Class Notes: Jon Norman Schenider in “Henry VI”

Summary

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BroadwayRadio: Class Notes

Guest: Jon Norman Schneider
Host: Lauren Klaaschneider
Date: July 8, 2026
Episode Topic: Returning to “Henry VI” with the National Asian American Theater Company
Location: The Public Theater

Episode Overview

In this episode of Class Notes on BroadwayRadio, host Lauren Klaaschneider interviews Jon Norman Schneider, who stars as the title character in the National Asian American Theater Company's production of “Henry VI” at The Public Theater. The conversation dives into Schneider’s experience returning to the role eight years after the original 2018 staging, the evolution of the production under director Stephen Brown-Fried, managing the demands of repertory performance, and Schneider’s passion for new theatrical work alongside classical roles.

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Key Discussion Points & Insights

Returning to Henry VI after Eight Years

• Schneider reflects on reprising the role:

  "It's wonderful to come back to this role in this production. You know, I don't think it's common for an actor to get the opportunity to come back to a role that they've done before." (02:06)

  • Highlights the rarity and depth of revisiting a character after significant time and personal growth.
  • Notes feeling “richer” and more experienced:

    "I'm eight years older and hopefully eight years wiser. And so I think that I'm trying to take all of that experience into my work." (02:16)

Contrasts Between 2018 and 2026 Productions

• Changes in global and personal context:

  "Thinking back to 2018, pre-pandemic, pre so many things in our country and in our world..." (02:57)

  • Schneider recalls being more intimidated by the epic scope and tighter rehearsal schedule in 2018.
  • This time, he describes an increase in confidence and relaxation:

    "I came in this time around with a bit more confidence and relaxation... that really helps in terms of the work." (04:44)

Stephen Brown-Fried’s Direction and Company Dynamics

• Shifts in directorial style:

  "The quality of his direction this time felt more easygoing in a way. He felt more relaxed in the room. I mean, we certainly laugh a lot, which I think is necessary for this kind of dark material." (05:24)

  • About half the cast is returning, and half are new—infusing the production with both familiarity and fresh energy.

The Emotional and Physical Demands of Repertory Shakespeare

• On being informed of the remount:

  "Oh, I was thrilled. For as hard as it was the first time around, everybody put their heart and soul into that work." (06:17)

  • Deep appreciation for a second chance and for performing at the Public Theater.

• On maintaining sanity and energy:

  "I think I'm pretty even keel in general in life and I try to bring that to my work... I love rehearsing. It's almost my favorite part of this whole thing because you really get to play, you really get to investigate." (07:04)

  • Emphasizes rehearsal as a time for “play” and creative exploration without pressure.

• On day-to-day stamina:

  "I allow myself to sleep in as much as possible. Sleep is very important... I feel I lead a bit of a monastic lifestyle." (08:23)

  • Details a disciplined routine: conserving energy, arriving at the theater early to ground and center himself before performances.

Passion for New Work Versus Shakespeare

• On what draws him to new plays:

  "I love new work... it's exciting because oftentimes you're helping develop something... It can be a tender time for the playwright... it's exciting because we don't quite know what it is as we're working on it." (09:32)

  • Describes the unique energy of premiering new work, which comes without audience preconceptions (unlike Shakespeare) and demands an authentic, present experience.
  • Appreciates the “vital exchange” between artists and audience in new work.

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Notable Quotes & Memorable Moments

• On the opportunity to revisit a role:

  "I just view this as an opportunity to reinvestigate the play and the character, to try to go deeper into his experience and his motivations. And it certainly feels richer this time around." — Jon Norman Schneider (02:12)

• On relaxation and camaraderie post-pandemic:

  "We certainly laugh a lot, which I think is necessary for this kind of dark material. And the cast really gets on with each other." — Jon Norman Schneider (05:26)

• On rehearsal as a safe space for artistic risk:

  "You really get to play, you really get to investigate. You can fail as much as you want in rehearsal without, you know, without prying eyes." — Jon Norman Schneider (07:09)

• On the joys and risks of new work:

  "With a new play, there's none of that. There's no preconception... So it feels very exciting to meet the audience where they are." — Jon Norman Schneider (10:38)

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Important Segment Timestamps

• 01:07 — Introduction of Jon Norman Schneider and the production
• 02:06 — Schneider on returning to the role of Henry VI
• 03:18 — Contrasts between performing pre- and post-pandemic
• 05:17 — Reflections on direction and cast changes
• 06:17 — Reaction to the production’s remount
• 07:02 — Coping with dark material and rehearsal joy
• 08:23 — Maintaining stamina during repertory run
• 09:32 — Attraction to new work as an actor

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Tone & Final Impressions

Schneider comes across as thoughtful, process-oriented, and humble, with a clear reverence for both the challenges and the pleasures of classical and new work. The conversation is amiable and insightful, balancing thoughtful reflections with a candid look into his craft.

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Summary by BroadwayRadio, “Class Notes” | Episode: Jon Norman Schneider in ‘Henry VI’ | July 8, 2026

Transcript

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[B]

Hi, I'm Lauren Klaaschneider with Class Notes for Broadway Radio. I'm here with John Norman Schneider, no relation, who is playing the title character in Henry VI in the National Asian American Theater Company's production at the Public Theater. Well, hello.

[A]

Hi. I'm so happy to be here.

[B]

Well, I'm so happy to have you. We might have to figure out some relations somewhere along the way. Now, Henry vi, a trilogy in two parts, is adapted and directed by Stephen Brownfried, condensed into two parts, and performed in rep. One can experience this saga of a nation spinning wildly out of control. And John, for you, it's not your first time performing this. You were part of the production in 2018, also directed by Stephen what is it like reprising this role after nearly eight years?

[A]

It's wonderful to come back to this role in this production. You know, I don't think it's common for an actor to get the opportunity to come back to a role that they've done before. And so I just view this as an opportunity to reinvestigate the play and the character, to try to go deeper into his experience and his motivations. And it certainly feels richer this time around. I mean, you know, I'm Eight years older and hopefully eight years wiser. And so I think that I'm trying to take all of that experience into my work, and hopefully that. That you can feel that in the texture that hopefully it's a bit richer than it was in 2018.

[B]

Thinking back to 2018, pre pandemic, pre. So many other things in our country and in our world, are there moments that you can share about being eight years younger in the world at that time that you recall about taking on this pretty monumental task?

[A]

Oh, wow. I mean, I think I was certainly back then, I was more intimidated than I am now. I mean, the scope of this story that we're trying to tell is so epic. And these. You know, there's so many characters at play, and Henry, which is the character that I play, is one of the ones that the audience can follow from the beginning to the end, which. Which was daunting in a way, as an actor. And I think back in 2018, we. I'll just say that we had less rehearsal time. And so I think back then, the project really was to try to put up a production that was coherent and cogent in the minimal time that we had. And, you know, by the grace of the universe, I think we were able to do that. And I.

[B]

So.

[A]

So I think mostly my head was really in my. You know, my nose was to the grindstone, really trying to work as hard as I could to. To present, you know, a viable, living, breathing version of that character. Whereas this time around, because I know that we were able to do it, and it's something that was able to be achieved back then, I think I came in this time around with a bit more confidence and relaxation, and, you know, that really helps in terms of the work.

[B]

Sure, sure. Eight years ago, and now the production is directed by Stephen Brown Fried. He also has had eight years of seeing the world, experiencing the world, the world changing. What does he bring different this time as a director and having adapted the play as well as your current castmates?

[A]

Well, I think similarly, because we were able to achieve something with the first production, I think the quality of his direction this time felt more easygoing in a way. He felt more relaxed in the room. I mean, we certainly laugh a lot, which I think is necessary for this kind of dark material. And the cast really gets on with each other. And, I mean, half of the cast is returning, and so half of the cast is new. And that's been amazing as well, because it means that we have new energy and new ideas in the room, and so it doesn't feel like we're rehashing necessarily. It feels like it's a fresh new outing.

[B]

What was your reaction to finding out that the production was going to be remounted?

[A]

Oh, I was thrilled. You know, for as hard as it was the first time around, you know, everybody put their heart and soul into that, into that work. And knowing that I would have a chance to come back to this material was just really thrilling. And also to be able to do it at the public feels really meaningful as well.

[B]

I loved hearing you say that. There's a lot of laughter and it's needed in putting this type of piece together. How do you stay sane, upbeat, lively, with this material being so ingrained in you?

[A]

Wow, what a question. I mean, I think. Well, I think I'm pretty even keel in general in life and I try to bring that to my work. And, you know, that's kind of my North Star is to be. Is to really be about process and to really be about the work. I love rehearsing. It's almost my favorite part of this whole thing because you really get to play, you really get to investigate. You can fail as much as you want in rehearsal without, you know, without prying eyes. And. And so, yeah, I think it really was about focusing on the task at hand, which is, which is to tell this, this very action packed, dramatic story with, with so much backstabbing and intrigue. And so, yeah, it was just keeping. Keeping to the task at hand, I think. Help.

[B]

Well, let's talk about your stamina. It seems like you are doing a marathon in rep. So the hours that you're not at the theater and not on stage, how do you prepare yourself mentally, physically, spiritually for this marathon run?

[A]

Well, firstly, I allow myself to sleep in as much as possible. Sleep is very important. And then I'm the type of actor where when I'm in production of a play, I feel I lead a bit of a monastic lifestyle. I really want to try to conserve my energy and sort of, that goes double for this experience because of the fact that we're doing it in rep. And so my days are pretty simple. I try not to do too much. If I have to do errands, I try not to, you know, stay out too long or pack my schedule with a lot of. With a lot of things so that when I go to the theater, I feel like I have stores of energy and I. And I like to get to the theater at least an hour before so that I have time to really acclimate to the space and really center myself and ground my energy.

[B]

Mm. And your resume seems to be mostly new work and of course, Shakespeare. What draws you to new work?

[A]

Oh, I love new work. I mean, it's. First of all, it's exciting because oftentimes you're. You're helping develop something, or. I'll speak for myself. I mean, I've had the. The amazing privilege to. To help develop some plays from the beginning. And so it's such a. It can be a tender time for the playwright. And so I really relish being able to help them hear the play in the way that they imagine it. And if it's not the way they imagine it, then they can address that in a rewrite or whatever. But. But it's exciting because we don't quite know what it is as we're working on it. And then in production, it's also exciting because, you know, we don't know necessarily how it will play. It doesn't have a history like, you know, like something like Romeo and Juliet has, where a lot of people have seen it, and so they know that it works and they know, you know, what their favorite scenes are, who their favorite characters are. Whereas with a new play, there's none of that. There's no preconception. And so it feels very exciting to meet. To meet the audience where they are, where we're. Where we're at. Yeah, it's a really exciting, vital exchange, it feels like.

[B]

I bet. And how lucky for us as audience members that you embrace Shakespeare as well as the new works. I thank you.

[A]

That's very kind of you.

[B]

I'm Lauren Klaus Schneider with John Norman Schneider starring in Henry Vill in National Asian American Theater Company's production at the Public Theater. Thank you.

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