Discussing a production of the play "Pericles," with Barbara Gaines, Director of the Shakespeare Repertory theater. Program includes an excerpt of a November 1962 interview with French actor, director and producer Jean Louis Barrault.

Terkel Talks with known English Dramatist Sir Arnold Wesker (part 2) about the economy of England. The talk begins with the subject of apprentices and when students began their apprenticeship (usually at the age of 15). This is a two part interview

Terkel Talks with known English Dramatist Sir Arnold Wesker (part 1) about the economy of England. The talk begins with the subject of apprenticeship. This is a two part interview.

This lighthearted interview with actor, director and author Victor Spinetti is juxtaposed by the September 5, 1975 bombing of the London Hilton, which took place mere hours beforehand and "two blocks away," according to Studs. The two discuss Spinetti's Welsh background, acting and comedy with nervous energy against a backdrop of gunshots and bomb threats.

Even though Josh Logan said he’d never want to be in a hospital again for treatment, he said that his bouts of manic depression and being on the edge have led to some of his greatest work. When asked, Logan said he would not have traded his sickness for being completely well. He also shares his greatest of experiences, working with Konstantin Stanislavski.*Please note: some sections have been edited out from the original recording due to copyright considerations 

Terkel interviews actors from the American Conservatory Theater: Richard A. Dysart, Robin Gammell, Rene Auberjonois, Janis Young, and William Ball. This is an interview done in two parts.

Stage director Alan Schneider talks about his work with playwrights, Samuel Beckett and Edward Albee. Plays include "Waiting for Godot," "A Delicate Balance," and "Whose Afraid of Virginia Woolf?"

His total love for the theatre began when Alan Ayckbourn worked backstage, and then worked the lights. He eventually began writing plays. To date, he has written 47 of them. Ayckbourn admits that his plays may be dark but he explained that he tries to add some humor into them, too. When writing a play, and without any notes, Ayckbourn said, he'll take four or five days to write out an entire play on a word processor.

Part Two of this engrossing interview sees Spinetti elaborate on characters from Joan Littlewood's production of "Oh, What A Lovely War!" in England. Includes a reading of "The English Seaside in High Summer" and an a capella performance of the musical's Act I closer, "Good-bye-ee!", both by Spinetti.

English actor, director and writer Victor Spinelli discusses several aspects of Joan Littlewood's production of "Oh, What A Lovely War!", including the origin of the songs, slides and quotations used in the musical. The two also discuss the World War War I, blind patriotism and what an Italian drill sergeant might sound like. Includes as a reading of "Watchers Along the Mall" by Spinetti.

Actor and director Sam Wanamaker died in December of 1993. In an interview in 1980, he discussed his love of Shakespeare's plays. Wanamaker's mission in life was to recreate, reconstruct and revive The Globe Theatre as it was in Shakespeare's days.

A panel of producers and directors, Father Paul Carrico, Mike Whitney, Ron Sutton, Dick Lukenson, and Leo Dratfield discuss film theory and education on film in the classroom.

While riding in a cab, the driver talks about the narrow streets of London. He also talks about the traffic and why he believes traffic will only get worse in the future. Producer and director Karel Reisz explains how making films in England and America differ from how films are made Italy. Reisz also talks about the freedom of a director when making a film. With regards to viewership, according to Reisz, films are in 2nd place behind TV.

The filmmaker talks with Studs about the process for making her debut feature, Street Music, with a cast largely made up of non-actors. Audio clips from the film are played within the interview.*Please note: some sections have been edited out from the original recording due to copyright considerations 

The playwright, director, and the founder of the Black Ensemble Theater returns to the studio to discuss her updated production of the Tennessee Williams play, A Streetcar Named Desire.*Please note: some sections have been edited out from the original recording due to copyright considerations