also check out WINMI's YouTube Channel.
 
Thank you for your continued understanding through Anne of Green Gables rehearsals and performances here at Goodspeed in Connecticut. Due to limited time and resources I'm not able to to get out a new episode each week, but I hope you're enjoying the smaller bonus episodes and encore interviews like this one. 
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Gina Harris Finds Magic in the Ordinary Things of Life and Theater

In the previous episode, I spoke with a musical writing team about their process of writing a full show for the stage with a cast and creative team bringing their story to life. But in today’s episode I’m speaking with a singular artist about her one-woman show and the long journey it took to go from thoughts and ideas in her head to an actual production and a dramatic podcast as well.
Gina Harris has performed in theaters and jazz clubs in New York, Los Angeles, and San Francisco. She’s a veteran of the famous improv group The Groundlings and had a leading role in the Broadway and national touring productions of Beethoven’s Tenth. A show that you’ve probably never heard of, and Gina will share with us why that is.
But she also talks about dealing with the loss of her parents and mentor, what led her to write a one-woman musical called The Magic of Ordinary Things, even though she’d never written a song before in her life, and how she went through 10 different directors before finally finding the right person to guide her creative efforts.
Learn more about Why I’ll Never Make It at whyillnevermakeit.com 
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Donate to the production efforts in making this podcast
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The Magic of Ordinary Things (stage show and podcast)
How do you go on when the people you love die? If you could see them one more time, what would you say? What would you want to hear?
Well, Gina Harris got the chance. The Magic of Ordinary Things is a musical memoir — a theatre piece, a dream, a Sufi Tale with original music.  It tells the story of how moments missed and things once taken for granted become the stepping stones to a new life. It reminds us that it's never too late.
Written and performed by Gina Harris • Directed by Michael French
 
Final Five Questions with Gina Harris
After our conversation on the inspirations and struggles of creating her one-woman show, Gina answered five final questions on the inspirations and advice he's received throughout her time in theater. You'll find her answers and more on the WINMI Blog.
Follow Gina: Website | Instagram | YouTube
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