Podcast appearances and mentions of agnes demille

This is a special encore episode of my 2022 interview with Tony-award-winning lighting designer Ken Billington. This past week, Ken received rave reviews for his lighting design of the new Broadway musical SMASH, which amazingly is his 108th Broadway production. So, I thought it was an ideal time to revisit this fascinating conversation about the history of lighting design on Broadway and Ken's own tremendous contribution to it. This is a two-part conversation and I will be rereleasing both parts this week. Original Description: My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way, he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical have been handed down directly – firsthand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, I'm thrilled to be joined by Broadway star Luba Mason, who will be appearing in Backstage Babble: Beyond the Walls of Joe Allen Restaurant on Wednesday, February 19th at 7 PM at 54 Below. You can find in-person and livestream tickets here: https://54below.org/events/backstage-babble-joe-allen/ And tune in to hear some of the stories of her legendary career, including finding her take on the role of Hedy LaRue in HOW TO SUCCEED, the beauty of THE CAPEMAN, the experience of reviving the show at the Delacorte Theater, her circuitous path to starring in JEKYLL AND HYDE, the challenges of working on SID CAESAR AND COMPANY, co-starring with Brooke Shields in CHICAGO, performing in the West Coast tryout of SUNSET BOULEVARD, why PRETTY FILTHY didn't transfer to Broadway, how she got involved with the American Dance Machine at NYU, dancing for Agnes De Mille, why she loves working with Michael John LaChiusa, and so much more. You won't want to miss this interview with a true Broadway veteran.

My guest again this week is the noted journalist and theater critic Laurie Winer, who returns for part two of our conversation about her book, Oscar Hammerstein II and the Invention of The Musical. If you missed part one, you may want to catch up with that before listening to this one. Following the triumph of Show Boat, during the 1930s Hammerstein experienced a very challenging decade of devastating flops on Broadway and very limited achievement in Hollywood. And that's where we pick up our conversation. Topics included in this episode include the musicals Oklahoma!, Carousel, and Allegro! as well the the stark differences between the personalities of Richard Rodgers and Oscar Hammerstein, their working methods, and their fruitful collaboration and contentious relationship with choreographer Agnes De Mille.  How to become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including Producer Level Patrons Paula & Steve Reynolds. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth discussions with my frequent co-host, Albert Evans, that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

In the first episode of their third season, Patrick and Tommie discuss how they spent the summer, reminisce about outdoor theatre experiences, get triggered by trigger warnings, lie down with the Lai dog, dance with choreographer Agnes De Mille, avoid Hollywood legend Greta Garbo, say ta-ta to Tito Jackson, have a late supper at Tiffany's, celebrate the great bad film that ruined Faye Dunaway's career, enjoy a cheeseburger, look at more Supreme Court shenanigans, Tommie raises a conspiracy theory, they set the hounds loose on the idiots attacking Springfield, Ohio, and name their favorite dogs from film and television.

Dance Talk” ® with Joanne Carey and special guest, Artistic Director & CEO, Christine Cox, Ballet X In this episode of “Dance Talk” ® with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Christine Cox,  Artistic and Executive Director of Ballet X. Together they discuss Christine's journey in the dance world, the founding of Ballet X, and its mission. Christine also shares about her love of music and how it plays an integral role in her artistry. The conversation also touches on the outreach and education programs Ballet X is known for within the community and the dance world. Together they also discuss the life skills that dance instills in individuals. Christine emphasizes the importance of supporting artists and the community and its the value of dance in society.  Check out this episode, it wont disappoint and neither will the company's upcoming season! Christine Cox Cox was a full-time company member with Pennsylvania Ballet from 1993 until her retirement from the stage in 2006. She trained in classical ballet at the Pennsylvania Ballet School and continued at the Performing Arts School of Philadelphia, spending summer sessions at the Joffrey and San Francisco Ballet schools. Some of her featured roles included Rum and Coca Cola in Paul Taylor's Company B, Eve in Margo Sappington's Rodin, Mis En Vie the Cowgirl in Agnes DeMille's Rodeo, and principal female roles in Jerome Robbins' Fancy Free and The Concert. During this time, Cox served for ten years as the rehearsal assistant of the children's corp for Pennsylvania Ballet's annual production of Balanchine's The Nutcracker. Prior to joining the Pennsylvania Ballet, she danced with BalletMet (Columbus, OH), as a guest artist with Ballet Hispanico (New York, NY), and with the American Repertory Ballet (Princeton, NJ). Cox is the proud mother of two young boys, Warren and Wesley. For Information on Ballet X https://www.balletx.org/about-us/staff/christine-cox/ YOUTUBE ⁠https://youtu.be/ABCFzZ83Voc And follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  https://dancetalkwithjoannecarey.com/ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Can two brilliant minds outsmart the law?  In 1924 Nathan Leopold and Richard Loeb, two wealthy University of Chicago students, sought to commit the perfect crime simply for the thrill of it.  They meticulously planned the kidnapping and murder of 14-year-old Bobby Franks, a distant relative of Loeb.  Despite their careful plotting, a pair of eyeglasses left at the crime scene linked them to the murder.  Their trial captivated the nation, especially with the famous defense attorney Clarence Darrow arguing against the death penalty.  The chilling lack of remorse and intellectual arrogance displayed by Leopold and Loeb turned this case into one of the most notorious in American history! Two of my passions are True Crime and the stage. In this segment of Murder Most Foul, I have been able to combine them into one podcast. Lizzie Borden can boast numerous plays, an Opera and a Ballet choreographed by the legendary Agnes DeMille inspired by her crimes. My guest today, Stephen Dolginoff, turned the story of thrill-killers Leopold and Loeb into theatrical musical, entitled appropriately “Thrill Me,” which is still thrilling audiences today. He also recently wrote a fascinating book on the 30-year odyssey of taking his vision from first draft to the stage and beyond. ----------------------------------------------------------------- The musical interludes throughout the podcast are from the Original Cast Recording starring Stephen Dolginoff as Leopold and Doug Kreeger as Loeb.

Joe Chvala has created over 30 original works for the stage that have toured from New York to Paris and from Jacob's Pillow Dance Festival to Litle Falls, MN. He is the founder and artistic director of the highly acclaimed percussive dance company, Flying Foot Forum. Articles and reviews of his work have appeared in national and international magazines and newspapers including the New York Times, La Monde, the Chicago Tribune, Dance Magazine, and the Village Voice. The range of his work has been described as "somewhere between Sammy Davis, Jr. and Samuel Becket" and has earned such accolades as "Fred Astaire on acid" and "the Agnes DeMille of the tap." Chvala has also choreographed, directed, and/or been commissioned to create new work for a variety of venues including the Walker Art Center, The Ordway Center, the Chicago Shakespeare Theatre, The Guthrie Theater, the Minnesota Opera, Arkansas Repertory Theatre, The Children's Theatre Company (to name a few). He has received Ivey and Minnesota SAGE Awards for theater and dance, as well as numerous other awards, fellowships, and grants from organizations including the National Endowment for the Arts, Minnesota State Arts Board, Target, and McKnight Foundation. Chvala also choreographs and directs dance for films. His first short film, COOKAPHONY, has been chosen as an official selection at 14 film festivals, winning four awards at various festivals including Paris Short Film Festival, Sedona International Film Festival, Vasteras International Film Festival (Sweden) and the Minneapolis/St. Paul Internatonal Film Festval.

This is the first half of my recent conversation with author Liza Gennaro, whose fascinating new book is titled: Making Broadway Dance. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and prior to that she had a very active and successful career as a dancer and choreographer on Broadway and with prominent theater companies across the country. Most notably she choreographed the hit Broadway revival of Frank Loessor's The Most Happy Fella. As she writes in the introduction to her book, Liza came to her love and interest in musical theater dance genetically. Her father was Peter Gennaro, the Tony Award winning choreographer and star dancer of Broadway musicals and TV variety shows. And her mother, Jean Gennaro, was a ballerina turned Broadway dancer who danced for Bronislava Nijinska, Agnes De Mille, and Michael Kidd.  As you might imagine, Liza grew up immersed in the world of Broadway, and all manner of dance, and she is able to weave all of that life experience into this remarkable book. I can't think of anyone more uniquely qualified to write it. Appropriately for the final day of Women's History Month, this episode focuses largely on two great female choreographers -- Katherine Dunham and Agnes de Mille. I have stated that De Mille is arguably the most important woman in the history of Broadway musical – not including the star performers, of course – and she has received quite a bit of focus in previous episodes of this podcast. However, I am especially happy today to shine a spotlight on Katherine Dunham whose influence on Broadway dance – like that of many other black artists – has often been overlooked and undervalued. But her impact and significance cannot be denied.  Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Elizabeth Farrell joins us to talk about her time dancing for Agnes DeMille. Elizabeth danced with American Ballet theater for 13 years and during that time was chosen by DeMille to dance in a number of her ballets, including the lead role in her masterpiece, 'Rodeo'. Additional Resources Reference Footage Agnes DeMille Website Autobiography: Dance to the Piper & Promenade Home Oklahoma! Podcast Merch Disclaimer: Some of the links are affiliate links. This means that, at zero cost to you, I will earn an affiliate commission if you click through this link and finalize a purchase.

This is an encore presentation of my conversation with author Liza Gennaro, regarding her fascinating book : Making Broadway Dance. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and prior to that she had a very active and successful career as a dancer and choreographer on Broadway and with prominent theater companies across the country. Most notably she choreographed the hit Broadway revival of Frank Loessor's The Most Happy Fella. As she writes in the introduction to her book, Liza came to her love and interest in musical theater dance genetically. Her father was Peter Gennaro, the Tony Award winning choreographer and star dancer of Broadway musicals and TV variety shows. And her mother, Jean Gennaro, was a ballerina turned Broadway dancer who danced for Bronislava Nijinska, Agnes De Mille, and Michael Kidd.  As you might imagine, Liza grew up immersed in the world of Broadway, and all manner of dance, and she is able to weave all of that life experience into this remarkable book. I can't think of anyone more uniquely qualified to write it. This episode focuses largely on two great female choreographers — Katherine Dunham and Agnes de Mille. I have stated that De Mille is arguably the most important woman in the history of Broadway musical – not including the star performers, of course — and she has received quite a bit of focus in previous episodes of this podcast. However, I am especially happy today to shine a spotlight on Katherine Dunham whose influence on Broadway dance — like that of many other black artists — has often been overlooked and undervalued. But her impact and significance cannot be denied.  Learn more about your ad choices. Visit megaphone.fm/adchoices

Remembering Agnes De Mille with Elizabeth Ferrell and Jenna Rae Herrera Today's episode is a special one, where we look back and remember world-renowned dancer, choreographer, writer, lecturer, and director, Agnes De Mille. Agnes had a successful, yet tempestuous, career that spanned almost 70 years through the world of 20th-century American theater and ballet. We take a look at her through the eyes of Elizabeth Ferrell, formerly a member of the American Ballet Theater, and Jenna Rae Herrera, a principal artist with Ballet West. We hear their recollections of working with De Mille in the studio and performing her work, and we listen to their insights about how the course of American dance was forever changed by her. Stay tuned for a lively conversation about Agnes De Mille and her long-lasting impact; creating strong-willed American female roles. Enjoy! Key Points From This Episode: ·       Beth shares a short (but detailed) biography of Agnes De Mille; Agnes in a nutshell. ·       More about Beth, her background, and how she became part of De Mille's work. ·       Beth tells listeners about De Mille's personality (both in the studio and on stage).  ·       Jenna talks about her background in dance and career at Ballet West. ·       Jenna tells us about learning her role in Rodeo and how it helped her grow as an artist. ·       The process of learning the Rodeo material (and hearing the narrative from Agnes herself).  ·       Jenna shares her experience learning work that was made decades ago (and translating it to her body and the company). ·       We hear Beth's experience doing De Mille's work, both the physical experience and the learning process. ·       Jenna and Beth reminisce about their time performing The Cow Girl in the Rodeo ballet. ·       Why Rodeo was set on ballet companies (as opposed to other genres of dance). ·       Their thoughts on why De Mille's work has become timeless and why it's still being performed today.   “She was really ahead of her time, there's still a real push to nurture and push female choreographers and women's voices [today] — and here she is in the 1940s choosing her own music, dancers, costumes, set designs, and was calling the shots.” — Elizabeth Ferrell   Former member of American Ballet Theatre, Elizabeth Ferrell emerged as a major interpreter of the works of Agnes de Mille, having performed leading roles in De Mille's Rodeo, 3 Virgins and a Devil, The Informer, and Brigadoon. Jenna Rae Herrera is a Principal Artist with Ballet West in Salt Lake City and made her debut last year as The Cowgirl in Agnes de Mille's Rodeo. Connect with Movers & Shapers: A Dance Podcast on Instagram and Facebook More info links from this episode: Movers & Shapers

Choreographer Agnes de Mille, whose narrative works were often driven by multifaceted female characters, changed the course of American dance. As we approach the 30th anniversary of de Mille's death, former American Ballet Theatre dancer Kathleen Moore and New York Public Library for the Performing Arts curator Linda Murray join to discuss the enduring relevance of de Mille's art.A transcript of this episode is available here: thedanceedit.com/transcript-episode-150More about The De Mille Working Group's upcoming program at the New York Public Library for the Performing Arts: nypl.org/events/programs/2023/04/03/agnes-de-mille-womens-narratives-and-agencyVisit/add to the Dance Media Events Calendar: dancemediacalendar.com/Get the latest dance news direct by subscribing to our free newsletters. Find the ones that match your interests: dancemagazine.com/subscribe

This is the second part of my conversation with author Barry Kester whose fascinating new book is titled: Round In Circles — The Story of Rodgers & Hammerstein's CAROUSEL. Last week we focused on the three people most responsible for the creation of CAROUSEL — Oscar Hammerstein, Richard Rodgers, and the dynamic producer Theresa Helburn, whose vision and obsession it was to turn Ferenc Molnar's play Liliom into a musical.   This week Barry takes us behind the scenes of CAROUSEL's rehearsal period and it's rocky out-of-town tryout including its very first performance in New Haven where the show ran more than four hours long! Along the way we have the opportunity to focus on the other key members of Carousel's creative team — choreographer Agnes De Mille, director Rouben Mamoulian, dance arranger Trude Rittmann, and orchestrator Don Walker — all of whom were crucial in helping Rodgers & Hammerstein turn what could have been a disaster into one of the landmark musicals of the “Golden Age of Broadway.”  If you missed part one you may want to catch up with that episode before listening to this one. This episode is made possible in part through the generous support of Patron Club Members: Roger Kloresse, Elizabeth Troxler and Chris Moad.  Thank you all! How to become A PATRON of Broadway Nation! If you are a fan of Broadway Nation, I invite you to become a PATRON! For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hey Jam Fam!  We are excited to share today's episode with you, featuring Phil LaDuca!  We know you know the name for being the shoe maker to the stars, but there is so much more to his story.  Thank you Phil for honesty and carving out time for us! Most recognize the name LaDuca as the pinnacle of dance shoes, but before shoes, there was Phil LaDuca, the performer, who went from classical ballet and contemporary dance, onto Broadway as a song and dance man, to ‘hoofing' with the biggest stars onstage, offstage and the big screen. Phil began his early stage career singing in rock bands in Chicago before switching gears to a dance career studying classical ballet with the premier ballet masters, Bentley Stone and Walter Camryn (actually performing in the ballet Romeo and Juliet with the legendary Rudolf Nureyev).  jazz with Lou Conte founder of Hubbard Street Dance Company, and contemporary with the Joel Hall Dancers.  On Broadway he appeared in “Brigadoon” for Agnes DeMille  (alongside Jerry Mitchell), the “Pirates of Penzance” , and was the original understudy for the Gene Kelly role in “Singin' In the Rain” for Twyla Tharp. Phil toured in “Camelot” along with staring on tour in the lead role, of Bill Snipson in “Me and My Girl”.   While in New York Phil first performed with American Dance Machine under the legendary Lee Theodore, working with such greats as Bob Fosse, Jerome Robbins, Ona White, Danny Daniels, Patricia Birch, Anne Reinking, Wayne Cilento and Chita Rivera.Fulfilling another creative side, Phil created the international acclaimed LaDuca Shoes, crowned the “Shoemaker to the Shoes”; designing shoes for the likes of Katy Perry, Meryl Streep, Taylor Swift, Emma Thompson, Hugh Jackman, Catherine Zeta Jones, Lea Salonga, Pink, Shania Twain, Penelope Cruz, Selena Gomez , Christina Aguilera, Harry Connick Jr. and most of the shows on Broadway and tour; Moulin Rouge, The Music Man, Wicked, Book of Mormon, Frozen, Some Like It Hot, The Cher Musical, Bandstand, An American in Paris, Kinky Boots, Matilda, Pippin, Sister Act, Annie, Anastasia, Radio City Christmas Spectacular, Aladdin; TV – Fosse/Verdon, Hairspray Live, So You Think You Can Dance, SMASH; Movies – The Eternals, The Prom, The Greatest Showman, La La Land, Chicago, Burlesque, NINE, Mamma Mia, Julie/Julia, Hail Caesar, working with such stars as Meryl Streep, Catherine Zeta Jones, Liza Minnelli, Cher, Arianna Grande, Antonio Banderas, Bette Midler, Cameron Diaz, Jennifer Hudson, Sophia Loren, Nicole Kidman, Penelope Cruz, Judith Dench, Glen Close, Reba McIntire, Sarah Paulson and Tatum Channing to name a few.Along with being the first, “Shoe commentator' for Miss America in 2015, Phil is most proud of being bestowed a Drama Desk Award 2017 for, “Proving that character comes from the ground up, the designer's innovative flexible dance ensures that hoofers on any stage remain on point”.Mr. LaDuca continues to design but still finds time to teach Master Theatre Jazz Dance classes. “I believe in not only giving back to this great community of dance, but I also feel obligated to ‘pass the baton' to future generations, all the knowledge I was gifted by the greats who taught and influenced me to achieve my goals and dreams”.Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com

My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating, and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical has been handed down directly – first hand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Broadway Nation is written and produced by me, David Armstrong. Special thanks to Pauls Macs for his help with editing this episode, to KVSH 101.9 The Voice of Vashon, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kate shares this iconic dancer and choreographer's inspiring story.

Today, I am so honored to announce my episode with legendary Broadway performer Sandy Duncan, the star of Peter Pan, The Boy Friend, Chicago, and so many more shows on stage and on screen. Tune in today for an in-depth interview featuring many of the stories of her legendary career, including the eerie dream she had before the Tony Awards, why she dubs Finding Neverland “Never Never Never Never Land,” the challenges of taking on the role of Peter Pan, the unusual audition song she used early on, her accident during the run of Chicago, a difficult demand from Agnes DeMille, the condition on which she agreed to take over Valerie, what it's like partnering with Gene Kelly, and the type of role that would make her come back to Broadway. You won't want to miss this conversation with one of the most talented triple threats in the industry. Trivia Link: https://www.youtube.com/watch?v=8O-Xnecg2ro

Today on ‘Conversations On Dance' we are joined by Diana Byer, founder and artistic director of New York Theatre Ballet. Diana has been at the helm of NYTB for over 4 decades, guiding the company to critical acclaim and providing a home for many nearly-lost works of master choreographers like Antony Tudor, Agnes DeMille and […] The post (290) Diana Byer, Founding Artistic Director of New York Theatre Ballet appeared first on tendusunderapalmtree.com.

Today on ‘Conversations On Dance' we are joined by Diana Byer, founder and artistic director of New York Theatre Ballet. Diana has been at the helm of NYTB for over 4 decades, guiding the company to critical acclaim and providing a home for many nearly-lost works of master choreographers like Antony Tudor, Agnes DeMille and […] The post (290) Diana Byer, Founding Artistic Director of New York Theatre Ballet appeared first on tendusunderapalmtree.com.

This is the first half of my recent conversation with author Liza Gennaro, whose fascinating new book is titled: Making Broadway Dance. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and prior to that she had a very active and successful career as a dancer and choreographer on Broadway and with prominent theater companies across the country. Most notably she choreographed the hit Broadway revival of Frank Loessor's The Most Happy Fella. As she writes in the introduction to her book, Liza came to her love and interest in musical theater dance genetically. Her father was Peter Gennaro, the Tony Award winning choreographer and star dancer of Broadway musicals and TV variety shows. And her mother, Jean Gennaro, was a ballerina turned Broadway dancer who danced for Bronislava Nijinska, Agnes De Mille, and Michael Kidd.  As you might imagine, Liza grew up immersed in the world of Broadway, and all manner of dance, and she is able to weave all of that life experience into this remarkable book. I can't think of anyone more uniquely qualified to write it. Appropriately for the final day of Women's History Month, this episode focuses largely on two great female choreographers -- Katherine Dunham and Agnes de Mille. I have stated that De Mille is arguably the most important woman in the history of Broadway musical – not including the star performers, of course – and she has received quite a bit of focus in previous episodes of this podcast. However, I am especially happy today to shine a spotlight on Katherine Dunham whose influence on Broadway dance – like that of many other black artists – has often been overlooked and undervalued. But her impact and significance cannot be denied.  Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a special encore episode of Broadway Nation. March is “Women's History Month”, so this seemed like the perfect time to revisit one my earliest episodes. Creative and talented women have played vital and important roles in the Broadway musical from the very beginning, but their contributions are often overlooked or undervalued. My students in the Broadway musical history course that I teach at the University of Washington School of Drama are always surprised to discover so many women in leadership positions in the world of theater, beginning even before women had the right to vote!  While we might expect that women would be well represented in the ranks of Broadway choreographers, what is perhaps more surprising is that women were the principal forces behind the artistic and technical creation and development of theatrical lighting design.  Appropriately, three of the women that I highlight in this episode have important March milestones: Hanya Holm was born March 3rd 1893, Onna White was born on March, 24th in 1922, and the original production of Brigadoon with choreography by Agnes de Mille opened on March 13, 1947. Once they get that proverbial time machine perfected, I would recommend that we all head back for our own Agnes de Mill "festival". That week you could experience her groundbreaking choreography of not just Brigadoon, but also the still running original productions of Oklahoma! and Carousel.  The sound balancing of this episode is not quite up to my current standards, but the content is fascinating, and I suspect that it will introduce even the most avid Broadway history buffs to some dynamic women that you have barely if ever heard of before. Here we go! Learn more about your ad choices. Visit megaphone.fm/adchoices

Our biggest episode yet brings together the medical professionals in New York and Philadelphia who care for some of the biggest companies in the dance world. They give us insight on how they keep those performers on stage. We talk about what it's like to work in small, medium, and large-sized programs, how their dancers access care, and the challenges of pushing the boundaries of choreography without pushing physical boundaries. Brought to you by the American Medical Society of Sports Medicine. Our guests: From Philadelphia: Christine Cox, founder and artistic director of Ballet X (Instagram: @christineccox) Marc Harwood, MD: Rothman Orthopedic Institute and consultant Ballet X and Pennsylvania Ballet From New York: Melody Hrubes, MD: Rothman Orthopedic Institute and medical director Radio City Rockettes (Instagram: @melodyhrubes) Sheyi OjoFeitimi, PT, DPT: Director of Therapy Services, Alvin Ailey American Dance Theater. #drsheyipt #dancereadyproject For more information on Athletes and the Arts, go to https://www.athletesandthearts.com For American Medical Society of Sports Medicine, go to https://www.amssm.org For Alvin Ailey American Dance Theater, go to https://www.alvinailey.org For Ballet X, go to https://www.balletx.org Bios: Christine Cox: Christine Cox co-founded BalletX, America's premier contemporary ballet company, with Matthew Neenan in 2005. The BalletX team has produced over 100 world premiere ballets by nearly 60 renowned and emerging choreographers to date, reaching more than 150,000 dance patrons. Under her leadership as Artistic & Executive Director, the company has performed at prestigious national stages including The Kennedy Center, Jacob's Pillow Dance Festival, Vail International Dance Festival, and The Joyce Theater. In 2013, she and her team launched The X-Process, an engagement program that invites audience members to participate in pre-show conversations with choreographers, an interactive lecture series about contemporary ballet, and open rehearsals. Through the Dance eXchange education program, she has partnered with elementary schools from the Philadelphia School District to emphasize dance as a means to promote self-confidence and acquire valuable life skills, reaching more than 2,000 local students in its first six years. Cox also led a TEDx talk at the George School about innovation in the field of contemporary ballet, from the art form's historical traditions to today's world of evolving definitions and globalization. As an arts leader, she has served on review panels for the John S. and James L. Knight Foundation and New Jersey State Council on the Arts, and currently sits on the Advisory Board of the Philadelphia Arts & Business Council. Christine has been recognized with two Rocky Awards for Outstanding Achievement in the Arts, as well as fellowships from the Independence Foundation and Pennsylvania Council on the Arts. Cox was a full-time company member with the Pennsylvania Ballet from 1993 until her retirement from the stage in 2006. Some of her featured roles included Rum and Coca Cola in Paul Taylor's Company B, Vortex in Alvin Ailey's The River; Choleric in George Balanchine's The Four Temperaments, Eve in Margo Sappington's Rodin, Mis En Vie the Cowgirl in Agnes DeMille's Rodeo, and principal female roles in Jerome Robbins' Fancy Free and The Concert. During this time, Cox served for ten years as the rehearsal assistant of the children's corps for Pennsylvania Ballet's annual production of Balanchine's The Nutcracker. Prior to joining the Pennsylvania Ballet, she danced with BalletMet (Columbus, OH), as a guest artist with Ballet Hispanico (New York, NY), and with the American Repertory Ballet (Princeton, NJ). Cox is the proud mother of two young boys, Warren and Wesley. Marc Harwood, MD: Dr. Harwood is a board certified non-operative sports medicine physician and serves as the Service Chief of the Non-Operative

Julie Kent became the Artistic Director of The Washington Ballet in July 2016. She is the longest-serving ballerina in American Ballet Theatre's 79-year history. She began her dance training with Hortensia Fonseca at the Academy of the Maryland Youth Ballet in Bethesda, MD and attended summer sessions at American Ballet Theatre II and the School of American Ballet before joining American Ballet Theatre as an apprentice in 1985. In that same year, Kent won first place in the regional finals of the National Society of Arts and Letters at the Kennedy Center. In 1986, she was the only American to win a medal at the Prix de Lausanne International Ballet Competition, and she became a member of ABT's corps de ballet.Kent starred in the Herbert Ross film “Dancers” in 1987 opposite Mikhail Baryshnikov. She was appointed a Soloist with ABT in 1990 and a Principal Dancer in 1993, the year in which she became the first American to win the Erik Bruhn Prize in Toronto and was named one of People Magazine's “50 Most Beautiful People.” In April 2000, Kent achieved another triumph, becoming the first American to win the “Prix Benois de la Danse.” Later that year, Kent starred in the motion picture “Center Stage” directed by Nicholas Hytner. In 2012, she was awarded an Honorary Doctorate of Performing Arts from the University of North Carolina School of the Arts as well as a “Lifetime Achievement Award” from Dance Magazine. Since 2014, she has been the Brand Ambassador for HANIA New York, a luxury line of hand-knit cashmere in NYC.During Kent's long performing career, she has acquired a vast repertoire dancing over 100 ballets, including all of the major classical, dramatic and neo-classical roles in works by Marius Petipa, George Balanchine, Jerome Robbins, Frederick Ashton, Kenneth MacMillan, John Cranko, Anthony Tudor, Michel Fokine, Agnes DeMille, Merce Cunningham, Jose Limon, Jiri Kylian, Ronald Hynd, Ben Stevenson and Christopher Wheeldon. As well, she has had roles created on her by John Neumeier, Lar Lubovitch, Mark Morris, Twyla Tharp, Alexei Ratmansky, Nacho Duato, Stanton Welch, James Kudelka, Jorma Elo, David Parsons, Jessica Lang, and Natalie Weir. Her appearances as a guest include invitations from the Mariinsky Theatre, Teatro alla Scala, New York City Ballet, Stuttgart Ballet, Berlin Staatsballett, Australian Ballet, Bayerisches Staatsballett, Teatro Colon, Ballet de Santiago, and others. In August of 2015, after a 30-year performing career, Kent was named Artistic Director of ABT's Summer Intensive, a comprehensive summer dance program for 1,400 students at five campuses across the US.Since Kent arrived at The Washington Ballet, she has brought important classical and contemporary masterworks into the repertoire, including her and Victor Barbee's own critically acclaimed staging of The Sleeping Beauty, described by New York Times former chief dance critic Alastair Macaulay as “one of the world's finer Sleeping Beauties.” Kent's steadfast commitment to the development of artists, rising choreographers, and the creation of arts education initiatives that benefit the community of our Nation's Capital, showcase her dedication to creativity, expression, and to propelling ballet forward into the 21st century.Kent is married to The Washington Ballet's Associate Artistic Director Victor Barbee, and, as a mother of two children, she has helped redefine the image of the American Ballerina.

This is the second part of my conversation with Broadway actor, singer, dancer, director and choreographer Lee Roy Reams whose nine Broadway musicals span from Sweet Charity in 1966 to The Producers in 1996, and as you will hear – he is still going strong! If you missed Part 1 you may want to listen to that episode first. We left off there with Lee Roy leaving his job as a dancer on the Carol Burnett Show in Hollywood and heading back to NYC because he was determined to move out of the chorus and start playing principal roles. The many shows, stars and Broadway creators that we discuss include Richard Rodgers, Agnes DeMille, Gemze De Lappe and the 1969 Lincoln Center revival of Oklahoma!; Lauren Bacall, Penny Fuller, Bonnie Franklin, Ron Field and the Tony Award winning Best Musical Applause; as well as Carol Channing, Comden & Green, Joe Layton, Ernie Flatt, Peter Gennaro, and the musical Lorelie. And more!   Learn more about your ad choices. Visit megaphone.fm/adchoices

OKLAHOMA! Music by Richard Rodgers | Book & Lyrics by Oscar Hammerstein II | Original Choreography by Agnes de Mille | Based on the play Green Grow the Lilacs by Lynn Riggs | Episode Segments:2:35 – Speed Test4:28 – Why God Why8:04 – Back to Before15:21 – Putting It Together23:56 – What's Inside46:06 – How Do You Solve a Problem Like Maria?1:13:18 – Our Favorite Things1:23:00 – Corner of the Sky1:28:50 – What Comes Next?Works Consulted & Reference :Oklahoma (Original Libretto) by Oscar Hammerstein IIGreen Grow the Lilacs by Lynn RiggsOK! The Story of Oklahoma by Max WilkSomething Wonderful: Rodgers and Hammerstein's Broadway Revolution by Todd S. PurdhamOklahoma! The Making of an American Musical by Tim CarterMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Lonely Room” from Oklahoma! (1998 Royal National Theatre Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Shuler Hensley"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Today, I am honored to be joined by the radiant Christine Andreas. In Part 1 of our in-depth interview, hear her discuss her legendary career as a Broadway star—you’re sure to fall under her spell and see why she was one of the pre-eminent stars of the 1970s and 1980s, leading the revival movement with such shows as My Fair Lady, Oklahoma!, and On Your Toes. She tells never before heard stories about the backstage politics at Rags, why she dreaded going to work as Eliza every day, turning down George Abbott and Billy Hammerstein, finding chemistry onstage, why she believes in mystical presences, rolling out the red carpet backstage, plus stories about Agnes De Mille, Peter Allen, Radie Harris, and more.

SHOWS: My Fair Lady (1976), Oklahoma (1979), On Your Toes (1983) "Many singers have lovely voices. Very few interpret lyrics the way they were meant to be sung. And Christine Andreas does just that.” While that compliment was paid by Hal David, we feel there is no greater introduction than that to the carismatic Christine Andreas, whose credits include the revivals of My Fair Lady, Oklahoma, On Your Toes, La Cage Aux Folles and the original companies of Legs Diamond, The Scarlet Pimpernel, and the first tour of The Light in the Piazza. Christine pulls back the curtain on her career to discuss how she kept dodging Mister Abbott, what it was like being choreographed by Agnes DeMille, and why Legs Diamond has no legs. Also, Christine shines the spotlight on Dina Merrill, George Rose, and Alan Jay Lerner! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advanced knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's show, Jamie and Rob talk through Jamie's personal top ten list of showstopping production numbers, celebrating some of the greatest moments in Broadway musical theatre history. They take a look at the extraordinary work of choreographers like Bob Fosse, Michael Bennett, Tommy Tune, Onna White, Jerome Robbins, Gower Champion, and Agnes DeMille, and dig into some of the more unheralded contributions from composer/lyricists, orchestrators, dance arrangers, and designers that combined with top-notch performers to make the best showstoppers. What's number one? Tune in to find out. This week's music: “Glory” from “Pippin”, “Overture”, and “Mame” from “Mame”. “42nd Street” from “42nd Street (Original Recording)”, “Wedding Dance” from “Fiddler on the Roof (New Broadway Cast Recording)”. “Steam Heat” from “The Pajama Game”, “Dance at the Gym: Bass, and Jump” from “Bernstein: West Side Story”, “Ballet” from “Oklahoma! (1998 Royal National Theatre Cast Recording)”, “Turkey Lurkey Time” from “Promise, Promises”. “The Rich Man's Frug” from “Sweet Charity (Original Cast Recording)”, “H-A-P-P-Y / We'll Take A Glass” from “Grand Hotel” and “The Music and the Mirror” from “A Chorus Line”. Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: office@fabulousinvalid.com  Jamie DuMont Twitter: @jamiedumont  Instagram: @troutinnyc Rob Russo Twitter/Instagram: @StageLeft_NYC Learn more about your ad choices. Visit megaphone.fm/adchoices

Coming to you from Whidbey Island, Washington this is 60 Seconds, your daily dose of hope, imagination, wisdom, stories, practical tips, and general riffing on this and that.Question: How do you reconcile your life-long struggle with dissatisfaction while continuing to unleash your creativity?You’ve heard the answer, but do you know the story?The legendary choreographer Martha Graham offered a life-changing response in a conversation with then-acclaimed choreographer Agnes de Mille who lost faith in her talent:Graham said, “There is a vitality, a life force, a quickening that is translated through you into action, and there is only one of you in all time, this expression is unique, and if you block it, it will never exist through any other medium; and be lost. The world will not have it. It is not your business to determine how good it is, not how it compares with other expression. It is your business to keep it yours clearly and directly, to keep the channel open. You do not even have to believe in yourself or your work. You have to keep open and aware directly to the urges that motivate you. Keep the channel open.As for you, Agnes, you have so far used about one-third of your talent.”“But,” I said, “when I see my work I take for granted what other people value in it. I see only its ineptitude, inorganic flaws, and crudities. I am not pleased or satisfied.”“No artist is pleased.”“But then there is no satisfaction?”“No satisfaction whatever at any time,” she cried out passionately. “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.”[A conversation found in the 1991 biography Martha: The Life and Work of Martha Graham by dancer and choreographer Agnes de Mille.] This is the place to thrive together. Come for the stories - stay for the magic.  Speaking of magic, I hope you’ll subscribe, share a nice shout out on your social media or podcast channel of choice, and join us next time! You’re invited to stop by the website and subscribe to stay current with Diane, her journeys, her guests, as well as creativity, imagination, walking, stories, camaraderie, and so much more: Quarter Moon Story ArtsProduction Team: Quarter Moon Story ArtsMusic: Mer’s Waltz from Crossing the Waters by Steve Schuch & Night Heron MusicAll content and image © 2019 - Present: for credit & attribution Quarter Moon Story Arts

Internationally acclaimed shoe designer Phil LaDuca joins Lisa in this intimate and heartfelt episode and gets real, digs deep, and shares openly, about the regrets he has for the moments lost, and the bridges burned in his lust for a life in the spotlight. "I was very much a taker and I think what has happened - thankfully for the shoes-it has made me a giver." Before creating the LaDuca Shoe Line and becoming the "Gucci of Dance Shoes", Phil was a Broadway song and dance man, alumni of Hubbard Street Dance Company and an internationally renowned choreographer and master dance teacher. Phil started his career singing in rock bands before moving on to classical ballet, contemporary and jazz companies and finally on Broadway where he appeared in "Brigadoon" for Agnes DeMille, "Pirates of Penzance" with Kevin Kline, and was the original understudy for the Gene Kelly role in "Singin' In the Rain" for Twyla Tharp. Phil also toured in "Camelot" with Richard Harris and "Me and My Girl" as Bill Snipson. He has designed shoes for the likes of Katy Perry, Harry Styles, Pink, Michelle Williams, Shania Twain, Taylor Swift, Meryl Streep, Nicole Kidman, Antonio Banderas, Christina Aguilera, Catherine Zeta Jones, Selena Gomez, Chita Rivera, Michelle Williams and many of the shows on Broadway including; Moulin Rouge, Frozen, Wicked, Book of Mormon, Aladdin, Tootsie, Anastasia, Cher Show, Summer, Radio City Christmas Spectacular; TV : Fosse/Verdon, Hairspray Live, So You Think You Can Dance, SMASH; Movies: The Eternals, The Prom, West Side Story (Spielberg remake), The Greatest Showman, La La Land, Chicago, Burlesque, NINE, Mamma Mia, Julie/Julia, Hail Caesar, Burlesque, NINE, Chicago, Mamma Mia, Julie/Julia.

Join us in a lovely history dive into the days of Agnes de Mille and Jerome Robbins with PNB's Jackson Cooper. We unpack complex studio relationships, understand the temperaments of these great artists a little more, and tangent off topic only a little bit! Follow Jackson on his socials: @jackson.cooper.arts Follow us! @dancersdidthat @lizhoulton @mcantolin --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app

EMPRESS (a. Shannon Marie Rugani) is an artist. She is also the Founder and Artist of Stardust World Productions LLC where she supports females in the music industry. Contact Info EMPRESS Instagram: https://www.instagram.com/empress.mus... Twiter: https://twitter.com/empress_music Website: https://empress-music.com/ Youtube: https://www.youtube.com/channel/UCGWE... Biography "At just four-years-old, EMPRESS's life was changed when her hands touched the black and white keys on a keyboard for the first time. Her love for music evolved into a career as a professional dancer, and she was one of the youngest members of the San Francisco Ballet. As her talents developed, EMPRESS moved to New York City where she performed on Broadway as the lead in the Tony Award winning production of An American in Paris. Today, her career comes full-circle, as she creates music as a singer/songwriter – but she'll never stop dancing. Find the beat at www.EMPRESS-music.com." EMPRESS Youtube Bio Shannon's Profile LinkedIn linkedin.com/in/shannon-rugani-5a279615 Instagram https://www.instagram.com/shannonruga... Twitter: https://twitter.com/shannonrugani?lan... Website: http://www.shannonrugani.com/ About "A native from South Lake Tahoe California, Shannon trained in ballet, jazz, tap, hip hop, lyrical, modern, and character dancing in the Reno/Tahoe area before moving to San Francisco to train with the San Francisco Ballet School on a full merit scholarship in 2002. Shannon Joined the San Francisco Ballet Company in 2004 as one of the youngest members in the company's history. Over her 11 year career she worked with world renowned Choreographers including Helgi Tomasson, Christopher Wheeldon, Val Caniparoli, Alexi Ratmansky, Yuri Possokhov, Justin Peck, Paul Taylor, Mark Morris, John Nuemeier, William Forsythe, David Bintley, James Kudelka, Edward Liang, and has danced numerous roles in ballets by Marius Petipa, Agnes De Mille, Jerome Robbins, Serge Lifar and George Balanchine. She has danced all over the world including France, Iceland, China, Denmark, England and the United States. In 2015, Shannon left SF Ballet to join the original cast of the TONY award winning production of An American In Paris on Broadway (April 12 2015- Oct 9 2016) as an ensemble member and Lise U/S (lead role). AAIP was nominated for 12 Tony awards (won 4!) in 2015 and was nominated for a GRAMMY award in 2016 for the Original Broadway Cast Recording. Shannon received the ACCA award for Best Broadway Chorus in 2015 for her involvement in AAIP. Shannon is an accomplished composer, singer, songwriter, pianist and producer. She sings under the stage name EMPRESS and is currently recording her first solo album. EMPRESS released her first single, Lovely I Am, in April 2019. Shannon founded a record label Stardust World Productions LLC that supports females in the music industry in 2019. She is currently working on developing two startups in the XR tech industry that will bridge the gap between technology and the performing arts. Shannon plans to develop both Augmented Reality (Miraliti) and Virtual Reality (My Empire XR) companies to enhance the performing arts." - LinkedIn

We're putting on our dancing shoes to celebrate the birthday of Agnes de Mille! Agnes was an American dancer and choreographer who helped transform dance and musical theatre in the 40's and 50's. Known for works such as the ballet "Rodeo" and the Broadway musical "Oklahoma," Agnes dedicated her life to her craft, and created a legacy that we recognize today! Full of goofs and laughs, we hope this episode helps bring a smile to your Friday.If YOU want a birthday shoutout, send us an email at TheNameDayProject@gmail.com We want to encourage all of our listeners in the United States to VOTE in November! For more information on your State's registration deadlines and more, visit Vote.org 

Christine Cornish Smith is a New York City based dancer, singer and actor. She was most recently seen in the Original Broadway Cast revival of Kiss Me, Kate!, where she was a featured dancer in the ensemble and covered Lois Lane/Bianca. Christine is most well known for her portrayal of Bombalurina in the OBC revival of CATS, and was also seen in the OBC of My Fair Lady at the Lincoln Center Theater.  Other credits include: the original work of Agnes DeMille in Oklahoma! at the Lyric Opera of Chicago, original revival tour of Joseph and the Amazing Technicolor Dreamcoat helmed by director/choreographer, Andy Blankenbuehler, Laurey Williams in Susan Stroman’s Oklahoma! at the MUNY, Sheila Bryant in A Chorus Line at the Riverside Theater, and Goodspeed Opera House. She has also performed as a principal vocalist with the Fort Wayne Philharmonic, the Phoenix Symphony, and the Niagra Symphony Orchestra, as well as was a finalist in the prestigious Kurt Weill’s Lotte Lenya Vocal Competition in 2014. She appeared in the 25th Anniversary Concert performance of Crazy For You at Lincoln Center, directed and choreographed by Susan Stroman and has also appeared on HBO’s “Last Week Tonight” with John Oliver, “Good Morning, America”, “The Today Show”, “The Macy’s Thanksgiving Day Parade”, and “The Tony Awards”. She has been featured on Playbill.com, Broadway.com, Inside Dance Magazine, and BroadwayBox as one of the “Incredible Debuts” of the 2016 Broadway season. Visit her website at www.ChristineCornishSmith.com and follow her on instagram @ChristineCornish. In this episode, NYC-based actress and host Maggie Bera chats with Christine about her musical theatre training at CCM, her transition to New York City, survival jobs, agents, auditions, rejection, and making her Broadway debut in Cats. 

Women have played a much more significant role in the history of the Broadway Musical than they are generally given credit for. In this episode I share the often overlooked stories of Broadway's groundbreaking female choreographers including Aida Overton Walker, Gertrude Hoffman, Albertina Rauch, Hanya Holm,, Onna White, and especially Agnes DeMille who may be the most important woman in the history of the Musical. I also profile the women who direct and choreograph during the modern era, and the two queer women that basically invented the art and craft of Broadway lighting design: Jean Rosenthal & Tharon Musser. Special thanks to Alan Fitzpatrick for his vocal acting contributions. Learn more about your ad choices. Visit megaphone.fm/adchoices

Agnes de Mille loved to dance. She became hooked on ballet as a child, after seeing the famous ballerina Anna Pavlova perform. Agnes de Mille performed all over America and Europe, but she didn't hit it big until Rodeo -- the ballet that launched her career.

This week we have the pleasure of diving into one of the works that will be presented this year at the Lake Tahoe Dance Festival, Agnes De Mille's ‘The Other.'  We speak with dancers Stephen Hanna (formerly of NYCB) and Abi Stafford (Principal at NYCB) who will be performing this work at the festival. We […] The post (145) Agnes De Mille's ‘The Other' at Lake Tahoe Dance Festival appeared first on tendusunderapalmtree.com.

This week we have the pleasure of diving into one of the works that will be presented this year at the Lake Tahoe Dance Festival, Agnes De Mille’s ‘The Other.’  We speak with dancers Stephen Hanna (formerly of NYCB) and Abi Stafford (Principal at NYCB) who will be performing this work at the festival. We […] The post (145) Agnes De Mille’s ‘The Other’ at Lake Tahoe Dance Festival appeared first on tendusunderapalmtree.com.

This is another episode of the Self Development With Tactics / SDWT podcast featuring the jamesclear.com website and the article "Martha Graham on the Hidden Danger of Comparing Yourself to Others". I honestly have to say that this is one of the best articles that I have ever read. The story is sooo absolutely great and also has shown a lot to me. Even though the article's title is about not comparing yourself to others I feel like it's more about not judging your own work. Still both things are being talked about in this masterpiece. The article is about the story of Agnes De Mille a choreographer and dancer who was surprised by how her work is being reacted to. She tries to understand it through talking to Martha Graham another dancer and she said something absolutely great. I hope you enjoyed it as well. - I as always hope that you get a lot out of that! - Love you ➠Thank you for being with me! If you liked this episode of your daily self development kick please subscribe and like. Stay tuned for upcoming self development videos aaaaand comment down below or hit me up on the social media platform you like the most. Wish you the best, health wealth and happiness ❤️ Who I am? I am Christopher Walch a 18 year old graphic design student from austria, really interested in marketing self Development and having success in every aspect of life❤️However I am not only interested in having the best for me! I want you to be at your peak as well. Giving value to the people out here is what I want and what I am able to do here! Thank you. Self Development with Tactics/Christopher Walch on Instagram: https://www.instagram.com/walchchristopher Self Development with Tactics'/Christopher Walch's Podcast: https://www.anchor.fm/selfdevelopment_wt/ Self Development with Tactics/Christopher Walch on Twitter: https://twitter.com/SelfTactics Self Development with Tactics/Christopher Walch on Facebook: www.facebook.com/Selfdevelopment-With-Tactics Self Development with Tactics on Tumblr: https://www.tumblr.com/blog/we-selfdevelopment Self Development with Tactics/Christopher Walch on Youtube: https://www.youtube.com/channel/UC6ms9lq2XRrgdy0rOrMYVUQ Self Development With Tactics/Christopher Walch on Quora: https://www.quora.com/profile/Christopher-Walch-SDWT-Podcast LOVE YOU ALL!! ❤️

Today's guest is Janet Eilber.  Janet has been Artistic Director of the Martha Graham Dance Company since 2005. Her direction has focused on creating new forms of audience access to the Graham masterworks. Earlier in her career, as a principal dancer with the Martha Graham Dance Company, Janet worked closely with Martha Graham. She danced many of Graham’s greatest roles, had roles created for her by Graham, and was directed by Graham in most of the major roles of the repertoire. Apart from her work with Graham, Eilber has performed in films, on television and on Broadway directed by such greats as Agnes deMille and Bob Fosse and has received four Lester Horton Awards for her reconstruction and performance of seminal American modern dance. 

In January of 2017, Rob and Kevin sat down with two time Tony Award winner Helen Gallagher to discuss her incredible life and career. If you are a listener of the podcast you will know that a virus erased the entire interview. But, through the sheer kindness of Ms. Gallagher, Rob and Kevin got a second chance to interview her. So, without further ado, here is that interview: You can dance with any girl at all but why would you when the lovely Helen Gallagher is right here and ready to look back on her amazing journey which includes the original productions of Billion Dollar Baby, Brigadoon, High Button Shoes, the 1952 Pal Joey (for which she won a Tony Award), Make a Wish, Hazel Flagg, The Pajama Game, Sweet Charity, and the 1971 No, No, Nanette for which she won her second Tony Awards. Helen pulls back the curtain on her career to discuss how she won over Agnes DeMille, what it was like sharing a dressing room with Elaine Stritch, and why she went from refusing Sweet Charity to getting a Tony nomination! Also, Helen shines the spotlight on Cole Porter, Benny Goodman, Nanette Fabray, Gwen Verdon, and Bobby Van! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Hi Friend, Welcome to Episode 34 of Sally’s Performing Arts Lab Podcast. Today, my husband, George, my daughter, Emile, and I discuss fear of failure and Impostor Syndrome. I’m your podcast host, Sally Adams. Every week I talk to people about creating original work for a live audience. Send an email anytime to Sally@sallypal.com. Your ideas keep great conversations coming every Monday evening. Check out sallypal.com/join for the free 20-page theatre resource. Creator’s Notebook Insert #2 on scheduling will soon be available. In the meantime, you can listen to Episode 31 if you want an in-depth convo about scheduling for your production. It’s never too late to sign up to have access to the Creator’s Notebook inserts. I’m interested in knowing what creators need as a performing arts resource. Do you need more   information about venues? Do you want to know how to put butts in seats on the cheap? Would you like to connect with other creators? Do you need more practical tips? If there are things you want included in the Creator’s Notebook, let me know by sending an email to sally@sallypal.com! I read them all… challenge me. Be sure and listen until the end of the interview for Concise Advice from the Interview, and Words of Wisdom from George. Fear of failure can be barely noticeable or paralyzing. For artists in the world of performance, the fear of failing can overpower the drive to perform. Some great ideas and performances languish in hiding because an artist can’t seem to get their work on the stage. The artist who succeeds in getting the work in front of an audience may struggle with another roadblock to full expression: Impostor Syndrome. Impostor Syndrome is defined as, “a collection of feelings of inadequacy that persist despite evident success.” The term Impostor Syndrome was coined in 1978 by clinical psychologists Pauline R. Clance and Suzanne A. Imes. According to a study out of Georgia State University, a third of successful adults believe that they don’t deserve to be where they are. Feelings of success are often overshadowed by the feeling that you are a fraud and anyone who says otherwise doesn’t know enough to recognize your incompetence. A few weeks ago, I asked performing artists to share what they saw as roadblocks to mounting a successful production of original work. I expected to see things like, “finding a venue,” “funding a show” and “putting butts in seats.” While these received honorable mentions, the overriding responses were, “fear of failure” and “Impostor Syndrome”. I distinguish between these two although they have a lot in common. Fear of failure usually keeps you from acting. While Impostor Syndrome means you took an action but you can’t believe your success is anything more than accidental. I’m currently reading a book given to me by my daughter Emile’s fiancé, Beckett. The book is titled The Art of Possibility. Written by Rosamund Stone Zander and Benjamin Zander, it exposes the assumptions on which fear of failure and Impostor Syndrome are based. As a longtime drama teacher I was never a big fan of arts competitions. I love arts festivals, performances, and sharing programs. But competitions where the work of one group of artists is measured against the work of another group of artists to determine which group is “the best” strikes me as sending the wrong message. It’s a version of sports competition based on opinions rather than objective measurements. Many of us believe competitions are a necessary evil to inspire student artists to push their work to a higher level. But the arts competition model is flawed and the Zanders explain why: “All the manifestations of the world of measurement – the winning and losing, the gaining of acceptance and the threatened rejection, the raised hopes and the dash into despair – are all based on a single assumption that is hidden from our awareness. The assumption is that life is about staying alive and making it through – surviving in a world of scarcity and peril.” This is where the book begins. The world we live in every day does not position anyone to reach their potential. For most of us, the opposite occurs. The book, The Art of Possibility, goes into detail describing ways to break free from the competition construct. One quote stood out for me. It’s a quote from Agnes DeMille’s book, Martha: The Life and Work of Martha Graham. In it, DeMille quotes Graham as saying, “There is a vitality, a life force, an energy, a quickening that is translated through you into action. And because there is only one you in all of time, this expression is unique. And if you block it, it will never exist through any other medium and it will be lost. The world will not have it. It is not your business to determine how good it is nor how valuable nor how it compares with other expressions. It is your business to keep it yours clearly and directly, to keep the channel open.” This conversation is touched on from time to time in other interviews I’ve recorded. Pat Hobbs in Episode 32 talks about imperfect perfection. He says that giving yourself freedom to make mistakes can take your performance to a whole new level. Vanessa Adams, in Episode 28 knows that being vulnerable as an artist has risks and can feel dangerous. But that authenticity can help audience members connect both to the work and to each other. Emile Adams, in Episode 31, revealed that she doesn’t attend rehearsals of her own works to avoid what she calls “backseat directing” and trying to control the expression of the work. During the conversation I mentioned the off-Broadway production of Peter and the Starcatcherzzzz. The actual title is, Peter and the Starcatcher. It’s singular… there’s only one Starcatcher. The show is now closed but it was amazing. We also mentioned the amazing Hamilton by Lin Manuael-please-be-on-my-podcast-Miranda. None of us thinks Hamilton is garbage. In fact, Emile and I have been a bit obsessed with the show. But even Miranda admits the early days of creating the show had challenges. And just as I have no evidence of crappy versions of Hamilton, I have no proof that Eric Clapton didn’t start out as a guitar god at age twelve. It’s just that teaching middle school students for over a decade, I can guess that he didn’t start out playing Layla or Tears in Heaven the way he does now. When it comes to creating art for an audience, we all must start somewhere or we don’t start. Today, my husband George, my daughter, Emile, and I explored fear of failure and Impostor Syndrome.  Concise Advice from the Interview is a short version of tips on dealing with fear of failure and Impostor Syndrome. Here are 9 important bits of advice. 9) You can do this - Don’t be afraid to give it a try 8) Learn to motivate your self 7) There’s nothing about “downward spiral” thinking that’s useful. 6) You can write garbage or you can write nothing. Writing garbage means you’re still writing 5) Bragging and Sharing Your Work are not the same thing 4) To get to the place where you can create an amazing thing, you MUST create some garbage along the way 3) You won’t learn if you can’t fail 2) Let go of being technically perfect and your work will connect with an audience 1) When someone compliments your work… Just say, “Thank you” Check out the blog, SallyPAL.com, for articles and podcast episodes. You can be part of the momentum that’s building. Keep an eye out for social media opportunities to share with the SallyPAL community. I want this podcast to give you tools to defeat your fears and share your unique artistic expressions. “If you block it, it will never exist through any other medium and it will be lost.” The show notes include links to some of the things talked about today. Use the links as a springboard to launch your work. And, as always, thank you for following, sharing, subscribing, reviewing, joining, & thank you for listening. I want you to pursue your dream to have your work on the stage in front of a live audience. It’s scary, but SallyPAL is here with resources, encouragement, and a growing community of people like us. If you like SallyPAL and want to see the show continue, go to iTunes and leave a review. Also, tell your friends! Word of mouth is the only way to know about SallyPAL. Thanks to Steve, Vicki, Emile, George, Pat, Julie, Beckett, and all of you who’ve been sharing SallyPAL. The art we put on the stage really does make a difference.  I want to help you create original shows for a live audience… All the performances you’ve seen on any stage once lived only in someone’s imagination… Now...keep that channel open!

Today we are not in praise of women, but, in praise of the original Count Carl-Magnus, Laurence Guittard. One of Broadway's greatest voices swings by Shetler Studios to discuss some of the shows Laurence has appeared, including Baker Street, Man of LaMancha, Anya, A Little Night Music, Love Match, Oklahoma, and countless others. Laurence pulls back the curtain on his career to discuss how Christopher Walken knocked out a man onstage, what it was like creating Carl Magnus, and why the son of a chocolate dynasty dedicated his life to theatre! Also, Laurence shines the spotlight on Fritz Weaver, Richard Kiley, Stephen Sondheim, Hal Prince, and Agnes DeMille! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

Jerry Mitchell, Tony Award winning director and choreographer, is a living legend! He is the creator of Broadway Bares, a burlesque show that has raised millions of dollars for Broadway Cares -- an organization devoted to supporting people living with HIV. His midwestern upbringing and his talent uncovered at a young age are all part of his unique and inspiring success story. JERRY MITCHELL (Director/Choreographer) is currently represented on Broadway as the Director of the Gloria Estefan bio-musical, On Your Feet, having previously received TONY Awards in recognition of his choreography for the 2013 TONY-Award winning Best Musical, Kinky Boots, for which he was also nominated as Director and the 2005 revival of La Cage Aux Folles. He was nominated for an Olivier Award for his choreography in Dirty Rotten Scoundrels, which he also directed and co-produced in the West End. In the 35 preceding years, Jerry has been involved with over 50 Broadway, Off-Broadway, West End and touring productions, starting as a dancer for Agnes De Mille in Brigadoon and thereafter assisting Michael Bennett and Jerome Robbins. His Broadway debut as Choreographer, You’re A Good Man, Charlie Brown, was followed by The Full Monty (TONY nomination), The Rocky Horror Show, Hairspray (TONY nomination), Gypsy (starring Bernadette Peters), Never Gonna Dance (TONY nomination), Dirty Rotten Scoundrels (TONY nomination), Imaginary Friends, Legally Blonde (TONY nomination), which he also directed, Catch Me If You Can and Kinky Boots (also currently running in London, Australia, Japan, Korea and on a U.S. tour,  with Germany up next.) Jerry’s memorable film work includes In and Out, Scent of a Woman, Jeffrey, Drop DeadGorgeous and Camp. For television, he recently choreographed the NBC live production of Hairspray, as well as several seasons of TheRosie O’Donnell Show, was nominated for an Emmy for his choreography created for The Drew Carey Show, was featured as the host of Step It Up and Dance and appeared in his role as Director/Choreographer of Legally Blonde in The Search for Elle Woodsand of Peepshow in Ice Loves Coco. Twenty-seven years ago, Jerry conceived and created Broadway Bares, a comedy burlesque show performed annually for the charity Broadway Cares/Equity Fights AIDS. He continues to serve as Executive Producer of Broadway Bares, with a book, website and satellite productions in Fire Island Pines, Las Vegas (Peepshow, which enjoyed a five-year run of continuous performances) and London (West End Bares). Most recently, Jerry received the Drama League’s Founders’ Award for Excellence in Directing and the George Abbott Lifetime Achievement Award from his peers, the latter being especially meaningful to him in that he was directed by the 96 year old Mr. Abbott in the Broadway revival of On Your Toes. A native of Paw Paw, Michigan, Jerry attended Webster Conservatory in St. Louis, from which he received an Honorary Doctorate.

It’s hard to believe, but Undue Anxiety has been around for an entire year now!  To celebrate, I’m joined once again by my wife, Julie, to talk about some of the most significant observations we’ve made and the lessons we’ve learned in the process of hosting this very podcast.  While we touch on a range of topics that are bulleted below, perhaps the most important takeaway is that you should never, ever forget what it is that’s great about YOU…What you’ll hear in this episode:-Why we changed the name of the podcast to “Undue Anxiety”-Why we should be honest and forthcoming with our stories versus hiding our anxieties-My first experience with panic attacks at age 14-What we’ve noticed when people are forthcoming in sharing their stories-The inability to hear yourself in a world of constant external stimuli -Therapy as a means of self optimization-The mental & emotional roots of many physical problems-A crucial exercise to help you reconnect to what’s great about you (Editor's note:  I've had the following piece of writing piece of writing pinned to my wall for the last few months, and thought it would be appropriate to share along with this episode.  Enjoy!) There is a vitality,a life force,a quickeningthat is translated through you into action,and because there is only one of you in all time,this expression is unique.And If you block it, it will never exist through any other medium and be lost.The world will not have it. It is not your business to determinehow good it isnor how valuable it isnor how it compares with other expressions.It is your business to keep it yours clearly and directlyto keep the channel open.You do not even have to believe in yourself or your work.You have to keep open and aware directly to the urges that motivate YOU.Keep the channel open...No artist is pleased...There is no satisfaction whatever at anytimeThere is only a queer, divine dissatisfactiona blessed unrest that keeps us marchingand makes “us" MORE alive than the others.Martha Graham( - a letter to Agnes De Mille-)  

Rob and Kevin celebrate their 50th interview by sitting down with the brilliant, fascinating, and hysterical Tony nominee Barbara Walsh (Falsettos, Big, Company) Barbara pulls back the curtain on her life and career, including how a Streisand impression landed her Forbidden Broadway, what note Stephen Sondheim gave her at the intermission of Company, and why she and Faith Prince bonded cleaning a bathroom. Also, Barbara shines the spotlight on Elaine Stritch, Liza Minnelli, and Agnes DeMille! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to patreon.com and search Behind The Curtain: http://bit.ly/2i7nWC4

Discuss on Reddit ➤ Support the Show ➤ Jimi and Tommy talk about Rodgers and Hammerstein’s record-breaking debut, ‘Oklahoma!’ The gang discuss where the show fits in a contemporary setting, the importance of narrative choreography and the birth of the two most important names in musical theatre history! Oklahoma! (1998 London Cast Recording) Amazon / iTunes / Spotify  SHOW NOTES If musical theatre history is your thing, then look no further than Broadway: The American Musical beautifully narrated by Julie Andrews! Also if you are interested in race representation in musical The Great White Way by Warren Hoffman is a good starting point. Check out the glorious Agnes DeMille, one of the true founders of narrative choreography. Oklahoma was the first musical to contain a dream ballet - have a look at the 1955 movie’s attempt at it! What are you opinions and experiences with narrative choreography and dance on Broadway? Let us know on Reddit! Stephen Sondheim owes a lot of his career to Mr Oscar Hammerstein II. Have a look at this great interview where he talks a little bit about his influence. As it’s the holidays we’ve got an exciting giveaway in next week’s podcast so be sure to tune in and find out the details! A LEGGY QUIZ QUESTION Which musical contains Broadway’s premiere prosthetic kickline?           

Agnes De Mille once wrote, “No trumpets sound when the important decisions of our life are made. Destiny is made known silently.”Agnes was right about most of us, but she was completely wrong about Herbert. Herbert sculpts and paints. Abstract expressionism is his thing. “It's like jazz,” he says. “Art is a feel. I like to journey into a world where words don't exist.”Edgar “Yip” Harburg, the lyricist who wrote Judy Garland's wistful Somewhere Over the Rainbow, once made a similar observation. “Words make you think thoughts.Music makes you feel a feeling.But a song makes you feel a thought.”But now we're getting ahead of ourselves. The story of Herbert and the bullfight begins in 1930, when Louis, a mandolin-playing Ukrainian Jewish tailor, comes to America and falls in love with Tillie Goldberg on New York's Lower East Side. They get hitched, move to L.A. and have two little boys and a girl. In 1955, first-son David is a well-known drummer and second-son Herbert is a trumpet player in the marching band at USC. Daughter Mimi is learning to play piano. In 1962, Herbert is in the garage recording a trumpet song called “Twinkle Star” when he decides to take a break and drive to Mexico. He recently told the story on CBS Sunday Morning. “Tijuana had some world-class matadors, and this trumpet section in the stands, you know, they would announce the different programs, the different events in the bullfight. “Ta-Dahh! Pa-Da Dattle-Da-Dattle Da-Dahhh. I got kind of, uh, chill bumps from all that stuff and I tried to translate the feelings of those afternoons to a song.”Herbert returns home, flavors “Twinkle Star” with the soft and spicy taste of a Tijuana afternoon, and renames it, “The Lonely Bull.” He mails his record to some radio stations and the song becomes a Top Ten hit. Encouraged, Herbert hires some other musicians to play alongside him. Their exotic, jazzy groove is often described as “blithe, Latin-over-lilt,” so it's easy to understand why everyone thinks Herb and his boys are Hispanic. But not one of them has a drop of Spanish blood. Herb describes his band as, “four lasagnas, two bagels, and an American cheese.” Audiences know them as “Herb Alpert and the Tijuana Brass.” In 1966, they sold more records than the Beatles.Herbert goes on to score five No. 1 hits, 15 gold albums, 14 platinum albums and win eight Grammy Awards. No one but Herb has ever had 4 albums simultaneously in the Top 10. Seventy-two million record albums is quite a few to sell, don't you think? But Herbert is just getting started. Immediately following the success of The Lonely Bull, he convinces Jerry Moss to become his business partner. Alpert and Moss produce and distribute their fantastically successful Tijuana Brass albums under their own record label, A&M. In 1969, Herb discovers a brother/sister duo that becomes fantastically successful as well: Richard and Karen Carpenter. Soon A&M is producing 400 different bands and artists, many of whom will see the stars align to spell their names in the midnight sky. In 1989, Herb sold A&M Records to Polygram for 500 million dollars. And it all began when the son of a Ukranian tailor decided to http://mondaymemo.wpengine.com/newsletters/the-price-of-creativity/ (push himself beyond his comfort zone) and go on a road trip to Mexico. Roy H. Williams

Tony Award-winning choreographer Jerry Mitchell talks about taking on the dual roles of director and choreographer for the first time with "Legally Blonde" and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of "Brigadoon", his work with two other legends -- Michael Bennett on "Scandal" and Jerome Robbins on "Jerome Robbins' Broadway"; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for "Hairspray") and basketball (for "The Full Monty"); and how dancing nearly naked on a drum for Tommy Tune in "The Will Rogers Follies" led to "Broadway Bares", which has raised millions of dollars for Broadway Cares. Original air date – May 11, 2007.

Tony Award-winning choreographer Jerry Mitchell (for the original Cabaret and 2005 and 2010’s revivals of La Cage aux Folles) talks about taking on the dual roles of director and choreographer for the first time with Legally Blonde and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of Brigadoon, his work with two other legends -- Michael Bennett on Scandal and Jerome Robbins on Jerome Robbins' Broadway; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for Hairspray) and basketball (for The Full Monty); and how dancing nearly naked on a drum for Tommy Tune in The Will Rogers Follies led to Broadway Bares, which has raised millions of dollars for Broadway Cares.

Tony Award-winning choreographer Jerry Mitchell talks about taking on the dual roles of director and choreographer for the first time with "Legally Blonde" and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of "Brigadoon", his work with two other legends -- Michael Bennett on "Scandal" and Jerome Robbins on "Jerome Robbins' Broadway"; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for "Hairspray") and basketball (for "The Full Monty"); and how dancing nearly naked on a drum for Tommy Tune in "The Will Rogers Follies" led to "Broadway Bares", which has raised millions of dollars for Broadway Cares. Original air date – May 11, 2007.