Podcast appearances and mentions of Arthur Laurents

Achoo! We're falling in love with the one and only Faith Prince. You Might Know Her From Modern Family, Emily in Paris, Melissa & Joey, Spin City, My Father the Hero, The Last Dragon, and Broadway productions of Guys & Dolls, A Catered Affair, Bells Are Ringing, and BOOP!  Faith talked to us about grounding her character, Valentina, in the cartoonish plot of BOOP!, coping with fame during her star-making turn in Guys & Dolls, and leaning on her co-star Gerard Depardieu in one of her first leading roles on camera in My Father the Hero.  Faith also shared stories from working as a Broadway replacement in the cumbersome costume of Ursula in The Little Mermaid and the notoriously “realistic” production of Anne as Miss Hannigan. All that, plus working with theatre legends like Jerome Robbins, Abe Burrows, Betty Comden & Adolph Green, doing dialect work at Joey Lawrence and Lily Collins, doing her best Cyndi Lauper in cult fave The Last Dragon (and making pals with Berry Gordy, and working with Jean Smart and Mary McDonnell in the short-lived High Society.   This one was a HOOT.  Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Evergreen topics for Anne and Damian: Tyne Daly in Gypsy, Grease, Spice Girls track listings, we look like cats in Heathcliff, the cast of Mannequin 2 aka is it Jonathan Silverman, no it's William Ragsdale in Herman's Head, Sex and the City/AJLT Cynthia Nixon's kitchen tour Tom and Lorenzo and their SJP adventure Plays Valentina in Boop on Broadway We love Dancer/Choreographer Rachelle Rak Coughing as Adelaide was tougher than talking and singing in character voice Bob Saget used his stand-up to differentiate himself from Danny Tanner  Nathan & Adelaide are famously the SOUBRETTES in Guys & Dolls so Jerry Zaks put them forward instead of Sky and Sarah (this changed how future productions positioned the 2 couples)  Jerry Mitchell says it's important to pass the baton down to the next generation of musical theatre stars Arthur Laurents aka “the meanest man in show-business”, Jerry Gutierrez, Abe Burrows, Comden & Green, Sondheim, Barishnykov, Howard Ashman, Jack Plotnick, Tina Landau,  My Father the Hero w/ Gerard Depardieu “Dirty Books” from The Last Dragon / Suzanne de Passe and Berry Gordy produced the soundtrack. Berry Gordy took her OUT and called her “baby” “One More Time” in First Wives Club “How do you know if someone has lived through trauma — by the way they get someone who doesn't like them, to like them.” Cole Escola of Oh, Mary! on CBS Sunday Morning Was in first 6 episodes of High Society with Jean Smart and Mary McDonnell (based on AbFab and Faith played the Saffy character) Faith Prince's “Men” from Nick & Nora. The show was a notorious flop. Arthur told Faith she was making a big mistake by leaving show to do Guys & Dolls. Mary Rodgers told her she could find a way into Anna through Gertrude Lawrence, who was a comedienne.  Was offered the role of Audrey in the original Off-Broadway production of Little Shop of Horrors Went to CCM with Jim Walton Had taken the revue, Scrambled Feet and was doing an IBM industrial so couldn't' take LSOH Lance Roberts is currently in Just in Time Ellen Greene did Adelaide at The Hollywood Bowl  Studied Donna Murphy who she replaced in The King & I and then did Wonderful Town (at LA Opera) Katie Finneran talked with us about James Lapine's realistic interpretation of Annie and Miss Hannigan in the 2012 revival. Said it was a challenge in the NYT. Re the 2012 revival of Annie: Andrea McArdle said “I didn't know we were doing Secret Garden” Associate Director Wes Grantham LOVES HUMOR, unlike Lapine Martin Charnin & Charles Strouse KISSED HER FEET when they visited her backstage John Doyle who directed A Catered Affair also backs away from the humor We love Bells are Ringing - Faith starred in the 2001 Broadway revival. Difficult because of Mitchell Maxwell who produced Had to ride an actor in Grey's Anatomy because character's IUD got stuck on her ex-husband's Prince Albert penis piercing Does some great character work in the indie film Our Very Own (got gig from doing reading of The Women with Allison Janney) IMDB lists her on an ep of Mad Men. INCORRECT. Martin Short was in Dennis Quaid movie, Innerspace My Favorite Broadway: The Leading Ladies was an incredible, formative concert Managing Ursula costume in The Little Mermaid was worse than managing the wig in her Lifetime movie with Kathleen Turner, Friends at Last Vicki Lewis told us she held Dixie Carter's spit cup in a production of Mame she was in with Faith Christopher Walken kept pickled things in the pockets of his costume during James Joyce's The Dead (Marni Nixon was also in the show) We interviewed Annaleigh Ashford who is maybe made  in the mold of Faith Prince Damian is seeing an Italian production of Cats / Anne is seeing her nephew do Grease Jr.  in Sicily DUCK ASS HAIR for Danny Zuko

Jaume Segalés y su equipo hablan de Cómicas y de cine clásico. Hoy en Km0, tras repasar la actualidad informativa y deportiva, profundizamos en los siguientes asuntos: "Cómicas" en el Teatro de la Zarzuela Mujeres de teatro en la España del siglo XVIII. Nos vamos al Teatro de la Zarzuela donde, sólo este fin de semana, está en cartel una propuesta muy especial: "Cómicas". Ayer 8, hoy, sábado y domingo, 9, 10 y 11 de mayo. Se trata de una nueva producción propia del templo del género chico por excelencia (ubicado en la c/ Jovellanos, 4). Esta propuesta teatral y musical, a modo de tonadilla escénica, recupera el legado de mujeres españolas que tuvieron un papel ciertamente destacado y reconocido durante la segunda mitad del siglo XVIII en los escenarios de nuestro país. La obra está protagonizada por las voces de las solistas Jone Martínez, María Hinojosa y Pilar Alva y por la narración de la actriz Cristina Medina, acompañadas por el conjunto Forma Antiqva, aclamada agrupación de música antigua que engloba oboes, trompas, violines, violonchelos, contrabajo, guitarra barroca, tiorba y clave. Entrevistamos al clavecista Aarón Zapico, que es quien tuvo la idea original de esta propuesta y quien se ocupa de la dirección musical. La dirección escénica corre a cargo de Pepa Gamboa y la dramaturgia es de Antonio Álamo. "Cómicas" - Mujeres de teatro en la España del siglo XVIII- Teatro de la Zarzuela (c/ Jovellanos, 4) - Nueva producción del Teatro de la Zarzuela. 8, 9 y 10 de mayo a las 19:30 y el 11 de mayo a las 18:00 Sección de cine clásico "Es sesión continua" Antolín de la Torre hoy nos habla sobre La soga. Thriller psicológico criminalístico de 1948 dirigido por Alfred Hitchcock basado en la obra teatral homónima de 1929 de Patrick Hamilton. La historia fue adaptada para la película por Hume Cronyn y el guion fue escrito por Arthur Laurents. Está protagonizada por James Stewart, John Dall y Farley Granger. La trama se centra en los estudiantes Brandon (Dall) y Philip (Granger), quienes, alentados por las ideas de su profesor de filosofía (Stewart), asesinan a un antiguo compañero y celebran una fiesta con el cadáver aún oculto en su apartamento. Todo con el único propósito de probar que son intelectualmente superiores y capaces de cometer el "crimen perfecto". Tanto la película como la obra de teatro original guardan importantes similitudes con el mediático caso real del asesinato de Bobby Franks a manos de los estudiantes Nathan Leopold y Richard Loeb, cometido en Chicago en 1924.

Director:  Herbert Ross Producers:  Arthur Laurents, Herbert Ross Screenplay:  Arthur Laurents Photography:  Robert Surtees Music:  N/A Cast:  Anne Bancroft, Shirley MacLaine, Leslie Browne, Mikhail Baryshnikov, Tom Skerritt Rotten Tomatoes:  Critics: 63%/Audience: 66%

Moving on with Sondheim B-Sides, we come to his very next show after Forum, namely the complete catastrophe that was Anyone Can Whistle. Co-written with Arthur Laurents, who also directed, the show was a massive flop, but it did give the world Broadway star Angela Lansbury, as well as an incredicle score. In this episode, we look at "With So Little To Be Sure Of," but not how it is in the show, necessarily. Curious? Listen and find out! All clips are from the 2020 online concert event Take Me to the World: A Sondheim 90th Birthday Celebration featuring Brandon Uranowitz and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Watch the performance! Watch the entire concert! Donate to ASTEP, the original concert's beneficiary! Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com

Book Vs. Movie: GypsyThe 1957 Memoir Vs. the 1962 Movie“Musicals in March!”The Margos celebrate another “Musicals in March” episode with Gypsy. Gypsy Rose Lee's 1957 memoir tells her real-life story of growing up in vaudeville and burlesque under the domineering influence of her mother, Rose Hovick. It paints a detailed picture of her childhood alongside her more naturally talented younger sister, June (later June Havoc), and how Gypsy (born Louise Hovick) eventually became the most famous burlesque performer of her time. The book is witty and self-deprecating and offers an unvarnished yet entertaining look at her complex relationship with her mother. The movie Gypsy is based on the successful 1959 Broadway musical by Jule Styne, Stephen Sondheim, and Arthur Laurents, rather than directly on the memoir. It follows the same structure as the stage show, focusing on Rose Hovick's relentless push to make her daughters stars, culminating in Gypsy's rise to fame. However, because it was a Hollywood film, it softened some of the grittier aspects of Gypsy's story. So, which version did we prefer? Have a listen to find out!In this ep, the Margos discuss:A look at the career of Gypsy Rose Lee The different Broadway productions over the yearsThe cast includes Rosalind Russell (Rose Hovick,) Natalie Wood (Louise Hovick/Gypsy Rose Lee,) Karl Malden (Herbie Sommers,) Paul Wallace (Tulsa,) Ann Jillian (Dainty June,) Morgan Brittany (Baby June,) Parley Bear (Mr. Kringelein,) Harry Shannon (Grandpa,) Betty Bruce (Tessie Tura,) Faith Dane (Mazeppa,) Roxanne Arlen (Electra,) and Jean Willes as Betty Cratchitt. Clips Featured:“Natalie Wood as Gypsy”Ethel Merman on the Perry Como show in 1960Gypsy (1962 trailer)“Dainty June & Her Boys”“Everything is Coming Up Roses” (Rosalind Russell)“Little Lamb” “Let Me Entertain You”Music by Jule Styne & Lyrics by Stephen SondheimFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Book Vs. Movie: GypsyThe 1957 Memoir Vs. the 1962 Movie“Musicals in March!”The Margos celebrate another “Musicals in March” episode with Gypsy. Gypsy Rose Lee's 1957 memoir tells her real-life story of growing up in vaudeville and burlesque under the domineering influence of her mother, Rose Hovick. It paints a detailed picture of her childhood alongside her more naturally talented younger sister, June (later June Havoc), and how Gypsy (born Louise Hovick) eventually became the most famous burlesque performer of her time. The book is witty and self-deprecating and offers an unvarnished yet entertaining look at her complex relationship with her mother. The movie Gypsy is based on the successful 1959 Broadway musical by Jule Styne, Stephen Sondheim, and Arthur Laurents, rather than directly on the memoir. It follows the same structure as the stage show, focusing on Rose Hovick's relentless push to make her daughters stars, culminating in Gypsy's rise to fame. However, because it was a Hollywood film, it softened some of the grittier aspects of Gypsy's story. So, which version did we prefer? Have a listen to find out!In this ep, the Margos discuss:A look at the career of Gypsy Rose Lee The different Broadway productions over the yearsThe cast includes Rosalind Russell (Rose Hovick,) Natalie Wood (Louise Hovick/Gypsy Rose Lee,) Karl Malden (Herbie Sommers,) Paul Wallace (Tulsa,) Ann Jillian (Dainty June,) Morgan Brittany (Baby June,) Parley Bear (Mr. Kringelein,) Harry Shannon (Grandpa,) Betty Bruce (Tessie Tura,) Faith Dane (Mazeppa,) Roxanne Arlen (Electra,) and Jean Willes as Betty Cratchitt. Clips Featured:“Natalie Wood as Gypsy”Ethel Merman on the Perry Como show in 1960Gypsy (1962 trailer)“Dainty June & Her Boys”“Everything is Coming Up Roses” (Rosalind Russell)“Little Lamb” “Let Me Entertain You”Music by Jule Styne & Lyrics by Stephen SondheimFollow us on the socials!Join our Patreon page “Book Vs. Movie podcast”You can find us on Facebook at Book Vs. Movie Podcast GroupInstagram: Book Versus Movie @bookversusmoviebookversusmoviepodcast@gmail.com Margo D's Blog: Brooklynfitchick.comMargo D's Instagram “Brooklyn Fit Chick”Margo D's TikTok Margo D's YouTube: @MargoDonohueMargo P's Instagram: @shesnachomama Margo P's Blog: coloniabook.comMargo P's YouTube Channel: @shesnachomamaOur logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Listen to journalist Erica Wagner in conversation with Mai Sennaar, writer of “They Dream in Gold”, her first novel published by Picador and SJP Lit in 2024 which explores the notion of identity and the sense of belonging through two protagonists from the African diaspora in the United States. As the conversation unfolds, the author evokes how music changed her life and the emancipatory power of language. The writer, playwright and filmmaker also reflects on the transformative experience of being published, read and understood as her first novel has been shortlisted for the Center for Fiction First Novel Prize. As part of the Rendez-vous littéraires rue Cambon [Literary Rendezvous at Rue Cambon], the podcast "les Rencontres" highlights the birth of a writer in a series created by CHANEL and House ambassador and spokesperson Charlotte Casiraghi. (00:00) : Introduction (00:56) : Presentation of Mai Sennaar and her novel “They Dream in Gold” by Erica Wagner(04:21) : On the author's path to becoming a writer(06:34) : About cinema, theatre and literature(08:57) : The start of writing her novel(10:14) : On the influence of language on writing(12:07) : The publication process of her novel(14:27) : On Alfred Hitchcock's influence on the novel(16:17) : Reading an extract of “They Dream in Gold” by Mai Sennaar(17:51) : On the writing process of her novel(19:36) : The books which inspired her(22:24) : On the influence of music in the novel(24:49) : The research process behind the book(27:25) : On speaking about black identity(30:20) : On the reception of the book(33:20) : The ending questionnaire of “les Rencontres”They Dream In Gold © Mai Sennaar 2024. First published in the US in 2024 by SJP Lit, an imprint of Zando. First published in the UK in 2024 by Picador, an imprint of MacmillanJean Kwok, Book Review: 'They Dream in Gold,' by Mai Sennaar,From the New-York Times © 2024 The New York Times Company. All rights reserved. Used under licenseLucy Popescu, They Dream in Gold by Mai Sennaar review - love and identity on the 1960s music scene, 28 July 2024 © Copyright Guardian News & Media Ltd 2025Mai Sennaar © Wax Lovers Playlist, 2017Diana Wharton Sennaar and Mai Sennaar © Carry On, 2024Jerome Robbins, Arthur Laurents, Leonard Bernstein and Stephen Sondheim, West Side Story, 1957David Dodge, To Catch a Thief, published 1952 by Alfred A. KnopfAlfred Hitchcock, North by Northwest, © Warner Bros., 1959. All rights reservedTheir Eyes Were Watching God by Zora Neale Hurston. Copyright © 1937 by Zora Neale Hurston. Renewed © 1965 by John C. Hurston and Joel Hurston. Courtesy of HarperCollins Publishers

Mickey-Jo recently travelled to New York to see the new Broadway revival of GYPSY, written by Arthur Laurents, Jule Styne, and Stephen Sondheim. Six-time Tony Award winner Audra McDonald stars as Rose, and is joined by Danny Burstein (Fiddler on the Roof, Moulin Rouge, Follies, Cabaret) as Herbie, Joy Woods (The Notebook, Six, Little Shop of Horrors) as Louise, and Jordan Tyson (The Notebook) as June. Further casting includes Lesli Margherita (Matilda, Dames at Sea, Zorro) as Tessie Tura, Lili Thomas (Chicago, Dear Evan Hansen) as Miss Mazeppa, and Mylinda Hull (42nd Street, Dirty Rotten Scoundrels, Mr Saturday Night) as Electra. Check out this full review for Mickey-Jo's thoughts on the new production at the Majestic Theatre, as well as its cast, and the show's material. Don't forget to comment below with your thoughts on the revival. • 00:00 | introduction 02:49 | the material 11:46 | Audra as Rose 19:44 | the production 30:18 | supporting cast • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

“Good news!” Today, I'm thrilled to announce my episode with Winnie Holzman, the author of the libretto and screenplay for the musical WICKED. Tune in to hear some of the stories of her legendary career, including what she learned from Betty Comden and Arthur Laurents while studying at NYU, how she came to star in the first production of Christopher Durang's BETTE AND BOO, ideas that came from the stage production of WICKED, learning from the reviews of BIRDS OF PARADISE, her journey to studying at Princeton, what inspired her to adapt THE SEAGULL, why Jon M. Chu was the perfect director for WICKED, one idea that got cut from the musical and the movie, how conversations around the movie changed through the years, the dimensions that Joe Mantello added to the musical, and so much more. You won't want to miss this conversation with a brilliant writer in all mediums!

Dylan and Connor are joined by Tony Award-winner Laura Benanti (Gypsy, My Fair Lady). Y'all, this is an episode of DRAMA. for the herstory books! Instantly canon. Laura joins the twins for a cozy, Christmastime chat that includes favorite traditions, Laura's miniature holiday village, and her daughters' wish list for Santa. Laura is hot off the literal presses after speaking about her experience with a certain castmate in She Loves Me, but we're more curious about favorite moments with the beloved, late Gavin Creel. We were all misty-eyed as she honored sweet Gav. Laura's extraordinary resume goes on and on, so tune in for highlights from Gypsy (Patti! Arthur Laurents! A Tony win!), Meteor Shower, The Wedding Singer, The Sound of Music, and My Fair Lady. Wouldn't it be loverly, tho tbh? More moments: working with Jennifer Lawrence in No Hard Feelings, becomings with Briga Heelan, the Hot Teens of the Gossip Girl reboot, and her friendship with Amy Schumer. The boys also describe their bucket list experience of attending a dress rehearsal of Saturday Night Live, hosted by Paul Mescal, as well as laugh laugh laugh with Laura on this episode. Check out Laura's original musical comedy show “Nobody Cares,” now available on Audible.Follow Laura on Instagram & TiktokFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramSubscribe to our show on iHeartRadio Broadway!Support the podcast by subscribing to DRAMA+, which also includes bonus episodes, Instagram Close Friends content, and more!

“Gypsy,” a work by Stephen Sondheim, Jule Styne, and Arthur Laurents, is often called the greatest of American musicals; a new production on Broadway is a noteworthy event, especially when a star like Audra McDonald is cast in the lead role of Rose. McDonald has won six Tonys for her acting, in both plays and musicals. In the repertoire of musicals, race in casting is still very much an issue, and one columnist criticized her portrayal of Rose because of her race. “I have dealt with this my entire career,” McDonald tells Michael Schulman, recalling that in her breakout performance, in “Carousel,” some audiences “were upset with me that I was playing Carrie, saying, ‘She wouldn't have been Black.' There's a man who comes down from heaven with a star in his hand!” In a wide-ranging interview onstage at The New Yorker Festival, McDonald discusses how when she was a child theatre was initially intended to be a type of therapy for her, and the roles her parents wouldn't let her take. “Gypsy” is currently in previews on Broadway. 

West Side Story è un film del 1961 diretto da Jerome Robbins e Robert Wise, e tratto dall'omonimo musical del 1957 creato da Arthur Laurents, Leonard Bernstein, Stephen Sondheim e Robbins, a sua volta ispirato alla tragedia Romeo e Giulietta di William Shakespeare. Il cast comprende Natalie Wood, Richard Beymer, Russ Tamblyn, Rita Moreno e George Chakiris. Sullo sfondo dell'Upper West Side di Manhattan, la storia è quella dell'amore contrastato tra due ragazzi appartenenti a due mondi diversi: lei, Maria, sorella del capobanda dei portoricani Sharks, e lui, Tony, ex-componente pentito della banda rivale dei newyorkesi anglosassoni Jets. Ringrazio Silvia in redazione, per i preziosi interventi con le curiosità Lucia Pareti, Mariangela Ungaro compositrice e autrice del libro “cinema d'ascolto” e Fernanda Cherubini per il cast, per la critica grazie a Giulio Tiezzi. Ringrazio l'illustratrice Bruna Iacopino che ha realizzato la copertina del podcast. Vi  ricordo che potete ascoltare le puntate della serie su radioincontri.org, su marcopieroni.it ,  o anche cercando su Google Podcast, Spotify, il podcast Film alla radio. 

Curtain up on the 50th deep dive of KNOW THE SHOW as Anika and Michael delve into GYPSY, widely considered to be the greatest musical of all time.

This new Broadway season includes the revival of the classic musical GYPSY: A Musical Fable by Jule Styne, Stephen Sondheim and Arthur Laurents. This new revival stars Audra McDonald as the irrepressible Mama Rose,in this iconic show based on the memoirs of burlesque performer Gypsy Rose Lee.  To celebrate the revival and to take us back into the world of vaudeville and burlesque, listen favorite Don Spiro returns to the show to share the history of burlesque -- what it was and wasn't in the Gilded Age years --  and how it all developed into the dynamic new renaissance of the art we see today. 

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

"Here she is boys! Here she is world! Here's... one of the best written musicals of all time!" GYPSY is part of Jeff's top three, and we have a top tier guest this week to celebrate it. Two-time Tony nominee Alison Fraser (THE SECRET GARDEN, ROMANCE/ROMANCE, IN TROUSERS) was a close friend of writer Arthur Laurents and played the role of Tessie Tura in the famous 2008 Broadway revival. Join us as she helps us explore the striptease artist Gypsy Rose Lee, her tragic monster of a mother, and how their musical fable is as old as storytelling itself. Be sure to send Alison that fan art on Instagram and Facebook! If you enjoyed this episode, be sure to check out our episode on another Robbins/Laurents/Sondheim collaboration: WEST SIDE STORY with Hector Guerrero Have you subscribed to PATREON! and, if you haven't, what are you waiting for? Bonus episodes, trivia nights, and fun surveys await you for only $1 a month! Plus, you get the satisfaction of supporting "A Musical Theatre Podcast." We're active on Instagram, TikTok, and X. Our Spotify playlists can keep you company in between episodes. And our TeePublic Store has great designs that benefit Broadway Cares/Equity Fights AIDS. Above all, thank you for being part of this wonderful podcasting community! Learn more about your ad choices. Visit megaphone.fm/adchoices

Originally aired as episode 200 on April 5, 2022. With a remarkable 14 nominations and six wins across the Emmys, Grammys, Olivier, and Tony Awards, Patti LuPone is a force in the entertainment industry. Her illustrious career includes 27 Broadway credits, most notably her Tony Award-winning roles as Eva Perón in Evita and Rose in the 2008 revival of Gypsy. Other significant Broadway appearances include Anything Goes, Sweeney Todd, Noises Off, Women on the Verge of a Nervous Breakdown, War Paint, Working, Oliver!, The Robber Bridegroom, and The Beggar's Opera. LuPone has also made her mark on the London stage, originating roles in Les Misérables, The Cradle Will Rock, Sunset Boulevard, and starring in the West End revival of Company. Beyond the stage, her extensive career in television and film includes performances in Driving Miss Daisy, Frasier, Will & Grace, Ugly Betty, 30 Rock, Glee, American Horror Story, Girls, Penny Dreadful, and Life Goes On. A versatile performer, LuPone has also lent her talents to voiceover work, cabaret performances, and regular appearances with the New York Philharmonic, contributing to 22 albums. She is the first American to win an Olivier Award and has been inducted into the American Theater Hall of Fame. Currently, she stars in the Broadway revival of Company. In this episode, LuPone reflects on her introduction to Gypsy, recalling her role as Louise in high school, and shares the story of how she was once banned from working on any of Arthur Laurents' projects before ultimately winning a Tony Award for her portrayal of Rose. She opens up about the challenges she faced during the COVID-19 shutdown, discussing how the lack of purpose impacted her deeply. She also highlights the strong sense of camaraderie and support among the cast and crew of Company, forged through their shared experiences during the pandemic. LuPone delves into her rehearsal process, explaining why she completes all her preparation in the rehearsal room so that she and the audience can enjoy the spontaneity and energy of live performance. Additionally, she reveals why she makes it a point to look at the audience every night. In this episode, we discuss: Being one of the first students in Juilliard's School of Drama in the 1970s Her Marilyn Monroe impression at three years old The joy she finds in eliciting laughter from an audience The “Italian blast” and her unapologetic lack of a filter The infamous “Andrew Lloyd Webber memorial pool” Her frustration with producers who underestimate the intelligence of their audience Connect with Patti: Twitter: @pattilupone IG: @pattilupone Web: pattilupone.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Learn more about your ad choices. Visit megaphone.fm/adchoices

Hi friends, today we showcase -Turning Point 1977-
Shirley MacLaine and Anne Bancroft star here, with some big help from rad defector Mikhail Baryshnikov, Tom Skerritt, Martha Scott Marshall Thompson, and James Mitchell too.
The mad scientist that makes evil robot Kiss members in Kiss meets the Phantom of the park pops in for a bit, dressed like Tom Skerritt's character, and it got confusing for a hot second. I think it was to show that Shirley's Character had a type, but it was nice to see the Kiss guy.
Director here is Herbert Ross, naming a few we got, Boys on the side, steel Magnolias, Footloose, max Dugan Returns, and for us it's The goodbye girl, the Seven percent solution, the sunshine boys, the Last of Shelia, T.R. Baskin, and the Owl and the pussycat 1970, We will be showcasing him again with the Sunshine Boys 1975.
 Our writer here is Arthur Laurents, who is absolutely amazing, and wrote quite a lot of tell all stories about his life in Hollywood. He wrote it all after he came out of the closet so it gets deep and a lil hot too. Arthur was a gay Jewish, once blacklisted writer, so it was too much to be contained in just 1 book.He was born in 1917-and lived for 93 years. He wrote the coded Rope 1948, Home of the brave, West side story, Gypsy, and we reviewed him before in 1973's The Way we were.
Quite happy to showcase this film for y'all, it's been a minute since we have showcased something. Lots to say soooooooo, why not press play. Fun sentence to write, but I'm sure many of us read while listening, whatever your process, thanks for listening.

Hi friends, today we showcase -Turning Point 1977-
Shirley MacLaine and Anne Bancroft star here, with some big help from rad defector Mikhail Baryshnikov, Tom Skerritt, Martha Scott Marshall Thompson, and James Mitchell too.
The mad scientist that makes evil robot Kiss members in Kiss meets the Phantom of the park pops in for a bit, dressed like Tom Skerritt's character, and it got confusing for a hot second. I think it was to show that Shirley's Character had a type, but it was nice to see the Kiss guy.
Director here is Herbert Ross, naming a few we got, Boys on the side, steel Magnolias, Footloose, max Dugan Returns, and for us it's The goodbye girl, the Seven percent solution, the sunshine boys, the Last of Shelia, T.R. Baskin, and the Owl and the pussycat 1970, We will be showcasing him again with the Sunshine Boys 1975.
 Our writer here is Arthur Laurents, who is absolutely amazing, and wrote quite a lot of tell all stories about his life in Hollywood. He wrote it all after he came out of the closet so it gets deep and a lil hot too. Arthur was a gay Jewish, once blacklisted writer, so it was too much to be contained in just 1 book.He was born in 1917-and lived for 93 years. He wrote the coded Rope 1948, Home of the brave, West side story, Gypsy, and we reviewed him before in 1973's The Way we were.
Quite happy to showcase this film for y'all, it's been a minute since we have showcased something. Lots to say soooooooo, why not press play. Fun sentence to write, but I'm sure many of us read while listening, whatever your process, thanks for listening.

Winnie Holzman's so-called writing career began innocently enough, writing and performing sketch material with the comedy group “Serious Bizness.” Next came an MFA from NYU in musical theatre, as well as a musical: “Birds of Paradise,” which was produced Off-Broadway and directed by her teacher, Arthur Laurents.  She soon shifted gears, (and coasts) joining the writing staff of the ground-breaking television series “thirtysomething” and then creating theseries, “My So-Called Life,” which starred Claire Danes and which, thanks to MTV (and now HULU) has been seen all over the world.  She collaborated “once and again” with her mentors Ed Zwick and Marshall Herskovitz on their critically acclaimed series “Once and Again;” and later collaborated with her daughter Savannah Dooley on their one hour drama series “Huge;” as well as with Cameron Crowe on the Showtime series “Roadies.”   She is the book writer of the international hit musical Wicked, which has a score by the acclaimed composer/lyricist Stephen Schwartz. Wicked celebrated 20 years on Broadway this past fall.  She recently completed both screenplays for the film adaptation of Wicked. Her play Choice, an early version of which had its world premiere at the Huntington Theatre in Boston, in 2016, will be produced this spring at the McCarter Theatre in Princeton, New Jersey.  She is a proud member of the Writers Guild of America West, and the Dramatists Guild, and has been married to the wonderful character actor Paul Dooley for only 39 years. Paul Dooley is an actor, writer, and comedian, and has appeared in hundreds of movies, TV shows, and plays. His films include Breaking Away, Sixteen Candles, Runaway Bride, Popeye, Insom-nia, Waiting for Guffman, and the Cars franchise. His television appearances include roles in Curb Your Enthusiasm, My So-Called Life, Star Trek, Dream On (Emmy-nominated), and The Practice (Emmy-nominated). He lives in Burbank, California, with his wife Winnie Holzman Learn more about your ad choices. Visit podcastchoices.com/adchoices

It may not be a musical, but it sure is close... It's The Way We Were! It's 1973. Watergate has happened. Barbra Streisand, Robert Redford, Arthur Laurents, and Sidney Pollack get together to re-create the weepy romcom in the non-musical—but musical-theatre-adjacent!—classic The Way We Were.   We talk about: The Conflict: Streisand & Laurents versus Pollack & Redford, and some of the behind-the-scenes drama that led to the creation of this classic. The Song: Marvin Hamlisch's classic song that put the film on the map. The Laughter: What does it mean to sing, "so it's the laughter we will remember?" Laughter emerges as a marker of class & race in this film. How does that marker intersect with the misty, watercolor nature of memory – and the danger of nostalgia? The People & the Principles: the film's central conflict between personal relationships and principles, and how that conflict maps (and doesn't) onto religious systems. Is Christianity about people, or is it about principles? You'll hear: Barbra singing the film's title song from the 1973 film soundtrack, and an excerpt from the 1998 episode of Sex in the City, Episode 18 (“Ex in the City”).   Continue the conversation with us on Instagram and The Platform Formerly Known as Twitter (@gospelofmt).

George Chakiris' reclusive reputation has made him highly sought for interviews. Now, as he prepare to release his memoirs, entitled "MY WEST SIDE STORY," he opens up about life in and out of the spotlight.Natalie Wood and “lovely” Richard Beymer, to the mercurial Jerome Robbins and “passionate” Rita Moreno, with whom Chakiris remains friends. “I know exactly where my gratitude belongs,” Chakiris writes, “and I still marvel at how, unbeknownst to me at the time, the joyful path of my life was paved one night in 1949 when Jerome Robbins sat Leonard Bernstein and Arthur Laurents down in his apartment and announced, 'I have an idea.'"Academy Award & Golden Globe winner, George Chakiris, is perhaps best known internationally for his role of Bernardo in West Side Story. In Nov of 2012, Chakiris received what many refer to as the highest honor in Hollywood - His Hand & Foot Prints were placed in cement for all history in connection with the 50th anniversary of classic film West Side Story which premiered at Grauman's over 50 years ago. George Chakiris was born in Norwood, Ohio. He is the son of Steven and Zoe Chakiris. They were immigrants from Greece. A graduate of the American School of Dance, Chakiris recalls the early days of passing the Grauman's Chinese Theatre, “where the worlds most glamorous people were seen,” never thinking that one day he would be attending his own premiere for “Westside Story” (For which he received a Golden Globe and an Academy AwardBecome a supporter of this podcast: https://www.spreaker.com/podcast/night-dreams-talk-radio--2788432/support.

Today, I'm thrilled to announce the kickoff of Backstage Babble's “Week of Wine and Roses” with legendary composer and lyricist Adam Guettel. Tune in to hear some of the stories and insights of his great career, including why THE LIGHT IN THE PIAZZA needed a romantic sound, advice he got from Stephen Sondheim and Arthur Laurents, why the greatest work exists on the edge of competence, why he doesn't like to look too much at the source material for the musicals he writes, his on-the-ground research for FLOYD COLLINS, his collaboration with William Goldman, the process of casting Victoria Clark as Margaret Johnson, working with Jamie Lawrence on orchestrating DAYS OF WINE AND ROSES, and so much more. This episode is a masterclass in musical theater writing from the best there is!

Hello Broadway Nation listeners! This week for the first time in more than 126 episodes some unforeseen technical complications have reared their ugly heads and those, on top of the tech rehearsals for the upcoming production of White Christmas that I am co-directing at Seattle's 5th Avenue Theatre, and some important deadlines for my upcoming book, have all come together and kept me from posting a new episode of this podcast as planned. This is especially frustrating to me because we are in the middle of what I think is a fantastic series of episodes about Oliver Soden's new biography of Noel Coward which I promise we will get back to as soon as possible! In the meantime, here is another of my favorite episodes Gypsy vs The Sound Of Music in The Golden Age Of Broadway which I thought would be appropriate since the The Sound Of Music opened on November 16, 1959, 63 years ago this week. Enjoy! The 1950s were crowned by four legendary musicals that went head to head for the “Best Musical” prize at the TONY Awards. In the last episode we looked at the 1958 contest of West Side Story vs. The Music Man,. In this episode I focus on the 1959–1960 which brought us Gypsy vs. The Sound Of Music. And you could subtitle this episode Ethel Merman vs. Mary Martin! Spoiler alert: There was a tie for the Best Musical Tony Award that season, but if you don't already know the story, it probably didn't end up the way you think it would have. As with the previous pair, there are still Broadway mavens that remain outraged over which show won, and which musical was in their view unjustly denied its rightful award! And in addition to Merman and Martin, the giants of Broadway that are figure significantly in this episode include: David Merrick, Leland Hayward,, July Styne, Stephen Sondheim, Arthur Laurents, Jerome Robbins, Joe Layton and, of course, Rodgers & Hammerstein, WARNING:: There are a few historically correct curse words used in this episode. You know how theater people are! Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, educator and trainer Christopher Culp discusses TV musical episodes, using the first episode on this topic as a jumping off point to include the new Star Trek Strange New Worlds musical episode and relating it to the Buffy the Vampire Slayer musical episode and many more. We also talk about the "Tonight (Quintet)" from Leonard Bernstein, Stephen Sondheim, and Arthur Laurents's 1957 musical West Side Story. You can write to scenetosong@gmail.com with a comment or question about an episode or about musical theater, or if you'd like to be a podcast guest. Follow on Instagram at @ScenetoSong, on X/Twitter at @SceneSong, and on Facebook at “Scene to Song with Shoshana Greenberg Podcast.” And be sure to sign up for the new monthly e-newsletter at scenetosong.substack.com. Contribute to the Patreon. The theme music is by Julia Meinwald. Music played in this episode: "We Are One" from Star Trek Strange New Worlds season 2, episode 9: "Subspace Rhapsody" "I've Got a Theory"/"Bunnies"/"If We're Together" from Buffy the Vampire Slayer season 6, episode 7: "Once More, with Feeling"  "How Would That Feel" from Star Trek Strange New Worlds season 2, episode 9: "Subspace Rhapsody" "Tonight (Quintet)" from West Side Story

Episode 40 features a conversation with ROBERT HOFLER, author of "The Way They Were: How Epic Battles and Bruised Egos Brought a Classic Hollywood Love Story to the Screen" (Citadel Press, 2023) about the behind-the-scenes stories about the inspiration and making of the iconic 1973 film THE WAY WE WERE (Columbia Pictures) directed by Sydney Pollack featuring Barbra Streisand and Robert Redford, and based on the novel by Arthur Laurents. Our conversation with Robert Hofler coincides with the 50th anniversary of the film's release, and focuses on its relevance today. Podcast notes: (1) There are SPOILERS in this conversation - a warning for persons who've never seen THE WAY WE WERE. (2) Robert Hofler quotes Barbra Streisand who used the Yiddish word, “schtuped” (twice approx. 1:02:06) — a word some consider vulgar — to describe a love scene in the film. (3) After our recording, we learned that the deleted scenes from THE WAY WE WERE mentioned in this podcast will be available in a special 4K Blu-Ray 50th Anniversary package from Sony Pictures Entertainment. TIMESTAMPS 0:08 Historical Drama with The Boston Sisters 1:21 “The Way They Were” Book Synopsis 2:27 “The Way We Were” film's impact 4:37 Intro to Robert Hofler, author 5:34 “The Way We Were,” a controversial film 9:45 Arthur Laurents, “The Way We Were” creator 23:32 Impact of “The Way We Were” on Romance Genre 35:24 Break 36:02 Challenges and Changes Making “The Way We Were” 43:34 Window to Hollywood Blacklists/Mirror of 1970s 48:12 Film and Politics 59:36 “The Way We Were” Relevance Today 1:09:06 Time Travel 1:11:05 Watching “The Way We Were” 1:11:42 Where to purchase “The Way They Were” book 1:12:59 Disclaimer ----- Episode 40 Transcript PLEASE NOTE: TRANSCRIPTS ARE GENERATED USING A COMBINATION OF SPEECH RECOGNITION SOFTWARE AND HUMAN TRANSCRIBERS, AND MAY CONTAIN ERRORS. STAY ENGAGED with HISTORICAL DRAMA WITH THE BOSTON SISTERS LISTEN to past past podcasts starting with the guests featured in this bonus episode SIGN UP for our mailing list SUBSCRIBE to the podcast on your favorite podcast platform You can SUPPORT this podcast on Spotify or SHOP THE PODCAST on our affiliate bookstore Thank you for listening! --- Support this podcast: https://podcasters.spotify.com/pod/show/historicaldramasisters/support

Tune in to a Broadway Spotlight edition of the STAGES podcast. A Spotlight replay brought to you by Academy Travel - a leading specialist in small-group cultural tours.In January 2024, Academy Travel will be leading a 10 day tour to sample the best of Broadway and New York - alongside a host of cultural experiences at museums and galleries populating The Big Apple.Find further information at the Academy Travel website … academytravel.com.au and search Theatre in New York - Best of Broadway tour.To whet the appetite, STAGES will be revisiting conversations with Australian artists who have conquered The Great White Way in a series of Broadway SPOTLIGHT episodes - brought to you by Academy Travel.Michaeljon Slinger was born in Queensland and via a series of successful twists and turns, found himself studying in New York in his late teens. He received a full scholarship to attend American Ballet Theatre's Jacqueline Kennedy Onassis school. Study at the prestigious Julliard school followed, making him the first Australian to be accepted into either one of these programs.A significant run on the musical theatre stage in New York has earned him 7 Broadway credits in a host of roles as Performer, Swing and Dance Captain. It commenced with his debut in the revival production of West Side Story directed by Broadway Titan …. Arthur Laurents.In recent times he has shifted his focus to choreography as an associate and assistant. Michaeljon Slinger was a guest of the STAGES podcast in April 2021

This summer marked the beginning of my new podcast venture, Closing Night, where I delve deep into the captivating world of Broadway history. Our journey takes us through the tales of shows that have graced the Marquis Theater in the heart of Times Square. Among the unforgettable productions is the notorious musical Nick & Nora, boasting a creative team brimming with legendary figures of musical theater: director Arthur Laurents, composer Charles Strouse, and lyricist Richard Maltby Jr. Several years back, during my very first off-Broadway contract, I had the privilege of collaborating with Richard. He held the title of creative consultant, but in essence, he served as the de facto co-director of a groundbreaking new musical called The Magdalene. So when the time came to explore Nick & Nora on Closing Night, I couldn't resist reaching out to Richard to share his remarkable experiences with the show. And believe me, he's got some stories to tell... How Nick & Nora came to be and what led to its ultimate demise Other Maltby shows including Miss Saigon and Ain't Misbehavin' Follow Closing Night on Instagram and listen it on your favorite podcast app. Subscribe to WINMI Producing this podcast is a rewarding experience, but it's also costly and time-consuming as I'm essentially a one-man operation. By subscribing you'll be supporting these podcasting efforts, and have access to extended conversations and other bonus content. Whether you subscribe or donate, your financial support of this podcast is greatly appreciated! Subscribe to get access to bonus episodes and extra content   Make a one-time Donation to support transcripts and podcast production If you'd like to support WINMI but have limited funds to do so, then contact me directly for reduced-price or even free access to the bonus content.   Follow WINMI: Website | Instagram | Twitter | YouTube ---------- Why I'll Never Make It is an award-winning, Top Theater Podcast with actor and singer Patrick Oliver Jones and is a production of WINMI Media. Background music is by John Bartmann and Blue Dot Sessions is used under a Creative Commons Attribution-NonCommercial 4.0 International License. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1991, Broadway witnessed one of its most spectacular falls from grace with Nick & Nora, a musical adaptation of the beloved The Thin Man novel and film series. With a dream team that included Arthur Laurents, the creative force behind classics like West Side Story and Gypsy, Charles Strouse, the prolific composer of Bye Bye Birdie and Annie, and Richard Maltby Jr., known for Ain't Misbehavin', this show had all the makings of a hit. The star-studded cast featured Barry Bostwick and Joanna Gleason, among others. However, despite the promise on paper, Nick & Nora faced an unprecedented series of delays, setbacks, and ultimately, a one-week run. This episode sheds light on why the show faced so many challenges, from those who were there every step of the way. We explore the explosive clashes, financial woes, and behind-the-scenes drama that led to Nick & Nora's abrupt closure, serving as a cautionary tale that even Broadway's brightest stars can find themselves lost in the shadows. Follow on Instagram and listen to Closing Night on your favorite podcast app. --- Closing Night is a production of WINMI Media with Patrick Oliver Jones as host and executive producer. Dan Delgado is the editor and co-producer, not only for this podcast but also for his own movie podcast called The Industry. Maria Clara Ribeiro is co-producer, and a big thank you goes to Richard Maltby, Jr and Mark Hoebee for their candor and openness in sharing their stories from this tumultuous musical.  Click here to find the transcript for this episode and a full list of links and resources used. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, actress, singer, writer, and producer Victoria Gordon discusses the character of Rose, or Mama Rose, in Jule Styne, Stephen Sondheim, and Arthur Laurents's 1959 musical Gypsy, looking at the many actors who have played the role. We also talk about the song "Babbette" from Cy Coleman, Betty Comden, and Adolph Green's 1978 musical On the Twentieth Century. You can write to scenetosong@gmail.com with a comment or question about an episode or about musical theater, or if you'd like to be a podcast guest. Follow on Instagram at @ScenetoSong, on X/Twitter at @SceneSong, and on Facebook at “Scene to Song with Shoshana Greenberg Podcast.” And be sure to sign up for the new monthly e-newsletter at scenetosong.substack.com. Contribute to the Patreon. The theme music is by Julia Meinwald. Music played in this episode: "Everything's Coming Up Roses" from Gypsy (1959 Original Cast Recording) "You'll Never Get Away from Me" from Gypsy (1959 Original Cast Recording) "Together" from Gypsy (1973 West End Cast Recording) "Rose's Turn" from Gypsy (2003 Cast Recording) "Babbette" from On the Twentieth Century (1978 Original Cast Recording) YouTube Clips Referenced: Angela Lansbury in Gypsy Linda Lavin doing "Rose's Turn"

Today, I'm so happy to announce my interview with Tony nominee Josie De Guzman, whose solo show Back Where I Started will be playing at The Green Room 42 on September 8th and 10th. Tickets are available here:   Buy Now!   Tune in today to hear the stories of her legendary career, including getting shot out of a cannon into Guys and Dolls, the show that Elizabeth Swados wrote for her, her experiences at The Alley Theater, rehearsing with Leonard Bernstein, working with Arthur Laurents on Nick & Nora, returning to singing after many years, and much more.

  David Saint is in his 25th season as Artistic Director of George Street Playhouse. He has directed 43 mainstage productions at GSP, having most recently helmed Ken Ludwig's Dear Jack, Dear Louise. Additional productions include Fully Committed and Tiny Beautiful Things for the GSP virtual season, Midwives, and Conscience, in addition to The Trial of Donna Caine, American Hero, American Son, I Love You, You're Perfect, Now Change and An Act of God starring the legendary Kathleen Turner in the 2017-18 season. His time here has been marked by collaborations with such artists as Keith Carradine, Tyne Daly, Rachel Dratch, Sandy Duncan, Boyd Gaines, A.R. Gurney, Uta Hagen, Jack Klugman, Dan Lauria, Kathleen Marshall, Elaine May, Anne Meara, David Hyde Pierce, Chita Rivera, Paul Rudd, Stephen Sondheim, Marlo Thomas, Eli Wallach, and many others including a remarkable partnership with Arthur Laurents. In addition, many new award-winning works have begun their life here during his tenure such as The Toxic Avenger, Proof, The Spitfire Grill, Joe DiPietro's Clever Little Lies, and It Shoulda Been You. He has directed Final Follies at Primary Stages, Clever Little Lies at Guild Hall in East Hampton, NY and off-Broadway at West Side Theatre, as well as the National tour of West Side Story. In July 2016, he directed a two-night concert performance of West Side Story at the legendary Hollywood Bowl. In Summer 2019, he directed a revolutionary new production of West Side Story for IHI Stage Around in Tokyo and served as Associate Producer for the new film version of West Side Story directed by Steven Spielberg. 

Today, I'm so excited to announce my episode with star of stage and screen Leslie Uggams. Leslie's new movie Dotty & Soul is now out on all streaming platforms. Tune in today to hear her talk about how meaningful the part of Dotty is to, as well as tell stories about her Broadway career, including taking acting lessons with Stella Adler and Sal Mineo, her early friendship with Ethel Waters, talking to Arthur Laurents about the role of Madame Rose, why Her First Roman wasn't successful, dealing with Carol Channing's allergies, reading Hallelujah, Baby! while David Merrick fell asleep, and so much more. You won't want to miss this illuminating conversation with a legend of the stage.

For a professional theater experience in Chicago this month you can't do much better than the Lyric opera production of West Side Story. This Leonard Bernstein / Stephen Sondheim musical deemed cutting edge and somewhat avantgarde when first introduced is now a classic.The story by Arthur Laurents is a rather faithful mid-century modern adaptation of Shakespeare's Romeo & Juliet. Rival teenage street gangs, the Sharks and Jets, battle in New York City streets to maintain what they feel is control of this small piece of Manhattan. Caught in the crossfire of this conflict are Tony (Ryan McCatan) and Maria (Kanisha Feliciano) two tragic lovers from opposite ends of the divide.Podcast theater review with commentary by Reno Lovison.

Teddy Hinde is currently starring as Mike Teavee in the first ever UK and Ireland tour of Charlie and the Chocolate Factory.Based on the novel by Roald Dahl, Charlie and Chocolate Factory has a book by David Greig, music by Marc Shaiman and lyrics by Mark Shaiman and Scott Wittman. This new production is directed by James Brining and designed by Simon Higlett.Having graduated from Trinity Laban in 2022, Teddy made his professional debut in Anyone Can Whistle by Stephen Sondheim and Arthur Laurents at the Southwark Playhouse.Teddy is trans and proudly speaks up for trans rights whilst calling for better representation for trans people in theatre. In this episode, Teddy discusses landing the role of Mike Teavee and his path in theatre so far, as well as all things transness and queerness.Charlie and the Chocolate Factory is touring the UK and Ireland until January 2024, including a run at the New Wimbledon Theatre 21st June - 1st July.  Visit www.charlieandthechocolatefactory.co.uk for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

For Video Edition, Please Click and Subscribe Here: https://youtu.be/zmdvvH30EIo I, however, will be celebrating National Book Blitz Month with some surprise guests to discuss books with quite a few surprises! Let's see how cheesy we all will be... CREATE! How Extraordinary People Live to Create and Create to Live by RONALD RAND Create Sharing their insights on the process of creativity and the importance of the arts for humankind CREATE! features over 100 rare Interviews — actors, artists, choreographers, composers, dancers, designers, directors, musicians, composers, mime artists, playwrights, poets musicians, and writers — including Edward Albee, Alec Baldwin, Carol Burnett, Ellen Burstyn, Martha Carpenter, Carol Channing, Brian Cox, Jacques d'Amboise, Ossie Davis, Ruby Dee, Katherine Dunham, Eve Ensler, Kelsey Grammer, Joel Grey, Al Hirschfeld, Julie Harris, Sheldon Harnick, Bill T. Jones, Everett Raymond Kinstler, Chaka Khan, Stephen Lang, Robert Lepage, Arthur Laurents, Mario van Peebles, Christopher Plummer, Harold Prince, Bill Pullman, Tony Randall, Luise Rainer, Phylicia Rashad, Chita Rivera, Roy Scheider, Tim Stevenson, Charles Strause, Tadashi Suzuki, Tommy Tune, Ben Vereen, Sir Derek Walcott, Elie Wiesel, Robert Wilson, and Eugenia Zukerman. CREATE! features over 150 iconic photographs, paintings, and illustrations including Al Hirschfeld, Everett Raymond Kinstler, Tim Stevenson, Jim Warren, Martha Carpenter, Michael Shane Neal, Thomas V. Nash, Tommy Tune, Stephen Lang, Joel Grey, Tara Sabharwal, Carolyn D Palmer, Ming Cho Lee, Jean-Claude van Itallie, Fred Hatt, Gregg Goldston, David Pena, Parish Kohanim, Andre Gregory, Lucie Arnaz, Allan Warren, Stan Barouh, Jacques d'Amboise, Jimmy Turrell, Jillian Edelstein, James McMullan, Mary Gearhart, Alvin Colt, Sir Derek Walcott and Ronald Rand

My guest today is Jesse Green who, in addition to being the Chief Theatre Critic for the New York Times, is the author of the most acclaimed and talked about theater book in recent memory – SHY: The Alarmingly Outspoken Memoirs of Mary Rodgers. This is the first of two episodes in which Jesse Green shares with us the story of how Mary Rodgers selected him to tell her remarkable, sometime harrowing, and ultimately inspiring story, and how he was able to perfectly capture her unique voice so perfectly, aas well as her bold and unwaveringly candid view of herself. Mary Rodgers grew up in the icy shadow of her father, the legendary Broadway composer, Richard Rodgers, and her disapproving mother, Dorothy. As she reached adulthood her closest friends, colleagues, and romantic partners were Stephen Sondheim, Hal Prince, Leonard Bernstein, Jerome Robbins, Martin Charnin, and Arthur Laurents. Somehow, she became not just a highly successful Broadway composer in her own right­ — most notably with her score for the Broadway and television hit Once Upon a Mattress — but also a renowned author of books for young people including the classic Freaky Friday. There is a reason that this book has become a bestseller, and received so much attention, and it's not just because it's filed with sometimes juicy gossip about many of the leading lights and minor players of the Golden Age Broadway.  No, at its heart, this is the story of a woman who struggles, and I think ultimately succeeds, in liberating herself from disapproving parents, rampant sexism, and her own fears and insecurities as she journeys to discover art, romance and family on her own terms. Broadway Nation Backstage Pass Club If you love this podcast, I invite you to become a Patron of the show by joining the "Broadway Nation Backstage Pass Club".  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. To become one the very first members of the Broadway Nation Backstage Pass Club and receive all of these exclusive member benefits – just click on this link: https://broadwaynationpodcast.supercast.tech/  Thank you so much for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

ON THE TOWN  Music by Leonard Bernstein | Book & Lyrics by Betty Comden & Adolph Green | Based on an Idea by Jerome Robbins Works Consulted & Reference :On the Town (Original Libretto) by Betty Comden & Adolph Green"Innocents on Broadway" by Adam Green in the November 2014 issue of Vanity Fair Broadway: The American Musical (PBS) Music 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"Act 1: Opening: New York , New York” from  On The Town (Studio Cast Recording (1960)) | Music by Leonard Bernstein | Lyrics by Betty Comden & Adolph Green | Performed by Leonard Bernstein, Michael Kermoyan, Adolph Green, John Reardon, Cris Alexander, On the Town Ensemble (1960), & On the Town Orchestra (1960)  "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

[REBROADCAST FROM September 23, 2022] If you love theater, you've likely seen a set designed by Tony Award-winner Beowulf Boritt, from "Come From Away" to "Flying Over Sunset" to "Merry Wives" to "POTUS." Now he's drawn back the curtain on his process, and the importance of set design, in his new book, Transforming Space Over Time: Set Design and Visual Storytelling with Broadway's Legendary Directors. Boritt joins to reflect on his career, and his collaboration with directors like James Lapine, Kenny Leon, Hal Prince, Susan Stroman, Jerry Zaks, and Stephen Sondheim. You can currently see Boritt's work onstage in "The Piano Lesson" (through January 29), "Mike Birbiglia: The Old Man & The Pool" (through January 15), and "Ohio State Murders" (through late February).   Mecca: A Conversation with Stephen Sondheim Setting: Stephen Sondheim's Turtle Bay town house: the holiest of holies for several generations of theater artists. We're in a ground-floor living room, sprawling and cluttered, spreading from a small front entrance foyer through the main chamber to a back conservatory that opens into a community garden. The room's salient visual feature is Steve's collection of antique puzzles, displayed in frames and vitrines and arrayed on tables. Beowulf Boritt: I'm sure you hear this from a lot of people, but your shows, more than any others, are what convinced me to pursue theater. I grew up thinking musicals were frilly and silly, but when I started being exposed to your shows—first Sunday, then Into the Woods and Sweeney Todd—I thought, This is what I want to do. Stephen Sondheim: So you're blaming me? BB: Just placing blame where it's due, Steve! I asked various directors, “What productions made a strong impression on you when you were young?” Both James [Lapine] and Susan Stroman credited Sweeney Todd and its design as the show that made them think, This is what theater can be. Of course, Hal directed it, and the set was famously a real, and enormous, Victorian factory reassembled onstage by Eugene Lee. But that set isn't inherent in the writing; in fact, the action is never literally in a factory. When you were developing the show with Hugh Wheeler, it wasn't with a factory setting in mind, was it? SS: No, no. That came afterward. That was Hal's idea. I don't know how he came to it. For me, Sweeney Todd is not really a story of how the Industrial Revolution manufactured vengeful Sweeney Todds. That had nothing to do with what I wrote at all—though I did ultimately put one line in the lyrics about machines, to make Hal happy. I wanted to do it as a small, scary show. I told Hal that if we were going to do it at a big theater, I'd like to drape the entire place in black, have gaslit lampposts all around, and have the cast all around,too: on top of you, beside you, in the aisles, and so on. I wanted the whole theater to look like the inside of a coffin. I wanted an organ and an organist onstage for that opening prelude—a loud organsound to start the show. BB: You said you have no part in designing the show, but that's a very clear visual image you just described—your initial thoughts about it. SS: I have no visual imagination to say, “The costumes should be red.” But of course I have some ideas about staging the numbers. The director can throw them out, but I do go on record with what I am thinking. BB: I'm going to rewind to early in your career, to one of my favorite musicals and one I have not yet hada chance to design. Did you have any visuals in mind as you wrote West Side Story with Arthur Laurents and Leonard Bernstein? SS: Where is Puerto Rico? No, I don't think I had anything in mind, but I'll tell you an anecdote, one of those things that one never forgets. Oliver Smith, who designed it, wanted to show us the model of the setso we went out to his house in Brooklyn. He showed it to us and there was concern over the scene with the highway bridge, for the rumble at the end of the first act. Jerry Robbins—or maybe it was Lenny or Arthur—turned to me and said, “What do you think?” I was twenty-five years old! “I agree,” I said. “It just doesn't seem quite right.” Oliver turned on me and said, “Who cares what you think? You don't know anything about the theater!” He was really ugly. He was upset that they didn't like it, but he couldn't lash out at Jerry, Lenny, or Arthur, so— BB: And you were the new guy. SS: Yes. You know , I understand why he did it. BB: Did you ever work with him again? SS: No. BB: When you're the new kid, and an old hand lashes out at you, it's amazing how much it stings. You remember it forever. On my first Broadway show, Spelling Bee, that happened to me. Someone involved in the show, not James, really went after me because I was the new kid. To be honest, I had probably donesomething stupid—but it was unpleasant, and I will never forget it. BB: Last question, and it isn't really a question. I'm going to shorten the quote, but you've said, “Lyric writing has to exist in time. You have to lay the sentences out so there's enough air for the ear to take them in. There's music, there's costumes, there's lighting. There's a lot of things to listen to and look at. And therefore, the lyric must be in that sense simple.” SS: The experience of a musical is so rich that it's like you're getting two kinds of dessert. You're getting the pecan cake and the caramel ice cream, so you don't want to overdo it with either one. SS: All art is about economy of means. It's about finding the part that is necessary and getting rid of the unnecessary. That's the hard part, but once you know it, if you're ruthless, you'll get rid of the extra and keep the great. In general, in art, less is more. Although you must remember, there is also Tolstoy!

Happy Holidays everyone! I can't think of a better way to celebrate than listening to an in-depth interview with Broadway legend and 4-time Tony nominee Faith Prince. Tune in to hear her tell many of the fascinating stories of her career, including the failed Terrence McNally play that she worked on with Nathan Lane, the major Broadway revival she turned down, why a rehearsal with Arthur Laurents caused her to call her therapist, a short-lived feud with Jerome Robbins, how Terrence McNally got her into doing straight plays, why Bells Are Ringing couldn't run as long as it should've, why she worked personally with Christopher Renshaw on The King and I, what she learned while touring with Billy Elliot, and more. You won't want to miss this fascinating conversation.

Today, I am so excited to announce my episode with theater veteran Thom Sesma. Thom Sesma is currently appearing in A Man of No Importance at Classic Stage Company. You can find tickets to see him in that wonderful production here: https://www.classicstage.org/current-season/a-man-of-no-importance In the meantime, tune in today to hear some of the stories of his legendary career, including the show that "dares to have an idea as it's main character,” how he figured out the secret to virtual theater, how he won the respect of Arthur Laurents, why he loves working with John Doyle, how Sondheim treated his works, the family that Twyla Tharp creates, the show he has a unique concept for, the offensiveness of Chu Chem, the direct line between him and Alfred Drake, and more.

When it came time make the film of Arthur Laurents successful play The Time of the Cuckoo, the natural casting choice was Shirley Booth, who won a Tony for the Broadway production and had an Oscar for the 1952 film Come Back Little Sheba.  But producers felt she was too old and not enough of a box office draw.  Director David Lean was determined to get Katherine Hepburn and the star needed little convincing.  As her love interest, he cast Italian Rossano Brazzi. Future Night Stalker star and suffering Dad in A Christmas Story Darren McGavin made his film debut in the small role of a philandering artist. Dan and Vicky discuss the classic romance along with a lot of recently seen, including Idris Elba in Beast, Glass Onion, She Said, 1996's Eye for an Eye, and American Horror Story: NY.    Have a listen and leave us some feedback on all our socials! hotdatepod.com FB:  Hot Date Podcast Twitter: @HotDate726 Insta:  hotdatepod

Stephen is the author of the critically acclaimed Pentecost & Parker mystery series. Book 3 of which is OUT NOW! And he's here for a musical based on another famed murder mystery duo: Nick and Nora Charles of The Thin Man movie series. And this musical is . . . definitely a musical. Topics include: Arthur Laurents, missing the magic, slime tutorials, Raymond Chandler, not knowing your source material, and veranda finales. Order SECRETS TYPED IN BLOOD Stephen Spotswood Dot Com Featured recordings: Nick & Nora - Original Broadway Cast (1991) ORIGINAL CAST MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email

If you love theater, you've likely seen a set designed by Tony Award-winner Beowulf Boritt, from "Come From Away" to "Flying Over Sunset" to "Merry Wives" to "POTUS." Now he's drawn back the curtain on his process, and the importance of set design, in his new book, Transforming Space Over Time: Set Design and Visual Storytelling with Broadway's Legendary Directors. Boritt joins to reflect on his career, and his collaboration with directors like James Lapine, Kenny Leon, Hal Prince, Susan Stroman, Jerry Zaks, and Stephen Sondheim. Mecca: A Conversation with Stephen Sondheim Setting: Stephen Sondheim's Turtle Bay town house: the holiest of holies for several generations of theater artists. We're in a ground-floor living room, sprawling and cluttered, spreading from a small front entrance foyer through the main chamber to a back conservatory that opens into a community garden. The room's salient visual feature is Steve's collection of antique puzzles, displayed in frames and vitrines and arrayed on tables. Beowulf Boritt: I'm sure you hear this from a lot of people, but your shows, more than any others, are what convinced me to pursue theater. I grew up thinking musicals were frilly and silly, but when I started being exposed to your shows—first Sunday, then Into the Woods and Sweeney Todd—I thought, This is what I want to do. Stephen Sondheim: So you're blaming me? BB: Just placing blame where it's due, Steve! I asked various directors, “What productions made a strong impression on you when you were young?” Both James [Lapine] and Susan Stroman credited Sweeney Todd and its design as the show that made them think, This is what theater can be. Of course, Hal directed it, and the set was famously a real, and enormous, Victorian factory reassembled onstage by Eugene Lee. But that set isn't inherent in the writing; in fact, the action is never literally in a factory. When you were developing the show with Hugh Wheeler, it wasn't with a factory setting in mind, was it? SS: No, no. That came afterward. That was Hal's idea. I don't know how he came to it. For me, Sweeney Todd is not really a story of how the Industrial Revolution manufactured vengeful Sweeney Todds. That had nothing to do with what I wrote at all—though I did ultimately put one line in the lyrics about machines, to make Hal happy. I wanted to do it as a small, scary show. I told Hal that if we were going to do it at a big theater, I'd like to drape the entire place in black, have gaslit lampposts all around, and have the cast all around,too: on top of you, beside you, in the aisles, and so on. I wanted the whole theater to look like the inside of a coffin. I wanted an organ and an organist onstage for that opening prelude—a loud organsound to start the show. BB: You said you have no part in designing the show, but that's a very clear visual image you just described—your initial thoughts about it. SS: I have no visual imagination to say, “The costumes should be red.” But of course I have some ideas about staging the numbers. The director can throw them out, but I do go on record with what I am thinking. BB: I'm going to rewind to early in your career, to one of my favorite musicals and one I have not yet hada chance to design. Did you have any visuals in mind as you wrote West Side Story with Arthur Laurents and Leonard Bernstein? SS: Where is Puerto Rico? No, I don't think I had anything in mind, but I'll tell you an anecdote, one of those things that one never forgets. Oliver Smith, who designed it, wanted to show us the model of the setso we went out to his house in Brooklyn. He showed it to us and there was concern over the scene with the highway bridge, for the rumble at the end of the first act. Jerry Robbins—or maybe it was Lenny or Arthur—turned to me and said, “What do you think?” I was twenty-five years old! “I agree,” I said. “It just doesn't seem quite right.” Oliver turned on me and said, “Who cares what you think? You don't know anything about the theater!” He was really ugly. He was upset that they didn't like it, but he couldn't lash out at Jerry, Lenny, or Arthur, so— BB: And you were the new guy. SS: Yes. You know , I understand why he did it. BB: Did you ever work with him again? SS: No. BB: When you're the new kid, and an old hand lashes out at you, it's amazing how much it stings. You remember it forever. On my first Broadway show, Spelling Bee, that happened to me. Someone involved in the show, not James, really went after me because I was the new kid. To be honest, I had probably donesomething stupid—but it was unpleasant, and I will never forget it. BB: Last question, and it isn't really a question. I'm going to shorten the quote, but you've said, “Lyric writing has to exist in time. You have to lay the sentences out so there's enough air for the ear to take them in. There's music, there's costumes, there's lighting. There's a lot of things to listen to and look at. And therefore, the lyric must be in that sense simple.” SS: The experience of a musical is so rich that it's like you're getting two kinds of dessert. You're getting the pecan cake and the caramel ice cream, so you don't want to overdo it with either one. SS: All art is about economy of means. It's about finding the part that is necessary and getting rid of the unnecessary. That's the hard part, but once you know it, if you're ruthless, you'll get rid of the extra and keep the great. In general, in art, less is more. Although you must remember, there is also Tolstoy!

For Video Edition, Please Click and Subscribe Here: https://youtu.be/6vcHvOUB5Tc It was in Michael Stewart and Cy Coleman's musical I Love My Wife (1977) – a satire on wife-swapping – that Gleason made her Broadway debut, playing Monica, for which she won a Theatre World Award. She returned to Broadway in a 1985 revival of Peter Nichols's play Joe Egg. Along with Marlo Thomas and Olympia Dukakis, Gleason was a member of the opening-night cast of Andrew Bergman's comedy Social Security (1986), for which Gleason won the Drama Desk Award for Outstanding Featured Actress in a Play. Although she had already gained attention and honors for her stage work, her performance as the Baker's Wife in Stephen Sondheim's wry fairy-tale musical Into the Woods (1987) made her a Broadway leading lady. The musical itself won Tonys® for Best Book of a Musical and Best Original Score, and Gleason earned a Tony® for Best Actress in a Musical. Her singing is preserved on the original Broadway cast recording. In the Thin Man-inspired musical Nick and Nora (1991) by Arthur Laurents, Charles Strouse, and Richard Maltby Jr., Gleason played the leading lady, and in Dirty Rotten Scoundrels (2005). A familiar presence in movies and on television, Gleason appeared in two of Woody Allen's films – as Tony Roberts's embarrassed wife in Hannah and Her Sisters (1986) and as Allen's spouse in Crimes and Misdemeanors (1989). In Boogie Nights, she played Mark Wahlberg's abusive mother. On television, she was a regular on the CBS sitcom Love & War as the restaurant waitress Nadine Berkus. Other series in which Gleason appeared regularly are Hello, Larry; Temporarily Yours; Oh Baby; and Bette. She is married to the actor Chris Sarandon.

Combined across the Emmys, Grammys, Olivier and Tony Awards, Patt LuPone has 14 nominations and six wins. Her resume includes 27 Broadway credits, including Eva Perón in the original Broadway production of Evita (1st Tony Award), Anything Goes, Sweeney Todd, Noises Off, Rose in the 2008 Broadway revival of Gypsy (2nd Tony Award), Women on the Verge of a Nervous Breakdown, War Paint, Working, Oliver!, The Robber Bridegroom, and The Beggar's Opera. In London she starred in the original casts of Les Misérables, The Cradle Will Rock, Sunset Boulevard, and the West End revival of Company. She also has a long and illustrious career across TV and film, with credits including Driving Miss Daisy, Frasier, Will and Grace, Ugly Betty, 30 Rock, Glee, American Horror Story, Girls, Penny Dreadful, and of course, Life Goes On. She's a voiceover artist, a cabaret performer, a mom, and performs regularly with the New York Philharmonic, all of which mean you can find her singing across 22 different albums. Patti LuPone was the first American to ever win an Olivier Award, has been inducted into the American Theater Hall of Fame, and can now be seen on Broadway in the revival of Company.  LuPone recalls her first introduction to the musical Gypsy (playing Louise) in high school, speaking candidly about not understanding the play at the time, and shares how she was initially banned from participating in any of Arthur Laurents work before going on to win a Tony Award for playing Rose. She reflects on going to the “dark side” a lot when COVID shut the industry down, noting it wasn't that she couldn't perform but rather that she had nothing to fill that void with, and shares how close-knit and supportive the cast and crew of Company is as a result of the collective trauma and uncertainty they faced together once they resumed rehearsals. LuPone also speaks about the importance of doing her work completely in the rehearsal room, allowing her and the audience to both play and relax once she is onstage, and shares why she looks at the audience every single night.  In this episode, we talk about:  Being in one of the first-ever students in Juilliard's school of drama in the 70's  Her Maryilyn Monroe impression at 3 years old  What it is about laughter from an audience that brings her joy  What she calls the “Italian blast”, and not having a filter  Her “Andrew Lloyd Webber memorial pool” Resenting producers or anybody that underestimates the audience's intelligence Connect with Patti: Twitter: @pattilupone IG: @pattilupone Web: pattilupone.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Synopsis On today's date in 1964, a new musical called “Anyone Can Whistle” opened at Broadway's Majestic Theater. The book was by Arthur Laurents, with music and lyrics by Stephen Sondheim. The show told the story of a town that's gone bankrupt because its only industry manufactured something that never wears out. To spark tourism, the town's Mayor fakes a miracle – water flowing from a rock – and when patients from a local mental hospital called the “Cookie Jar” escape and mix in with townspeople and tourists, chaos ensues. The only conventional thing about the new Sondheim-Laurent musical was the inclusion of a love story. The New York Daily News called the first act "joyously daffy," and the Journal-American reported that the opening night audience cheered several numbers. The New York Times, unfortunately, panned the new show, opening its review with this statement: "There is no law against saying something in a musical, but it's unconstitutional to omit imagination and wit." Ouch! It didn't help that the new Laurent-Sondheim musical's competition on Broadway that year included crowd pleasers like Hello, Dolly, Funny Girl, and Fiddler on the Roof. The show ran for just one week. But one person who liked the show happened to be a Columbia Record executive named Goddard Lieberson, who assembled the original cast the day after it closed to make an original cast recording that became something of a cult classic. Music Played in Today's Program Steven Sondheim (b. 1930) — Me and My Town, from Anyone can Whistle (Angela Lansbury; orchestra; Paul Gemignani, cond.) RCA Victor 60515

West Side Story (2021) - Movie Review - Ray Taylor Show Subscribe: InspiredDisorder.com/rts Binge Ad Free: InspiredDisorder.com/plus Show topic: An adaptation of the 1957 musical, West Side Story explores forbidden love and the rivalry between the Jets and the Sharks, two teenage street gangs of different ethnic backgrounds.Director: Steven Spielberg Writers: Tony Kushner(screenplay by), Arthur Laurents(based on the stage play, book by)JOIN Inspired Disorder +PLUS Today!InspiredDisorder.com/plus Membership Includes:Members only discounts and dealsRay Taylor Show AD-FREE + Bonus EpisodesLive Painting ArchiveComplete Podcast Back CatalogueRay's Personal Blog, AMA and so much MORE!Sponsored By:InspiredDisorder.com/tmf The Many Faces - Original abstract ink portraits by Ray Taylor. Code: RTS for 25% OFF. StationHouseCoffee.com and @StationHouseCoffee on Instagram for premium small batch, single source coffee.InspiredDisorder.com/Ting $25 CREDIT! The best carrier. The best coverage.Same low rates, now with three coast-to-coast networks.Daily Podcast: Ray Taylor Show - InspiredDisorder.com/rts Daily Painting: The Many Faces - InspiredDisorder.com/tmf ALL links: InspiredDisorder.com/links

The best sitcom mom of all time is on the show. We are joined by actor and Emmy-nominee Patricia Richardson. You Might Know Her From Home Improvement, The West Wing, Strong Medicine, Ulee's Gold, Cubby, and The Parent Trap 3. Patricia Richardson understudied the role of Louise “Gypsy Rose” Lee in the 1974 Broadway revival of Gypsy opposite Angela Lansbury and we will never be the same. We talk about her auditioning for book writer Arthur Laurents, rehearsing with fellow understudy Mary Louise Wilson, and bemoaning Robert Tucker's pissy attitude (I mean, Zan, Nan, Ian). Patricia also revealed to us how network executives lied to her in order for her to sign on for Home Improvement, hosting the Emmys with Ellen DeGeneres (“the worst day of her life”), and whether or not she turned down a role on The West Wing (C.J.? Abbey?) before recurring as Sheila Brooks. The juice is good in this one, hunnies. Follow us on social media @damianbellino || @rodemanne Discussed this week:  Anne loves Straight Talk with Dolly Parton Radio shows; WKRP, Frasier (Peri Gilpin and Jane Leeves) Famous Sally Bowles: Jane Leeves, Molly Ringwald Pam Anderson is going to be Roxie in Chicago on Broadway!  Pam was NOT into the recent miniseries based on her life with Tommy Lee  We were excited to see Ariana DeBose and Jane Krakowski in Chicago Fall 2021 but it never happened The Weisslers are stunt casters Roxie Hart SUPERCUT Aurora Spiderwoman has the best YouTube account on the internet  Melanie Griffith was an excellent Roxie Hart (apparently, says Ben Brantley) Kim Cattrall saying “MARIO” and “with a standup bass” Patricia Richardson's hair is an exquisite white Was a Hollywood Blonde and Lousie understudy for 1978 Gypsy revival with Angela Lansbury, directed by Arthur Laurents “Little Lamb” is a tough song to sing  “Honey Bun” from South Pacific ** Angela Lansbury b roll footage of Gypsy ** Patti's “Roses Turn” Bernadette's “Rose's Turn” Tyne Daly's “Rose's Turn” Graduated from SMU with a BFA Spent 8 seasons as Jill Taylor on Home Improvement Tim Allen's Showtime special Brought in Gayle Maffeo Hosted the 1994 Emmys with Ellen DeGeneneres Decider piece on Patricia being best sitcom mom of all time Son is Joe Castle Baker Starred in gay indie comedy Cubby directed by Mark Blane Played Alan Alda's campaign manager on The 5 & 6 seasons of The West Wing Was Patricia the OG CJ Cregg Costarring in upcoming Chantilly Bridge the sequel to Chantilly Lace (1993, for: Linda Yellen) Was in Parent Trap III with her ex husband Ray Baker, the Creel triplets, and of course Hayley Mills Robert Tucker (choreographer from Gypsy) had 3 kids: Zan, Nan(a) Visitor, and Ian Nana Visitor was on Star Trek and was Roxie on Broadway  Betty Buckley's “Rose's Turn” We love Sandy Bullock: Demolition Man, Speed, Love Potion # 9 Ellen has dishware; she flips 45 houses a year; Ellen apparently no longer a vegan!

Show business veteran Roger Preston Smith is Michelle's guest on this LAST EPISODE of Season 2. This episode is chock full of wonderful advice and stories from someone who has done so many different kinds of jobs in the performing arts industry, including working with Arthur Laurents. Our beloved Joshua Holloway gives a sweet message, and we will be back soon with Season 3! Thanks for listening.