BroadwayRadio Episode Summary: Trip Cullman on ‘We Had a World,’ ‘Cult of Love’
Episode Title: ToB: Friday, April 18, 2025 | Trip Cullman on ‘We Had a World,’ ‘Cult of Love’
Host: Matt Tammanini
Release Date: April 18, 2025
1. Introduction
In this solo episode of BroadwayRadio, host Matt Tammanini delves into the latest Broadway news and engages in an insightful conversation with acclaimed director Tripp Cullman. Cullman is currently directing Off-Broadway's We Had a World at the Manhattan Theater Club and recently helmed Second Stage’s Broadway premiere of Cult of Love. Tammanini also touches upon past productions, including I Can Get It for You Wholesale, and shares updates on exclusive content available through Patreon.
2. Broadway News Highlights
a. Casting Updates for All Nighter
Tammanini announces that All Nighter at the MCC Theater will see new cast members Issa Briones and Anna Sophia Robb replacing Havana Rose Liu and Christine Froseth starting April 30 until May 18. Highlighting their credentials, he notes:
"Anna Sophia Robb has been on TV for a very long time... and Issa Briones, the daughter of John Briones, co-starred with him in Hadestown on Broadway."
(Timestamp: 04:30)
b. Broadway Dream Roles Benefit Concert
The annual one-night event, Broadway Dream Roles, will feature stars performing songs from roles they aspire to play. Hosted by Tony winner Kara Young, the concert will take place on April 28th at the Al Hirschfeld Theater. Notable participants include Eric Bergen, Liz Calloway, and 2024 Jimmy Award winner Damson Chola Jr.
c. Cult of Love Film Adaptation
Good news for fans of Cullman’s work: Cult of Love is officially moving forward as a film adaptation. Leslie Hedlund will not only direct but also adapt her own stage play for the screen. The project is produced by Gloria Sanchez Productions, owned by Will Ferrell and Jessica Elbaum, marking their third collaboration with Hedlund.
d. Def Broadway's 2025 Waitress
Scheduled for July 23rd at Damroche Park in Lincoln Center, Def Broadway will present a unique rendition of Waitress featuring a full deaf cast performing the musical in American Sign Language (ASL) alongside a pre-recorded audio track. Sandra Mae Frank, known for Deaf West Theater’s Spring Awakening, will direct.
e. Additional Recommendations
Tammanini shares personal recommendations, including Andrew Lloyd Webber’s efforts to revive Phantom of the Opera, the Little Shop of Horrors cast's appearance on the Today show, and the Freakonomics podcast’s episode on the vitality of live theater.
"Listen to this podcast, Freakonomics, which... had an episode about how is Live Theater Still Alive?"
(Timestamp: 22:15)
3. In-Depth Conversation with Tripp Cullman
a. Directing Multi-Generational Casts in We Had a World
Tammanini kicks off the discussion by exploring Cullman’s approach to directing a cast that spans multiple generations, particularly focusing on the dynamic between young actor Andrew Barth Feldman and veteran Joanna Gleason.
"I just really try to get into the underneath the skin of everyone, no matter what their ages or their range of life experience."
(Timestamp: 08:42)
Cullman emphasizes the importance of empathy and versatility, especially when the protagonist interacts directly with the audience.
b. Crafting Audience Connection and Direct Address
Addressing the challenge of the protagonist’s direct engagement with the audience, Cullman explains the rehearsal process designed to simulate audience interactions, ensuring Feldman can authentically connect from all sides in the thrust-stage configuration.
"I am the audience substitute in rehearsal rooms."
(Timestamp: 10:18)
He highlights the necessity of dynamic casting for roles requiring charisma and the ability to adapt to live audience reactions.
c. Collaboration with Playwright Joshua Harmon
Cullman discusses his longstanding collaboration with Joshua Harmon, detailing how their mutual trust allows for profound creative exchanges, especially when handling semi-autobiographical material.
"We kept working with each other... and that relationship produced as many classics as indelible to the American canon."
(Timestamp: 15:53)
d. Comparing We Had a World with Cult of Love
Reflecting on his previous work with Cult of Love, Cullman outlines the distinct logistical and emotional challenges posed by each production—balancing a large ensemble with emotional clarity in Cult of Love versus the intimate, metatheatrical nature of We Had a World.
"Each one of them really worked deeply, deeply three dimensional."
(Timestamp: 23:33)
e. Future Prospects for We Had a World
Responding to rumors about potential stagings beyond New York, Cullman expresses hope for future productions but remains non-committal, awaiting official feedback.
"If you know anything, let me know."
(Timestamp: 27:19)
f. The Emotional Impact of We Had a World
Cullman shares heartfelt anecdotes about audience reactions, emphasizing the universal relatability of the family dynamics portrayed.
"One of the great pleasures of my career is... listening to the audience start to sniffle and then sob towards the end of the play."
(Timestamp: 28:10)
4. Conclusion
Matt Tammanini wraps up the episode by thanking Tripp Cullman for his insightful discussion on We Had a World and Cult of Love. He encourages listeners to attend Cullman’s productions before they conclude and teases an upcoming interview with Broadway legend Betty Buckley. Tammanini also reminds fans about exclusive Patreon content and future episodes.
Notable Quotes:
-
Cullman on Empathy in Directing:
"I just really try to get into the underneath the skin of everyone, no matter what their ages or their range of life experience."
(08:42) -
Cullman on Audience Connection:
"I am the audience substitute in rehearsal rooms."
(10:18) -
Cullman on Director-Writer Collaboration:
"We kept working with each other... and that relationship produced as many classics as indelible to the American canon."
(15:53) -
Cullman on Emotional Clarity in Ensemble Casts:
"Each one of them really worked deeply, deeply three dimensional."
(23:33) -
Cullman on Audience Impact:
"One of the great pleasures of my career is... listening to the audience start to sniffle and then sob towards the end of the play."
(28:10)
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