In this episode, I’m joined by playwright Jackie Goldfinger, actor L. James, and director Sue Wolf. We explore the multifaceted world of theater, focusing on the importance of storytelling, the challenges of playwriting, and the unique experiences of military veterans in the arts. We discuss the development of the one-person show BACKWARDS, FORWARDS, BACK, highlighting the role of virtual reality in modern storytelling and the impact of PTSD on both characters and audiences. Our conversation emphasizes the need for trust between directors and actors, the significance of compelling characters, and vital support organizations for veterans.
You can listen on the Substack App, and all episodes are also available on Apple or Spotify.
Or, if you want to put faces with voices, you can watch the video version of this podcast over on YouTube.
Guest’s Links
Get tickets to BACKWARDS, FORWARDS, BACK at United Solo on November 14 HERE.
Learn more about Jackie and all her plays HERE.
Get Jackie’s book, PLAYWRITING WITH PURPOSE, HERE.
Learn more about L. and all his projects HERE.
Visit L. on Instagram HERE.
Learn more about Sue and all her projects HERE.
Learn more about Sue’s amazing non-profit to help foster kids—Foster Your Dreams—HERE.
Learn more about Operation Warrior Resolution HERE.
Learn more about VoteVets HERE.
Guest’s Bios
L. James (Performer) is a proud native of Paterson, New Jersey and US Army Veteran. He received his BA in Theater at Ramapo College of New Jersey and an MFA in Fine Arts from Florida State University. Since graduating, he has been seen in TV/Flim such projects as Law & Order, CBS’ FBI, The Zombie Wedding, The Mooch. He’s performed at regional theaters along the east coast, Asolo Rep., Shakespeare & Co, ASC, FreeFall Theatre and more. He also has shared his in voice in voiceovers, audiobooks and announcements for local companies. L. is a proud veteran and an accomplished performer whose work centers on themes of resilience, healing, and the complexities of military life. He brings lived experience and authenticity to this acclaimed role.
Sue Wolf (Director) began her career on Broadway... as an usher. Tired of reciting the alphabet backwards, she started directing plays and musicals. She eventually moved to Los Angeles, where she lived in her car in Beverly Hills, ‘showered’ in a doctor’s office, and landed a job in the casting department for Norman Lear. She played alto sax at The Central on Sunset Boulevard (Viper Room now) by night and by day she was a writer’s assistant on “All In The Family.” Ultimately after working every job in production and writing for Weekly and Daily Variety Newspaper, Sue became a producer and director for stand-up and sketch comedy shows and documentaries. Her TV shows are on Comedy Central, MTV, Disney, Lifetime, CBS, ABC, TBS, UPN and has over 50 shows on HBO with seven Cable Ace nominations and two wins! In addition to co-creating the classic award-winning series “One Night Stand,” she produced the first (almost all black) stand-up show for Eddie Murphy TV called “Uptown Comedy Express,” and the first all-female stand-up HBO show called “Women of the Night.” Sue produced and/or directed specials with Robin Williams, Billy Crystal, Chris Rock, Ellen DeGeneres, Martin Short, Paul Rodriguez, Martin Mull, Denis Leary, Joy Behar and many more. Her films include documentaries “Iroquois Art,” Richard Pryor’s “I Ain’t Dead Yet Mutherf*cker”, and “Rodney Dangerfield.” Narratives: Markus Wolf for Paramount (script Jim Webb produced with Larry Brezner and a film called “Zombie Wedding.” She is proud of her community work which includes serving on the board of NYRep, starting FosterYourDream.org, a 501c3 that makes dreams come true for foster kids, serving on the Friends Committee of Hollywood Beautification Team (a non-profit that paints out 2 million miles of graffiti and ‘greens’ L.A.), serving on Eric Garcetti’s Gang Safety Commission, serving as Lemon Grove Park’s Board President, and receiving two citations from Mayor Garcetti for rolling up her sleeves and getting involved. She plans to live to 150.
Jacqueline Goldfinger (Playwright) is a playwright, poet, and librettist whose work has been produced in the U.S. and around the world. Her book, Playwriting with Purpose: A Guide and Workbook for Playwrights, is taught at colleges and universities around the country. Her plays have been produced by The Kennedy Center, United Solo (Off-Broadway), Court Theatre (New Zealand), École nationale de théâtre (Canada), Urbanite Theatre, Contemporary American Theatre Festival, Theatre Exile, Vortex Rep, Perseverance Theatre, among others. Her work has been developed at Maryland Opera Studio, the National Theater (UK), New Georges, La Mama, Disquiet (Portugal), Drama League, Lark Playwrights Week, National New Play Network, among others. Her work has been supported by organizations including Yaddo, National Endowment for the Arts, Millay Colony, Sloan Foundation, and the Orchard Project. Her opera, choral and art song libretti have been performed at Sydney Opera House (Australia), Opera Columbus, Resonance Works, BBC Radio 3 (UK), Voces8 (UK), Oberlin Opera, Chor Leoni (Canada), Chiesa di Ognissanti (Italy), San Diego Opera/Without Walls Festival, and others. The filmed version of her short opera, Letter to Our Children, with Composer Justine F. Chen has screened at film festivals around the world. Her plays have won the Yale Prize, Generations Award, Smith Prize,among others. Her plays and libretti have been published by Yale Press, Theatrical Rights Worldwide, Concord Theatricals, Dramatists Play Service, Edition Peters, and others. Her poetry has been published by literary magazines including American Poetry Review, Poetry Wales, and Beyond Queer Words Poetry Anthology. As a dramaturg, she specializes in new work and has worked with La Jolla Playhouse, Philadelphia Theatre Company, Arden Theatre, and others. As an educator, she has taught playwriting and dramaturgy at University of Pennsylvania, UC Davis, and others. Education: BA English Literature-Theatre at Agnes Scott College. MFA Screenwriting at University of Southern California.
If you enjoy or find value in this podcast, I’d like to ask you a quick favor.
Leaving a short review or comment helps me out a ton. It tells the algorithmic overlords that people are listening, and it helps other folks discover the show.
So if you can post a review—just click the purple button below to open Apple Podcasts and scroll down to Ratings and Reviews—or leave a comment on this episode here on Substack or over on YouTube, wherever you happen to be listening or watching, I would be incredibly grateful.
I use an incredible online app, Riverside.fm, to produce this podcast.
If you’re interested in producing your own podcast, creating other audio or video content, or hosting a livestream, I cannot recommend them highly enough.
Here’s a link so you can check ‘em out! (Full disclosure, this is an affiliate link, but I wouldn’t put it here if I didn’t believe in and use Riverside.fm myself!)
A quick shout out to Ievgen Poltavskyi from Pixabay for the musical underscoring!
