For this special encore podcast episode, we present – in its entirety – the complete and unabridged recording of A Little Dickens: The Complete Christmas Carol (abridged). (Dickens's story is abridged, not the recording. You'll work it out.) First heard on Public Radio International in 1995, this antic audio adaptation features Reed Martin as Jacob Marley, Matthew Croke as Tiny Tim, and Austin Tichenor as Ebenezer Scrooge (the role he's currently playing at Chicago's Goodman Theatre). May it warm your cockles! (Length 10:47)

Chicago actor Christopher Donahue (currently playing Ebenezer Scrooge in the Goodman Theatre's production of A Christmas Carol), discusses playing the role of Gayev in the Goodman's 2023 production of Anton Chekhov's The Cherry Orchard, directed by Robert Falls. Donahue reveals the challenges and rewards of discovering a character in rehearsal; how he finds humor alongside absurdity; how he takes inspiration from the original Dickens novel of A Christmas Carol; how people can be capable of change; his relationship with Tony-winning director (and friend of the pod) Mary Zimmerman; and finally, how the audience teaches you how to perform the play because the audience is the reason we do this. (Length 20:51)

Richard Schoch returns to discuss How Sondheim Can Change Your Life, his latest book that offers new insights into the work of Stephen Sondheim, how it was created, how it’s affected audiences for over 60 years, and – yes – what life lessons can be gleaned from his shows. Richard reveals some fascinating inside publishing baseball; reasons for the addition of the song “Something Just Broke” in Assassins; academic backup from Mandy Patinkin; how he makes a close reading of the text so personal and readable; and a surprisingly cogent answer to the facile question of whether Sondheim is our modern Shakespeare. (Length 29:49)

Actor/comedian Mike McShane (Robin Hood: Prince of Thieves, Whose Line Is It, Anyway?) is playing Ebenezer Scrooge in A Red Carol, a new adaptation of A Christmas Carol for the legendary San Francisco Mime Troupe. Mike discusses how this "activist adaptation" differs from other takes on the Dickens classic; how he’s able to combine serious dramatic acting with, in his words, "as cheap comedy as you can get this year” and how a clown can play Hamlet easier than a proper actor can play a clown; the disconnect between Christmas Carol audiences in the theater and the same people passing unhoused people on the street; how two veterans of West End Shakespeare are both playing Scrooge for American theater institutions in San Francisco and Chicago; how Alan Rickman came up with his great lines in Robin Hood: Prince of Thieves; and the glory of creating politically activist theater that’s also ridiculously funny and entertaining. (Length 21:21)

Humorist and novelist James Finn Garner returns to discuss his New York Times bestselling collection Politically Correct Holiday Stories and how the holidays represent a deeply personal literary tradition. Jim shares how challenging it was to walk that satirical line between poking fun at holiday cant while still embracing genuine sentiment; how a holiday story was his first published work; how bedtime stories were easier to satirize because everything’s so black and white; how play can be the best form of celebration; how he wants to shift holiday paradigms and sit down to a feast of mutual delusions; and the thing that made a hard-boiled humorist go all soft and squishy inside. (Length 19:22)

Darren Freebury-Jones's fascinating new book, Shakespeare’s Borrowed Feathers: How early modern playwrights shaped the world’s greatest writer, contextualizes Shakespeare’s writing and examines how it expands upon and diverges from the other plays being written at the time. In this fun conversation, Darren, a lecturer in Shakespeare Studies in Stratford-upon-Avon, considers alternate ways of identifying Shakespeare’s artistry; dispels the myth of Shakespeare as a solitary genius; likens this kind of early modern study to examining the output of a single band’s music without reference to other bands making music at the same time; and reveals how Shakespeare, as part of a thriving theatrical community, was less an upstart crow than a brilliant magpie. CONTENT WARNING: There will be math(s). (Length 24:28)

It's the Podcast's 18th birthday! Austin Tichenor, Reed Martin, and Adam Long celebrate the 30th anniversary of The Ring Reduced, the RSC's 1994 film for Britain's Channel 4 which compressed Wagner's epic opera Der Ring des Nibelungen into a brief and palatable 24 minutes. Adam, Austin, and Reed share their favorite fun facts about Das Rheingold, Die Walküre, Siegfried, and Götterdämmerung; reveal their inspiration from Anna Russell; speculate on comic directions not taken; confirm that the Reduced Shakespeare Company is completely and utterly responsible for the success of Ted Lasso; disclose how they created the most expensive and complicated gag of the entire shoot; and marvel how for one brief shining moment, they were the Rhinemaidens of all media. (Length 29:09)

Fresh off its successful run at Chicago Shakespeare Theater, The Lord of the Rings – A Musical Tale opens this week in Auckland, New Zealand, and Rick Hall discusses the challenges and pleasures of playing J.R.R. Tolkien's hobbit hero. Rick reveals the education he's received in Middle-earth and the pride he feels in no longer being a bit of an idiot; the struggle of getting your high school trombone lip back; the fun of jumping through traps and making eight-second costume changes; getting real-time notes from the audience; lengthy discussions about hobbit feet; and the emotional power of a small(ish) ensemble telling an epic tale. (Length 20:59) (PICTURED: Spencer Davis Milford (l) as Frodo and Rick Hall (r) as Bilbo in rehearsal for The Lord of the Rings – A Musical Tale, directed by Paul Hart. Photo by Liz Lauren, courtesy of Chicago Shakespeare Theater.)

Tamara Harvey, the new co-artistic director of the "other" RSC – the Royal Shakespeare Company – discusses her exquisite production of Pericles, and how it came to the Chicago Shakespeare Theater and speaks to our current moment on both side of the Atlantic. Tamara reveals how Shakespeare's characters navigate different kinds of leadership; how she and her co-artistic director Daniel Evans hope to reach across borders and collaborate with international artists; how the challenges of the play felts like a gift; her genius solution to the narrator; how she feels in collaboration with Shakespeare, and how his Pericles weaves a unique spell; and the vital importance of giving audiences badly-needed hope and joy. (Length 18:23)

Director Malkia Stampley, whose beautiful production of Eboni Booth's 2024 Pulitzer Prize-winning play Primary Trust runs at Chicago's Goodman Theatre through November 3, 2024, discusses how she embraced the play's delicate intimacy and transformed a literary script into a theatrical event. Malkia reveals the ways in which a live audience and actors playing multiple characters lift a potentially naturalistic play into a theatrical realm; how she eschewed melodrama and discovered the mystery and curiosity she was looking for; how clowns can find the funny and serious actors the gravitas; and the value of always looking for – and finding – the light. (Length 18:23)

Charlotte Booker discusses her show Elsa Lanchester: She's Alive!, which celebrates the great character actress who played the title role in The Bride of Frankenstein and runs Wednesdays and Thursdays this month at the Venus Cabaret in Chicago. Charlotte is joined both onstage and in this conversation by her husband and accompanist Mark Nutter, and shares some of the secrets and similarities between her and her subject, including youthful flings with onstage nudity; the glory of being the first female monster; how Elsa was raised to be a free spirit by artist-Bohemians and became the former It Girl of London; playing Katie Nanna in Mary Poppins and Miss Marbles in Murder by Death; being drawn to fellow redheads; the challenges of having an “absinthe father;” the perils of being institutionalized for “over-education;” and the posthumous joy of being a Goth icon. (Length 20:32)