On May 15, 2017, Broad Street Review, in cooperation with the University of the Arts' Corzo Center for the Creative Economy and with support from the Philadelphia Cultural Fund, hosted a panel discussion titled Arts Funding: Who Should Pay? Initially, the discussion was supposed to examine funding in light of impending cuts to the federal arts budget; surprisingly, those cuts didn't happen. Even more surprising, our panelists mostly looked at the NEA as a nice bonus, but nothing to hang their shingles on.

Different disciplines, similar issues

Listen in as moderator and Broad Street Review editor-in-chief Wendy Rosenfield, Art Sanctuary executive director Valerie Gay, PHIT Comedy founder Greg Maughan, Art-Reach executive director John Orr, Headlong Dance Theater co-founder and co-director Amy Smith, and WRTI host, composer, and frequent BSR contributor Kile Smith discuss the challenges and opportunities that come with running an arts-focused business and watching its bottom line.

If you enjoy what you hear and read here at BSR, why not help us meet our arts funding challenges and make a donation or become a Friends of BSR member? Donate here.

On this podcast, on a beautiful night in Old City, I caught up with playwright, director, teacher, and actor James Ijames, whose latest play, WHITE, is enjoying a critically acclaimed world-premiere production at Norristown's Theatre Horizon. Meanwhile, this Barrymore and F. Otto Haas Emerging Artist Award winner's The Most Spectacularly Lamentable Trial of Miz Martha Washington opened at the Ally Theatre in Washington, D.C., on April 30, 2017; another, Kill Move Paradise,opens at New York's National Black Theatre on May 31, 2017. Ijames also recently won the $50,000 Whiting Award for "emerging writers who exhibit great promise."

"A jazz guy"

Philadelphia audiences already know he's delivered on that promise. Here we discuss the creative process and how Ijames's work was enhanced after development at PlayPenn's new-play conference. We also touch on provocation in art, a playwright's responsibility to their audience, and the Whitney Biennial's Emmett Till controversy. While WHITE traverses some rocky territory, it's very funny. Ijames explains, "I'm a jazz guy, not a blues guy." So what play does Ijames really adore? The answer may surprise you.

For Wendy Rosenfield's review of WHITE, click here.

Scottish playwright Stef Smith isn't yet 30, but her plays show a power beyond her years. Philadelphia's Inis Nua Theatre Company, which focuses specifically on presenting contemporary work from England, Ireland, Scotland, and Wales, is a perfect fit for her unique voice.

Here, we speak with Smith and director Claire Moyer about Inis Nua's production of Swallow. Smith's tale about a trio of lonely adults all in the midst of life-changing events finds a kind of universality in alienation from the modern world. Smith has received an Olivier Award for her play RoadKill and is an associate artist at the Traverse Theatre in Edinburgh, Scotland. This is the third play Moyer has directed for Inis Nua. Together they discuss the play's symbolism, getting into the heads of these characters, and the reactions from audiences around the world.

To read Mark Cofta's review of Swallow, click here.

On this podcast, award-winning Philadelphia-based playwright Jacqueline Goldfinger talks about her newest production, The Arsonists. This "play with music" marks the third and final installment of her Southern Gothic trilogy, after The Terrible Girls and Skin and Bone. A National New Play Network (NNPN) rolling world premiere, it will open first under the aegis of Azuka Theatre Company and then head to theaters around the country.

Swamp things

Goldfinger grew up in rural Florida and, captivated by the region's literature and music, decided the Southern Gothic form was worefully underutilized onstage. The Arsonists, inspired by Sophocles's tragedy Elektra, follows a father-daughter arson team who reside deep in Florida's swamplands. A live band will play during the show and, on certain nights, give concerts afterward. Here, Goldfinger discusses how the play and its predecessors came to be, NNPN's rolling premiere process, and much more.