Sunday, November 20, 2022
HomeTheatreMelding Spoken Phrase Poetry and Theatre in Malawi

Melding Spoken Phrase Poetry and Theatre in Malawi

Fumbani Innot Phiri Jr.: Welcome to Important Phases in Malawian Modern Theatre podcast, produced for HowlRound Theatre Commons, a free and open platform for theatre makers worldwide. In partnership with Advanc[ing] Arts Ahead, a motion of superior fairness, inclusion, and justice by means of the humanities by making a liberated house that uplift, heal, and encourage us to alter the world. I’m your host, Fumbani Innot Phiri Jr., a producer, actor, director, playwright, and naturally, a contract journalist.

Important Phases in Malawian Modern Theatre, I interview established theatre artist from all backgrounds to discover the precarious journey of theatre in fashionable world, defines its issues, and discover higher options to maintain the performing arts in a era of movement pages. On this podcast, I lead the discussions with established performers, administrators, writers who’re exploring methods to greet these challenges whereas their works impressed the neighborhood.

On as we speak’s episode, I’m with Khumbolane Chavula, operating beneath the banner Millesimal Poetry. Millesimal Poetry is a Malawian-based poetry model pointed by and promoted by Khumbolane Chavula. Millesimal signify the voice of millennium era. You’ll be able to say a voice of performing arts in Malawi. Millesimal Poetry productions incorporate the totally different genres of performing arts, akin to spoken phrase poetry, music, and, in fact, theatre, that comes with drama and different dancers within the course of.

So Khumbolane Chavula run the banner of Millesimal Poetry. He’s a Malawian spoken phrase artist and entrepreneur, and inventive actor, and theatre motivation author, and a speaker. He holds a bachelor’s diploma in social science economics from the Catholic College of Malawi. He has labored with Solomonic Peacocks Theatre, a vibrant theatre in Malawi, primarily based and branded as an actor and as a neighborhood theatre facilitator for 5 years. Presently he produces spoken phrase poetry beneath the model identify Millesimal Poetry.

So Millesimal Poetry signify the voice of millennium era, a voice of performing arts. Utilizing the Millesimal platform, Khumbolane Chavula has inserted poetry within the voice. Khumbolane Chavula intend to make use of the voice to create totally different strands of performing arts within the Malawian leisure business by combining totally different genres in arts: spoken phrase poetry, music, rap, theatre, drama, and dance.

Alright. To begin with, I wish to know extra about your inventive background as Khumbolane Chavula. Who’s Khumbolane Chavula?

Khumbolane Chavula: All proper. Nicely, Khumbolane Chavula is a spoken phrase poet proper now. However I might say Khumbolane Chavula is a motivational speaker. Khumbolane Chavula is an actor. Khumbolane Chavula is an entrepreneur, and a spoken phrase poet, to be extra exact. Nicely, my journey comes from a background of ATEM Drama Festivals of… I’ve been within the business for ten years now.

Fumbani: Oh, wow.

Khumbolane: As I used to be calculating, in actual fact, I used to be like, “How lengthy have I been right here?” Then I observed that I spent the 5 years of my life doing drama and theatre and spent the opposite 5 years of my life doing poetry, which now makes me a extra spoken phrase poet than I used to be earlier than.

Fumbani: Alright. Okay. In these ten years you spent doing drama and theatre, you spent doing poetry, mainly, we are able to say spoken phrase. And in these ten years inside that, what has been your journey and your tutorial objective?

Khumbolane: Nicely, I did my schooling at Chichiri Major College, initially. I moved from Chichiri major faculty, obtained chosen to Chichiri Secondary College.

Fumbani: Wow.

Khumbolane: I don’t know. I believe it’s God’s arms.

Fumbani: Yeah, yeah, yeah.

Khumbolane: In any case, yeah, I accomplished my type 4 Chicihiri Secondary College in 2012. However then, fairly unlucky, I needed to repeat my type 4 at Maranatha. I should have beloved drama greater than I did with my schooling.

So my dad and mom have been like, “We don’t just like the grades that you simply got here with. So I believe it’s best to redo your type 4.” However I might say, after the Maranatha journey, I went to Catholic College of Malawi, the place I obtained a bachelor’s diploma in economics, a contemporary graduate.

Fumbani: Yeah. You probably did economics?

Khumbolane: Sure, sure.

Fumbani: However your most important area is within the artwork business, the inventive business. Why economics?

Khumbolane: All proper. I might say economics ought to have been a calling as nicely as a result of rising up I used to query plenty of issues. For instance, let’s say, why are we not creating motion pictures? Why are we not getting ourselves on the market? I’ve met lots of people within the business that have been doing fairly nicely at the moment, however then the publicity to the surface world wasn’t as a lot exact as it’s proper now.

So once I was making use of for economics, I had opted for regulation as a result of I assumed I might make a greater lawyer than some other area. I wished to specific myself. I wished to be a mannequin sometime as a result of I wished to talk out the humanities that’s in me. But it surely seems economics and regulation are fairly the identical career to talk of. I believe, once I went to economics, an important factor I needed to study was how do I mannequin myself as an economist concurrently an artist?

As a result of I by no means actually knew I used to be getting good at what I used to be doing till folks began recognizing, to say, “I believe we love your poetry. You’re doing fairly nicely with this poetry. Are you able to come carry out for us at this specific occasion?” Then I’ll positively try this. I keep in mind there was a onetime state of affairs the place I needed to journey to Chancellor School for the Steve Chimombo memorial.

Fumbani: Memorial. Yeah, yeah, yeah.

Khumbolane: And I used to be one of many performers on the Catholic College. It seems, these guys opted for me to go carry out and signify the varsity. All proper? And that gave me the motivation to say, “What if I maintain doing this? What if I strike a steadiness between my artistry and the economics that I used to be then studying?”

So, mainly, I obtained to the purpose the place I needed to fuse, and discover out that in between my poetry and the economics that I used to be studying, there’s a skinny line referred to as entrepreneurship the place I might observe the economics into my artistry. So I can say I’m now a full-time spoken phrase poet. On the identical time, training the legal guidelines that I realized about economics, and attempt to convey into the inventive business a world the place folks ought to benefit from the leisure that’s being made by Malawians.

How else can we incorporate the theatre into fashionable means, in order that this data that we’ve ought to attain out to those folks?

Fumbani: All proper. So going again to your origin of being an artist: first, we all know Khumbolane Chavula as multi-award-winning acted throughout ATEM Drama Pageant. So how was it throughout these days in secondary faculties?

Khumbolane: Nicely, I might say, it was fairly overwhelming, to be trustworthy. I keep in mind how the journey all began. I used to be a stage setter in some unspecified time in the future, however then the motivation behind the stage setting got here once I noticed my first play. I by no means actually knew folks would act and whatnot.

However once I obtained to the secondary faculty degree, and I noticed folks performing within the corridor, I used to be like, “I believe I might do that.” Then I went and tried out my half, and so they gave me… They’re like, “Ah, it’s best to maintain a tree on this play. You’re not certified. You don’t know something about artwork. It is advisable to study from the large guys first,” and whatnot. However I needed to humble myself as a result of then I solely beloved what I noticed. I solely beloved the hype that individuals needed to give the play, the time that we have been watching. After which I used to be like, “I believe I can do that. I believe I may very well be higher at this.”

So, seems, as time was passing by, as my years in class have been going, they began recognizing, to say, “I believe it’s best to take up this position. I believe you might be the person performing on this play.” And, to be fairly frank, I might go to the competitions and whatnot, not anticipating to say we’d win, or perhaps I might be the most effective actor in that class anyway. However then for the eagerness of it, for the truth that we’d be a crew collectively, we’d need to win the eagerness that we needed to put into the rehearsals and the whole lot, I needed to guarantee that the whole lot… Okay, I can’t say I used to be the highlight of the whole lot. There have been different folks as nicely.

However I knew that to be an artist is to enhance one other individual’s artwork. It’s to be with a crew of individuals, to create one thing magnificent, one thing that’s actually wonderful. And for this to occur, there needs to be anyone to take up the larger position. And needed to occur that, in these days, I used to be additionally the president of the writers of the drama membership—

Fumbani: Wow.

Khumbolane: At Chichiri Secondary College. So I might inspire my folks. I might inspire folks, go name them within the lessons, and convey all of them collectively and inform them, “You guys, let’s observe and whatnot.” On the identical time, I observed that I used to be pushing my arts extra. I used to be pushing to be the most effective at what I did. It was a craving that I needed to fulfill.

Fumbani: And it grew to become a mannequin.

Khumbolane: And it grew to become a mannequin. So I keep in mind, in 2012, once I obtained my first award, this man Albert Sharra from Nation’s Newspaper wrote an article about me. He’s like, “Khumbolane, the king of performing.” And I used to be like, “How can somebody who simply didn’t know precisely what occurred behind the scenes, come to the occasion, sees me, and notices, ‘Oh, I believe this man is the proper man. I believe this man is the one who’s spicing up the play.’ “And I might say I actually beloved the whole lot.

Fumbani: And that’s the nice talent for being an actor, then they favored you. After all, you have been actually uncovered than the director.

Khumbolane: Precisely.

Fumbani: So your journey as an actor from secondary faculty, we noticed your face, your motion at Solomonic Peacock Theatre, an expert theatre.

Khumbolane: Proper. Very true.

Fumbani: What was this like to leap from secondary faculty to skilled theatre?

Khumbolane: At that time limit, I believe I by no means actually knew what was occurring. I by no means actually had that anticipation to say, “That is going to be my journey. I need to be an actor.” However then there was a voice within me that saved chatting with me, that you’ll want to go additional. It is advisable to discover.

And I believe, at the moment, I used to be one of many first younger signings at Solomonic Peacocks Theatre. So, to me, it was fairly a journey, fairly an exploration for me, to know that I’m going into the main league now. I’m going into the large names, the McArthur Matukuta’s, and all these large names. And, at the moment, I used to be the middle of attraction. I keep in mind there was one other theatre membership that basically wished to select me to return to their aspect. However, ultimately, you needed to discover that the business at the moment—

Fumbani: It was powerful.

Khumbolane: Which was the higher place to go? Who’re going to form your profession in performing, your profession in theatre and whatnot? So Solomonic, at the moment, it had the whole lot. It had the whole lot. It had all the most effective those that I knew, that these guys are the most effective within the business and whatnot. So I obtained actually excited. It was fairly a journey at Solomonic.

Fumbani: Yeah. So whenever you have been part of Solomonic, you carried out fairly plenty of productions, industrial performances and neighborhood performances, like theatre for growth.

Can you’re taking us by means of that journey? How crucial it was for, the way it was… One of the best ways the way to supply funds for the productions? How one can earn donor aspect? How the gate collections have been? Can you’re taking us by means of the journey?

Khumbolane: All proper. To be fairly frank, at the moment, I wasn’t paying actually a lot consideration to the funds, to what’s bringing the cash to us and whatnot. What I actually wished to do was to be in an setting the place I’m in a position to categorical myself, the place I might be the most effective at what I’m doing, and I might enhance.

So I received’t contact a lot concerning the fundings and the whole lot, however I might say it was fairly an expertise. As a result of I keep in mind the primary time I needed to go to the sector. So it was a two weeks journey. Proper? We have been going for theatre for growth. We have been going to sensitize folks on the decrease share of Malawi, the decrease aspect. So I packed my luggage, packed my expands, a really large one. I’m like, “Since we’re performing and we’re staying there for 2 weeks, I believe I ought to get all the garments that I can and whatnot.”

Fumbani: That pleasure?

Khumbolane: That pleasure, you’re like, “Ah, it’s going to be fairly a tremendous journey” and whatnot. So that you get there, and you discover out that the job isn’t prefer it appears. You’re not purported to be altering your garments day-after-day. What it’s important to change is you into the costume, of no matter play that you’re having at that second. After which you’re going instantly into the villages to marketing campaign, to sensitize these folks.

I believe an important a part of this course of was to lend the lifestyle that individuals are experiencing outdoors of Malawi, outdoors the world that I belonged to. As a result of, to be fairly frank, to be born in an city space in Malawi, you’re fairly privileged, not like different folks. So that you’d get to know that the poverty ranges in our nation are fairly excessive. You’d get to locations the place autos don’t need to go. The one technique of transport that you’ve is a motorcycle, or perhaps it’s important to stroll by foot, but it surely’s a journey, two hours journey or whatnot.

So it was fairly a life altering expertise for me. I needed to alter to sure ranges of life, to say, “If I’m an artist and I wished to offer out this data to those folks, I’ve to convey myself to their degree.” As a result of that’s an important factor for them to grasp, to say, “We’re in the identical footwear. We’re not totally different. As a lot as we’re bringing the data to you, however you’re the most important data that we’ve to get out of right here.”

Fumbani: So by yourself context, folks regard neighborhood theatre as simply in up to date aspect of presentation than industrial theatre. In your context, are you able to attempt to give us an elaboration about neighborhood theatre? How finest it’s? How good it’s?

Khumbolane: All proper. I might say there’s so many technique of disseminating data. Proper? However I might say, you get to a spot, after which no one is aware of you at that place. You’re simply you guys together with your play. Proper? You simply stroll as much as your market and also you begin performing. Everyone’s shocked “What’s occurring?” and whatnot. After which folks begin gathering round, to attempt to see what’s actually taking place there. And so they discover out that it’s a play.

You’re turning the mindset of individuals, to point out them that theatre itself is one in all—I might say it’s the easiest way—to disseminate data. It’s probably the most inventive approach you may give out a inventive message to anyone to study. And I might suppose what we actually must do in the meanwhile is to suppose outdoors the field of that theatre. How else can we incorporate the theatre into fashionable means, in order that this data that we’ve ought to attain out to those folks? Proper? Yeah.

Artwork is meant to trickle down generations. It’s purported to transcend the artist himself. It’s purported to go right down to the final individual that will reside on earth, to see all this artistry there.

Fumbani: All proper. So they’re the 5 years. Now we’ve the Millesimal Poetry.

Khumbolane: All proper. I might say, earlier than Millesimal Poetry took place, I used to be nonetheless Khumbolane Chavula. Individuals would nonetheless acknowledge me as Khumbolane Chavula earlier than all this. I might say Millesimal poet is my subsequent journey. It’s the journey that I’m taking now.

I’ve been requested this query so many instances. What do you imply “Millesimal?” Inform us, what’s Millesimal Poetry? Why are you calling your self this? We all know you as Khumbo. Why the sudden drastic change? Khumbolane: Millesimal is a synonym to millennium.

Fumbani: All proper.

Khumbolane: I’m solely twenty-three years previous, however I’ve managed to complete my diploma presently.

Fumbani: Wow.

Khumbolane: Take a look at the place Malawi is coming from, and saying a twenty-three-year-old has a level now, it’s extra like one thing that’s new to the world. Proper? Most individuals haven’t but tailored to this reality. So I’m fairly younger. On the identical time, I’ve accomplished the best degree of qualification.

However, regardless of all this, I needed to outline myself. So, in defining myself, I needed to know the place do I belong? Proper? We’re calling this the millennial period. How can I discover the easiest way to ship message to my era? How can I encourage the following era after my era?

As a result of artwork is meant to trickle down generations. It’s purported to transcend the artist himself. It’s purported to go right down to the final individual that will reside on earth, to see all this artistry there. So Millesimal poet is a generational poet. He’s sending the message to the following era, sending a message to my era, that artwork is…

Fumbani: Yeah. Okay. The Millesimal Poetry, proper now, due to these era, as you mentioned, most poetry artists, they’re diverting their motion of poetry into spoken phrase. Each poetry artist I’m seeing proper now’s saying, “I’m a spoken phrase artist. I’m a spoken phrase artist.” How distinctive is your work?

Khumbolane: All proper. I’ll convey you again a bit bit. I mentioned I’m Millesimal Poet, however I’m only a poet, proper? I’m simply Millesimal. I’m simply within the Millesimal period. However Millesimal Poetry is now the definition of the artwork that I’m making.

As a result of the distinction between me and each different spoken phrase poet is the incorporation of theatre into my poetry. Like I’ve mentioned, the primary a part of my life, the primary 5 years of my artistry journey is drama and theatre. It has a background in drama and theatre. And this subsequent 5 years was about poetry, poetry, and poetry. However now I’m taking a look at how finest can I fuse my poetry and the background the place I’m coming from. How finest can we discover the place it hyperlinks? That’s why it comes Millesimal Poetry.

As a result of whenever you have a look at Millesimal Poetry, I’m not Millesimal Poetry. I’m only a poet. I simply write my supplies and recite. However the music, the background, the theatre, the dance, the aspect of shock in a poem is what I need folks to see. After they have a look at my poetry, they need to really feel a nostalgic feeling that they’d each time they needed to see ATEM stage performs, each time they needed to see theatre, or Kwathu Drama Group, that kind of factor. I wished to convey that aspect again, each visually and reside on stage.

Fumbani: So I can little really feel the aspect that you’re taking this poetry aspect on the following degree. So, wow. What are the challenges as you’re creating these? And what are the challenges to your viewers, to the society, mainly, for performing arts?

I need folks to grasp the poet on the identical time perceive the poem.

Khumbolane: All proper. The key problem that we face in arts in the meanwhile is that appreciation. Individuals haven’t realized that artwork is worth. Artwork is like price. It’s such as you’re giving folks an leisure, and so they need to pay you for that leisure. They’ve to offer you one thing in return to what you’re giving them. Proper?

So, it’s actually been onerous for folks to adapt to those new concepts, for folks to adapt that, “Okay, I’ve recorded a bit. I’m releasing it. Are you going to purchase my piece?” Proper? Individuals need to get to that time, to say that this artist took his time to arrange this sort of leisure, in order that we’re entertained. Let’s pay him again this worth. Proper?

So, the main problem is that one, that individuals haven’t but appreciated the worth that we’re creating, particularly, let’s say, spoken phrase poetry. As a result of spoken phrase poetry, such as you say, is only a newly found enterprise. Most individuals are simply taking a look at poetry as, “Ah, I’m a poet as a result of I write, and I recite, and other people come and so they recognize what I’m doing as a result of it’s artwork.”

However then spoken phrase poetry is past poetry. Spoken phrase poetry is theatre. Spoken phrase poetry is dance. Spoken phrase poetry is storytelling. It’s about folks attending to know the poet, folks attending to know the poem. However the poet is as necessary because the poem. And so are the actors within the poem, as necessary because the poem itself.

So to convey all these folks collectively, let’s say, let’s create a video, proper? And I convey actors, I convey choreographers, I convey administrators and whatnot all collectively, is a fund that I alone can’t handle to offer it out. So that you strive to herald different parts, to say, “Let me promote my poetry.” However folks haven’t but appreciated to say, “I need to purchase your poetry.” As a result of folks suppose creating artwork is as low-cost because it sounds. They suppose you’ll be able to simply get up as we speak, and I’ve recorded a bit. However they don’t know that there’s studio price there. They don’t know that so that you can convey out the transport charges for folks to return to you, that will help you out together with your poetry, what it took.

So, other than that problem, the opposite problem is mainly private. Some folks really want to assist you, however then they really feel like, “No, he’s nonetheless an underground individual. He’s not purported to get this far.” Yeah, that kind of factor. However the main downside that we’ve, each theatre-wise and poetry-wise, is that individuals haven’t but appreciated that individuals can create. For instance, I might say, if you happen to have a look at proper now, the situation that we live now, you’d see that COVID has are available to alter the way in which companies have been working.

Fumbani: I used to be about to return to that.

Khumbolane: All proper. So I’ll simply—

Fumbani: So you’ll be able to—

Khumbolane: All proper. Oh, okay. As a result of COVID is right here, it has pressured us to start out considering in another way from how we have been considering again then. As a result of then I might positively create a present the place I might get some funds, get collections and whatnot, after which fund some initiatives that I’ve. However the issue now’s that you simply can’t invite greater than 100 folks. You’ll be able to’t invite greater than fifty folks.

As a result of now we’re in a state of nationwide catastrophe, proper? We’ve been hit so onerous with the illness, and it’s getting worrisome. So I might say, as we are attempting to determine these new methods, why don’t we give you a contemporary approach the place theatre will be watched on tv? Why can we give you fashionable methods, the place the theatre strikes from the stage, and it turns into one thing that you simply see on the web, proper?

Fumbani: Like visually?

Khumbolane: Yeah, visually. You see one thing and also you’re like, “Oh.” You are feeling invited to the present. You are feeling a part of what’s taking place. Proper? And to seek out these fashionable methods, it means we’ve to seek out sources of funds—

Fumbani: Discover. Yeah.

Khumbolane: … the place we’re in a position to pay videographer, in a position to pay choreographers, to return collectively and say, “Let’s create one thing that individuals can be entertained at residence.”

Fumbani: And I believe, as you will have said, that we are able to go visually. We’re going to make use of tv to reveal our expertise. Not simply uncovered, however we have to get one thing from it. And this is among the challenges a lot of the artists in Malawi are dealing with, however particularly theatre artists and poets. And what thought do you suppose will be the easiest way of getting one thing out of your efficiency?

Khumbolane: All proper. Nicely, I’ll converse on behalf of Millesimal Poetry. I might say I’ve gone visually now. I’ve weighed my choices. I don’t suppose my poems needs to be performed on radios anymore. I believe my poems have to be seen visually. I need folks to grasp the poet on the identical time perceive the poem. I need folks to know the story behind the poem and perceive, to say, “That is the message that this man was making an attempt to promote.” Proper?

And, folks, we gather recollections. For instance, we’ve recollections of our stage days again then, how ATEM used to really feel and whatnot. It’s that pleasure in artwork, that pleasure that reminds you that this was these specific occasion that you simply went to, and also you noticed one thing that you simply weren’t anticipating. Why don’t we convey that into movies?

So proper now I’m engaged on a challenge to say, “Let me launch movies the place folks get to know the poet.” And perhaps in future, launch the audios the place folks should buy it, due to the reminiscence that they’ve on the movies that I created. And, in actual fact, since you’re making a video, it means folks would return to that video, and watch it and rewatch it, if the video is de facto that entertaining.

Fumbani: All proper. Now, you will have defined about this journey of the Millesimal Poetry, the journey of you into theatre. So the genesis of theatre has been a component so that you can be the way in which you’re as an artist, a spoken artist as Millesimal Poet. I can say, how are you going to include theatre into your work?

Khumbolane: All proper. All proper. I don’t suppose that’s a tricky one. However then I’m like, “Let me catch my breath.” Proper. Principally, once I have a look at theatre, I begin to perceive every character on their very own. Proper? I perceive that we are able to give you a play proper now, involving two guys—you and me—a play, proper?

However every one in all us can be a poet. Every one in all us goes to recite a sure chunk of traces, and we’re going… Collectively, after we are coordinated, it’s going to make the piece seem like a play. Proper? So once I have a look at my theatrical journey, I needed to pattern myself out of the play, proper? Put myself away from the stage, away from the highlight, and attempt to create my very own highlight on the market. So to say, how are you going to convey theatre into your poetry? You’ve heard of miming theatre, proper?

Fumbani: Yeah.

Khumbolane: You don’t have to talk. You simply have to point out your actions. And folks actually perceive the idea behind it. We noticed Charlie Chaplin, that he did that. You’d chuckle at issues that… He doesn’t need to say phrases. Mr. Bean wouldn’t say something. However then they might create a reminiscence in our minds, to say, “Oh, that was actually wonderful.”

So I need to check out that aspect. I need to check out the aspect of object theatre, the aspect of miming theatre. I need to check out usher in actors into my poem, which are going to inform the story itself, even when they needed to take me out as a poet. However the story has to make sense.

Fumbani: Wow. Wow. That is very nice, and it was an excellent chat. You see, Millesimal Poetry has a component, whereby a lot of the youth outdoors can be in a mirrored image of turning into spoken phrase artists, to see a proper channel to undergo. So, Khumbolane Chavula, it was good having you.

Khumbolane: It was wonderful that you simply needed to host me. If you happen to haven’t—

Fumbani: You’re welcome. You’re welcome.

Fumbani: Millesimal Poetry has just lately launched a t-shirt branding. We are able to create a voice. For extra data, comply with Millesimal Poetry on Fb, and subscribe to the YouTube web page, Millesimal Poetry. And you can too electronic mail Khumbolane Chavula on Additionally, by way of social media pages, Khumbolane on Twitter at KhumbolaneC; or LinkedIn at Khumbolane Chavula; Instagram, Khumbolane Chavula. And you can too electronic mail direct Khumbolane Chavula at

Fumbani: Thanks a lot for having a present with us. This has been one other episode of Important Phases in Malawian Modern Theatre. I used to be your host Fumbani Innot Phiri Jr. If you happen to’re trying ahead to attach with me, you’ll be able to electronic mail me at

This episode is produced as a contribution to HowlRound Theatre Commons. Yow will discover extra episode of this collection and different HowlRound podcasts in our feeds—iTunes, Google Podcast, Spotify, and wherever you discover podcasts. You should definitely search “HowlRound Theatre Commons podcasts” and subscribe to obtain new episodes. If you happen to beloved this podcast, submit a score and write a overview on these platforms. This assist different folks to seek out us. It’s also possible to discover the transcript of this episode, together with plenty of progressive and disruptive content material on Do you will have thought for thrilling podcasts, essay, or TV occasion that theatre neighborhood wants to listen to? Go to and submit your thought beneath the commons.



Please enter your comment!
Please enter your name here

Most Popular

Recent Comments