Marks & Vincentelli: A Theatre Podcast

One of the great pleasures of Lauren Yee’s new play, “Mother Russia” (at Signature Theater until March 29) is watching expert actors work their comic magic. We’re lucky that two of them, Steven Boyer and Adam Chanler-Berat, took some time to drop by our virtual studio.
Elisabeth wrote a glowing review of “Mother Russia” in the New York Times, praising Steven and Adam’s performances as a pair of mismatched friends in 1992 St. Petersburg, trying to figure out how to make a quick ruble as capitalism takes over Russia. This is their first time working together, which is unexpected because they have been regulars on New York stages for the past 15 years. Adam got his break break in “Next to Normal,” then went on to terrific turns in “Peter and the Starcatcher” and “The Fortress of Solitude.” Steven earned a Tony nomination for his memorable turn as a teenager and his evil hand puppet in “Hand to God,” and you would remember him from playing Victoria Clark’s dad in “Kimberly Akimbo.” Freakishly, they both played John Hinckley in different NYC revivals of “Assassins”!
We talked with them about the new show, including the epic scene in which their characters chomp on their first-ever filet-o-fish, as well as some of their earlier credits — Steven has an amazing anecdote about the little-seen “Trevor” (which Elisabeth remembers vividly) and its surprisingly trajectory.


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One of the things we enjoy doing on this podcast is talking to people fighting the good fight around the country. Now, you might have heard that there’s some turmoil in the Washington, D.C. arts scene — understatement of the year! It started with the sabotage of the Kennedy Center by the Trump administration, and now another institution is crumbling: the Washington Post recently decided it didn’t need critics or an arts editorial staff, and slashed that desk. Those who were swept away included theater critic Naveen Kumar and theater editor Zachary Pincus-Roth.
So what happens when the local legacy newspaper stops covering the local theater? In this episode we talk to Nicole Hertvik and Eric Colchamiro, who are editor in chief and board chair, respectively, of DC Theater Arts — which now finds itself propelled to the forefront of theater coverage in the DMV (DC-Maryland-Virginia) area.
Tune in as we discuss where local companies stand, the challenges and rewards of covering D.C. in the Trump era, and of course that Lesbian “Othello” everybody — OK, just Richard Grenell of the Kennedy Center — is talking about.
Some reading:
Nicole Hertvik’s live report from the Kennedy Center Honors.
Her reaction to the Kennedy Center closing and the WaPo layoffs.

And you can connect with their socials here:
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This episode’s guest is Susannah Flood, from the play “Liberation” — one of the best-reviewed Broadway shows of 2025 (you can read Elisabeth’s glowing take for The New York Times here).
The show mostly takes place during meetings of a feminist consciousness-raising group in 1970s Ohio. Susannah takes on two roles: Lizzie, who founded the group, and Lizzie’s daughter, who’s narrating the story. She talked to us about getting into theater, working with the playwright Bess Wohl and the director Whitney White (check her out on the pod here!), and what doing this specific play has meant to her.
Of course we also talked about other shows on Susannah’s C.V., like Anne Washburn’s now-iconic “Mr. Burns, a Post-Electric Play.”
But wait, there’s more: Susannah plays the lead character’s mother in Kristen Stewart’s directorial debut, “The Chronology of Water,” and talked about that project as well. Don’t say we don’t spoil you!



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With Broadway recovering from its holidays binge and rehearsing for its next batch of shows, January on New York City stages means one thing: festivals!
These days the dominant one is Under the Radar, which has overcome many odds to celebrate its 21st season with its biggest slate yet. We’re delighted to welcome founder Mark Russell, now the fest’s director (with co-creative directors Meropi Peponides and Kaneza Schaal).
Russell leads us through UTR’s ups and downs, its challenges and triumphs, the fest’s embarrassing inaugural name, and how the NYC avant and experimental scene has changed over the decades. It’s a story of survival in a tough environment that keeps getting tougher: less money, changing venues, logistical issues (often having to do with visas).
And lest you think this is just a boon for NYC audiences: UTR overlaps with the annual conference by the Association of Presenting Arts Professionals (APAP) and a lot of programmers use the opportunity to check out shows that may eventually appear at stages around the country.
Check it out: Elisabeth picked a few shows from this year’s selection for the NY Times (gift link).
Thanks to Christian Huygen for our theme music.


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Just the two of us, we can make it if we try…and so we did! Peter and Elisabeth rocked this episode on their own and managed to cover quite a bit of ground. They started off with Peter’s report from his recent trip to the Divine Comedy festival in Krakow, Poland.
Then they remained behind the Iron Curtain for a chat about the recently departed Tom Stoppard (who was born in the former Czechoslovakia, as this podcast’s listeners may know).
Finally, they went over some of their favorite shows of the year, with a focus on Off Broadway productions that may have garnered less press — though Elisabeth’s favorite, “Weer,” was one of the fall’s hits, and here’s a gift link to her profile of its creator, Natalie Palamides.
Thanks to Christian Huygen for our theme music.



This is a public episode. If you'd like to discuss this with other subscribers or get access to bonus episodes, visit marksvincentelli.substack.com/subscribe