Podcasts about Broadway

Following increased rain, families across the southwest side are dealing with neighborhood and basement flooding. However, this comes at an increasingly precarious time for FEMA, the Federal Emergency Management Agency tasked with helping states, impacted individuals, and first responders prepare for, respond to, and recover from weather-related disasters. Block Club Chicago's Jamie Nesbitt Golden and Borderless Magazine's Aydali Campa are here to discuss the latest, including a new investigation that explores the growing costs to build affordable housing, and how the Trump administration is coming for our voter information and housing protections. Plus, more things to get excited about in August. Good News: South West Side Students Plant Trees and the Chicago Muslim Green Team Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this Aug. 1 episode: Top Marks Prep – Receive 15% off when you use the link Broadway in Chicago Overlook Maps Framebridge Big Onion Hospitality – Wings for $15.25 all week at any of the Big Onion spots Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Rich and Jim invite Wes Little into the studio for a deep dive into the life of a versatile drummer who's played everywhere from the Grand Ole Opry to Carnegie Hall. The Rich Redmond Show now has MERCH! Enter discount code FALL25 upon checkout for a 25% discount on our new tees, sweatshirts, knit caps and COFFEE MUGS!Go to www.therichredmondshow.comHighlights include:[0:10] The vibrant Nashville drum scene[0:25] Wes's journey from North Carolina to New York City[0:45] Living and creating music in tight NYC spaces[1:15] Transitioning to Nashville and building a diverse career[1:45] Session work, TV performances, and musical versatility[2:30] Creating a home studio (Coop DeVille)[3:00] Upcoming projects: podcast "Between Two Grooves" and drum technique book[3:45] Insights into the music industry's changing landscape[4:20] Personal stories from Broadway to backing major artistsA candid conversation about musicianship, creativity, and adapting to the ever-changing world of professional drumming.The Rich Redmond Show is about all things music, motivation and success. Candid conversations with musicians, actors, comedians, authors and thought leaders about their lives and the stories that shaped them. Rich Redmond is the longtime drummer with Jason Aldean and many other veteran musicians and artists. Rich is also an actor, speaker, author, producer and educator. Rich has been heard on thousands of songs, over 30 of which have been #1 hits!Follow Rich:@richredmondwww.richredmond.comJim McCarthy is the quintessential Blue Collar Voice Guy. Honing his craft since 1996 with radio stations in Illinois, South Carolina, Connecticut, New York, Las Vegas and Nashville, Jim has voiced well over 10,000 pieces since and garnered an ear for audio production which he now uses for various podcasts, commercials and promos. Jim is also an accomplished video producer, content creator, writer and overall entrepreneur.Follow Jim:  @jimmccarthywww.jmvos.com The Rich Redmond Show is produced by It's Your Show dot Cowww.itsyourshow.co

[REBROADCAST FROM June 2, 2025] Our Get Lit with All Of It musical guest for the month of May was actor and musician Reeve Carney, who joined us to discuss his career and creative process. Plus, he played some brand new original music live.

“The Jewish voice must be heard, not because it's more right or less right, but it's there. The suffering is there, the grief is there, and human grief is human grief.” As Jews around the world mark Tisha B'Av, we're joined by Columbia University professor and award-winning poet Owen Lewis, whose new collection, “A Prayer of Six Wings,” offers a powerful reflection on grief in the aftermath of October 7th. In this conversation, Lewis explores the healing power of poetry in the face of trauma, what it means to be a Jewish professor in today's campus climate, and how poetry can foster empathy, encourage dialogue, and resist the pull of division. *The views and opinions expressed by guests do not necessarily reflect the views or position of AJC.   Listen – AJC Podcasts: The Forgotten Exodus: Untold stories of Jews who left or were driven from Arab nations and Iran People of the Pod:  Latest Episodes:  An Orange Tie and A Grieving Crowd: Comedian Yohay Sponder on Jewish Resilience From Broadway to Jewish Advocacy: Jonah Platt on Identity, Antisemitism, and Israel Sexual Violence as a Weapon of War: The Dinah Project's Quest to Hold Hamas Accountable Follow People of the Pod on your favorite podcast app, and learn more at AJC.org/PeopleofthePod You can reach us at: peopleofthepod@ajc.org If you've appreciated this episode, please be sure to tell your friends, and rate and review us on Apple Podcasts or Spotify. Transcript of the Interview:   Owen Lewis:   Overheard in a New York Restaurant.   I can't talk about Israel tonight.    I know.    I can't not talk about Israel tonight.    I know.    Can we talk about . . .   Here? Sure. Let's try to talk about here.   Manya Brachear Pashman:   On Saturday night, Jews around the world will commemorate Tisha B'av. Known as the saddest day on the Jewish calendar, the culmination of a three week period of mourning to commemorate several tragedies throughout early Jewish history.  As a list of tragedies throughout modern Jewish history has continued to grow, many people spend this day fasting, listening to the book of Lamentations in synagogue, or visiting the graves of loved ones. Some might spend the day reading poetry.  Owen Lewis is a Professor of Psychiatry in the Department of Medical Humanities and Ethics at Columbia University. But he's also the award-winning author of four poetry collections which have won accolades, including the EE Cummings Prize and the Rumi Prize for Poetry.  His most recent collection, A Prayer of Six Wings documents in verse his grief since the October 7 terror attacks. Owen is with us now to talk about the role of poetry in times of violence and war, what it's been like to be a Jewish professor on the Columbia campus, and a Jewish father with children and grandchildren in Israel. And also, how to keep writing amid a climate of rising antisemitism. Owen, welcome to People of the Pod. Owen Lewis:   Thank you so much, Manya. Manya Brachear Pashman:   So you opened with that short poem titled overheard in a New York restaurant. I asked you to read that because I wanted to ask whether it reflected how you felt about poetry after October 7.  Did you find yourself in a place where you couldn't write about Israel, but yet you couldn't not write about Israel? Owen Lewis:   Among the many difficult things of that First Year, not only the war, not only the flagrant attacks on the posters of the hostages one block from where I live, 79th and Broadway, every day, taken down every day, put back up again, defaced. It was as if the war were being fought right here on 79th and Broadway.  Another aspect that made this all so painful was watching the artistic and literary world turn against Israel. This past spring, 2000 writers and artists signed a petition, it was published, there was an oped about it in The Times, boycotting Israeli cultural institutions.  And I thought: artists don't have a right to shut their ears. We all need to listen to each other's grief, and if we poets and artists can't listen to one another, what do we expect of statesmen? Statesmen, yeah, they can create a ceasefire. That's not the same as creating peace. And peace can only come when we really listen to each other. To feel ostracized by the poetry community and the intellectual community was very painful. Fortunately, last summer, as well as this past summer, I was a fellow at the Yetzirah conference. Yetzirah is an organization of Jewish American poets, although we're starting to branch out. And this kind of in-gathering of like-minded people gave me so much strength.  So this dilemma, I can't talk about it, because we just can't take the trauma. We can't take hearing one more thing about it, but not talk about it…it's a compulsion to talk about it, and that's a way to process trauma. And that was the same with this poetry, this particular book.  I feel in many ways, it just kind of blew through me, and it was at the same time it blew through me, created this container in which I could express myself, and it actually held me together for that year. I mean, still, in many ways, the writing does that, but not as immediately and acutely as I felt that year.  Manya Brachear Pashman:   This book has been praised as not being for the ideological but for the intellectually and emotionally engaged. So it's not it's not something that ideologically minded readers will necessarily be able to connect to, or is it actually quite the opposite?  Owen Lewis:  Well, it's very much written from the gut, from the experience, from in a sense, being on the ground, both in Israel and here in New York and on campus, and trying to keep a presence in the world of poetry and writers. So what comes from emotion should speak to emotion. There are a few wisps of political statements, but it's not essentially a politically motivated piece of writing.  I feel that I have no problem keeping my sympathies with Israel and with Jews. I can still be critical of aspects of the government, and my sympathies can also be with the thousands of Palestinians, killed, hurt, displaced. I don't see a contradiction. I don't have to take sides.  But the first poem is called My Partisan Grief, and it begins on October 7. I was originally going to call the bookMy Partisan Grief, because I felt that American, Jewish, and Israeli grief was being silenced, was being marginalized. And I wanted to say, this is our grief. Listen to it. You must listen to this. It doesn't privilege this grief over another grief. Grief is grief. But I wanted ultimately to move past that title into something broader, more encompassing, more humanitarian. Manya Brachear Pashman:  And did that decision come as the death toll in Gaza rose and this war kept going and going and the hostages remained in captivity, did that kind of sway your thinking in terms of how to approach the book and frame it?  Owen Lewis:  Yes, but even more than those kind of headlines, which can be impersonal, the poetry of some remarkable Palestinian poets move me into a broader look. Abu Toha was first one who comes to mind Fady Joudah, who's also a physician, by the way. I mean his poetry, I mean many others, but it's gorgeous, moving poetry.  Some of it is a diatribe, and you know, some of it is ideological, and people can do that with poetry, but when poetry really drills down into human experience, that's what I find so compelling and moving. And that's what I think can move the peace process. I know it sounds quite idealistic, but I really think poetry has a role in the peace process here. Manya Brachear Pashman:  I want to I want to unpack that a little bit later. But first, I want to go back to the protests that were roiling Columbia's campus over the past year and a half, two years. What was it like to be, one, writing this book, but also, teaching on campus as a Jewish professor?  Owen Lewis:  Most of my teaching takes place up at the Medical Center at 168th Street. And there I have to say, I didn't feel battered in any way by what was happening. I had a very shocking experience. I had a meeting that I needed to attend on, or that had been scheduled, I hadn't been quite paying attention. I mean, I knew about the encampments, but I hadn't seen them, and I come face to face with a blocked campus. I couldn't get on the campus. And what I'm staring at are signs to the effect, send the Jews back to Poland. I'm thinking, Where am I? What is this? I mean, protest, sure. I mean we expect undergraduates, we expect humans, to protest when things really aren't fair. But what did this have to do…why invoke the Holocaust and re-invoke it, as if to imply the Jews should be punished? All Jews.  And what it fails to account for are the diversity of Jewish opinion. And you know, for some Jews, it's a black or white matter, but for most thinking Jews that I know, we all struggle very much with a loyalty to Israel, to the Jewish people, to the homeland and larger humanitarian values. So that was quite a shock. And I wrote a piece called “The Scars of Encampment,” in which I say, I can't unsee that. " And I go to campus, and, okay, it's a little bit more security to get onto campus. It's a beautiful campus. It's like an oasis there, but at the same time, I'm seeing what was as if it still is. And in a way, that's the nature of trauma that things from the past just roil and are present with almost as much emotion as when first encountered. Manya Brachear Pashman:  So did you need to tune out those voices, or did that fuel your work? Owen Lewis:  No, that fueled my work. I mean, if anything, it made me feel much more, a sense of mission with this book. And a commitment, despite criticism that I may receive, and no position I take is that outlandish, except to sympathize with the murdered on October 7th, to sympathize with their families, to resonate with what it must be like to have family members as hostages in brutal, brutal conditions. Not knowing whether they're dead or alive. So I really felt that the Jewish voice must be heard, not because it's more right or less right, but it's there. The suffering is there, the grief is there, and human grief is human grief. Manya Brachear Pashman:  Owen, if you wouldn't mind reading another poem from the collection. Of course, many of us remember the news out of Israel on Thanksgiving Day 2023, right after October 7th. And this poem is titled, “Waiting for the Next Release, Reported by the New York Times, November 23 2023”. Owen Lewis:  Waiting For the Next Release, Reported N.Y. Times, Nov. 23, 2023    Maybe tomorrow, if distrust  doesn't flare like a missile,  some families will be reunited.    How awful this lottery of choice; Solomon would not deliberate. Poster faces always before my eyes,   Among them, Emma & Yuli Cunio.  Twins age 3, Raz Katz-Asher, age 4, Ariel Bibas, another four year old.    What do their four year old minds make  of captivity? What will they say? What would my Noa say?    What will the other Noas say?  Remembering Noa Argamani, age 26,  thrown across the motorcycle    to laughter and Hamas joy.   I have almost forgotten this American day,  Thanks- giving,   With its cornucopian harvests,  I am thinking of the cornucopian  jails of human bounty.    (What matter now who is to blame?) Manya Brachear Pashman:  Really beautiful, and it really captures all of our emotions that day. You have children and grandchildren in Israel, as I mentioned and as you mentioned in that poem, your granddaughter, Noa. So your grief and your fear, it's not only a collective grief and fear that we all share, but also very personal, which you weave throughout the collection.  In another poem, “In a Van to JFK”, you talk about just wanting to spend one more hour with your family before they fly off to Israel. And it's very moving.  But in addition to many of the poems, like the one you just read, they are based on and somewhat named for newspaper headlines, you said that kind of establishes a timeline. But are there other reasons why you transformed those headlines into verse? Owen Lewis:  Yes, William Carlos Williams in his poem Asphodel, says, and I'm going to paraphrase it badly. You won't get news from poems yet, men die every day for wanting what is found there. And I think it's a very interesting juxtaposition of journalism and poetry. And I mean, I'm not writing news, I'm writing where my reflections, where my heart, goes in response to the news, and trying to bring another element to the news that, you know, we were confronted.  I mean, in any time of high stress, you swear off – I'm not watching any more TV. I'm not even gonna look at the newspaper. And then, of course, you do. I can't talk about Israel today. I can't not talk about it. I can't read the paper. I can't not read the paper. It's kind of that back and forth. But what is driving that? And so I'm trying to get at that next dimension of what's resonating behind each one of these headlines, or resonating for me. I mean, I'm not claiming this is an interpretation of news. It's my reaction, but people do react, and there's that other dimension to headlines. Manya Brachear Pashman:  That seems like it might be therapeutic, no? Owen Lewis:  Oh, totally, totally. You know, I'm very fortunate that having started a career in medicine, in psychiatry, and particularly in child and adolescent psychiatry. I always had one foot in the door academically. I spent, you know, my life as, I still teach, but I'm very fortunate to have, maybe 10+ years ago, been introduced to a basically a woman who created the field of Narrative Medicine, Rita Sharon. And now at Columbia in the medical school, we have a free-standing Department of Medical Humanities and Ethics, of which she's chairman.  So I've had the fortune of bringing psychiatry and medicine and writing together in a very integrated way. And yes, writing is therapeutic, especially, I could say in medicine, which has given itself over to electronic medical record keeping, but our whole society is moving towards the electronic. And what happens when you sit and write, and what happens when you then sit and read, you reflect. Your mind engages in a different way that is a bit slower than the fast pace of electronic communications and instant communications and instant thinking. And now with AI, instant analysis of any situation you want to feed data from.  So that's sorely lacking in the human experience. And the act of writing, the act of reading has huge therapeutic values, huge salutary benefits for humans in general, but particularly in times of stress. In a lot of work on Post Traumatic Stress Disorder, finding an outlet, an artistic outlet, it doesn't have to be writing, but that's often a way of transcending the trauma.  And medicine is filled with trauma. People trying to come to terms with acute illnesses, chronic illnesses. Doctors and caregivers trying to come to terms with what they can and can't do. And you know, we're coming up against limitations. But how do you make peace with those limitations? And it's not that it's a magical panacea, but it's a process of engagement, not only with the subject, but with yourself in relation to the subject. Manya Brachear Pashman:  I mean, I imagine dialogue is really the healthiest way of conversation and speaking through and interacting with a topic. And so I would imagine poetry, or, as you said, any art form, responding to news reports, it makes that a two way conversation when you're able to process and it's not just the headlines shouting at you, you're actually interacting and processing it by writing and reaction, or painting and reaction, whatever you choose to do. Owen Lewis:  Exactly. Manya Brachear Pashman:  You have said that poetry can serve a purpose during times of war. Is this one of the purposes to to be therapeutic or are you talking more in terms of what statesmen could learn from it?  Owen Lewis:  Well, yes, of course, what statesmen could learn from it, but it's human nature to want to take sides. I mean, that's kind of just what we do. But I think we can always do better than that. So I'm really talking about the people. I mean, there are also many Jews who are so angry at Israel that they can't listen to the story of Jewish grief. They should be reading mine and others poetries from this era. I wish the Palestinian poets were. I wish the Palestinian people. I mean, of course, in their current situation, they don't have time when you're starving, when you're looking for your next glass of fresh water. You don't have time for anything beyond survival.  But once we get beyond that, how long are these positions going to be hardened. I mean, I think when the people of all sides of the dilemma really listen to the others, I mean, they're, I mean, if, unless as Hamas has expressed, you know, wants to push Israel into the sea, if Israel is going to coexist with the Palestinian people, whether they're in a nation or not in a nation, each has to listen to the other.  And it's, you know, it's not one side is right, one side is wrong. It's far too complex a history to reduce it to that kind of simplicity. And I think poetry, everyone's poetry, gets at the complexity of experience, which includes wanting to take sides and questioning your wanting to take sides and moving towards something more humanitarian.  Manya Brachear Pashman:  You said earlier, you recommend Abu Toha, Fady Joudah, two Palestinian poets who have written some beautiful verse about– tragically beautiful verse–about what's happening. But there have been some really deep rifts in the literary world over this war. I mean, as you mentioned before, there was a letter written by authors and entertainers who pledged to boycott Israeli cultural institutions. Some authors have refused to sell rights to their books to publishers in Israel. So why not reciprocate? And I know the answer. I think you've already addressed it pretty well. What's wrong with that approach? Owen Lewis:  In any conflict, there are at least three sides to the conflict. I mean, claims to nationhood, claims to who shoved first, who. I mean, you don't entangle things by aggressively reacting. I mean, if we learned anything from Mahatma Gandhi, it's what happens when we don't retaliate, right? And what happens when we go the extra mile to create bridges and connections.  There are a host of people in Israel who continue to help Palestinians get to medical facilities, driving them back and forth, working for peace. I mean, there's a Palestinian on the Supreme Court of Israel, and well, he should be there. You know, that's the part of Israel that I am deeply proud of. So why not retaliate? I think it entrenches positions and never moves anything forward. Manya Brachear Pashman:  So have you gotten any negative feedback from your writing colleagues? Owen Lewis:  Some cold shoulders, yes. I mean not nothing overtly. I haven't been slammed in a review yet. Maybe that's coming. But when I publish pieces, I tend not to look at them. I had an oped in the LA Times. I've had some other pieces, you know, that precipitates blogs, and I started to read them.  And the first blog that came off of the the LA Times oped was, God, is he an opportunist, just taking advantage of having a daughter in Israel? And trying to make a name for himself or something. And I said, You know what, you can't put yourself out and take a position without getting some kind of flack. So occasionally, those things filter back, it's par for the course. Manya Brachear Pashman:  Right, not really worth reading some of those. You included Midrash in this book. You also spelled God in the traditional sense in the poems. Why did you choose to do that? Owen Lewis:  Well, I felt it honors a tradition of Jewish writing. It mean we have yud, hey, vav, hey, you know, which in English comes down as Yahweh, but it's unpronounceable. The name of God is unpronounceable. And, you know, yud, hey, vav, hey is just a representation. It isn't God's name. And there's a tradition that the name of God, when it's written down, can't be destroyed. And it's a way of honoring that tradition. Millennium of Jewish writers, you know, it's similar to say Elokim, instead of Elohim when the text is written. To sort of substitute. We know what we're talking about, but really to honor tradition, to pay respect and sort of to stay in the mind frame that, if there is a God, he, she, they, are unknowable. And somehow it creates, for me, a little bit of that mystery by leaving a letter out. It's like, G, O, D, seems more knowable than G-d. It's leaving that white space right for something bigger, grander, and mysterious, for the presence of that  right in the word itself. Manya Brachear Pashman:  And what about including Midrash? Owen Lewis: That's a very interesting question. You know Midrash for me, when you steep yourself in traditional Midrash, there's stories that exemplify principles and they fill in gaps. I mean, some of the most important. I mean, we have this notion of Abraham breaking the idols of his father before he left. No. That's Midrash, thats not in the Torah. And yet, nine out of ten Jews will say that's in the Torah, right? So, it kind of expands our understanding of the traditional text. But it also very much allows a writer to creatively engage with the text and expand it. It's like a commentary, but it's a commentary in story, and it's a commentary in terms that evoke human responses, not necessarily intellectual responses. So frankly, I think it's every Jews' responsibility to write Midrash. That reinvigorates the stories, the texts, and the meanings, and then we write midrashes upon midrashes. And you know, we get a whole community buzzing about a single story. Manya Brachear Pashman:  Which is very much what you've done with this collection, you know, writing poetry in response to news stories and engaging it in that way. It's very Jewish response, I would argue.  Do you observe Tisha B'av? Owen Lewis:  You know what I do. You're gonna laugh. My grandmother always warned us, don't go in the water on Tisha B'av, the sea will swallow you up. So I'm a big swimmer. I love swimming. I don't swim on Tisha B'av, because I hear my grandmother's voice, I'm going to be swallowed up. Manya Brachear Pashman:  If you could please wrap up this conversation by sharing a poem of your choice from your latest collection. Owen Lewis:  A poem I love to read again starts with a headline.   2000 Pound Bombs Drop, Reported N.Y. Times, Dec,, 22 2023.   In Khan Younis, the call to prayer  is the call of a dazed Palestinian child crying baba, standing at the brim of a cavernous pit of rubble   biting his knuckles–baba, baba . . .  It's so close to the abba of the dazed  Israeli children of Be'eri, Kfar Azza. There is no comfort. From his uncles   he's heard the calls for revenge– for his home and school, for his bed  of nighttime stories, for his nana's  whisper-song of G-d's many names.   His Allah, his neighbor's Adonai,  cry the same tears for death  and shun more blood. No miracle these waters turning red. Who called forth    the fleets of avenging angels? By viral post: Jewish Plagues on Gaza! A firstborn lost,  then a second, a third. What other plagues  pass over? Hail from the tepid sky?   From on high it falls and keeps falling.  Though we've “seen terrible things,” will you tell us, Adonai, Allah, tell us– do You remember the forgotten promise?   From the pile once home of rubble stone, a father's hand reaching out, baba, abba crushed by the load. We know the silence  of the lost child . . . G-d “has injured us   but will bind up our wounds . . .” Mothers  Look for us, called by the name yamma, calling  the name imma. Our father of mercy, not the god of sacrifice. Our many crying heads explode. Manya Brachear Pashman:   Owen Lewis, thank you so much for talking to us about how this book came about and for sharing some of these verses. Owen Lewis:   Thank you so much. Manya Brachear Pashman: If you missed last week's episode, be sure to listen to my conversation with Israeli comedian Yohay Sponder on the sidelines of AJC Global Forum 2025. Hear how his Jewish identity shapes his work, how his comedy has evolved since the Hamas terror attacks, and what he says to those who try to silence him.

Ayanna Nicole Thomas didn't follow a traditional path to Broadway—but that's exactly what makes her story so compelling. After growing up between the Bronx and LA, she eventually made her way back to New York to study musical theatre. But right before her senior year, she booked her Broadway debut in How to Dance in Ohio—a show that celebrates neurodivergence and gave her a sense of belonging she didn't expect. Now, she's playing Rose Granger-Weasley in Harry Potter and the Cursed Child, bringing her own warmth and humor to a character born from one of the world's most beloved franchises. In this conversation, Ayanna opens up about being diagnosed with ADHD and autism, and how that diagnosis helped her better understand her brain and her process. She shares how she uses Play-Doh and fidget toys backstage, what it was like to be a Broadway swing, and how she balances structure with spontaneity in a show filled with choreography, magic, and fireballs. She's charming, thoughtful, and not afraid to let her Bronx roots shine through. Ayanna Nicole Thomas is currently starring as Rose Granger-Weasley in Harry Potter and the Cursed Child on Broadway. She made her Broadway debut in How to Dance in Ohio and studied musical theatre at the Manhattan School of Music. A lifelong performer with a deep love of musicals and jazz, she's also a passionate advocate for neurodivergent representation onstage. Connect with Ayanna: IG: @ayannanicolethomass Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠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

Since our last episode I've been to New York City, Melanie has been to Nashville, and we both have stories to share. Truth be told, I sort of nerd it up this week as I share about the Broadway shows we saw on our trip, so please bear with me if that's not your sort of thing. MRS. HUDSON'S LITERARY CUP IS FULL.  We also talk through a creative idea from Perry, and it's Melanie's turn for Five Favorites. Hope you enjoy! - Join Us on Patreon - Our Amazon Shop - San Antonio Live Show (10/23/25) tickets are on sale now! Show Notes: - Just in Time - Jonathan Groff - Shukette in NYC - Angry Alan with John Krasinski - John Proctor is the Villain - Oh, Mary - Tituss Burgess - Death Becomes Her - Ess-a-bagel - Hard Rock Hotel NYC - The Optimist in Nashville - The Summer I Turned Pretty - Billy Joel: And So It Goes - Billy Joel Radio on Spotify - And So It Goes double album collection - My Mom Jayne - The Bear - It's a Love Story by Annabel Monaghan - Jules eyeshadow stick cream to powder - The Unlikely Country Woman on IG - Chase Me Cosmetics Superglo brightening pads - La Lumiere New York bracelets - Sundry vintage wide leg track pants  Sponsors: - LMNT - use this link for your free sample pack with any purchase - Maya Chia - use code BIGBOO at checkout for 15% off - Hungryroot - use code BIGBOO to get 40% off your first box and a free item for life - Dwell - use this link for 25% off a one-year subscription or 50% off a lifetime subscription

Meg Donnelly is in the house! You know her from Disney's Zombies movies and The Winchesters, but now she's taking over the music world with a brand-new EP. Tish and Brandi Cyrus sit down with Meg to talk about what it's really like growing up on set, juggling school and filming, and making the leap from Disney star to full-on pop artist. They get into everything—breaking out of the Disney box, Broadway dreams, the pressures of social media, and how Meg stays grounded in an industry that never slows down. Plus, the girls chat about female friendships, life after COVID, and why live performance hits different these days. And of course, it wouldn't be Sorry We're Cyrus without a little tea, and a rapid-fire Q&A you don't want to miss. Oh, and Meg spills all the details on her new EP Dying Art and the next Zombies movie! Follow Us: https://www.instagram.com/megdonnelly/?hl=en https://www.instagram.com/sorrywerecyrus/?hl=en   https://www.instagram.com/tishcyruspurcell/?hl=en   https://www.instagram.com/brandicyrus/?hl=en    Check out some of our TOP episodes on YouTube: https://www.youtube.com/watch?v=xFCS8rgv0RU&t=6s https://www.youtube.com/watch?v=OKnetfmRy0E https://www.youtube.com/watch?v=nHIBD6wCWmA&t=1935s Email videos/photos with your questions to sorrywerecyrus@gmail.com.   Thank you to our incredible sponsors: OneSkin: Get 15% off OneSkin with the code CYRUS at https://www.oneskin.co/ Quince: Go to quince.com/CYRUS for free shipping on your order and 365-day returns. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on 'Good One' comedian and actor Bill Burr sits down for a conversation about the trajectory of his career, from his early, angry days to his Broadway run and his two-time Emmy nominated special, 'Bill Burr: Drop Dead Years', streaming now on Hulu. The album, 'Drop Dead Years', is available August 1 anywhere you stream music. 00:00 Intro 00:00:52 Funniest thing that happened this week 00:03:19 His most recent special 00:06:22 Having a breakthrough 00:12:55 Regretting jokes 00:19:20 Going "Woke" 00:28:08 Politicians and comedy 00:32:12 Having kids 00:43:45 Taking mushrooms 00:48:32 Huge venues 00:53:08 Doing Broadway 00:57:58 Losing Bob Saget 01:02:08 The Conan O'Brien Mark Twain Prize 01:10:22 The Laughening Round Learn more about your ad choices. Visit podcastchoices.com/adchoices

Summer is far from over. Host Jacoby Cochran, executive producer Simone Alicea, and producer Michelle Navarro discuss the festivals and restaurants they are looking forward to checking out. Plus, they discuss stories they are following throughout the month, including Chicago Public Schools' looming budget and community organizers asking ICE to stay out of Chicago summer festivals.   If you're new here, welcome! We've put together a starter pack for you, with episodes and articles to welcome you to the City Cast Chicago community. For even more tips on how to make the most of August in Chicago, check out Hey Chicago's take on what to do this month. City Cast Chicago is powered by our members, who enjoy an ad-free version of the show. Find out more about how to become a member of City Cast Chicago. City Cast Chicago's guide to August is made possible by our sponsors, Top Marks Prep, Broadway in Chicago, Overlook Maps, Framebridge, and Big Onion Hospitality Interested in advertising with City Cast? Find more info HERE  Reach us at chicago@citycast.fm

Jamaal Parham, part of the directing duo Jams and Bash, talks to Oren and Matt about how they approach their business without the cheesiness. From a start working exclusively with Broadway productions, they've become a CAA-recognized brand in sports comedy.Matt discusses how the dream of never looking at a spreadsheet isn't realistic in filmmaking, or at least not in building a career in it. And Jamaal shares secrets on how they connect with decision-makers through targeted social media strategies that go beyond traditional PR, advertising, or social thinking.**Key lesson:** A lot of directing is really hosting. Don't get it? Check out this amazing episode!https://www.imdb.com/name/nm1729641/https://www.jamsandbash.com/---Matt's Endorsement: Chris Moran | Creative Breakdowns on TikTok and his tutorials on the Vox aesthetic https://www.tiktok.com/@chrismoran__Oren's Endorsement: order your pet meds from https://discountpetmedication.biz/ and the use Amazon to monitor for deals on what you want, like a Dyson v11, and get a great deal on Prime Week.Jamaal's Endorsement: "The Black Pack" book by Artel Great https://www.rutgersuniversitypress.org/the-black-pack/9781978838130/ Hosted on Acast. See acast.com/privacy for more information.

There's a new theater company that opened about a mile from Dennis's home in North Hollywood called The Wisteria Theater and it's a magical place. The show that's currently running there is Xanadu: The Musical, based on the iconic Olivia Newton-John movie musical that Dennis has been obsessed with since 1980. In this episode, Dennis welcomes the team behind the show to play a couple rounds of his game You Don't Know My Life! The five guests are Renée Wylder (Producer and Wisteria Theater co-founder), acress Lexi Collins (Kira, Wisteria Theater company co-founder), actors Connor Bullock (Sonny) and Kelby Thwaits (Danny) as well as the show's director Brayden Hade. The two questions posed during the game are 1) "Xanadu is a story about dreams. When was a time in your life when you thought, OMG, this is a dream come true?" And 2) You come across an old diary entry with the headline A Night at the Theater I'll Never Forget. What happens in it?" Their stories involve everything from scoring big career breaks to on stage mishaps to trying to do a show in a tornado to pigging out on chips and tacos at Salsa y Beer down the street from the Wisteria. Xanadu runs at the Wisteria through August 10th www.wisteriatheater.com

Steve saw Six on Broadway, Jason Momoa shaved his beard for the first time in six years and we find out the Soup of the Day!See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Generations of drum corps enthusiasts filled the stands at Belleville West High School to see some of the nation's best performers last week. The marching music tradition has deep roots in the Metro East and St. Louis. STLPR's Visuals Editor Brian Munoz discusses his reporting. He's joined by Steve McCarty, an alum of the Belleville Black Knights Drum and Bugle Corps and the admin of the Facebook group dedicated to preserving and celebrating the drum corps' legacy.

Today, the Spotlight shines On saxophonist and composer Sean Imboden.Sean spent years touring with Broadway shows and working as a sideman, but something was missing. He stepped away from a lucrative career path and took a leap, returning to Indianapolis, where he ultimately formed his 17-piece orchestra. Now that ensemble releases Communal Heart, an album that captures the community spirit Sean has built around his music, as well as his transformation from comfortable sideman to big band leader.Sean joined me to discuss this ambitious project and share how he has created what he calls "identifiably human-made music" in an increasingly digital world.(The musical excerpts heard in the interview are from Sean Imboden Large Ensemble's album Communal Heart)–Dig DeeperArtist and Album:Visit Sean Imboden at seanimboden.com and follow him on Instagram and YouTubePurchase Communal Heart by Sean Imboden Large Ensemble from Qobuz and listen on your streaming platform of choiceSean Imboden's ‘Communal Heart': A Quiet Subversion of the Big Band CanonCollaborators and Producers:Steve Allee - producer and Indianapolis jazz veteranRich Dole - producer and bass trombonistTucker Brothers - Indianapolis quartet featuring SeanJohn Raymond - trumpeter featured on the albumDig into this episode's complete show notes at spotlightonpodcast.com–• Did you enjoy this episode? Please share it with a friend! You can also rate Spotlight On ⭐️⭐️⭐️⭐️⭐️ and leave a review on Apple Podcasts.• Subscribe! Be the first to check out each new episode of Spotlight On in your podcast app of choice.• Looking for more? Visit spotlightonpodcast.com for bonus content, web-only interviews + features, and the Spotlight On email newsletter. You can also follow us on Bluesky, Mastodon, YouTube, and LinkedIn.• Be sure to bookmark our online magazine, The Tonearm! → thetonearm.com Hosted on Acast. See acast.com/privacy for more information.

Today's Mystery: A man kills his wife on the phone with Danny and plans to end his life.Original Radio Broadcast Date: August 21, 1950Originated in HollywoodStars: Larry Thor as Lieutenant Danny Clover, Charles Calvert as Sergeant Gino Tartaglia, Jack Kruschen as Sergeant Muggavan, Herb Butterfield, Anne Stone, Byron Kane, Janet Logan, Junius MatthewsSupport the show monthly at https://patreon.greatdetectives.netPatreon Supporter of the Day: Becky, Patreon supporter since March 2019Support the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey…http://survey.greatdetectives.netGive us a call 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesBecome one of our friends on Facebook.Follow us on Twitter@radiodetectivesJoin us again tomorrow for another detective drama from the Golden Age of Radio.

Grocery prices across the country rose 28% between 2019 and 2024. And they haven't exactly gotten better. Sun-Times investigative reporter Stephanie Zimmermann has been tracking prices across Chicago grocery stores since December. She tells host Jacoby Cochran about what she found and why everything is so expensive right now. Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246 Learn more about the sponsors of this July 30 episode: Top Marks Prep — Receive 15% off when you use the link Broadway in Chicago Overlook Maps Framebridge Big Onion Hospitality — Wings for $15.25 all week at any of the Big Onion spots Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

In this deeply moving and refreshingly honest episode of Mirror Talk: Soulful Conversations, we sit down with Edward Miskie—actor, singer, producer, and now author of the book Cancer, Musical Theatre, & Other Chronic Illnesses. Edward takes us through his rare cancer diagnosis, the raw and absurd realities of treatment, and his journey toward healing, self-advocacy, and reinvention. Ten years after surviving a rare form of lymphoma, Edward reflects on how cancer dismantled his life—and how he built something even richer in its place.Edward speaks candidly about chemo, heartbreak, identity loss, sex, alcohol, and the chaotic beauty of finding yourself again after trauma. His insights are brutally honest and beautifully empowering. This is more than a cancer survival story—it's a story of reclaiming joy, identity, and purpose.

Episode 362: RASHAD SMITH (Pt.1): The Mystery Beatmaker for Rakim, Uptown Records & Busta Rhymes This week on @RoadPodcast, the crew sits down for Part 1 of an epic two-part conversation with legendary producer @Rashad_Ringo_Smith — the mastermind behind tracks for @TheNotoriousBIG, @BustaRhymes, @JayZ, @Beyonce, @TheGodRakim, and more. You may not know his name, but you definitely know his sound. Rashad kicks things off by reflecting on his early days as a DJ, his childhood nicknames, and the powerful influence his mother had on his musical journey (00:11). He shares his deep love for jazz and reveals how he flipped the same sample two different ways for Busta Rhymes' “Woo Hah” and its remix featuring @OlDirtyBastardLegacy (08:55). He breaks down the art of crate digging with iconic producers, the origins of the “pause tape,” and how it became the foundation for early production before DAWs (18:01). Rashad dives deep into the making of “Woo Hah,” seeing the Hype Williams-directed video for the first time, and Spike Lee's unexpected interest in using the track for Clockers (38:01). From crafting “Don't Sweat the Technique” to the murky politics of credit in the industry (58:10), Rashad opens up about why he calls himself “The Muted Drum” — a nod to his role as one of the most “unknown, known” producers in hip-hop (1:11:04). He also shares stories from his time at Uptown Records, working with a young @Diddy, and the moment he invented the producer tag (1:31:01), before diving into the rise of Bad Boy Records and the complicated dynamics behind the scenes (1:55:01). The episode wraps with Rashad reflecting on the making of the classic Notorious B.I.G. track “One More Time” (2:10:33). Don't miss Part 2, where Rashad speaks on more of his iconic tracks and tells unforgettable stories. This episode is sponsored by @SoundCollectiveNYC, an industry-leading music school, musical space and community located in downtown Manhattan for aspiring DJ's, Producers, Musicians and more. Take private Ableton lessons, practice DJ routines, experiment with different audio equipment and reserve studio spaces for just the day, maybe a week or sign up for their monthly membership. Check www.soundcollective.com for more info and try their Online Classes free for a month by entering the code “ROAD”. If you're in the New York area, visit them at 28 Broadway, New York, NY 10004 and tell them the Road Podcast sent you!! Try Beatsource for free: btsrc.dj/4jCkT1p Join DJcity for only $10: bit.ly/3EeCjAX

Connor and Dylan are joined by Christopher Briney (The Summer I Turned Pretty, Dilaria). It's here, y'all: the summer you turned UP your volume and listened to your favorite twins chat with television's Conrad Fisher: Chris Briney. Chris is currently starring in Dilaria, the new off-Broadway play by Julia Randall. Hear all about his New York onstage debut, his costume of a slutty rugby tee and Calvins, and his costars Ella Stiller, Chiara Aurelia, and Tessa Albertson. From himbo Noah in Dilaria to high school heartthrob Aaron Samuels the Mean Girls movie musical, we get into Chris' memories from North Shore High, working with Tina Fey, and why he gives major kudos to the film's dancers. We of course discuss The Summer I Turned Pretty, including the storyline he's most proud of, the show's music budget, and his connection to the piece and his costars. Spoiler: he played basketball with one of them the day before this interview. But wait, there's more! Chris talks about his favorite theatrical memories from his time at PACE. We also break down Bravo's Next Gen NYC, the anniversary of Taylor Swift's “folklore” album, and the musical of Alex G. Oh, and the cancellation of Stephen Colbert's Late Show. You're going to fall in love with Chris (if you haven't already). Don't miss him in Dilaria at the Daryl Roth Theater 2 and on Amazon's The Summer I Turned Pretty.Follow Chris on InstagramFollow 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!

Goldsberry, Thomas, more to lead ‘Balusters’ on Broadway, ‘Hunger Games’ play finds its Katniss, Grace chats with Rishi Varma about ‘Sulfer Bottom’ Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is appreciated:Grace read more

Lakeridge High School senior Elaina Stuppler is no stranger to the spotlight. She performs in the Portland Youth Philharmonic, playing trombone - but she also plays tuba, piano and composes music as well. She’s regularly featured on All Classical Radio as a reporter and Artist in Residence. But the last few months have been a veritable cavalcade of honors and opportunities. Stuppler won the Musical Theater Songwriting Challenge. Her winning composition, about the life of Maria Anna Mozart, was performed  by Broadway musicians and singers in New York this summer. She was just one of five students in the U.S. chosen by the Grammy Museum for its summer screen scoring program in LA. She is also a winner of the prestigious YoungArts Award with Distinction, Stuppler joins us to share some of her compositions, and tell us about what these honors mean to her and what opportunities they may open up for her future.  

Beat Migs! And we chat with a seismologist about the Tsunami and Earthquake threats!

“When you're creating something new, nobody can tell you how to do it because it hasn't been done yet."  Notable Moments 00:52 – Ron's Disney legacy and first meeting with Jody 02:45 – Behind-the-scenes stories of parades and halftime shows 03:31 – Founding Disney Theatrical and Broadway tales 05:27 – Ron on budgets and working with Michael Eisner 06:55 – Teaching philosophy and student impact at UCF 10:16 – Value of live Q&A during teaching events 11:10 – Concept for a comprehensive Disney show history book 13:05 – Teaching career before and after Disney 16:03 – Encouragement to students: “Take no prisoners” 17:17 – Creating the Wild West show for Euro Disney 22:14 – On innovation: “Look again. There's always another answer.” 23:22 – Ron and Lee on candor, truth, and leadership 27:17 – Final voicemail from Ron to Jody Several years ago, Lee Cockerell surprised me when he said Ron Logan wanted to meet me. Ron, a Disney Legend who led global live entertainment for Disney, had seen my work with Lee and wanted help with legacy projects. That one introduction became a years-long friendship filled with stories, lessons, and laughter. Ron never did anything halfway. Whether we were watching videos of Disney parades or Super Bowl halftime shows, he narrated every decision with incredible detail and purpose. He'd talk through the music, the floats, the camera angles. Every element crafted for the perfect guest experience. It was storytelling, design, and leadership rolled into one magical conversation. We never recorded a podcast together, something I regret. But I do have clips that are small treasures of his voice and wisdom that I've held onto. In this episode, I share some of those pieces with you. You'll hear Ron reflect on budget discipline, the value of good teams, and his unwavering commitment to teaching the next generation. Ron Logan was a master of his craft and a generous mentor. He taught that creativity is problem-solving with heart and his legacy proves it. I miss him. But I'm honored to share his voice with you. Connect with Jody www.jodymaberry.com About Jody - https://jodymaberry.com/about-jody-maberry/ Instagram - https://www.instagram.com/sugarjmaberry LinkedIn - https://www.linkedin.com/in/jodymaberry/ Facebook - https://www.facebook.com/sugarjmaberry/ Twitter: https://twitter.com/jodymaberry  

Hang onto your slipcases, because Blake Howard and award-winning culture reporter and critic Candice Frederick ruminate on THE WIZ and how Sidney Lumet, Joel Schumacher, Diana Ross, Michael Jackson, Richard Pryor and Quincy Jones make it more than significant.The WizL. Frank Baum's timeless story The Wonderful Wizard of Oz gets a funky reimagining in this lavish adaptation of a landmark Broadway show based on the book. Diana Ross brings her showstopping star power to the role of Dorothy, here a Harlem schoolteacher who is magically transported to a surreal fantasyland that resembles New York City, complete with man-eating trash cans and a disco paradise. Propelled by the musical contributions of Quincy Jones and an all-star cast that includes Michael Jackson, Richard Pryor, and Lena Horne, this dazzling soul spectacular from legendary director Sidney Lumet reframes a beloved tale through the Black American experience, creating a powerful celebration of self-determination.Special FeaturesNew 4K digital restoration, approved by producer Rob Cohen, with Dolby Atmos soundtrackIn the 4K UHD edition: One 4K UHD disc of the film presented in Dolby Vision HDR and one Blu-ray with the film and special featuresNew audio commentary featuring scholars Michael B. Gillespie and Alfred L. MartinArchival interviews with director Sidney Lumet and actor Diana RossTrailerEnglish subtitles for the deaf and hard of hearingPLUS: An essay by critic Aisha HarrisCandice FrederickAward-winning culture reporter and critic with extensive experience in original reporting, interviewing, digital media, and editorial strategy. Well-sourced and adept at writing nuanced and contextualised pop culture criticism, in-depth features, and engaging celebrity profiles. Inquisitive reporter with a keen eye for cultural trends, industry shifts, social media discourse, examining controversial figures and topics, and challenging conversations through thought-provoking articles.Support: JOIN THE ONE HEAT MINUTE PATREON FOR AS LITTLE AS $1 A MONTHFollow the hosts:Blake Howard - Twitter & One Heat Minute Website Alexei Toliopoulos - Twitter & The Last Video StoreSupport this podcast at — https://redcircle.com/one-heat-minute-productions/exclusive-contentAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

On June 6, Tony and Grammy award winner Renée Elise Goldsberry's debut studio album, “Who I Really Am,” was released via Borderlight Entertainment.The album coincides with the 10th anniversary of the Broadway phenom Hamilton, which saw Goldsberry win a Tony and Grammy award for originating the role of Angelica Schuyler. The album, “Who I Really Am,” blends genres in a deeply personal and sonically rich collection of songs.

In this heartfelt midweek mini, Joanna and Mary Ellen open up about the deeper meaning behind points and miles — how these travel tools can bring joy and relief during challenging times. They share moving listener stories about caretakers and families who used points to create precious travel memories amid hardship, reminding us all why this podcast exists: to empower people to travel smarter and live fuller.Their guest Lindsay, a longtime friend and foster mom, joins the conversation to talk about how points helped her family carve out a much-needed mini escape during a difficult season of caregiving. From canceled trips to spontaneous getaways, Lindsay's story highlights the true power of points beyond the glam.Then the duo dives into a practical, insider tip for Broadway lovers: the Broadway Direct app. Mary Ellen discovered this lottery-based ticket app that scores you deeply discounted tickets for top New York shows like Stranger Things and Death Becomes Her — often at a fraction of the regular price. They break down how the app works, how to navigate its quirks, and share their own winning experiences (including front-row seats and first-class flights!).Submit Your Summer Road Trip Series Story HEREFacebook GroupWonderland On Points BlogFind Us On InstagramMary Ellen | JoLinks30% off the CardPointers subscription!FlyKitt- the BEST Jet Lag Solution!Tripiamo Driving TutorialsOur Favorite Travel NecessitiesCredit Card Affiliate LinksThe above link includes referrals for Capital One Travel Cards. If you need AMEX or Chase please reach out and we would be happy to send you our personal referral links.We receive a small commission when you use our links. This is an amazing way to show your support for the show at no cost to you ❤️

In this episode of the Next Level Healing Podcast, Dr. Tara Perry interviews Bruce Cryer, former CEO of the HeartMath Institute. Join us as we dive into Bruce's inspiring journey from the dazzling lights of Broadway to the pioneering realms of heart-brain coherence and holistic health.In this captivating episode, Bruce shares his transformative path from a career in performance to a purpose-driven life focused on emotional and physical well-being. Discover how his early passion for spirituality led him to California, where he embarked on a quest for meaningful change.

This week, the boys fire off about “The Fantastic Four: First Steps” and “Happy Gilmore 2” before heading to 1941! The random year generator spoke, and we chose “The Maltese Falcon” for our featured conversation. This is our second John Huston/Humphrey Bogart collaboration after we discussed “The Treasure of the Sierra Madre” a few weeks ago!  linktr.ee/theloveofcinema - Check out our YouTube page!  Our phone number is 646-484-9298. It accepts texts or voice messages.  0:00 Intro + News; 8:20 Dave's “The Fantastic Four: First Steps” mini-review; 15:42 Jeff & John's “Happy Gilmore 2” mini-review; 25:28 1941 Year in Review; 43:06 Films of 1941: “The Maltese Falcon”; 1:20:05 What You Been Watching?; 1:28:03 Next Week's Episode Teaser Additional Cast/Crew: Mary Astor, Gladys George, Peter Lorre, Barton MacLane, Lee Patrick, Sydney Greenstreet, Ward Bond, Hal B. Wells, Henry Blanke, Matt Shakman, Josh Friedman, Ian Springer, Kat Wood, Stan Lee, Jack Kirby, Pedro Pascal, Vanessa Kirby, Ebon Moss-Bacharach, Joseph Quinn, Ralph Ineson, Julia Garner, Natasha Lyonne, Paul Walter Hauser, Adam Sandler, Ben Stiller, Scottie Scheffler, Jordan Spieth, Post Malone, Margaret Qualley, Steve Buscemi, John Daly, Benny Safdie, Bad Bunny, Haley Joel Osment, Julie Bowen. Hosts: Dave Green, Jeff Ostermueller, John Say Edited & Produced by Dave Green. Beer Sponsor: Carlos Barrozo Music Sponsor: Dasein Dasein on Spotify: https://open.spotify.com/artist/77H3GPgYigeKNlZKGx11KZ 
Dasein on Apple Music: https://music.apple.com/us/artist/dasein/1637517407 Recommendations: The Bear season 4, The Sandman, Stranger Things: The First Shadow on Broadway, KPOP: Demon Hunters, Picnic at Hanging Rock Additional Tags: Peter Weir, Paramount, Poop Cruise, Toronto Mayor Rob Ford, Netflix, Apple Film, Times Square, Formula 1, British Grand Prix at Silverstone, Austrian Grand Prix, Lando Norris, Charles Leclerc, Oscar Piastri, Shane, Stick, Peter Pan, Roman Holiday, Mission: Impossible, submarine, nuclear weapons, Top Gun: Maverick, Ben Mendelsohn, French Accents, Tom Cruise, George Clooney, The Stock Market Crash, Bear Market, Trains, Locomotions, Museums, Nazis, WWII movies, WWI Shows, Plastic ExplosivesThe Crusades, Swedish Art, Knights, Death, MGM, Amazon Prime, Marvel, Sony, Conclave, Here, Venom: The Last Dance, Casablanca, The Wizard of Oz, Oscars, Academy Awards, BFI, BAFTA, BAFTAS, British Cinema. England, Vienna, Leopoldstadt, The Golden Globes, Past Lives, Monarch: Legacy of Monsters, The Holiday, Sunset Boulevard, Napoleon, Ferrari, Beer, Scotch, Travis Scott, U2, Apple, Apple Podcasts, Switzerland, West Side Story, Wikipedia, Adelaide, Australia, Queensland, New South Wales, Melbourne, Indonesia, Java, Jakarta, Bali, Guinea, The British, England, The SEC, Ronald Reagan, Stock Buybacks, Marvel, MCU, DCEU, Film, Movies, Southeast Asia, The Phillippines, Vietnam, America, The US, Academy Awards, WGA Strike, SAG-AFTRA, SAG Strike, Peter Weir, Jidaigeki, chambara movies, sword fight, samurai, ronin, Meiji Restoration, plague, HBO Max, Amazon Prime, casket maker, Seven Samurai, Roshomon, Sergio Leone, Clint Eastwood, Stellen Skarsgard, the matt and mark movie show.The Southern District's Waratah Championship, Night of a Thousand Stars, The Pan Pacific Grand Prix (The Pan Pacifics), Montana.

What sparked the creation of the iconic musical Rent? How does one navigate the ups and downs of a creative career? Join us in episode 251 of Late Boomers, as we chat with the brilliant Billy Aronson! Known for his work on Rent, Billy shares his journey from college heartbreak to collaborating on Broadway. We dive into his ventures beyond theater, like his Emmy-winning children's TV show Peg and Cat, and his latest musical project, Love War. Tune in for a masterclass in creativity, resilience, and the art of reinvention. Don't miss it!Billy Aronson's Bio:Billy Aronson's work in the musical theater includes the original concept/additional lyrics for Broadway musical Rent, libretto for Flurry Tale (Vinteryra) which premiered at Sweden's Malmo Opera, book for TheatreWorks USA's Click Clack Moo (Lucille Lortel nomination for Best Musical). Plays premiered at Playwrights Horizons, Ensemble Studio Theatre, Woolly Mammoth, SF Playhouse (Bay Area Critics Circle award for Outstanding Playwriting); published in 6 volumes of Best American Short Plays. TV: won 5 Emmy Awards, wrote for Beavis and Butt-head, Courage the Cowardly Dog, Wonder Pets, Sesame Street; co-created animated PBS Kids show Peg + Cat. Books include memoir/how-to book Out of My Head and one-act collection Funny Shorts. BA Princeton, MFA Yale Drama. Lives in Brooklyn, co-created animated offspring Jake and Anna with wife Lisa Vogel. (billyaronson.com)Connect with Billy:Website: https://billyaronson.com/Book: Out Of My Head - Learning to Reach People Through the Arts Facebook: https://www.facebook.com/billy.aronson.7Instagram: https://www.instagram.com/billyaronson/Thank you for listening. Please check out @lateboomers on Instagram and our website lateboomers.us. If you enjoyed this podcast and would like to watch it or listen to more of our episodes, you will find Late Boomers on your favorite podcast platform and on our new YouTube Late Boomers Podcast Channel. We hope we have inspired you and we look forward to your becoming a member of our Late Boomers family of subscribers.

We don't normally do this but we also don't normally do 3 act musicals!!! The Lady from Lourdes has shown up to investigate the Miracle but who is she? And what is Hopgood up to? And will Cora get all the Cookies back in the Cookie Jar? Remember to leave a five star review and note that we have an email!!! Send us your questions and loving feedback!https://www.facebook.com/TY5Podcastthanku5pod@gmail.com

Mary-Mitchell Campbell is one of the busiest musical directors on Broadway. She is the resident MD at Encores! and is currently readying The Queen of Versailles with Kristin Chenoweth. But there is another side to her life that gives her invaluable perspective as an artist and human, and it is all about serving the most vulnerable among us. Learn more about your ad choices. Visit megaphone.fm/adchoices

Today's Mystery: A man kills his wife on the phone with Danny and plans to end his life.Original Radio Broadcast Date: August 21, 1950Originated in HollywoodStars: Larry Thor as Lieutenant Danny Clover, Charles Calvert as Sergeant Gino Tartaglia, Jack Kruschen as Sergeant Muggavan, Herb Butterfield, Anne Stone, Byron Kane, Janet Logan, Junius MatthewsSupport the show monthly at https://patreon.greatdetectives.netPatreon Supporter of the Day: Becky, Patreon supporter since March 2019Support the show on a one-time basis at http://support.greatdetectives.net.Mail a donation to: Adam Graham, PO Box 15913, Boise, Idaho 83715Take the listener survey…http://survey.greatdetectives.netGive us a call 208-991-4783Follow us on Instagram at http://instagram.com/greatdetectivesBecome one of our friends on Facebook.Follow us on Twitter@radiodetectives

Just one day before making her Edinburgh Festival Fringe debut, stage star Laura Benanti took a moment to chat with Mickey-Jo about her self-penned solo show and her new perspective on Broadway.The Tony Award winning actress will perform in "Laura Benanti: Nobody Cares" this summer in Edinburgh, before bringing the show to London's Underbelly Boulevard for two performances in early September.Check out the full interview to find out which Sondheim roles Laura would still love to tick off, which legendary composer was the most intimidating to perform in front of and what she's looking forward to about Fringe...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 80,000 subscribers. 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. 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. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

The title of the musical “Maybe Happy Ending” might leave you guessing about the storyline, but there’s no doubt the show itself is getting its due. It recently won six Tony Awards, including Best Musical. Senior arts correspondent Jeffrey Brown has a look for our arts and culture series, CANVAS. PBS News is supported by - https://www.pbs.org/newshour/about/funders

(0:00) Hardy quizzes Fred & Wallach on a training camp guy or Broadway musical camp guy challenge. (14:21) Fred, Hardy & Wallach comment on the Micah Parsons situation. Stephen A. Smith goes on a rant reacting to Stephen Jones' comments on Micah Parsons. (25:55) "Everyday Maggie" joins Toucher & Hardy to promote the McGovern contest giveaway and to her life as a social media influencer. (PLEASE be aware timecodes may shift up to a few minutes due to inserted ads) CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardy This episode of Toucher & Hardy is brought to you in part by Profluent and then have that linked to https://go.happinessexperiment.com/begin-aff-o2?am_id=podcast2025&utm_source=podcast&utm_medium=podcast&utm_campaign=michael

The City Council is on summer break until September, when they'll return for an increasingly difficult budget season. We're discussing a few pieces of legislation waiting on their return, including expanding accessory dwelling units, creating a senior bill of rights, and a lifejacket requirement. Plus, we're taking the Hey Chicago City Council Nepo Baby Quiz and prepping for Lollapalooza weekend. Good News:  Illinois' Black Panther Party Heritage Trail Want some more City Cast Chicago news? Then make sure to sign up for our Hey Chicago newsletter.  Follow us @citycastchicago You can also text us or leave a voicemail at: 773 780-0246  Learn more about the sponsors of this July 29th episode: Top Marks Prep – Receive 15% off when you use the link Broadway in Chicago Overlook Maps Framebridge Big Onion Hospitality - Wings for $15.25 all week at any of the Big Onion spots Become a member of City Cast Chicago. Interested in advertising with City Cast? Find more info HERE

Mulvaney announces Off-Broadway premiere, stars set for ‘Songs for a New World’ concert, highlights from ‘A Chorus Line’ anniversary concert Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is appreciated:Grace Aki: grace@broadwayradio.com | @ItsGraceAkiMatt read more

Listen: Lauren Class Schneider talks to Esco Jouléy, performing in “Trophy Boys” at the MCC. “Class Notes” actively covers New York's current theater season on, off, and off-off Broadway. Louisa Jacobson, Emmanuelle Mattana, Esco Jouléy, and Terry Hu in MCC Theater’s 2025 production of TROPHY BOYS – Photo by Valerie read more

Climb aboard the bus for this week's episode of TL's Road House! Tracy Lawrence swaps road tales and songwriting stories with country star Drew Baldridge in a lively, down-home chat you won't want to miss. Baldridge, best known for his hits “She's Somebody's Daughter,” “Dance With Ya” and “Tough People,” moved to Nashville with nothing but a couch and a TV – but heinstantly felt a sense of belonging. Attending what he named “honky tonk school” by playing lower Broadway, he got the foundation he needed to find success in the music industry at only 18. Now with over 120 million streams across Baldridge's discography, he and Tracy talk about the longevity of artists today and what it feels like to watch a new generation of musicians rise. Tune in today for a talk led by friendship, family and fame!

BOSSes, get ready for an inspiring conversation with a true powerhouse of performance. In this episode of the VO Boss Podcast, we welcome the incredibly talented Stacia Newcomb, a veteran voice actor and performer who has been lighting up the mic and screen for over 20 years!   00:01 - Speaker 1 (Announcement) Hey bosses, if you're ready to start that demo journey, let's craft your professional demo together. As an award-winning professional demo producer, I'll collaborate with you to showcase your talent in the best possible light. From refining your delivery to selecting the perfect scripts to showcase your brand, I'll ensure your demo reflects your skills and personality. Let's create a demo that opens doors and paves the way for your success. Schedule your session at anneganguzza.com today.  00:33 - Speaker 2 (Announcement) It's time to take your business to the next level, the Boss level. These are the premier business owner strategies and successes being utilized by the industry's top talent today. Rock your business like a Boss a VO Boss. Now let's welcome your host, Anne Ganguzza.  00:52 - Anne (Host) Hey, hey everyone. Welcome to the VO Boss Podcast. I'm your host, Anne Ganguzza, and today I'm here with a very special guest who's been lighting up the mic and the screen for over 20 years. Who's been lighting up the mic and the screen for over 20 years?  01:09 Stacia Newcomb is a powerhouse voice actor, performer and creator whose work spans just about every medium, let's say television, radio, video games, audiobooks and even puppetry. You might recognize her as the star voice See what I did there and fuzzy face of star from the Good Night Show on Sprout, where she's brought warmth and comfort to bedtime for kids for over a decade. Not only that, but she's voiced characters for Disney, nickelodeon, pbs, kids and Cartoon Network. And, of course, you've heard her in campaigns for brands like Geico, verizon, subway and Dunkin'. She's made her mark on stage and screen from a memorable appearance on 30 Rock, which I found to be quite interesting We'll talk about that in a minute to sold-out off-Broadway comedy shows like Can I Say this? I Can Shit Show and Potty in the USA. I can't say that because it's my podcast. Yes, these days she's running her own studio in the Berkshires Sound and the Furry where she produces family-friendly content and helps other performers find their voice. Welcome to the show Stacia.  02:12 - Stacia (Guest) Wow, thank you. That was quite the intro.  02:15 - Anne (Host) I'm like wow, I was like wow, I don't think 30 minutes is enough time for us, Stacia, to go through everything that you've done. Let's not, then We'll talk about whatever we want to. It's just, it's so amazing. I mean, so you've been in the industry for over 20 years, which actually to me, I've been in it just the voiceover aspect for like 18. And so 20 years feels like it was yesterday to me. But talk to us a little bit, talk to the bosses and tell us a little bit how you first got into performance. I assume performance was before voiceover.  02:50 - Stacia (Guest) Yeah, yeah, hey, bosses. Yeah, I started as an actor. I wanted to be an actor for as long as I can remember, I mean when I was little. My mom still tells a story about how I performed for all of my five-year-old friends at my fifth birthday party, which sounds like still a good party to me, right? So, yeah, so I started as an actor and through that I tried to just branch off into any direction that I could, to be living a creative life and be able to continue performing in whatever medium I could. You know.  03:34 - Anne (Host) So what was one of the first things that you did? Performance wise, professionally, yes, professionally.  03:38 - Stacia (Guest) So I this is so random, but there is. I'm from Massachusetts, that's where I grew up. In Newport, rhode Island, which I don't know if there are any Gilded Age fans out there there was a mansion, the Astors Beachwood, and the Astors Beachwood was owned by the Astors at the time when I graduated high school. At the time, for about 10 or 15 years, I think they had. They hired actors from all over the country to live there and perform as both aristocrats and servants of the 1890s the year was 1891. And we yeah, it was all improv, like some days I'd be an aristocrat and some days I'd be a little housemaid.  04:22 - Anne (Host) Wow, that sounds so interesting. Now you said Massachusetts. Now see, I'm originally a New York State girl, right, and I've been up and down the East Coast, so Massachusetts would suggest that you have an accent in there somewhere. Yeah, I sure do.  04:37 - Stacia (Guest) It's right there.  04:38 - Anne (Host) Yeah, and of course I feel like, because I had a very New York State accent which was kind of similar, believe it or not, not quite as I don't know, not quite as accented as, not as ugly. Is that what you're trying to say? Oh no, because I would say things like car and water and it would be like really flat with my A is water.  05:01 And when I moved to New Jersey, oh my gosh did they make fun of me, and so I should not make fun of you?  05:04 in New Jersey, in New.  05:04 - Stacia (Guest) Jersey, they say, they say water.  05:05 - Anne (Host) They say water, what's water, and so I literally like and I think you're, I think possibly at the time this was before voiceover I said, oh gosh, all right, so let me try to tame that, and so I did my own taming of my own accent and then ultimately, I got into voiceover.  05:36 And back when I got into voiceover it was a thing to neutral, to quote, unquote, neutralize, whatever that means, neutralize your accent. And I said it was in a pink envelope and I brought it to the backstage door and so I heard myself say that and I was like and so from then on I just I started pronouncing my R's and have never looked back.  06:02 I imagine once you do, you have family that's still in the area.  06:05 - Stacia (Guest) Yes, in fact, we just moved my mom out of the area.  06:08 - Anne (Host) Yeah, when you go to family reunions and I think that when I get around my you know, my family in New Jersey, like we all start talking quicker and then we start, you know, well, let's talk about you know, we just like get into that accent and it just happens inadvertently but outside of the accent. So that's a really cool first gig. And so then did you go to school for theater?  06:33 - Stacia (Guest) We did OK. So I had done a little dinner theater and then I but I had been auditioning in New York. I had a big callback when I was like 18. I was called back for Les Mis and it didn't happen, unfortunately. But it's cool because it led me on other adventures.  06:52 - Anne (Host) Sure, that was one of my first shows by the way that I saw that. I saw that. I was in a show. No, yeah. No, I can't claim that, but but a callback for Les Mis is really awesome.  07:01 - Stacia (Guest) Yeah, it was a big deal, I and I, so I always. The plan was always to move to New York City, but it just takes a while to get on your feet and New York City is very expensive and a little scary when you're you know, sure is Absolutely Very scary.  07:15 Yeah, and so I ended up getting there eventually. But I did go to college and then I quit college because I realized at some point, like I'm getting a degree in musical theater and what am I going to do with that degree? And I'm spending so much money, but when you're 19 years old you don't realize what you're signing on the dot. You're signing your name on the dotted line for thousands upon thousands of dollars and it's the program itself ended up falling apart. And there were all these promises that were made to me, like you know I, because they gave me a bunch of credits because I'd already been working as an actor, and then I was going to go to London and then they were going to give me my master's so I should have had my master's within five years master's in theater performance. They also had a program where, like I would get my equity card and they do theater during the summers. But it was a small liberal arts Catholic college in Minnesota and the program sort of fell apart and I escaped. I was like this is not.  08:21 - Anne (Host) I had to get out of there. I escaped. That was a lot of that was a lot of words, and I'm not going to make this political at all, but that was a lot of words when you said Minnesota Catholic theater. Coming from a Catholic girl.  08:35 - Stacia (Guest) So I get that. Yes, so it was run by these two incredible gay men who were. They were amazing, but as you can imagine the politics at the time and just yeah, they were amazing, but as you can imagine the politics at the time and just yeah, yeah, yeah, absolutely, and so all right.  08:48 - Anne (Host) So you quit college. And then what? I quit college.  08:53 - Stacia (Guest) But I got a job before I left, so I needed the impetus and the excuse to get out, which so I ended up working for Goodspeed Musicals, which is in Connecticut and they're a really pretty famous like regional theater. They'd won a lot of awards at the musical Annie started there, so I went there to be an intern in costuming and then I left that because I was like this is not what I want to be doing, I want to be performing. But it got me back east, which was great, and then from there I ended up taking like odd jobs, living with my parents for a little bit until I landed a show that took me on tour as a one person it was actually two different one woman shows for this company that's an educational theater company, and so I did that for like five years and while I was doing that I was able to make enough money to move to New York City and just keep going.  09:47 - Anne (Host) Now, what shows were those that you did that? The one woman shows, because that's quite a thing to do, a one woman show.  09:53 - Stacia (Guest) Yeah, and they're educational. So we would go to I would go alone really, I would travel all over the country, and one of them I played the fictional best friend of Anne Frank, and then the other one I played this young Irish girl who came over during the great wave of immigrants in the early 1900s. So I would go to, like schools and libraries and small theaters, and it was.  10:16 - Anne (Host) It was really incredible, an incredible job for a learning experience Now, at any given time at this point in your life. Did your parents or anyone ever say to you well, okay, so when are you going to get a real job? Do you know what I mean? Is it that? Was it ever like that for you?  10:35 - Stacia (Guest) I mean, yeah, I mean, I think probably in my own mind I thought not real job, but like when's the real, when are we gonna you know, and certainly when I would do my? You know, when that really happens is like around March or April, when you start doing your taxes and you're like exactly, theater doesn't pay, and so yeah, but I didn't get pressure like that from my parents. I got, I was lucky to get their support.  11:05 - Anne (Host) Yeah, that's wonderful.  11:06 - Stacia (Guest) I mean, they didn't have to support me financially and that's, I think, all that mattered to them.  11:10 - Anne (Host) Well, that's actually huge.  11:12 - Speaker 2 (Announcement) And.  11:12 - Anne (Host) I love that Because you had support to be able to go out and follow your creative dreams, which, I mean, my gosh, you, you've actually I mean you have the gamut of of creative things that you've done, and I imagine that just gives you such wonderful experience, because you're so rounded in all the areas that would make it important for you to be successful in any of those business areas.  11:38 - Stacia (Guest) Thank you, I think it's it's. It's also like trying new things and being new at things and, um, trying to not get be stagnant. You know, like just um, and and even always in my voiceover career, it's like I have to remind myself to uh, like that I get to do this and that that this is what I love, and just to to make it. How do you make it fresh when you've been doing it for so long?  12:08 - Anne (Host) For so long, absolutely.  12:11 - Stacia (Guest) And it's a different thing when you look at whatever you're about to experience or do with fresh eyes or like beginner eyes or like from a beginner experience, because you immediately are like, whoa, I love this, you know, and sometimes I think that can easily bring back the magic to whatever you're working on.  12:34 - Anne (Host) Yeah, yeah. So, these days are you mostly doing voiceover, doing voiceover and performing.  12:41 - Stacia (Guest) Yeah Well, so the pandemic changed a lot of things for me. We, because I've been in New York City and you know I'm still. We still have our apartment in New York City, but I'm mostly up at our house in the woods in the Berkshires. Yeah, I am still auditioning, I am still doing voice, a lot of voiceover. So yeah, I'm kind of all over the place and sort of open to whatever happens. I'm not I think I haven't been fully steering my own ship. I've kind of been like I don't know where are we going to go, Whatever you know, and just being open to whatever.  13:15 - Anne (Host) And there's so much good to be said in that though.  13:18 Yeah kind of allowing it to happen. I, I think for me and I don't know, I don't know what to call it, but for me I've always followed my gut or my intuition, and a lot of times, if things don't come right away, I know they will at some point, but I don't. I try not to rush myself to get to any specific spot, because I know that if it's going to happen, it's going to happen, and and the time it takes to kind of evolve the solution or the you know, to actually say okay, yes, now I know I have more, I have more direction, and now I'm heading in this direction. So I love that you said that. I love that Because you're not always sure right, you're not.  13:55 - Stacia (Guest) You're not. And you know the business has changed so much over the last, you know, over the last five years. I mean it's. It's kind of crazy. It's a new world and it's different. Navigating it is different, even though I'm with the same agents, even though I'm, you know, still in the business and I know the casting people or the producers that I know and have worked with. It's just, it's different. Approaching it like, hey, yeah, I don't have to rush. I really love that, Anne, because I feel like there is a rush.  14:30 - Anne (Host) There's always a rush I want it now. Yeah, no, I agree, I think so many of my students are always. They want it, they want it now, and I'm like, well, there's something to be said to letting it marinate and letting it evolve and letting it happen.  14:43 - Stacia (Guest) And also like looking in the other direction or seeing what else you know, I think. I think a lot of times, artists, especially if you're focused on one particular medium, you just focus on that one thing. And I, I recently started painting. Am I good at it?  15:01 - Anne (Host) No, I love it. I love it, but I don't think anybody could ever accuse you of not like experiencing or exploring different mediums, but it keeps you alive, it keeps you like, creative and happy, and that's what I want.  15:14 - Stacia (Guest) It'd be exactly that like lightens you up and it opens you up to when you are approaching commercial copy or whatever. It is Right Because you're, because you haven't been like. Why am I not looking? Why am I not? What am I? Who do I?  15:31 - Anne (Host) need to be for this piece of copy and you're just, you're just letting it, you're letting it happen. Yeah, yeah, I love that. Oh my gosh. So what? Before I actually talk to you about, let's say, some character, I want to. I have some character questions to ask you, because I think you're always a character in voiceover and no matter what genre you're working on. But I do want to talk about puppetry and what got you into that?  15:51 - Stacia (Guest) I had been doing Pokemon. I was very lucky. When I moved to New York I worked as a cater waiter when I wasn't doing the that one of those one woman shows and a friend had introduced me to the studio that that at the time was recording Pokemon. So you know how it's like things trickle Around. That same time this show was off Broadway it was called Avenue Q and then that musical came to Broadway, which is where I was finally able to get tickets, because you could not get tickets to it and it was crazy and it was such a special show. It's just so funny. The music is great and touching. It has so much heart to it. I mean it's a little dated now, but at the time it was, it was just extraordinary.  16:38 - Anne (Host) And it's still yeah.  16:39 - Stacia (Guest) So in that show for anyone who any of the bosses out there that that haven't seen it or don't know about it in that musical you see the full-on puppeteers playing the puppets on stage and it's so revealing. And me, as a young woman, I always loved puppets. I had puppets as a kid. I had like an Alf puppet from Burger King. I had a Kermit the Frog puppet. I loved puppets. Never thought that it could be a career, never thought in a million years. And when you think about it there aren't a lot of. It seems like there aren't a lot of female puppeteers. There are and there are more, but as I was growing up it was all men really, and then you would have like even the female characters. I mean Miss Piggy's, like one of the most famous women female characters of all time. She's played by a man and so you know the idea of being able to play a, be a puppet. It just was not. It never, you know. And so I saw that show and it was just incredibly revealing to me. It was like a light bulb moment. So I immediately got a puppet and started training.  17:52 I actually was so lucky that I got into a class that John Tartaglia had been teaching at that point in the city and I got to study with him, which was amazing and he's a beautiful human being, and so from there it was just kind of magical. Somehow this show was uh happening. I did another little uh on camera thing, but then this show the good night show happened. I auditioned for it and I had already created this little four-year-old girl character. They wanted me to change it up and make it a boy character. Well, those voices are going to be very similar, because a four-year-old boy and girls can sound pretty similar oh yeah yeah, Actually I was listening to it, I was trying to figure out.  18:35 - Anne (Host) You know, I felt like it could have been either yeah, right, right, because it's so young.  18:41 - Stacia (Guest) So yeah, so I auditioned for it and I booked that job and it became a huge part of my life. I ended up creating a part of the show and writing for the show and helping create the spinoff of the show, and so there's your, there's your acting, your puppetry, your your voiceover.  19:00 - Anne (Host) I mean you're, I mean production, I mean it's all aspects.  19:04 - Stacia (Guest) Yeah, absolutely yeah that's, that's amazing. It was, it was a really it was a really special show and a beautiful community and even now I, michelle who, michelle Lepe, who was the host on the show she still gets messages about, you know, from the kids who grew up with it, just like how much it meant to them, which is very sweet. I don't because no one, because I don't look like this.  19:29 - Anne (Host) Well, you know, I can say something similar because I was a teacher for 20 years and so I watched my kids grow up and I literally had one of them contact me just recently on LinkedIn thanking me for setting them on the path, and I was like, oh my gosh, like that just meant the world to me, and so I think that's beautiful.  19:49 Right, and that's one of the reasons why I love doing any educational voiceover. Sure, because I feel like there's, and not just e-learning, but like medical, like I mean anything that educates an explainer that can help someone, and even corporate. Do you know what I mean? Because you're always come at it from an aspect of how can I help you, the person that I'm talking to, you know, look better, feel better, be better, you know, and really that's commercial too, because it really should be about how you're helping the person that's listening to you, yeah, and connecting in that way, and not necessarily what you sound like while you're doing it, yeah.  20:31 Let's not get wrapped up in that, yeah, no. And so with that, it's a good segue to start talking about characters, because you've done so many characters, but you also have done commercials. So when it comes to characters in voiceover, let's talk a little bit about that. How is it that you prepare for any given piece of copy? Is it always a character?  20:56 - Stacia (Guest) Is it always a character you mean like with?  21:00 - Anne (Host) character copy or what you mean, or any kind of copy. Do you create a character for any type of copy, any type of copy, I think?  21:06 - Stacia (Guest) for me, my approach to commercial copy is it depends on the spot but it also is like how you know the age old question how would I talk to? A friend about this sitcom, you know, like whatever it is, but I and so it's just about bringing my authentic self to it. But also there's a there's. I think there is a musicality to it, but also it really depends on what's on the page right or what we're selling, you know do you ever envision?  21:37 - Anne (Host) do you ever envision yourself as the um, the, the? On camera the zip cream or the character zip cream or the. The person on camera. The character Zipcreme or the person on camera.  21:47 - Stacia (Guest) Sure, yeah, I think I mean I love when you get any kind of visual or if they give you the break of what is gonna be on screen and then you can kind of I love visualizing. I think visualizing because what it does for me is it brings my imagination to life, which immediately I'm having way more fun in the booth yeah. Yeah, and it's enjoyable, even when the copy is like maybe a little like dry or sad or whatever, like liven it up by visualizing what's happening.  22:26 - Anne (Host) Yeah absolutely Believe it or not. That's a big thing. Even if I'm doing e-learning, I'm imagining that I'm the teacher, because I was a teacher for so long and so I can draw upon that experience, and it's better for me to talk almost like a one-on-one coaching with a student. And if I try to envision myself in front of the class, even when I was a teacher, I was always looking at one person at any given time. Yes, so it made it much more personal, of course, and so for e-learning, I'm a character Corporate narration. I'm a character because I work for the company and I'm trying to provide a solution that is going to help the person that I'm talking to, which makes it a whole lot more interesting than if you're just reading about it to someone.  23:15 - Stacia (Guest) Totally yeah, or sound, trying to sound like someone who reads these kinds of things. Right, it's like, because it's a really I think what it comes down to is connection and we, as actors, need to connect right copy, which means I probably need to understand it. That's, that's excellent.  23:25 - Anne (Host) So yeah, so how? What are your steps for connecting to copy?  23:28 - Stacia (Guest) It really depends on the piece. Recently I had to do what was pretty lengthy and I had to do the spot in 15 seconds and it was like okay, I don't usually read things over and over and over again because they feel like there's an element of um, uh, over overdoing it you know, I agree I agree.  23:52 So my booth is here behind me. That's why I'm pointing behind me, in case anyone's wondering Um, and so sometimes when I get in there, I will run it a few times like that particular spot because it had to be so quick. But at the same time, of course, they're going to want it to sound like I just talk, like that, you know, and so it's like it's marrying those two things right when I want it to come off like it feels like me. I'm just sort of having this talk, but I'm also. It's very quick and rapid and it falls within the 15 seconds. Yeah, so my approach is not always the same thing. It really depends on what I'm working with, and sometimes there isn't enough time, like in that 15 seconds, there's not enough time to visualize or do this. It's wall to wall copy and it's also I'm talking about this cool thing that you're going to love, and so it's just about like who sometimes I like playing with? Who am I talking to? Where am I? Proximity is such a fun thing to play with too.  24:57 - Anne (Host) You can do that in a minute or two, totally Right. Yeah, and that's the thing I always try to emphasize to my students is that it doesn't take a whole lot of time to figure out who you are and who you're talking to and maybe set a scene up, yeah, and to get yourself rolling on that. I mean it's nice if you have the entire scene as it progresses through, because that allows you to help tell the story. But if you don't have all the time in the world, but a lot of times we're auditioning in our studios. I mean, we're not live auditioning as much as we used to. Gosh knows that's the case, right? Um, and unless we're like in front of a, we're being live directed. That's a different story, right, but if we've got the time before we go into the studios, I mean, what do you take five minutes?  25:37 - Stacia (Guest) if you put different scenarios on it, because you're probably sending more than one read on this commercial copy and we don't know. But the thing that I've loved playing with recently is I really love doing a take. That's for me what do I want?  25:53 to do with this? How do I want to bring myself to this? Because I think that what makes us viable, that what makes us marketable, is us. We are not disembodied voices. We are human beings with lived in experiences, and so we're not just bringing our incredibly gorgeous voices. We are human beings with lived in experiences, and so we're not just bringing our incredibly gorgeous voices. We are bringing ourselves to this copy and what our lived experiences and our lives, and so that that's really fun to to, just like I would. I would, I would encourage everyone to just do one for you. What do you want it to sound like?  26:29 - Speaker 1 (Announcement) Exactly.  26:30 - Stacia (Guest) Because that's the most empowering feeling is to be like I want to do this with this, and that's when you're collaborating too Sure sure, and is that the take that you submit first?  26:42 - Anne (Host) Not necessarily. Is that take one, or is it the second take?  26:46 - Stacia (Guest) Like lately I have been exploring it and I just feel like I just want to be a little more playful, yeah, and so, yeah, I mean, I say not necessarily.  26:56 - Anne (Host) The truth is I lean towards that one, unless I've worked with the people before.  27:00 - Speaker 2 (Announcement) Yeah, and I know what they're looking for. You know what I mean then I'm gonna just give them what they want.  27:04 - Anne (Host) But uh, if I don't know, and it's not like a critical like I, I always think like it's kind of like gambling for me, right, sure we're all gambling.  27:13 - Stacia (Guest) We're just all right, we're all gambling, right.  27:15 - Anne (Host) So I'm just gonna like, well, you know what, I'm just gonna do my best and I'm gonna, and I'm, and I'm gonna, just, you know, send it and forget it, that kind of thing. So I'm not gonna put so much stock in like, oh my god, did I do the right thing? Did I give them what they wanted? Am I going to get this? I try never to like hope and wish in that way for any job.  27:35 - Stacia (Guest) If you're saying I want to do this and that's where I'm like no, both of those takes are for me. It's not that it's for me, but it's like I'm going to give you what I want to give you, and then I'm going to give you another take of something different that I want to do with this.  27:53 And of course I read all the specs and of course I read and I'll even, you know, watch other spots that they've done to get an idea. Like we got to do our homework right, but then it's like you asked me to do this. I'm going to got to do our homework right, but then it's like you asked me to do this. I'm gonna do it my way. See, it's fun. I'm gonna have fun with it. I'm gonna. It's so much easier to let go when you like, because if you hold on to what you like, if you, if you don't give the what you want to do with it, read, then it's like you might live with regret yeah, you know, or like it sounds like everybody else's yeah right  28:29 at the end of the day maybe even they're all gonna sound somewhat the same, anyway, you know, but it's like at least you know you had fun with it. You felt like your authentic self and you and you played yeah yeah, you know.  28:43 - Anne (Host) So, being a singer, which I, that was the other part of the medium that I didn't really talk to you about, but I mean, I can actually hear just your talking voice, although I've never heard you sing. Except I did, I did go, you know, I did my homework, I did my, I did my YouTube. You have a gorgeous voice.  28:58 Oh, thank you, but I can hear that.  29:00 I can hear that in your voice as you speak to me, and it's so funny because I think that no one should have to try, right.  29:10 I think that no one should have to try right to create a voice that somebody thinks they want to hear. Because when we're connecting right and I actually listened to quite a different number of songs that you did in different styles, and one was from your potty show, and so you had such a range there and what was so cool is that you were just undoubtedly yourself and just like in all aspects of yourself, and that was just so cool because it was connecting and that was what I was looking for as a human being. I was looking for that, that connection in the voice and while you were on stage and while you were communicating to me, and I feel like it's the same exact thing. It's the same exact thing for voiceover, right. It's all about like your voice is beautiful, no matter what you're you know what I mean, no matter what you're doing, you don't have to try and so just connect with me, and that's really what I'm looking for as a human being, and I think that's what most casting directors are looking for.  30:04 And they tell me over and over again, that's really what they're looking for. Is connection, not necessarily the sound.  30:11 - Stacia (Guest) I think we get caught up in the sound. The sound or I flubbed on this, or I you know this or that, whatever it is, and it's like I. I don't want to be listening and I am because it's so hard when you're doing this yourself.  30:28 - Anne (Host) It is hard not to listen.  30:30 - Stacia (Guest) You have to take off the director hat while you're the actor, and then you have to take off the engineering.  30:39 - Anne (Host) You know you have to compartmentalize, because if you don't, and you don't because you'll, and then when you come back, Because if you don't and you don't because you'll, and then when you come back and you're the engineer slash director and you listen back and you're like, oh, as an actor, I really loved that last take, that's weird. I don't like listening to it, like I don't. I don't have that feeling brought this up because it's hard. It's hard for us to separate the ears, right. It's like you have to develop an ear, right, you have to develop an ear as an actor, you have to develop an ear as an audio engineer and you have to be able to separate them.  31:13 And it's funny because I've always maintained back, when I was really, you know, moving on this in this career, I was in a place where they were doing construction outside my home and I had, when I was in my studio, I had my headphones on. I had to keep them on because I had to make sure that there was none of that sound coming in, and so I had my headphones on a lot of time. And if, if you get good at it, I always say the headphones are just amplifying your voice, and so if you can not listen to your voice and just you know what I mean, like you can record with your headphones on. I mean, right, you got to do it when you're live directed anyways. So I'm always saying people are saying, oh, I don't wear my headphones because I try to listen to myself.  31:53 I'm like I could listen to myself with my headphones off. Do you know what I mean? But you've got to be able to compartmentalize, and I love that you said that, because that is a skill and it's a skill that I think takes a little bit of time for for people to to really really get to be able to to say, okay, this is my, this is my actor ears. Yeah, versus what do I sound like?  32:16 - Stacia (Guest) right, it's that constant like don't listen what you sound like and it's. It's also like there's because there is that judgment that comes in you and that when you are wearing cans, if you aren't telling your self limiter I talk about this a lot and we'll talk about it when when we work together with everyone, but if you aren't challenging them and saying I don't need you here right now, it's very powerful to send them away, to send that voice to me. For some reason, it's right here.  32:48 - Anne (Host) It's just very like right, that's like the magic secret Stacia, I mean I love that it works for me. So, I want to say that we are going to be having you as a VO Boss workshop guest director, so, and and we are going to be talking character creation. So will we be discussing, talk a little bit about what we're going to be talking character creation. So will we be discussing, talk a little bit about what we're going to be doing in that class.  33:08 - Stacia (Guest) What I would love to do is see where everyone's at, what they want to play with, and, of course, do that, but also, I think, for everyone, I would love to share the self limiter and what I, what I do to get rid of that sort of you know, it's a, it's a protection right. That's what that voice is doing. It's trying to help you, but it's not helpful. I love that.  33:34 - Anne (Host) Oh my gosh, that's like secret sauce.  33:36 - Speaker 2 (Announcement) Yeah, yeah, I think so.  33:38 - Anne (Host) I know how hard that I mean. It's just, it's so hard. I mean, and you do have to, you have to be able to, you have to be able to separate it, you have to wrangle that?  33:46 - Stacia (Guest) Yeah, because that that voice that's trying to protect you inevitably is is keeping you safe. It's keeping you safe, it's doing its job and you don't. You do not want anyone keeping you safe when you're in your booth. Yeah, it is not a place for safety.  34:04 - Anne (Host) It is a place to play.  34:06 - Stacia (Guest) If you're playing safe and you're in a dramatic role for a video game and you're, you know you're about to I don't know shoot up some monsters, or you're afraid for your life or it, or you're, you know, some silly little kid like you got to be a little kid, you got to be playful and you know, or you got to be scared of those monsters or whatever's on that page. It is not a place for you to be protected or be playing it safe.  34:33 - Anne (Host) Yeah, yeah, I love that. Did I just get on a soapbox? I think I did. I think that, no, I love that and and all right. So, from a different perspective right, I mean a different perspective, it the way that it hit me, but I love that. You teach that because I am.  34:47 You know, I've had health issues, right, I had cancer, and before I was diagnosed, I was like so worried about what I was sounding like and what. You know how the audition went and did. Should I have done it this way? Should I have you know? And then all of a sudden, it was like whoa, like what was I? Like that just didn't seem important anymore. I shouldn't be.  35:09 Why was I so worried about what I sounded like when, in fact, I just, you know, I'm fighting this disease right now, and so it gave me such a license to permit myself to be free. Yeah, just not worry and not have that self-judgmental voice on me all the time. It was an amazing thing that happened to me and unfortunately I mean well, I mean fortunately I'm here and everything's good, you know. So nobody, nobody, has to worry about it. But in reality, it was one of the best things that could have happened for my performance, for my actor, my actor self, was to say what the hell was I so damn worried about? What was I? What was I trying to be? You know what? Just screw it Like, isn't it incredible?  35:47 - Stacia (Guest) how? So empowering? So it's like grief is off. Grief is awful and we all, as humans, live through it and the way that it can have some magical elements and empowerment in it is really incredible. Talking about that and how you're like I don't care, Like I don't. Why am I going to concentrate on what I sound like? That was not a priority.  36:16 - Anne (Host) No, Well, what I sounded like is not a priority anymore.  36:19 - Stacia (Guest) No, no no, it was amazing, because it's like a reminder of who you are, who your soul is Like. You want to connect with people and that's what you do. I love it.  36:29 - Anne (Host) Oh, my God, I'm so excited, so excited for you to join us. So, bosses, make sure that you check out the show notes and I'll have a link to the VO. Boss, or just go right to the VO Boss website.  36:41 - Stacia (Guest) Is it down here? Is it? Should I point to things?  36:45 - Anne (Host) I'll be putting it in the post. So it's on VeoBosscom. You guys check out the events and sign up for Stacia, because it's going to be an amazing class. And, stacia, I just want to say thank you, this has been so much fun. Thank you so much for joining us.  36:59 - Stacia (Guest) It was a pleasure.  37:00 - Anne (Host) Yeah, it's been wonderful Really getting really getting to know you even better. I'm so excited.  37:05 - Stacia (Guest) Back at you. You're an incredible interviewer. It's really what a joy.  37:10 - Anne (Host) Thank you Well thank you, I appreciate it. Well, look, bosses. I'm going to give a shout out to our sponsor, ipdtl. You too can connect and network like bosses, like Stacia and myself. Find out more at IPDTLcom. Bosses have an amazing week and we'll see you at Stacia's class right. Yay, in August. I'll be there and we'll be with you next week with another episode. Thanks, so much.  37:33 - Speaker 2 (Announcement) Join us next week for another edition of VO Boss with your host, Anne Ganguzza, and take your business to the next level. Sign up for our mailing list at vobosscom and receive exclusive content. Sign up for our mailing list at vobosscom and receive exclusive content industry revolutionizing tips and strategies and new ways to rock your business like a Boss. Redistribution with permission. Coast to coast connectivity via IPDTL.   

Aaron Bartz brings a grounded, thoughtful energy to the role of Draco Malfoy in Harry Potter and the Cursed Child, and in this conversation, he shares just how much life and imagination go into keeping the magic alive night after night. From flying and fire to illusions and high-stakes contingencies, Aaron walks us through what it's like to debut on Broadway in one of the most technically demanding plays out there—and why so many actors in the production come from classical Shakespeare backgrounds. We also explore Aaron's journey from Great Falls, Montana to the Lyric Theatre in NYC, including a pivotal classroom moment that set him on the path to acting, and how a love of storytelling (and a little persistence) helped him land gigs that ultimately led to an MFA from Yale. Now a father of two, Aaron reflects on how playing Draco as a parent has shifted his own understanding of growth, vulnerability, and legacy. Aaron Bartz is an actor and writer currently starring as Draco Malfoy in Harry Potter and the Cursed Child on Broadway. He earned his MFA from the Yale School of Drama and began his career with regional Shakespeare productions across the country. He toured nationally with the Montana Repertory Theatre in To Kill a Mockingbird, and his previous work includes Loves Labour's Lost, Macbeth, and other classical works. This episode is brought to you by WelcomeToTimesSquare.com, the billboard where you can be a star for a day. Connect with Aaron: Instagram: @aaronbartz Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠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

n this episode, we sit down with singer, actor, and former U-KISS K-pop star Kevin Woo to talk about his incredible journey — from leaving the U.S. as a teenager to train as a K-pop idol in Korea, to starring in KPOP: The Musical on Broadway, to voicing Mystery Saja in K-pop Demon Hunters on Netflix, which hit #1 in 26 countries and topped 93 charts. Kevin opens up about the pressures of the K-pop industry, the culture shock of moving across the world so young, and how he's evolved personally and professionally through each chapter of his life.We also ask the question: What's harder — K-pop training or Broadway training? His answer might surprise you.

The Best Things to Do in -1. St. Louis, MO:St. Louis is often called the “Gateway to the West,” but it's also a gateway to a memorable, well-rounded travel experience. From world-class art and live entertainment to major league baseball and local culinary treasures, this Midwestern gem packs a punch. Whether you're here for a weekend or a longer stay, here are some of the top things to do in St. Louis that highlight the city's diverse appeal.

What does it really take to succeed on the road with a Broadway tour? It's not just about chops or time feel; it's about trust, vibe, and being the kind of person people want to work with day in and day out. In this episode, dropping Saturday, August 2nd, we talk about the reality of touring life and the often-overlooked human qualities that make all the difference.Tune in for insights that go beyond the drum kit—and if you're aiming for a Broadway chair or a tour, this episode is a must-listen.Check out his work and projects: www.pilifronda.comWant to go deeper? Join the email list for exclusive updates, career tips, and early access to new content from Broadway Bound and Beyond: A Musician's Guide to Building a Theater Career at https://broadwayboundbook.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

“We have 16 different Grizabellas for this production.” In this episode of The Wrong Cat Died podcast, Mike Abrams welcomes Naomi Naughton, a former swing in the original Broadway production of CATS (1992) who is now directing a summer production at the Shawnee Playhouse. Naomi shares her journey from first seeing CATS as a teenager, through auditioning and performing on Broadway, to her current role as a director. She discusses the challenges and joys of directing, including working with 16 different performers as Grizabella and staying true to the show's choreography and storytelling. Naomi also reflects on deeper themes of the musical, such as acceptance, forgiveness, and the meaning of the Heaviside Layer. 00:46 Naomi's Broadway Journey 04:45 Landing the Role and Broadway Experience 07:56 Reflections on the Show's Choreography and Story 22:24 Directing CATS: New Insights and Challenges 32:58 Teaching a Specific Moment in Time 33:29 Adapting Choreography for Diverse Cast 34:45 Exploring Grizabella's Backstory Check out Shawnee Playhouse on Instagram: @theshawneeplayhouse Check out Shawnee Playhouse's website: www.shawneeplayhouse.org Produced by: ⁠⁠⁠⁠Alan Seales⁠⁠⁠⁠ & ⁠⁠⁠⁠Broadway Podcast Network⁠⁠⁠⁠ Social Media: @⁠⁠⁠⁠TheWrongCatDied Learn more about your ad choices. Visit megaphone.fm/adchoices

Send us a textThomas Cullen jumps on the show to discuss his venture into YA fiction writing, authors who've inspired him, how his career has shaped this new segment of his life, and more. Thomas Cullen is a federal trial judge and former U.S. attorney in Virginia. He is also an accomplished writer, regularly publishing op-eds and essays for national and regional media outlets over the past decade. Thomas graduated near the top of his class from William & Mary Law School and was recently honored as its 2024 Carter O. Lowance Fellow. A native of Richmond, Virginia, Thomas studied history and ran track at Furman University in Greenville, South Carolina, which recently awarded him an honorary doctorate. Charlie-Man is his first novel.Creator/Host: Tammy TakaishiAudio Engineer: Alex Repetti Visit the Self-Care Institute at https://www.selfcareinstitute.com/ Visit www.creativepeacemeal.com to leave a review, fan voicemail, and more!Insta @creative_peacemeal_podcastFB @creativepeacemealpodRedbubble CPPodcast.redbubble.comCreative Peacemeal READING list here Donate to AhHa!Broadway here! Donate to New Normal Rep here! Interested in the Self-Care Institute with Dr. Ami Kunimura? Click here Interested in Corrie Legge's content planner? Click here to order!

In Nevin Steinberg's second episode, the award winning Broadway sound designer gives even more insight to some of your favorite Hamilton moments including The Yorktown dance break and the stuttering gunshots heard throughout the show. And get ready to have your mind blown as Nevin shares the evolution of the Satisfied rewind, from Lin-Manuel Miranda's very first demo to the layered masterpiece we all know and love today anddddddd he shares a secret (and creepy! and awesome!) Easter egg that I promise you don't know about. While taking questions from the Patreon Peeps, Nevin talks a lot about how each sound is specifically chosen to tell a story, and even accents like cannon explosions and snare drums each have "their own personality."   Plus, Nevin talks about the steam whistle in 2023's Sweeney Todd revival, shares his thoughts on new cinema sound, explains his fascination with what it takes to be a great leader, and why when it comes down to it Nevin is only in it for the banter. Lin-Manuel Miranda on Soundcloud The Town Hall in New York City /// Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

When Mandy Gonzalez steps on stage, you feel it—power, passion, presence. She rose to fame as Nina in In the Heights, shattered ceilings as Angelica in Hamilton, and defied gravity as Elphaba in Wicked. Now, she’s back on Broadway, transforming into the legendary Norma Desmond in Sunset Blvd., rewriting the rules of a classic role. Her voice is unmatched. Her story? Even more powerful. A working mom, recording artist (Fearless), and screen actress (Quantico, Across the Universe), Mandy has built a career on strength, soul, and staying true to herself—even while battling breast cancer. Five years cancer-free, Mandy Gonzalez is not just surviving—she’s blazing. And Broadway is better for it.See omnystudio.com/listener for privacy information.

The pop singer and actress Reneé Rapp has a deep love for her friends. She maintains a nonstop group chat with more than 15 close friends every day. Their lives are so intertwined that the line between platonic and romantic can sometimes get blurry, particularly since many of them have dated each other.Rapp, best known for her role in the Broadway musical and new film adaptation “Mean Girls,” has an upcoming album, “Bite Me,” which delves into the intimacy and messiness of friendships, not just romantic relationships. Mirroring her album's themes, Rapp walks Modern Love host Anna Martin through various vulnerable moments she has recently shared with friends, including one with her best friend and former “The Sex Lives of College Girls” co-star Alyah Chanelle Scott.It's no surprise that Rapp chose to read the Modern Love essay “This is What Happens When Friends Fall in Love” by Sammy Sass. The piece resonates with her own experiences of sustaining love within queer friendships. While Rapp says she doesn't have a blueprint, she has learned to navigate misunderstandings and express genuine love to those closest to her. Unlock full access to New York Times podcasts and explore everything from politics to pop culture. Subscribe today at nytimes.com/podcasts or on Apple Podcasts and Spotify.