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Class description

We are used to thinking about theater as a visual and oral spectacle that occurs on a stage. But what happens when the visuals are removed, the stage is gone and all you are left with is sound? In this seminar, students will explore key elements of a radio play and how to approach writing solely for the ear and not the eye. With the guidance of Winter Miller, students will discover how to lean deeper into dialogue, music, and sound effects to paint a compelling and visual story.

This class is for you if you:

  • Love writing or listening to gripping podcasts, radio, or audio plays.
  • Are interested in creating soundscapes and sound design.
  • Struggle to turn stage directions and action into dialogue.
  • Are interested in radio opera.
  • Want to explore a different form of storytelling.
  • Are interested in learning more about Winter Miller’s work and approach to writing.

What to expect:

  • Assignment: Read No One Is Forgotten by Winter Miller, and listen to the radio opera version of the play composed by Paola Prestini.
  • Discussion and open Q&A about the leap from writing a stage play to a radio opera.
  • Students are invited to bring in a question about something specific in their radio plays, sharing challenges and ways to turn those into opportunities.

Important Things to Note:

  • When you sign up, you will receive an auto-confirmation email. About a week before the first session you will receive a detailed confirmation email with important information about the seminar including
    1. Membership Programs Participation Form
    2. The Zoom link
    3. Pre-assignments from the instructor and
    4. Information about the PWC Membership and Education Team.
  • If you have not received this email within an hour of the session, please check your spam folder or reach out to Alayna and she will make sure you have the information you need for the seminar.
  • All participants must complete and submit a Membership Programs Participation Form for each seminar or class they want to attend. A link to this form is included in the detailed confirmation email.

The proliferation and popularity of plays for radio in this country is a direct response to the confines of the pandemic and writers are getting commissioned to write or adapt new works for radio. Unless you went to radio playwriting school, you may not know how to expand your writing for stage to radio. This is a taste. Or perhaps you are in the midst of a radio play and you’re flummoxed by an issue you’ve encountered in how to tell action without using a narrator? We will dig into the entree of radio and talk about the ingredients and recipes. You’re welcome for that absurd example. We will also have fun.

Alexandr Smith

The playwright Yes We Can
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Developer based inPembroke Pines, VA
Kristin Idaszak is a Chicago-based playwright, dramaturg, producer, and educator. Her recent work has focused on the intersection of gender, queerness, and climate change. She is a two-time Playwrights’ Center Jerome Fellow. Her play SECOND SKIN received the Kennedy Center’s Paula Vogel Award and Jean Kennedy Smith Award, and her play ANOTHER JUNGLE was a Relentless Award Honorable Mention. She was the Shank Playwright in Residence at the Goodman Theatre and a member of the Goodman Playwrights Unit. Kristin is a Resident Playwright at Chicago Dramatists. She has received commissions from EST/The Sloan Foundation and Cleveland Play House, and is a member of the inaugural Regional Writers Project at Shakespeare Festival St. Louis. She was the Kennedy Center Fellow at Sundance Theatre Lab.

Nationally, her work has been seen at or developed through the Goodman Theatre, The Playwrights’ Center, La Jolla Playhouse’s WoW Festival, The Drama League (with Sarah Wansley), Ensemble Studio Theatre and SPACE at Ryder Farm, the Williamstown Theatre Festival Directing Studio, Renaissance Theaterworks (Milwaukee), and Perishable Theatre (Providence, RI). With choreographer Erin Tracy, she has co-created Better Metaphors, which premiered at the Blurred Borders international dance theatre festival in San Diego, and Commence, for the Patricia Rincon Dance Collective. She received a residency at the Qualcomm Institute IDEAS series to develop her play RADIANCE (A WITCH HUNT). Kristin has been a finalist at Hedgebrook, New Harmony, the Bay Area Playwrights Festival, Local Lab, and the Playwrights’ Center Core Writer program.

In Chicago, Kristin’s plays have been produced by WildClaw Theatre, 20% Theatre Company, Theatre Seven, Cloudgate Theatre, and others. She has received an Incubator grant and an Individual Artist Program grant from the City of Chicago’s Department of Cultural Affairs and Special Events. She also received Stage Left Theatre’s Downstage Left Residency. She was nominated for a Jeff award for Best New Work for co-writing Theatre Seven’s WE LIVE HERE.

As a theatre teacher and mentor, Kristin has served as an adjunct instructor at The Theatre School at DePaul University and Westmont College, and a Visiting Guest Artist at Southern Illinois University, University of St. Thomas, Augsburg College, Coe College, Michigan State University. She was recognized with an Excellence in Teaching award from UC San Diego, where she was a graduate teaching assistant. She has also taught master classes and seminars at the Playwrights’ Center and KCACTF. Additionally, she has mentored youth artists through the Pillsbury House + Theatre Chicago Avenue Project as well as the American Theatre Company’s docudrama project the Chicago Chronicle.

Kristin is the Artistic Director and co-founder of Cloudgate Theatre, a company dedicated to telling fiercely theatrical stories through a queer feminist lens. Cloudgate premiered her play ANOTHER JUNGLE in April 2018 in co-production with The Syndicate and will produce her play STRANGE HEART BEATING in July 2019. Previously, she served as the Associate Artistic Director and Literary Manager for Caffeine Theatre and the Associate Artistic Director of Collaboraction. She has worked in the literary departments at the Goodman Theatre, La Jolla Playhouse, Trinity Rep, and Williamstown Theatre Festival. She earned her MFA in Playwriting at the University of California, San Diego. She received her BFA in Theatre Arts from The Theatre School at DePaul University, where she graduated Summa Cum Laude with a double major in philosophy.
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