Podcast appearances and mentions of becky mode

Completamente esaurito di Becky Mode. Traduzione adattamento di Davide Nebbia. Regia Antonia Di Francesco. Al Teatro Lo Spazio dal 3 al 6 febbraio. #RegalaTeatro mette in palio due biglietti omaggio, al primo che durante la diretta e fino alle 8 di venerdì, manderà la parola magica DAVIDENEBBIA tramite messaggio whatsapp, vocale o scritto, al 3456048479.

“The Producers” premiered on April 27, 2013. It was written by Becky Mode, whose last episode of Smash was season 2 episode 7, Musical Chairs, and was directed by Tricia Brock, whose last episode was season 2 episode 9, The Parents. The viewership dropped again by 20,000 viewers, to a total of 1.89 million. We had a lot of music this episode, mainly from Hit List! Our one song from Bombshell was an excerpt of Shaiman and Whitman’s “20th Century Fox Mambo” performed by Megan Hilty (and Kathie Lee Gifford?), and our one cover was Jeff Buckley’s “The Last Goodbye,” sung by Andy Mientus. The remainder of our songs come from Hit List: we hear excerpts from Pasek and Paul’s “Rewrite this Story,” and Joe Iconis’ “Broadway Here I Come.” Two new songs were another by Joe Iconis called “The Goodbye Song,” and “Don’t Let Me Know,” written by Lucie Silvas and Jamie Alexander Hartman. Without much competition for new musicals on Broadway this season, Bombshell is poised to make a splash at the Tony Awards in June. But with slow ticket sales, Eileen is going to have to pray for a miracle to keep Bombshell open til June. So she is whoring out Ivy for press events right and left, anything from the Today show to an appearance at the Brighton Beach Senior Center.  Adding insult to injury, producers Daryl Roth and Kevin McCollum are duking it out with ten other producers ready to write a check to move Hit List to Broadway this season. But there may not be a show to move if Jimmy shows up late and high for photo calls. Derek attempts to solve the Jimmy problem by hiring former Bombshell ensemblist Sam Strickland to understudy him.  Things are looking up for Julia, with the announcement her new non-musical version of Gatsby going to Manhattan Theatre Workshop next season. Now that Tom isn’t in line to direct the City of Angels revival, he wants Julia to create the show with him. The conflict comes to a head at one of Ivy’s many press events: Julia feels Tom told her under no uncertain terms he only wants to direct, while Tom believes Julia is only interested in being a writing partner when she gets her way. With tonight seeming to become the most important night in Hit List’s life, Derek gives Jimmy an ultimatum: shape up or ship out. But Jimmy doesn’t take the threat seriously, showing up late onstage, making up choreography and causing an onstage accident that leaves Karen with a bleeding gash. The performance is the last straw for Derek, firing Jimmy on the spot. But the journey for Hit List may be dead in the water anyway, as every potential investor is scared off because the show isn’t financially viable enough to make it on Broadway. Learn more about your ad choices. Visit megaphone.fm/adchoices

“Musical Chairs” premiered on March 19th, 2013. It was written by Becky Mode, and was directed by Broadway’s very own, Casey Nicholaw! The viewership was down again from the previous week, by about a quarter-million viewers, amounting to a total of 2.66 million. We saw two full original songs and two excerpts this week, which means, no pop covers! Our in-home team of Shaiman and Whitman wrote Liaisons’ Ce N’Est Pas Ma Faute (It’s Not My Fault) sung by Sean Hayes, and Bombshell’s The National Pastime, sung and tapped by Katherine McPhee and the Bombshell ensemble. From Hit List we heard a reprise of Heart Shaped Wreckage from last week, and a new opening song called Rewrite This Story, written by Pasek & Paul. Now that Derek is signed onto direct Hit List, Scott Nichols of Manhattan Theatre Workshop offers the theatre’s 80-seat underground space. He is afraid it doesn’t have much of an overwriting theme to appease his mainstage subscribers, but he will reconsider if stubborn Jimmy and agreeable Kyle are able to reinvent Hit List by Friday. Taking over the direction of Bombshell is harder than Tom anticipated - it’s like Tom and Karen are speaking different languages. In the absence of any legal agreements about using Derek’s concepts in Bombshell, Tom is forced to reinvent the show. And in the absence of Derek’s choreography, Tom’s staging on numbers like “The National Pastime” turn Bombshell into a sugar-induced headache. What the show also needs is to get rid of Jerry Rand as a producer. The silver bullet comes in the form of a contract Eileen signed with the Marilyn Monroe estate for the use of her journals - which heavily influenced Julia’s book. In a hostile takeover, the women of Bombshell force Jerry to sign over the show to Eileen. At Liaisons, Ivy has cemented her talent as “The Terry Whisperer,” but she and Terry both hate this “meh” version of the show and make a pact that it might as well go down in a blaze of glory. With an over-the-top version of a Terry Falls-helmed number called “It’s Not My Fault,” Liaisons announces that it will close at the end of the week, making Ivy a free agent. The musical chairs between Bombshell and Hit List come to a head at the opening night of Liasions, where everybody wants what they can’t have: Jerry and Karen want Derek to return Bombshell, while Derek wishes that he had a book writer like Julia and a star like Karen. It’s unclear what Jimmy wants, other than to not write a new opening number for his show.  Karen starts the musical chairs in motion, acknowledging to Tom that she’s not his Marilyn - Ivy is. Derek also admits to Kyle and Jimmy that he believes in Hit List so much he will even direct the show in a 80-seat blackbox. But it turns out he doesn’t have to - when Jimmy writes Hit List a banger of a new opening called “Rewrite This Story.” Learn more about your ad choices. Visit megaphone.fm/adchoices

HFF Ray talks with Dylan Godwin of the Alley Theatre production of Fully Committed! Fully Committed runs Nov. 26 - Dec. 29. Tickets are on sale now at www.AlleyTheatre.org. Don't miss Becky Mode’s hilarious and delicious comedy, featuring over 40 characters, comes to life in the hands of one man.

Jason Moore most recently directed the Broadway musical The Cher Show, which showcases Cher's life story brought to the stage featuring her beloved chart-topping hits. Starring Stephanie J. Block, Teal Wicks, Micaela Diamond and Jarrod Spector, with costumes by designer Bob Mackie, The Cher Show will began previews in November 2018 at the Neil Simon Theatre prior to the opening night on December 3, 2018. In addition, he’s currently directing Superhero at the Second Stage theatre which is set to begin on January 31, 2019. Starring Kate Baldwin, Kyle Mcarthur and Bryce Pinkham, Superhero is a deeply human new musical about a fractured family, the mysterious stranger in apartment 4-B, and the unexpected hero who just might save the day. Moore’s feature directorial debut, Pitch Perfect, starring Anna Kendrick, Rebel Wilson and Brittany Snow, was both a critical and commercial success. Written by Kay Cannon, the film premiered in 2012 and follows Beca, a freshman at Barden University, who is cajoled into joining The Bellas, her school's all-girls singing group. Injecting some much needed energy into their repertoire, The Bellas take on their male rivals in a campus competition. Recently, Moore directed Sisters, starring Amy Poehler, Tina Fey and Maya Rudolph, written by Paula Pell. The film was released on December 18, 2015 by Universal Pictures. He will next direct and produce Hair Wars for Fox 2000, a musical project based on a real competition where hair salons face off, and Lionsgate’s Goodbye for Now, an adaptation of the Laurie Frankel novel.   Moore is also the creative force behind some of Broadway’s biggest hits. Most recently, he directed Fully Committed, the restaurant-world comedy by Becky Mode starring Jesse Tyler Ferguson, who takes on over 40 characters in this one-man comedy set at Manhattan's number-one restaurant.  Additionally, his previous theater projects include Shrek the Musical, for which he earned Outer Critics Circle and Drama Desk award nominations; Steel Magnolias; and Avenue Q, for which he received a Tony Award nomination. Furthermore, he directed Jerry Springer: The Opera at Carnegie Hall and the off-Broadway hits Speech and Debate, Avenue Q, Guardians and The Crumple Zone, as well as, Tales of the City, with music by the Scissor Sisters, which premiered at the American Conservatory Theater. Moore’s previous television directorial credits include episodes of “Dawson's Creek,” “Everwood,” “One Tree Hill,” “Brothers and Sisters,” and “Trophy Wife.” Moore divides his time between New York and Los Angeles and received a B.A. in Performance Studies from Northwestern University.

Bob Wilcox and Gerry Kowarsky review (1) THE FOREIGNER, by Larry Shue, at the Repertory Theatre of St. Louis, (2) TALLEY'S FOLLY, by Lanford Wilson, at the New Jewish Theatre, (3) SEASON'S GREETINGS, by Alan Ayckbourn, at St. Louis Actors' Studio, (4) THE DIVINE SISTER, by Charles Busch, at HotCity Theatre, (5) YOURS, ANNE, by Enid Futterman & Michael Cohen, at the Webster Univ. Conservatory, (6) FULLY COMMITTED, by Becky Mode, at Stray Dog Theatre, (7) THE BEST CHRISTMAS PAGEANT EVER, by Barbara Robinson, at KTK Productions, and (8) THE ULTIMATE CHRISTMAS SHOW (ABRIDGED), by Reed Martin & Austin Tichenor, at Edison Theatre Ovations.

Director David Esbjornson ("The Ride Down Mt. Morgan"), director David Leveaux ("The Real Thing"), playwright Becky Mode ("Fully Committed"), director Richard Nelson ("James Joyce's The Dead"), and director/choreographer Lynne Taylor-Corbett ("Swing!") discuss how they became theatre professionals, their work ethic, and their reasons for remaining and working in theatre.

Director David Esbjornson (The Ride Down Mt. Morgan), director David Leveaux (The Real Thing), playwright Becky Mode (Fully Committed), director Richard Nelson (James Joyce's The Dead, Tony Award), and director/choreographer Lynne Taylor-Corbett (Swing!) discuss how they became theatre professionals, their work ethic, and their reasons for remaining and working in theatre.