Inside A MOON FOR THE MISBEGOTTEN: An Outsiders View

Sheryl Mos takes us on a journey with Victor Raider-Wexler through his career and his preparation for playing Phil Hogan in KCAT’s A MOON FOR THE MISBEGOTTEN.

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Inside A MOON FOR THE MISBEGOTTEN: Ashley Pankow and Keeping O’Neill Relatable

She doesn’t see herself as undesirable; constantly comparing herself to what society says she should be, longing for a better life, and wanting to be forgiven and loved for who she really is. What woman doesn’t see herself as Josie at some point?”

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Inside BLITHE SPIRIT – Building a House for Both Comedy and Ghosts

It seemed like everyone I talked to about it told me a story about the time they designed it, or asked how I was planning to do this trick, or if I had thought about doing this thing.

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Inside BLITHE SPIRIT: Directing Coward

Director Doug Weaver takes us inside his vision for BLITHE SPIRIT at Kansas City Actors Theatre.

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Inside SKYLIGHT: Planning a Food Journey
PerformInk takes you inside Kansas City Actors Theatre’s production of SKYLIGHT through blog posts written by the people behind the scenes. To read past “Inside” articles click here. By Elizabeth Sampley I am normally a Stage Manager, put love to do Props Design on the side. Our director, Darren Sextro,... Read more
Inside SKYLIGHT: Personal Connections with Katie Karel

Since my first encounter with this play, my life has taken an absurd amount of turns.

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Inside ONCE ON THIS ISLAND: Where Do I Belong?

It was a struggle, to be frank, and as I tried to find my connection to the character, little did I know how identifiable his life was to mine. Never quite feeling as if I belonged to a group of Black people or to a group of White people.

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Inside ONCE ON THIS ISLAND: Disovering Ti Moune

I must admit I did not know much about Ti Moune, except that she is a young Caribbean islander and I am a young-ish American with a Midwestern, newscaster, accent.

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Inside ONCE ON THIS ISLAND: Choreography and Understanding

Once on this Island requires a rather close collaboration between director and choreographer, perhaps even more so than many musicals since the piece is essentially wall-to-wall music.

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Inside FULL GALLOP: “What Is It Exactly, That You Do?”

“What is it, exactly, that you do?” That, or some variation, is the question I get asked the most. What does a director do? Every other job in the theater is easy to define.

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