Downtown Dialogues is a live video podcast that takes a behind-the-scenes look at different plays and their themes produced by Theatrical Outfit - Atlanta's Downtown Theatre.         GUESTS are Trudy Nan Boyce (Retired Atlanta Police Officer & Author), Ryan Gravel (The Man Behind The Atlanta Beltline & Founder), and Addae Moon (Associate Artistic Director at Theatrical Outfit)   HOSTED by Gail O'Neill (Host Of "Creative Knowledge" & Journalist).   Music Credit: Raro Bueno by Chuzauzen & Hallon by Christian Bjoerklund         About THE WOLF AT THE END OF THE BLOCK: Have you ever entered a world where nothing is as it seems? Abe, a resident of the Rightlynd neighborhood of Chicago, seeks justice after a mysterious, late-night attack at a boarded-up bar. In the next 48 hours, the neighborhood digs deep into escalating mystery, working against time to separate fact from fiction. But as the clock ticks down, the media gets involved, and what began as a simple mystery quickly twists into a personal, pointed and political thriller. A modern-day neo-noir, The Wolf at the End of the Block is “A Modern Masterpiece” (New City).

Downtown Dialogues is a live video podcast that takes a behind-the-scenes look at different plays and their themes produced by Theatrical Outfit - Atlanta's Downtown Theatre. GUEST is January LaVoy (Performer & Co-Director of FIRES IN THE MIRROR). Music Credit: Raro Bueno by Chuzauzen & Hallon by Christian Bjoerklund About FIRES IN THE MIRROR: How do you plan for a reckoning? Theatrical Outfit will commemorate the 30th Anniversary of the Crown Heights riot by bringing Anna Deavere Smith’s documentary theatre masterpiece to life with soaring theatricality. Taken directly from a series of interviews with over fifty members of the Jewish and Black communities following the historic riots, FIRES IN THE MIRROR: CROWN HEIGHTS, BROOKLYN, AND OTHER IDENTITIES turns their voices into a tour de force one-woman show starring January LaVoy. This groundbreaking play is “Viscerally Smart [And] Endlessly Empathetic” (The New Yorker).