Podcasts about Bucks County Playhouse

Shannon began her career as a performer and has appeared in 10 Broadway musicals over a 25 year career. She is most known for her performance of “I Gotcha” in the Tony Award winning original Broadway cast of FOSSE. As a choreographer, Shannon has extensive experience creating for film and television as the choreographer of Saturday Night Live's Film Units, creating dances and movement for viral videos such as “I'm Just Pete”, “Gladiator Twosical”, “Shrimp Tower”, ”Big Boys” and many more. She has also choreographed multiple pre-taped and live projects for NBC's “The Tonight Show” with Jimmy Fallon and HBO's “Last Week Tonight” with John Oliver. Shannon is the Creative Director and Choreographer of the NBC/ Universal Upfront at Radio City Music Hall. She has also created, directed and choreographed many theatrical and dance projects at such respected venues as Carnegie Hall, Ballet Jazz Montreal, Roundabout Theatre Company, Signature Theatre NYC, Town Hall, Jacob's Pillow Dance Festival, Alvin Ailey Citicorp Theatre, Dreamworks, CLI, Dance Out Loud, NY Times Center, Bay Street Theatre, Bucks County Playhouse, Ogunquit Playhouse and The York Theatre Company. Shannon is the founder of FIRESTART Creative; producing and developing impactful, creative projects for film, theatre, television and live events. Her original dance short “Don't Go” was nominated for a 2023 World Choreography Award. Learn more about your ad choices. Visit podcastchoices.com/adchoices

It's time to be fully open to the joy that life has to offer in every moment! Join Karaleigh in a conversation with the amazing Robyn Cohen as they discuss showing up, being all in, and so much more. Robyn Cohen - Earned her BFA from The Juilliard School and her MFA from The Shakespeare Theatre Company in Washington D.C. She's a Professional Actor for 30 years, an Acting Teacher and High Performance Coach for 18 years, and Robyn is the host of THE DAILY JOYRIDE PODCAST! Robyn's also an award winning actress who's performed with such theatres as The Shakespeare Theatre Company, The Actors Theatre of Louisville, Lincoln Center, The Ford's Theater (D.C.), Delaware REP, Goodspeed Opera House, Bucks County Playhouse, the National Tour of the Broadway musical "Cabaret” and more! Her T.V. credits include: “Gravity" “Law and Order True Crime," "Cristela," "N.C.I.S.," "The Defenders," "Invasion," "The Closer," "Angel," "N.C.I.S. L.A.," "Starved," "LAX," and 55+ national commercials. Some of her Film credits include: Wes Anderson's "The Life Aquatic" (opposite Bill Murray), “The Celestine Prophecy," and "Beau Jest.” Robyn founded THE COHEN ACTING STUDIO and is a contributing writer to Jon Jory's handbook, “Tips on Auditioning: Ideas for Actors.” She lives in Los Angeles with her wonderful partner Billy and their kitten, who's not a kitten anymore, Joffy!Get the new single “You're A Mean One, Mr. Grinch” here: https://karaleighgarrison.bandcamp.com/track/youre-a-mean-one-mr-grinchGet the Magic in the Air single now! https://karaleighgarrison.bandcamp.com/track/magic-in-the-airGet Karaleigh's Single “I Don't Know What Christmas Is (But Christmastime Is Here)” on Bandcamp now! https://karaleighgarrison.bandcamp.com/track/i-dont-know-what-christmas-is-but-christmastime-is-hereLearn more about Karaleigh on her website www.karaleighgarrison.com Find the Podcast Like A Mother podcast here: ⁠https://podcasts.apple.com/us/podcast/podcast-like-a-mother/id1718846989⁠Interested in being a guest on the Podcast? Please fill out this form and we will get back to you as soon as possible: ⁠⁠⁠ https://form.jotform.com/242656603465056 --- Support this podcast: https://podcasters.spotify.com/pod/show/multipassionatemama/support

The American, no, GLOBAL treasure joins us from rural Pennsylvania where he is starring as Dr. Frank in The Rocky Horror Show to talk Sunset Blvd., Mamma Mia, the Charli XCX Sweat Tour, the Sympathy is a Knife remix, Halloween Horror Nights done right, kicking Lunesta, getting sober, learning from a throuple, meeting a man on line dance night and marrying him on Star Wars Day, watching Big Brother as an alumnus, and why it's actually important to call Twitter “X” now. Don't dream it, be it; see Frankie in Rocky Horror at the Bucks County Playhouse until November 3: https://bcptheater.org/shows/the-rocky-horror-show/. 

On this week's episode of Musicast, we sit down with Sasha Eisenberg, one of the premier theater educators in Bucks County and an active Board Member of the Oscar Hammerstein Museum. With 30 years of experience in education, Sasha brings her vast experience and energy to this week's conversation as we delve into how performing arts and theater can bring the traditional core subjects to life and discuss some of the unique challenges and opportunities that come along with directing a theater arts program! Sasha Eisenberg Oscar Hammerstein Museum Board Member & Educator Sasha Eisenberg is an English and theatre educator with a Masters in Educational Leadership who has worked in Bucks County for 30 years. At Central Bucks East High School, Sasha served as an English teacher (1995-2001) and theatre director of the award winning Patriot Players, PA Thespian Troupe #6165 (1995-present). Sasha has directed over 50 plays and musicals and has assisted with numerous additional staff and student directed productions and special events. The Bucks County Playhouse has honored her for Outstanding Direction for multiple productions. In 2017, Sasha directed the award winning one-act, “I Never Saw Another Butterfly,” and was honored to join the company at the International Thespian Festival in Nebraska. In addition to producing high quality performances, with Sasha's leadership, the club has successfully raised tens of thousands of dollars for the Make-A-Wish Foundation. Sasha also has led numerous summer theatre programs including Diamond Ridge Day Camp, Briarwood Day Camp, and Delaware Valley University's KidsU! In 2023, she co-founded Bucks County Theatrics (BCT) and looks forward to creating new theatrical opportunities for the Bucks County community. She is passionate about theatre arts education and thrilled to be a part of the mission to secure the legacy of Oscar Hammerstein. Sasha lives in Doylestown with her husband and enjoys visiting her three grown children. --- Support this podcast: https://podcasters.spotify.com/pod/show/musicast-podcast/support

On today’s episode, Matt Tamanini is in conversation with two of the stars from the current Bucks County Playhouse production of “Noises Off,” Roe Hartampf and Marilu Henner. The pair of Broadway stars are joined by an equally impressive cast that includes the likes of Jen Cody, John Bolton, Richard read more The post Special Episode: Roe Hartampf, Marilu Henner on the Math of ‘Noises Off’ appeared first on BroadwayRadio.

Marilu talks with Len Berman and Michael Riedel about her upcoming gig with the Bucks County Playhouse. She will be in “Noises Off” starting May 17 through June 16th.

Joe Barros is a New York-based stage director and award-winning choreographer working on Broadway, Off-Broadway, regionally, and internationally. Joe recently directed and choreographed two national tours of A Charlie Brown Christmas (Gershwin Entertainment), the new musical Love and Yogurt in New York, the musical Aida in Singapore, and A New Brain at Five Towns College on Long Island. New York credits include the Broadway revival of Gigi (associate director, directed by Eric Schaeffer) starring Vanessa Hudgens and Victoria Clark, Cagney (associate director, directed by Bill Castellino), the New York premiere of Dan Elish and Douglas Cohen's The Evolution of Mann Off-Broadway (starring Max Crumm and Allie Trimm, cast recording on iTunes and Spotify), the world premiere of Marc Acito and Amy Engelhardt's critically acclaimed rock musical Bastard Jones Off-Broadway, Nine at CAP21/Molloy College, Out of the Box Theatrics' Alice in Alice's (Alice in Wonderland at Alice's Tea Cup with a company of actors with disabilities, co-writer, world premiere at Weathervane Theatre), I Married Wyatt Earp at 59E59 Theatres (Prospect Theater Co./NY Theatre Barn), Hard Times (NY Innovative Theatre Award Nominee for Best Choreography, NY Times Critics' Pick), Debra Barsha and Hollye Levin's A Taste of Things to Come (associate director, directed by Lorin Latarro, York Theatre Company, Bucks County Playhouse, Broadway in Chicago), and the world premiere of Cheryl Stern's Shoes & Baggage (The Cell). With New York Theatre Barn, Joe produced the new musical Sam's Room, inspired by real stories of nonverbal teens who find a way to communicate. Héctor Flores Jr. is a multi-hyphenate Latino theatre professional whose work meets at the intersection of art and advocacy. Héctor was born in New Jersey and raised by his Puerto Rican grandmother and his single mom. Luckily his mother believes in cultural enrichment & education which instilled a hunger for knowledge, art and change within him. The artform that chose him, however, wasn't made in his image. After being a first-generation college graduate Flores embarked on a career in musical theatre that continues to inspire him to find new ways to break barriers for Latinx people.  Hector is the president of Theatre Barn Records. Theatre Barn Records is a new imprint of Broadway Records and is dedicated to original musicals in development. New York Theatre Barn, which has served as a home for new culture shifting musicals during incubation since 2007, has been evolving its unique development-based programming since the beginning of the COVID-19 pandemic. As a new program of New York Theatre Barn, Theatre Barn Records will support writers in recording and releasing concept recordings of new musicals in development on global streaming platforms. Theatre Barn Records offers a worldwide marketing platform for musical theatre writers and has the potential to create revenue for writers while their show is still in development. The focus of Theatre Barn Records is to continue to incubate and elevate projects that we are already developing while evolving our storytelling systems. In this critical digital age that we now live in, EP's and concept albums of original musicals in development are potentially the fastest and most lucrative ways that musical theatre writers can now be noticed, supported, and advanced while their shows are in development.

Ian Campayno / @icampayno - "It will happen. You just have to be committed to sticking with it. Nothing will ever really be handed to you. There are times now when I wanna just quit. They're always gonna be moments when things seem unfair or they seem like they should've gone another way that is out of your control. So all you can really do is go into an audition room and be your absolute best and be your true self. And if you're not what they're looking for, you're not what they're looking for and that has absolutely nothing to do with you as a person, or as a performer.” Bio - Thrilled to be back on Broadway in Some Like It Hot! Broadway: Mary Poppins Off-Broadway: Trip of Love Tours: Something Rotten!, Chicago, Mary Poppins TV/Film: The Marvelous Mrs. Maisel, Lovestruck: The Musical Regional: Arvada Center, NSMT, Ogunquit Playhouse, Maltz Jupiter Theatre, Bucks County Playhouse. BFA Shenandoah Conservatory. https://builtforthestage.com/ - fill out the form and ask about our next fitness challenge! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Ian Campayno / @icampayno - "It will happen. You just have to be committed to sticking with it. Nothing will ever really be handed to you. There are times now when I wanna just quit. They're always gonna be moments when things seem unfair or they seem like they should've gone another way that is out of your control. So all you can really do is go into an audition room and be your absolute best and be your true self. And if you're not what they're looking for, you're not what they're looking for and that has absolutely nothing to do with you as a person, or as a performer.” Bio - Thrilled to be back on Broadway in Some Like It Hot! Broadway: Mary Poppins Off-Broadway: Trip of Love Tours: Something Rotten!, Chicago, Mary Poppins TV/Film: The Marvelous Mrs. Maisel, Lovestruck: The Musical Regional: Arvada Center, NSMT, Ogunquit Playhouse, Maltz Jupiter Theatre, Bucks County Playhouse. BFA Shenandoah Conservatory. https://builtforthestage.com/ - fill out the form and ask about our next fitness challenge! www.broadwaypodcastnetwork.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Fun night at Bucks County Playhouse.  Past Lives. Still celebrating the Fourth. George Washington's Expense Account with help from Marvin Kitman.  The History of Pink- from Him to Her.  David Brooks and the Mets. Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer:  Ellie Suttmeier Art:  Zeke Abuhoff

In this episode, Adam and Budi are in conversation with actors Jenelle Chu and Chalia La Tour on how they are navigating the WGA and possible SAG/AFTRA strikes while creating work that matters and redefining actor training for the 21st century.Jenelle Chu is a Canon Crash Course instructor for Encompass Collective. Specializes in scene study, voice, and dialect, career, and MFA applications. Chu is an actor, singer, and aspiring educator and director. Her credits on Broadway include Junk (Lincoln Center Theater) and Bernhardt/Hamlet (Roundabout). She has been seen regionally at Shakespeare & Co, American Conservatory Theater, Papermill Playhouse, and Bucks County Playhouse. Other credits in NYC include shows at The Flea Theater and 52nd Street Project. Film/TV credits: Elementary, Instinct, Madam Secretary, New Amsterdam, Prodigal Son, and short film White Flags with AC Productions. Jenelle has studied with master acting teacher, Michael Howard and on-camera coach, Bob Krakower. She holds a BM in Vocal Performance with an emphasis in Opera Voice and an MFA in Acting from the Yale School of Drama. Her ancestry comes from Guangdong, China, and Cholon, Saigon, Vietnam. She was born and raised in St. Louis, MO, and is fluent in conversational Cantonese Chinese. Chalia La Tour was born and raised in New York City and attended the prestigious Fiorello H. LaGuardia High School of Music & Art and Performing Arts. La Tour went on to study at the Tisch School of the Arts at New York University, where she earned a BFA in Drama. La Tour made her Broadway debut in 2018 in the Tony Award-winning play, "Slave Play." Directed by Robert O'Hara and written by Jeremy O. Harris. La Tour played the role of Alana, a white woman who is struggling to come to terms with her own racial biases and desires. In addition to her work on stage, La Tour has also made a name for herself on television and in film. She has appeared in a number of popular TV shows, including "The Good Fight," "Chicago P.D.," and "Law & Order: Special Victims Unit." She also had a recurring role in the critically acclaimed series "The Deuce," which aired on HBO from 2017 to 2019. La Tour's film credits include "The Climb,"  which premiered at the 2019 Cannes Film Festival. She also appeared in "The Intern," a comedy starring Robert De Niro and Anne Hathaway, and "The Last Thing He Wanted," a political thriller starring Anne Hathaway and Ben Affleck.Healthy Wealthy & Wise with Dr. William ChoctawThe Healthy Wealthy and Wise Podcast, with Dr. William Choctaw, MD is a monthly...Listen on: Apple Podcasts SpotifySupport the showIf you enjoyed this week´s podcast, please leave a review on Apple Podcasts. To submit a question: Voice- http://www.speakpipe.com/theatreofothers Email- podcast@theatreofothers.com Support the Theatre of Others - Check out our Merch!Show Credits Co-Hosts: Adam Marple & Budi MillerProducer: Jack BurmeisterMusic: https://www.purple-planet.comAdditional compositions by @jack_burmeister

In this episode… Aloha! Josh Fiedler is back to share details from his first visit to Disney's Aulani Resort in Hawaii. Josh shares his planning tips, and then we dive deep into all that Aulani has to offer, including dining, activities, recreation, the beach, and more. We also discuss other activities to do around Oahu.  Connect with Josh Connect with Josh online on Instagram and Facebook. Resources Click here for more information about Disney's Aulani Resort. Check out the Bucks County Playhouse in New Hope, Pennsylvania. Cruise with Us! In Episode 069, we shared all the details of our first group cruise! We will be sailing on the Disney Fantasy, November 11-18, 2023, for a Very Merrytime 7-night Eastern Caribbean sailing with stops at Tortola (British Virgin Islands), St. Thomas (US Virgin Islands), and Disney's Castaway Cay (Bahamas). Join us for this special cruise! Find all the details at Me and the Magic, and request a free quote.  You must book with the official group to be part of all the group activities (and surprises!). Join Our Community Join the Me and the Magic Facebook community to share your love of solo travel, Disney travel, and more with new friends. Plus, share your thoughts and questions on this episode with the community! Connect with Me Is there a topic you'd like us to discuss? Email Amanda at amanda@meandthemagic.com.   Are you on Instagram? Follow Me and the Magic to see the latest posts, stories, and IGTV.  Subscribe to the Me and the Magic weekly newsletter for exclusive content, including solo travel tips! Me and the Magic has voicemail! Leave a voicemail or text to 1-347-74MAGIC (1-347-746-2442). Share your thoughts about this episode, a future episode topic idea, or just say hi! Podcast Subscribe to this podcast so you will be the first to hear new episodes!  If you are enjoying the podcast, I'd greatly appreciate it if you could rate and review it on Apple Podcasts. The reviews help other people find this podcast.  Online Shop Buy some fun travel and pop culture shirts and more, at our online shop! 

The second time that Cindy Williams visited The Preston & Steve Show was in April 2022, to promote her one woman show at The Bucks County Playhouse.  She shared the most wonderful stories from her career: studying with Sally Fields, serving Jim Morrison cocktails on the Sunset Strip, punching Ron Howard, George Lucas pitching a little movie about teens in space.  Enjoy this very special interview with Cindy Williams.  

Jordan Hembrough is a television personality, convention host and toy hunter / collector. On this week's episode he tells us his Star Wars story, how he got into collecting and his perspective on the communal cinema experience of the saga. Most recently he's been seen on History Channel's Toys That Built America and made his big TV debut on Toy Hunter. Follow him @JordanHembrough on all social media!www.ATGcast.comPatreon.com/ATGcast@ATGcastfacebook.com/StreamingStarWars Jordan Hembrough: A self professed comic-book geek and film buff, Jordan was bitten by the collecting bug at an early age, as he adorned his bedroom with Star Wars toys and comic action hero action figures. He quickly learned that he could make more money selling toys to his school peers, than he could on any paper route. At age 16 Jordan began buying and selling toys professionally and never looked back.The New Jersey native spent 7 years as a buyer for an international chain of comic book/Sci-Fi themed retail stores, specializing in the procurement and allocation of collectible toys.Jordan has also appeared on stage and in front of the camera. His stage work has taken him from the Searchlight Theatre in New Jersey to the famed Bucks County Playhouse in New Hope, PA.In 1998, he founded Hollywood Heroes where he both sells collectible toys and film props to the collectible market and offers consulting services to toy and entertainment companies.After being in the industry for more than 20 years, Jordan still gets a thrill from meeting new collectors and seeing all the crazy and unusual items they covet.Summing up his career Hembrough says, “It's the hunt that has always driven me. The next cool find is always right around the corner.”(c) 2022 Pete in the Seat Studios

As a young kid, he originally wanted to be a novelist. A audition for a high school production of Bye Bye Birdie landed him the lead role of Conrad, which blasted open the doors for him in the acting world. He ended up going to University of Michigan when they were first beginning to make a name for themselves as one of the best places to learn the craft, and then found his way easily onto the Broadway stage. He ended up shifting focus about 8 years ago to directing, where he found what he describes as his new passion for the stage. A quick call from an old friend led him to step in and perform as Clark Griswold in The Griswolds' Broadway Vacation brought him back to the stage, originating the role in the world premiere at the 5th Avenue Theatre in Seattle, Washington, alongside Kate Rockwell. Hunter is an actor, director, writer and librettist with Broadway acting credits including Little Shop of Horrors (which earned him a Tony Award nomination), Urinetown, The Producers, Footloose, Les Miserables and Grease. He was named 2018's director of the year by the Wall Street Journal for his productions of 42nd Street at the Bucks County Playhouse, and The Drowsy Chaperone at the Goodspeed Opera House, recently directed the critically acclaimed The Other Josh Cohen off Broadway here in NYC, is the Artistic Director for the Redhouse Arts Center in Syracuse, NY, and as we speak is originating the role of Clark Griswold in the Griswolds' Broadway Vacation. Connect with Hunter: Twitter: @Hunter_Foster IG: @hunter__foster Web: hunterfosterofficial.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast TikTok: @thetheatrepodcast 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

If These Walls Could Talk with Wendy Stuart & Tym MossHosts: WENDY STUART & TYM MOSSSpecial guest: JOE BATTISTAWednesday, December 29th2pm EST LIVE from PANGEA Restaurant, NYCWatch LIVE on YouTube at Wendy Stuart TVJoe Battista (Director/Producer/Actor/Photographer/Graphic Artist/Videographer) is the Artistic Director of the Historic 13th Street Repertory Theater, and a member of Actor's Equity and the Dramatist Guild. Graduate of The American Academy of Dramatic Arts who studied with William Hickey, Stephen Strimpbell, Uta Hagen, Eve Collier, Hugh Whitfield, Jack Melanos, Paul J. Curtis, and Gates Mcfadden. At the age of 21, he was hired as a Director at the Bucks County Playhouse but soon realized that New York theatre was his first love and soon was directing experimental theater off-Broadway. Joe also is a professional photographer and has worked for the Ford, Elite, Zoli, Wilhelmina, and Legends agencies. He just finished a film “Black Magic” an Onur Tukel film shot in NYC. Joe has been involved in over 100 plays and musicals and was the lead guitarist for the bands, Razor Engine and Electric Landlady. Recent NY Theatre: “Milkman's Sister” with Robert Funaro, “Women Behind Bars” starring Amy Stiller, an original play “Before We're Gone”, written by Jerry Small, produced by Bahr Productions, a film production company from Los Angeles, California, “A Life In The Rye” at the Theater for the New City, Production Consultant/Graphics Designer for “Dress of Fire” with Austen Pendleton and Angelica Page; also an experimental project ���Uno Momento”, and has directed for Emmy Award-winning Seth Freeman. Presently “Help A Handicapped God Trot Across The Universe” an original play by playwright Thomas Walters, Birmingham, England. And November 2022 “ Cold Blooded” with Everett Quinton and Jenne Vath. All this and more to come with The Historic 13th Street Repertory Company. Favorite Quote: “Neurotics build castles in the sky, Psychotics live in them”.Who else but hosts Wendy Stuart and Tym Moss could “spill the tea” on their weekly show “If These Walls Could Talk” live from Pangea Restaurant on the Lower Eastside of NYC, with their unique style, of honest, and emotional interviews, sharing the fascinating backstories of celebrities, entertainers, recording artists, writers and artists and bringing their audience along for a fantastic ride.Wendy Stuart is an author, celebrity interviewer, model, filmmaker and hosts “Pandemic Cooking With Wendy,” a popular Youtube comedic cooking show born in the era of Covid-19, and TriVersity Talk, a weekly web series with featured guests discussing their lives, activism and pressing issues in the LGBTQ Community.Tym Moss is a popular NYC singer, actor, and radio/tv host who recently starred in the hit indie film “JUNK” to critical acclaim.

Marsha Mason has received four Academy Award nominations for her roles in the films The Goodbye Girl, Cinderella Liberty, Only When I Laugh and Chapter Two. She has been the recipient of two Golden Globe Awards for her film roles and an Emmy Award nomination for her role on “Frasier.” Her other TV credits include “The Middle,” “The Good Wife,” “Madam Secretary,” and “Grace & Frankie.” Broadway roles include Impressionism with Jeremy Irons, Steel Magnolias, The Night of the Iguana, The Good Doctor, King Richard III, and Cactus Flower. Off-Broadway she co-starred in the world premiere of Terrence McNally's Fire and Air at Classic Stage and Little Gem at the Irish Repertory Theatre (Outer Critics Circle Award winner for Outstanding Actress in a Play). Regionally she has starred in All's Well That Ends Well at Shakespeare in Washington, DC, A Doll's House at ACT in San Francisco, Arms and the Man at Old Globe Theatre in San Diego and Watch on the Rhine at Arena Stage in Washington, DC. As a director, Marsha, has helmed productions of Neil Simon's Chapter Two and Steel Magnolias at the Bucks County Playhouse, Chapter Two and the first female An Act of God with Paige Davis at the Arizona Theatre Company, Juno Swans for Second Stage in New York City and the world premiere of Tennessee Williams's Talisman Roses starring Amanda Plummer at the Tennessee Williams Festival in Provincetown, Mass. Marsha was Associate Director with Jack O'Brien for the Roundabout Theater's production of All My Sons on Broadway. She received a Daytime Emmy® Award for Direction of “Little Miss Perfect”. In 2020, she directed Walter Bobbie and Brooke Shields in The Man Who Came to Dinner for Bucks County Playhouse, starred with Brian Cox in Dear Liar for Bucks County, and opposite Richard Dreyfus in The Letters of Noel Coward for Bay Street Theater. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Joe Barros (joebarros.com)(IG:@bisforbarros)(TW:@joebarros)(LI:@joe-barros) is a New York-based stage director and award-winning choreographer working on Broadway, Off-Broadway, regionally, and internationally. Joe recently directed and choreographed two national tours of A Charlie Brown Christmas (Gershwin Entertainment), the new musical Love and Yogurt in New York, the musical Aida in Singapore, and A New Brain at Five Towns College on Long Island. New York credits include the Broadway revival of Gigi (associate director, directed by Eric Schaeffer) starring Vanessa Hudgens and Victoria Clark, Cagney (associate director, directed by Bill Castellino), the New York premiere of Dan Elish and Douglas Cohen's The Evolution of Mann Off-Broadway (starring Max Crumm and Allie Trimm, cast recording on iTunes and Spotify), the world premiere of Marc Acito and Amy Engelhardt's critically acclaimed rock musical Bastard Jones Off-Broadway, Nine at CAP21/Molloy College, Out of the Box Theatrics' Alice in Alice's (Alice in Wonderland at Alice's Tea Cup with a company of actors with disabilities, co-writer, world premiere at Weathervane Theatre), I Married Wyatt Earp at 59E59 Theatres (Prospect Theater Co./NY Theatre Barn), Hard Times (NY Innovative Theatre Award Nominee for Best Choreography, NY Times Critics' Pick), Debra Barsha and Hollye Levin's A Taste of Things to Come (associate director, directed by Lorin Latarro, York Theatre Company, Bucks County Playhouse, Broadway in Chicago), and the world premiere of Cheryl Stern's Shoes & Baggage (The Cell). With New York Theatre Barn, Joe produced the new musical Sam's Room, inspired by real stories of nonverbal teens who find a way to communicate.

Joe Barros (joebarros.com)(IG:@bisforbarros)(TW:@joebarros)(LI:@joe-barros) is a New York-based stage director and award-winning choreographer working on Broadway, Off-Broadway, regionally, and internationally. Joe recently directed and choreographed two national tours of A Charlie Brown Christmas (Gershwin Entertainment), the new musical Love and Yogurt in New York, the musical Aida in Singapore, and A New Brain at Five Towns College on Long Island. New York credits include the Broadway revival of Gigi (associate director, directed by Eric Schaeffer) starring Vanessa Hudgens and Victoria Clark, Cagney (associate director, directed by Bill Castellino), the New York premiere of Dan Elish and Douglas Cohen's The Evolution of Mann Off-Broadway (starring Max Crumm and Allie Trimm, cast recording on iTunes and Spotify), the world premiere of Marc Acito and Amy Engelhardt's critically acclaimed rock musical Bastard Jones Off-Broadway, Nine at CAP21/Molloy College, Out of the Box Theatrics' Alice in Alice's (Alice in Wonderland at Alice's Tea Cup with a company of actors with disabilities, co-writer, world premiere at Weathervane Theatre), I Married Wyatt Earp at 59E59 Theatres (Prospect Theater Co./NY Theatre Barn), Hard Times (NY Innovative Theatre Award Nominee for Best Choreography, NY Times Critics' Pick), Debra Barsha and Hollye Levin's A Taste of Things to Come (associate director, directed by Lorin Latarro, York Theatre Company, Bucks County Playhouse, Broadway in Chicago), and the world premiere of Cheryl Stern's Shoes & Baggage (The Cell). With New York Theatre Barn, Joe produced the new musical Sam's Room, inspired by real stories of nonverbal teens who find a way to communicate.

For Video Edition, Please Click and Subscribe Here: https://youtu.be/k_P-Ox_Z7-w With the energy of a teenager, the wisdom of a sage, and the memory of a super hero, Marilu Henner has done it all. Along with starring in sixty-eight films and two hit classic sitcoms, Taxi and Evening Shade, this five-time Golden Globe Nominee is the New York Times Best Selling author of ten books on health, parenting, memory, and lifestyle improvement. Her books Total Health Makeover, The 30-Day Total Health Makeover, I Refuse to Raise a Brat, Healthy Life Kitchen, Healthy Kids, Healthy Holidays, Wear Your Life Well, By All Means Keep On Moving, Total Memory Makeover, and Changing Normal: How I Helped My Husband Beat Cancer have changed the lives of millions in her quest to make the world a healthier place. Her theatrical credits include Broadway: Gettin' the Band Back Together, Tale of the Allergist's Wife, Chicago, Social Security, Pal Joey, Grease, and Over Here. Marilu was in the original production of Grease in Chicago and created the role of Marty. She also sits on the board of Bucks County Playhouse where she recreated her Broadway role in Tale of the Allergist's Wife. MICHAEL ORLAND is thrilled to have been a part of the mega-hit TV show AMERICAN IDOL for 16 seasons as the Pianist, Arranger, Vocal Coach, and Associate Musical Director both on FOX and ABC. In between those seasons were stints as Music Director/vocal coach on LITTLE BIG SHOTS and FOREVER YOUNG, both hosted by Steve Harvey. Through these amazing opportunities, Michael has appeared on OPRAH, ENTERTAINMENT TONIGHT, ACCESS HOLLYWOOD, and a record number of appearances on THE ELLEN SHOW. At the end of every IDOL season, Michael also accompanied the top 3 contestants to New York for appearances on LIVE WITH KELLY & REGIS (and MICHAEL and RYAN) and more.

Michael Maliakel, lead actor of the Broadway show Aladdin, joins Jerry on the podcast to share his story of growing up South Asian in New Jersey where "never allowed himself to dream of being on Broadway" to how following his passions and dreams to find his way to one of the biggest stages on Broadway.  Meet MichaelMichael Maliakel (Aladdin) made his Broadway debut as Aladdin on Broadway in September 2021. He recently toured the country in the 25th anniversary production of The Phantom of the Opera. His stage credits include the national tour of The Phantom of the Opera (Raoul u/s), Anything Can Happen: The Songs of Maury Yeston in New York, Other World at the Bucks County Playhouse; Mira Nair's Monsoon Wedding at Berkeley Rep; She Loves Me at PlayMakers Rep; and Bernstein's MASS at the Ravinia Festival. He also appeared on “Bull” (CBS) and “FBI” (CBS). "Big thanks to my family, Michael Kirsten, HCKR, & the Tara Rubin team. Sarah – all my love. Look ma, we made it! Representation matters."(Source: Broadway.com)Connect with MichaelInstagram: https://www.instagram.com/michaelmaliakel/Web: https://aladdinthemusical.com/About Aladdin:Aladdin opened on Broadway to critical acclaim at the New Amsterdam Theatre on March 20, 2014 and quickly established itself as one of the biggest new blockbusters in recent years, breaking 14 New Amsterdam Theatre house records. Worldwide it has welcomed more than 10 million people and grossed over $1 billion. By the end of 2021, it will be playing in Holland, Germany and Mexico, in addition to Broadway.Aladdin, adapted from the animated Disney film and centuries-old folktales including “One Thousand and One Nights,” is brought to fresh theatrical life in this bold new musical. Aladdin's journey sweeps audiences into an exciting world of daring adventure, classic comedy and timeless romance. This new production features a full score, including the five cherished songs from the Academy Award-winning soundtrack and more written especially for the stage.The animated film Aladdin was released by Disney in 1992 and was a critical and box office smash, becoming the highest-grossing film of the year. The film won the Oscar for Best Original Score and introduced the hit song “A Whole New World,” which won the second of the film's two Academy Awards as Best Original Song. The Peabo Bryson/Regina Belle recording of the tune soared to #1 on the Billboard Hot 100 chart.// Support Dear Asian Americans:Merch: https://www.bonfire.com/store/dearasianamericans/Buy Me a Coffee: https://www.buymeacoffee.com/jerrywonLearn more about DAA Creator and Host Jerry Won:LinkedIn: https://www.linkedin.com/in/jerrywon/Instagram: https://www.instagram.com/jerryjwon/// Listen to Dear Asian Americans on all major platforms:Transistor.fm: http://www.dearasianamericans.comApple: https://apple.dearasianamericans.comSpotify: https://spotify.dearasianamericans.comStitcher: https://stitcher.dearasianamericans.comGoogle: https://google.dearasianamericans.com  Follow us on Instagram: http://www.instagram.com/dearasianamericans Like us on Facebook: http://www.facebook.com/dearasianamericans Subscribe to our YouTube: http://www.youtube.com/dearasianamericans // Join the Asian Podcast Network:Web: https://asianpodcastnetwork.com/Facebook Group: https://www.facebook.com/groups/asianpodcastnetwork/Instagram: https://www.instagram.com/asianpodcastnetwork/Dear Asian Americans is produced by Just Like Media:Web: http://www.justlikemedia.comInstagram.com: http://www.instagram.com/justlikemedia

Cindy Williams' one-woman show, Me, Myself, and Shirley, is touring the country. It will play the Duke Energy Center in Raleigh on April 16. For more information visit https://www.memyselfandshirley.com/ (https://www.memyselfandshirley.com/). About the Guest Born in Van Nuys, California, Cindy became interested in acting during high school. After graduation she attended L.A. City College where she majored in Theatre Arts. After leaving college, she landed her first television roles on Room 222, Nanny and the Professor and Love, American Style. Some guest-starring roles include Law & Order: SVU, 7th Heaven and 8 Simple Rules. Other appearances include starring in an episode of The Odd Couple for CBS, A Dream of Christmas for Hallmark Channel and Sam and Cat for Nickelodeon. Cindy's stage credits include the national tour of Grease playing Miss Lynch, the national tour of Deathtrap with Elliot Gould, The Female Odd Couple with Joanne Worley, Steel Magnolias as Ouiser Boudreaux and, in 2007, she made her Broadway debut in the role of Mrs. Tottendale in the award-winning musical The Drowsy Chaperone. She also appeared as Rev. Mother Mary Regina in Nunsense and Nunset Boulevard: The Nunsense Hollywood Bowl Show. Cindy appeared in Menopause: The Musical in Las Vegas for three years, then reprised her role at the Ogunquit Playhouse in Maine. She also co-starred in the premiere of Middletown with Don Most, Didi Conn and Adrien Zmed at The Smith Center for the Performing Arts in Las Vegas and at The Bucks County Playhouse in New Hope, Pennsylvania. Cindy has enjoyed the privilege of working with extraordinary directors. Her first film was for Roger Corman in GAS-S-S-S with Talia Shire and Ben Vereen. She appeared in Travels with My Aunt with Maggie Smith, directed by George Cukor, and The Conversation with Gene Hackman, directed by Francis Ford Coppola. Next, she co-starred with Ron Howard, Richard Dreyfuss and Harrison Ford in American Graffiti directed by George Lucas, a low-budget film that went on to become a box office smash and film classic. Among her favorite honors are her star on the Hollywood Walk of Fame, her TV Land award for Fan Favorite as well as winning Best Actress at the L.A. Comedy Film Festival for the Indy film Stealing Roses. Cindy also garnered a BAFTA (British Academy of Film and Television Arts) nomination for best supporting actress in American Graffiti. Unfortunately, she was beat out by Ingrid Bergman. Cindy still wonders how the heck that happened. Cindy's book Shirley, I Jest!: A Storied Life was released to much critical acclaim and is available in paperback. Connect with Us Facebook @beltlinetbroadway Twitter @beltlinetobway Instagram @beltlinetobroadway

For Video Edition, Please Click and Subscribe Here: https://youtu.be/Ap7xJQGyx6g Rita Gardner is a renowned singer, teacher, and actress of stage and screen with a long career spanning many years of exciting projects Gardner made her stage debut Off-Broadway in Jerry Herman's musical review Nightcap before her breakout turn as Luisa in the original cast of The Fantasticks in 1960. Gardner made her Broadway debut in the short-lived musical (65 performances) A Family Affair in 1962 as Sally Nathan. She held many roles on Broadway including understudying roles in On a Clear Day You Can See Forever (1965), The Last of the Red Hot Lovers (1969), and Morning's at Seven (2002) (understudy for Cora and Esther). She had a featured role as Rosie in The Wedding Singer in 2006, with three musical numbers including the song "Move that Thang". Gardner's regional theatre credits include Show Boat and The Impossible Years at the Bucks County Playhouse in New Hope, Pennsylvania (1983), the musical Lucky in the Rain at the Goodspeed Opera House (1997), and Eleanor: A Love Story at Ford's Theatre in Washington, D.C. (1999). She appeared in the national tour of Kiss of the Spider Woman (1994). She gave a critically acclaimed performance in Murderers at The Cincinnati Playhouse (2007). In 2002 she appeared in her one-woman revue Try to Remember: A Look Back at Off-Broadway at the Sullivan Street Playhouse in New York City on Saturday evenings. The revue includes ballads from The Fantasticks. She performed the revue at the Metropolitan Room in New York City in 2011 and had to cancel the revival of the revue in 2020 due to Covid-19. Gardner's television credits include appearances in Law & Order, Law & Order: Special Victims Unit (on season one episode 18) and Law & Order: Criminal Intent. 

Actor Rob McClure (Mrs. Doubtfire, Beetlejuice, Avenue Q) stops by Baring It All with Call Me Adam for a great chat about : His Bucks County Playhouse Concerts Mrs. Doubtfire Broadway Avenue Q Stage Mishaps Living in Philadelphia Commuting Mishaps Getting Through Rough Times Family Rob McClure will be performing two concerts, entitled Smile, at Bucks County Playhouse on February 19 & 20. Click here for tickets! Mrs. Doubtfire returns to Broadway on 3/15. Click here for tickets! Connect with Rob: Twitter Instagram YouTube Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me @callmeadamnyc on Facebook, Twitter and Instagram Visit: https://callmeadam.com for my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva, Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Adam Rothenberg Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on Rob: Rob McClure received Tony, Drama League, Astaire, and Outer Critics Circle nominations and won Theatre World and Clive Barnes awards for his performance in Chaplin. Other Broadway: Beetlejuice, Something Rotten!, Noises Off, Honeymoon in Vegas, I'm Not Rappaport, Avenue Q. Encores!: Where's Charley? and Irma La Douce. Regional: The Muny, Paper Mill, The Old Globe, Arden, Cleveland Playhouse, A.R.T., Walnut Street, Delaware Theater, Flat Rock, McCarter, La Jolla. Film: Recursion (Best Actor at Queen's World and Williamsburg film festivals). TV: Julia, Servant, Evil, The Bite, Nancy Drew, Person of Interest, Elementary, The Good Fight. P.S. This interview was originally presented on Instagram Live Learn more about your ad choices. Visit megaphone.fm/adchoices

Intro: buzzsaws and clean slates, rage, Where the Wild Things AreLet Me Run This By You: MoneyInterview: We talk to Carole Schweid about Juilliard, Phoebe Brand, John Lehne, Michael Brand, Midnight Cowboy, musical comedy performance, open dance calls, starring in the original cast of A Chorus Line, Bob Fosse, Pat Birch, Martha Graham, Minnie's Boys, Mervyn Nelson, playing Fastrada in the first national tour of Pippin, being a lone wolf in theatre, Lewis J. Stadlen, doing West Side Story at Bucks County Playhouse, Shelly Winters, Mary Hinkson, Nellie Forbush in South Pacific, playing Tzeitel in Fiddler on the Roof, Peppermint Lounge, Nick Dante, Michael Bennett, Marvin Hamlisch, Public Theater, Gerry Schoenfeld, The Shubert, the wish for a job vs. the real experience of working, Theda Bara & The Frontier Rabbi, Agnes de Mille, Play With Your Food, Staged Reading Magic, Albert Hague.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it. 20 years later,2 (16s):We're digging deep talking to our guests about their experiences and trying to make sense1 (20s):If at all we survived theater school and you will too. Are we famous yet? As more space is actually a huge thing.2 (36s):Yeah. I have to apologize for the sound of buzz saws. What is going to be going the whole time I'm talking, doing well, you1 (50s):Took some trees down, right.2 (53s):You know, that's how it started. Yeah. It started with actually, you know, it all was a surprise to me, basically one we've been talking about taking down all the trees in the front of our house. And one day Aaron said, they're coming tomorrow to take down the trees. And I'm like, how much did that cost? Because you know, taking down trees is usually really expensive. And so he says, well, he's going to do everything in the front for whatever. It was $5,000.1 (1m 22s):Yeah. She was pretty good for more than one tree. Cause one tree we had removed was $5,000 at my mom's.2 (1m 28s):Well, and it's not like they have to extract the whole tree. It's just, you know, just chopping it down. Like it's not, I don't know if it's different when they have to take out the, yeah,1 (1m 38s):I think it is when they have to take the stump out the roots and all that.2 (1m 43s):So that was fine. Although I did think to myself, Hmm. We have $5,000 to spend and this is what we're spending it on.1 (1m 54s):I've been there. Oh, I've been there2 (1m 56s):So the morning, but I'm letting it go. And so the morning comes and he tells me to go outside so we can talk about the trees and, and, and I, anyway, we, we designate some trees and they're all in the lower part of the front of our house.1 (2m 10s):Yes. You, and by the way, for people that don't know, like you have a lot of land for, for, for, for not being in the super super country, you have a lot of courage. I mean, you got a lot of trees.2 (2m 21s):Well, yeah, we have an acre and it's a lot of trees and it's a lot of junk trees. What they call junk trees. Because the idea here is once upon a time, when everybody got their heat from wood, you had to have fast growing trees. So it's these skinny trees. Yeah. Anyway, so I thought we were sort of on the same page about what we were going down. This is where I'm getting with this. And I had a couple of meetings yesterday and I was hearing the sound pretty close, but it wasn't until I looked outside that I saw, they took everything out.2 (3m 1s):The, every living thing out in the, in the front, in front of our house, including the only tree I was really attached to was I have a beautiful lilac tree.1 (3m 14s):Okay. Oh shit. And everything out.2 (3m 21s):What's that? Why they1 (3m 22s):Take everything out? Is that the plant? I think,2 (3m 25s):I think what happened was for the first couple of days, the boss was here. And then I think yesterday, the boss was like, you guys just go and finish up. And I don't know that anyway, you know what, I'm just choosing it to be, I'm choosing to look at it like, okay, well we're getting to start over and it can be exactly how we want it to be. So yeah,1 (3m 45s):That is a great attitude because there's nothing you can do you really do about it? Absolutely. Zero. You can do about threes coming out.2 (3m 53s):The only bummer is that it sounds like buzz saws all day at my house and at my neighbor's house, I'm sure they're annoyed with us too. Well,1 (4m 2s):What are you going to put? It is. Okay. So, so, okay. The good, that's the sort of wonky news, but what the good news is, what are you going to put in? Like, is there going to be a whole new,2 (4m 12s):I think it's just going to GRA, I mean, I think it's just going to be grass, which is fine. I mean, my thing was actually, it does a little bit of a metaphor because when we first moved here, we loved how quiet and private and everything is. And part of why everything feels very private at our house is there's trees and bushes blocking our view of anything. I mean, all we can see is trees and bushes when we're laying on the front, which for a while seemed cozy. And then it started to seem like annoying that we could never see. And actually there's kind of a really beautiful view of the mountains behind us. So our mountains Hills.1 (4m 51s):Yeah. But I mean, small mountains, like small2 (4m 53s):Mountains. Yeah. So I realized that it does coincide with our psychological spelunking and trying to just be like more open about everything. Like totally. You know what I mean? Like this is just be open to people seeing our house. This is open to seeing out and let's have, and actually my kids were kind of like, oh, but it's just also open and we don't have any privacy. And I'm like, yeah, well you have your room and bathroom. I mean, there's, there's places to go if you don't want people to, to see you, but let's just be open.1 (5m 31s):There's like a whole, yeah. It's a great metaphor for being visible. Like I am all about lately. I have found a lot of comfort and refuge in the truth of the matter, even if it's not pretty, even if I don't actually like it. So like getting the facts of the matter and also sharing the, of the matter without a judgment. So I appreciate this, like wanting to be seen and then letting go of what people make of that, whether your house is this way or that way, or the neighbors think this or that, I'm also the, I I'm all about it.1 (6m 15s):I'm like, you know, this is, there's something about transparency. That's very comforting for me. It's also scary because people don't like it when they can see, or they can say whatever they want, but the hiding, I think I'm pretty convinced hiding from myself and from others leads to trouble.2 (6m 37s):It leads to trouble. And any time you're having to kind of keep track of what you're, you know, being open about and what you're not, and what you've said, you know, it just it's like it's T it's listen. If I only have a certain amount of real estate in my mind, I really don't want to allocate any of it too. Right. Hiding something and trying to remember. Right.1 (7m 1s):And it's interesting, the more that we do this podcast, the more I see that, like, you know what I thought gene, I thought when we're dead, this podcast is going to remain. And then our children's children's children. I mean, I don't have kids, but my nieces and nephew and your children's children's children will have a record of this. And, and I'd rather it be a record of the truth, the truth and transparency, then some show about pretending. So I think it's going to be good for them to be able to look back and be like, for me, it's like the, my crazy aunt, like, what was she doing? And what did she think? And, and, oh my God, it's a record of the times too.1 (7m 43s):Yeah.2 (7m 43s):I think about that kind of a lot. And I think about, of course I say all this and my kids are probably like going to be, have no interests unless the, until they get to a certain age, I mean, I'll put it to you this way. If I could listen to a podcast of my mother in her, you know, in the time that I don't really the time of life, certainly before I was born, but in my life where I still didn't see her as a person until, you know, I'd love to just things like what her voice sounded like then, and that kind of thing. I mean, it's interesting.1 (8m 16s):I have nothing of my mom, like we have a very few, it was interesting because we didn't, you know, we, there was not a lot of video of my mother and today's actually the 10th anniversary of her passing.2 (8m 28s):Oh, wow. Wow. That's hard.1 (8m 31s):It is hard. You know, it is hard. And I'm working through, I started therapy with a new therapist, like a regular LCSW lady. Who's not because my last guy was an Orthodox Jewish man who wanted me to have children. Like it was a whole new, I just got involved in all the Shannon Diego's of like weirdness. I attracted that weirdest and whatever. So this lady is like a legit, you know, therapist. And they only bummer is, and I totally understand she's on zoom, but like, I I'm so sick of like, I would love to be in a room with a therapist, but I get it. She's in, she's an older lady, which is also great. I was so sick of having like 28 year old therapists.1 (9m 13s):Yeah,2 (9m 13s):Yeah, yeah. For sure.1 (9m 16s):I don't even seem right. Unless clients are like, you know, fit seven to 17. So anyway, so, but all this to say about my mom, I was thinking about it and I think what's harder than right. My mom's death right now is that there's I just, you know, and this is something I wanted to bring up with you is just like, I have a lot of rage that's coming up lately about my childhood and we weren't allowed to feel rage. And my mom was the only one allowed to feel rage. And so this rage mixed with perimenopause slash menopause. I mean, like I still get a period, but like, it's, it's a matter of time before that's over.1 (9m 58s):So, but the rage, so I guess, right. I get, you know, people like to talk about rage as some or anger as something we need to process and we need to do this and that, but the truth of the matter is since we're being transparent, like rage can be really scary. Like sometimes the rage, I feel, it's not like I'm going to do anything. Why wonky? I hope, but it's more like a, I don't know what to do with it. That is my, and I was talking in therapy about that. Like, I'm not actually sure. Practically when the feelings come up, what to do with rage. And I feel like it speaks to in our culture of like, we're all about now, this sort of like, we talk about this fake positivity and shit like that.1 (10m 41s):And also like embracing all your feelings, but there's not really practical things that we learn what to do when you feel like you're going to take your laptop and literally take it and throw it across the room and then go to jail. Like you, you. So I have to like look up things on the internet with literally like what to do with my rage.2 (11m 1s):I think that's why that's part of my attraction to reality. Television shows is a, is a performance of rage. That's that I wouldn't do just because I don't think I could tolerate the consequences. I mean, an upwards interpretation is, oh, it's not my value, but it's really just like, I don't think I can manage the content of the consequences. I'm totally at having all these blown up1 (11m 30s):And people mad at me and legal consequences. I can't,2 (11m 35s):It's something very gratifying about watching people just give in to all of their rage impulses and it's yeah. I, it it's, it may be particularly true for women, but I think it's really just true for everybody that there's very few rage outlets, although I guess actually maybe sports. Well, when it turns, when it turns sideways, then that's also not acceptable.1 (12m 3s):Yeah. I mean, and maybe that's why I love all this true crime is like, these people act out their rage, but like lately to be honest, the true crime hasn't been doing it for me. It's interesting. That is interesting. Yeah. It's sort of like, well, I've watched so much of it that like now I'm watching stuff in different languages, true crime. And I'll start again. No, no, just stories. I haven't all been the only stories that I haven't heard really, really are the ones from other countries now. So I'm watching like, like true crime in new, in Delhi.2 (12m 42s):Do you need your fix? I actually was listening to some podcasts that I listened to. There's always an ad and it's exactly about this. It's like, we love true crime, but we've heard every story we know about every grisly murder, you know, detail. And it was touting itself as a podcast of, for next time I listened to it. I'll note the name of it so I can share it with you. You know, about this crimes. You haven't heard about1 (13m 9s):T the thing is a lot of them now, because I'm becoming more of a kind of sewer. Like a lot of it is just shittily made. So like the, the they're subtitled and dubbed in India, like India. So you've got like the, the they're speaking another language and then they're and if they don't match, so then I'm like, well, who's right. Like, is it the dubbing that's right. Or the subtitles that are right. And, and actually the words matter because I'm a writer. So it was like one anyway, it's poorly done is what I'm saying in my mind. And so it sort of scraped scraping the bottom of the barrel. It's like deli 9 1 1. I swear to God. That's what it, and, and it's, and also it's, it's horrifying because the, you know, the legal systems everywhere fucked, but India has quite a system.2 (13m 57s):I think that to the rage, like, tell me more about what comes up for you with rage and where you,1 (14m 6s):Yeah. Okay. So some of it is physiological, like where I feel literally like, and I think this is what my doctor's talking about. The menopause symptoms. I literally feel like a gnashing, my teeth. Like, I feel a tenseness in my jaw. Like, that's literally that. And she's like, that could also be your heart medication. So talk to your heart doctor. I mean, we're checking out all the things, but like, but it's tension. That's what it really feels like in my body is like tight tension where I feel earth like that. If I had to put a sound effect to it, it's like, ah, so I, I feel that is the first symptom of my rage. And then I feel like, and, and I say out loud, sometimes I hate my life.1 (14m 54s):That's what I say. And that is something I have never allowed myself to say before. Like I, I think unconsciously, I always told myself, like, you just, you have to be grateful and you know, those are the messages we receive, but sometimes life just fucking sucks. And sometimes my life, I just, I just can't stand. And, and in moments, you know, I never loved myself. So it's mostly a physical symptom followed by this is intolerable, what someone is doing. Sometimes my dog or my husband, but even, even if the coworking space, you know, like the lady was talking too loud and I was like, oh my God, this is intolerable.1 (15m 34s):She has to shut up. So agitation, that's what it is. And, and then it passes when I, if I, if I can say, oh my gosh, I am so fricking in Rouge right now. Then it passes.2 (15m 52s):Yeah. Well, it, it kind of sounds like from, from you and probably for most people, the only real option is to turn it in on yourself, you know, like you're not going to put it elsewhere. So you've, you know, you have, which is, so I guess maybe it's okay if you turn it on yourself, if you're doing, if you're working, if you're doing it with acceptance, which is the thing I'm gathering from you, as opposed to stewing and festering. And1 (16m 21s):I mean, it becomes, it's interesting. Yes, it is. So it's like, so red, hot, and so sudden, almost that the only thing I can do is say, okay, this is actually happening. Like, I can't pretend this isn't happening. I, it I'm like physically clenching my fists. And then I, yeah, there is a level of acceptance. I don't get panicked anymore. Now that I, that something is wrong. I just say, oh, this is rage. I name it. I'm like, I feel enraged and white, hot rage, and then it, and then it, and then I say, that's what this is.1 (17m 3s):I don't know why. I don't know where it's coming from. Right. In this moment. It's not proportionate to the lady, like literally talking on the phone at my coworking space that she's not shouting. So it's not that. And I don't want to miss that. I'm not like I can't fool myself to think that it's really, that lady's problem. That I feel like throwing my laptop at her head. And then, and then it passes. But, but, but it is, it is more and more. And, and I think a lot of it, not a lot of it, but you know, my doctor really does think that it's, it's hormonal. A lot of it just doesn't help the matter. I mean, it's not like, oh, great. It's hormonal. Everything's fine. But it, it does help to make me feel a little less bonkers.2 (17m 45s):Maybe you should have like a, a whole rage. Like what, like a rate. Well, first I was thinking you should have a range outfit. Like, oh, for me, if I, I noticed I pee in the winter anyway, I pick like my meanest boots and my leather jacket. When I'm feeling, you know, maybe say maybe kind of a rage outfit, when did Pierce?1 (18m 9s):No, I, I scratched myself in my sleep. Oh no, it's okay. It happens all the time. I do it in my sleep. It's a thing that it's like a little skin tag that I need to get removed. It's2 (18m 23s):So you could have a rage outfit and then you could have a rage playlist, And then you might even have like rage props. I'm just trying to think about a way that your ma you, you could write because if, if how you process something is artistically creatively, then maybe you needed a creative outlet that's specifically for, for race.1 (18m 48s):Yeah. And you know, the, I, I love that. And now I'm thinking about like, as a kid, we, because we, anger was so off limits to us. I used to violently chew gum. Like I would chew on the gum. That was a way, and my mom did the same thing, even though she also got her rage out, but it was like, you know, when people violently chew on their gum, like that was a way I could get my aggression out. That's so sad that that's like the only way.2 (19m 16s):Well, I mean, you find it wherever you can find me. It's like water looking for whatever that expression is, right? Yeah. Huh. Well, I have to get more in touch with my rage because I I'm told that I seem angry a lot.1 (19m 33s):You do.2 (19m 35s):I, I do get told that, but, but that sucks for me because I feel like I'm not expressing my anger and I'm, but I'm not. So I'm not, and I'm being seen as angry at certain times. So that means I didn't even get the benefit of like letting out the anger that somebody is.1 (19m 56s):Right. You didn't even get to act out the anger. It's like, yeah. So for me, miles tells me that all the time, like, he's like, you seem really in couples therapy. Also, I have to admit yesterday was a big day. We had couples therapy on zoom. Then I had individual therapy. And in between I had all kinds of like, just stuff happening. So, but yeah, I'm told I a miles is like, you seem so angry and he's not wrong. And, and we take it out on the people that we live in a two by four apartment with. So I also feel like this office space is helping with that, but yeah, I dunno, I'm going to have to keep exploring my, my rage and that's what it is.1 (20m 37s):And also it is like, I am the character in where the wild things are that kid, that is what I feel like. And it feels it's like the perfect cause he wants to gnash his teeth and, and he does, and a thrash, thrash, thrashing mash, or the words 2 (21m 6s):Let me run this by you that I wanted to do when we're going to talk to Molly that we didn't get to do. And it was based on made, you know, and just about money and, and wondering like what your relationship is right now with money. And also, but when were you at your lowest with money? What do you remember as being your lowest moment? Sure, sure. With money with money.1 (21m 40s):Okay. I have moments of what first comes to mind was when right. I was at DePaul. So it's an apropos in college and there was obviously a sense. I had a sense of lack, always, even though based on whatever, but it was phone. Somehow my accounts were always negative, right? Like, and I would call the number, the banking number, incessantly to check, and it would always be negative. So I have this panic thoughts about that. Like being a time of like, and that's not the only time that happened like that.1 (22m 23s):Where, what is the feeling? The feeling was that, and this was in college where it started to happen, where I felt like there's never enough. No, one's going to help me. I'm irresponsible with money. Was the message I told myself and I probably was, I was in college, but I can't handle money. And literally that, that panic was also, I mean, it was true. I had no money, but my parents would have backed me, probably helped me out, but I was too scared to ask for help. So that's like, that's when, when you asked that question, that's where I go.1 (23m 4s):But, but that's also a college kind of me. So like in terms of an adult, me, that's a really great, great question. My lowest, I don't know. What about you?2 (23m 22s):Well, I've got a lot of Loma Loehmann's moments with money when I was in high school. The thing was, I lost my wallet all the time.1 (23m 35s):Oh, I remember this. I remember you talking about,2 (23m 38s):Yeah, that'd be still lose stuff all the time. That actually started at a young age with, you know, my mom would, she, my mom was really into jewelry and she would buy me destroyed. And there's nothing wrong with the fact that she brought me jewelry, but I lost it. You know, she buy me nice gold jewelry1 (23m 59s):Because she likes nice things. That's right. Yeah.2 (24m 4s):In college it was pretty bad. And the first time it was pretty bad. I had to move back in with my mom because I couldn't afford rent. And then the second time I just, I re I really, if I had more bravery, I probably would have signed up to be one of those girls in the back of the Chicago reader. Like, I, I, I just figured what ha how literally, how else? Because I had a job, but I only worked however much I could work given the fact that we were in rehearsals and like busy all day, so I never could make enough money. And then I just, I think I always have had a dysfunctional relationship with money.1 (24m 51s):Wait a minute, but I have to interrupt. Why, why didn't our parents fucking help us? Okay. Look, I know I sound like a spoiled asshole brat, but like, when I think of the anxiety that we were going through and I know your mom did, so I'm not going to talk shit about your mom or anything, but I'm just saying like, why did we feel so alone in this when we were so young, this is not right.2 (25m 11s):Yeah. Well, my mom did help me out as much as she possibly could, but I think part of it too, my dad certainly didn't think it was that. I mean, when my mom was 18 and my dad was 19, they bought a house and had a baby. So I think part of it is, has been like, what's the matter with you? Cause I didn't go to college, you know, that's the other thing. So, so then when I, then I had a period for like 10 years where I always had three jobs, me two, what1 (25m 46s):Did you have enough then? I mean like, could you make rapid enough?2 (25m 49s):I had enough then yeah, I had enough then. But then when Aaron decided he wants to go to medical school, it was really on me to, to bring in the income. I mean, his parents always gave him money. They helped, it was a lot more. I mean, and actually it's why he became a therapist because I thought, well, we're going to be living with no income because he's going to be a student. Right. So I better giddy up and get a job. So the whole time I was in social work school, I was bartending. I remember that. And then I went quickly into private practice so that I could make money.2 (26m 29s):And it turned out to be, it turned out to backfire on me. Tell1 (26m 35s):Me, tell me, tell me more.2 (26m 37s):It backfired in two ways. Number one, I was, I shouldn't have been operating a private practice without my LCSW. I had my MSW and I was working at the time in a psych hospital. And all of the psychiatrist said, you should start your private practice. You should start your private practice. And I remember saying at the beginning, I don't know if I'm allowed to oh yes, yes. You definitely can. I know tons of MSWs into plenty of people and it's true. I don't know if it's still true now in New York, but at that time you could walk around and see plenty of nameplates for offices where somebody in private practice and that just have an MSW.2 (27m 18s):They just had to have a supervisor1 (27m 19s):Or something.2 (27m 22s):I don't know. Okay. I dunno. Right. So that ended up coming to haunt me when a disgruntled patient. And they're all disgruntled in some way, a family who actually had been swindled by a con artist, like they, they were a blue blood, rich ass family and they got swindled by a con artist. And so they were talking about rage. They had a lot of rage about that. When this guy who was paying for his daughter's treatment, didn't think it was going where, you know, he wanted it to right.2 (28m 4s):He started pushing back about the fee and then he was submitting to his insurance company and they were not reimbursing because I didn't have the LCSW. So then he reported me to the New York state office of professional discipline or1 (28m 21s):Whatever yeah.2 (28m 21s):Regulation or whatever. Yeah. And I ha I had to go through a whole thing. I had to have a lawyer and I had to go, yeah, yeah. It was a nightmare. It was a complete and total nightmare. And I, and I said nothing, but like, yeah, I did that. I did do that. And I did it because I needed to make the money. I mean, in some ways I don't regret it because I did it worked for the time that it worked. And then by the time it stopped working, I was ready to leave private practice anyway. Oh my God. Yeah. But then it also backfired because we were taking in this money, which we desperately needed living in New York city with two kids.2 (29m 3s):And, and we were, we were spending it all and not hold withholding any for taxes. So then that started, that started, that started almost 10 year saga of just, I mean, I, it's embarrassing to even say how much money we've paid in just in fees, compounded fees. Nope. I'm sure. In the last 10 years we've given the government a million dollars.1 (29m 29s):That sounds, that sounds about right. And you know, I think the thing with money too, is the amount of forgiveness I've need to muster up for the financial decisions that I have made. So one of them that I'm super embarrassed about is that, and I, and I hear you when it's like, yeah, I, it, it's embarrassing. I, I, when I did my solo show, I inherited the year that my mom died. My great aunt also died, who I very barely knew. And I inherited like, like a lot of money. Well, to me, a lot, like 50 grand from her, and I spent 15,000 on a publicist for my solo show that did nothing.1 (30m 14s):So I was swindled. Oh,2 (30m 17s):I'm so sorry to hear that. That really did nothing.1 (30m 22s):I could have done it all on my own. I could have done it all on my own, on drugs, in a coma. Do you know what I'm saying? Like, like, come on. So I have done made some questionable decisions. I did the best we did the best we could with, with the information that we all had at the time. I would never make that decision. I wouldn't, I will never make that mistake again. So yeah. Money is very, very, obviously this is so like kind of obvious to say, but it is, it is. So it is a way in which we really, really use it to either prize or shame ourselves. Right. And, and, and w I do it either way, like I do it.1 (31m 2s):Oh, I'm so fancy. I inherited this dough. And then I also do it. It's that thing that they talk about in program, which is like, you're the worm, but you're the best worm for the festival, special worms. And like, you're not a worker among workers. I'm just like the best idiot out there. It's like,2 (31m 18s):Dude. Yeah. And you're making me realize that money might be the only very quantifiable way of understanding your psychology list. The money is like, understanding your psychology through math. It's going okay. If you're a person like me who gets offered a credit card at age 20 totally signs up and, and immediately maxes it out at whatever, to get 27% interest rate. So whatever little thousand dollars of clothes I got, I probably paid $10 for it. And for the longest time. So, so that's me being afraid of the truth of my financial situation, being unwilling to sacrifice, having, you know, whatever, cute clothes being about the immediate gratification of it all and not thinking longterm.2 (32m 15s):Yeah.1 (32m 16s):Okay. Well, not asking for help either. Like, like, I don't know who I'd asked, but someone had to know more than me. I didn't ask my parents. They didn't really know what was happening at, or that just was their generation of like, not teaching us about money. It was sort of like, good luck. Get it together. We got it together. You get it together. Okay. Fine. But like unwillingness and fear to ask, to be taught something about money. Like, I didn't know, Jack shit about credit or interest Jack shit.2 (32m 46s):Yeah. And I recently realized that I'm basically redoing that with my kids, because we supposedly have this allowance. Only one of my kids ever remembers to ask for it because you know, only one of my kids is very, you know, very interested in money, but like, in a way I can understand why the others don't because it's like, well, anytime they want something, I pay for it. I never say sometimes I'll say recently, I've gotten better about saying, if we're going to go back to school shopping I'll especially if the oldest one, I'll say, this is your budget. If you, if you spend it all on one pair of sneakers, then I hope you're okay with your sweat pants that don't fit and wear them everyday for the rest of the school year.2 (33m 31s):Right. But it's, we've, we've just been extremely inconsistent in tying, like, for example, chores to your allowance,1 (33m 42s):It's fucking miserable and hard. And I have trouble doing that for myself. I wouldn't be able to do that for my children. If I had children, I can't not give the dog people food. What are you talking about? How am I going to bring it? Doesn't shock me. We didn't learn the skills and I'm not blaming. I mean, I'm blaming, of course my parents, but I'm also just saying, it's just the facts. If we're going to be that in the truth, like, I didn't learn, I didn't educate myself and nobody educated me. So I'm really learning through trial and error. Mostly error, how to be okay with money. And it is you're right. Like finances, romance, and finance teach us the most about our psychology.2 (34m 24s):Yeah. Yeah. Romance finance. I love that. 1 (34m 28s):I think that my boss at Lutheran social services to say all the time, finance and romance, romance, and finance, that's what all these addictions are about is that's how you see them. I'm like, she's right. I mean, she was, I liked her. She was bonkers, but I liked her. She said some good. She, she also is famous for saying, and she didn't say it, but she would always quote, the, no one gets out of here alive. You know, none of us getting out of here life, we might as well start2 (34m 54s):. Well, today on the podcast, we were talking to Carol Schweid and original cast member of the original production of a chorus line on Broadway. She's got great stories to tell she's a fascinating person. And I think you're going to really enjoy this conversation with Carol Schweid. Exactly. Carol shrine. Congratulations. You survived theater school. I did. You did.2 (35m 34s):And where did you go to theater school. Okay. First of all,3 (35m 38s):Let me just take my coffee, my extra coffee off of the stove and put it on my table. Cause it's gonna burn because we don't want that.4 (35m 51s):Okay. You're I am looking for a cop. If you have one, you know, this is ridiculous.3 (36m 2s):Hi there. Hi. This is a riot that you talk about surviving theater school. I think it's great. Okay. So this is working, right? You can hear me. Yeah, no, totally. A hundred percent. So this is my, I started college at Boston university. I was an acting major, which I loved. I really did, but I, what I loved more than anything was I loved the history of the theater. We had a great professor who told the tales of the gladiators and the, you know, the gladiators on the island and the fighting, and then the island, the survivors, and then the island would slowly sink into the water.3 (36m 45s):What is this? What did I miss? It was the early history of the theater. It was starting on the church steps. It was, you know, the second, whatever all of that history was, I found it really interesting. I also loved the station shop crew stuff. I liked learning about lighting. I was terrible at it. I, you know, I would fall off ladder, but I, I, I enjoyed the backstage stuff as much as I enjoy. I just, I liked it. I, we did the rose tattoo and my, and my first job was to take care of the goat. I was on the prop crew.3 (37m 28s):I took care of the goat. Was it a stuffed goat? No, it was a real goat. Wow. What can I tell you? The rose tattoo. There's a goat in the play. I didn't realize you could have livestock and colleges, college, whatever it was. I look like I have jaundice with is that something's wrong with the light jump I sent you stop your, where is the microphone part of your, do you want me to hold it up better? Because when you move, it hits your shirt and it makes like a scratching, right? That's right. I'll do it this way. I won't move around. When you look tan, you look, you don't like jaundice at all. Okay. Well then that's all right. Good. Thanks. Were the goat handlers.3 (38m 8s):Good to talk to you. I mean, that was, and I didn't mind, I didn't mind being an usher. All of those things, you know, I remember somebody sitting us down and saying, you're you are the first person. The audience we'll meet tonight as an usher. I took all of the stuff I did, but the acting business was very confusing to me. I didn't quite know. I had done a lot of theater and dancing and been in the shows and stuff, but I really, I was a little more of a dancer than an actor. I'd taken class in the city. I'd followed some cute guy from summer camp to his acting class. But half the time, I honestly didn't understand a word.3 (38m 48s):Anybody said, I just, nobody does. I really didn't get it so much at the time I loved it, but I didn't always get it. And for some reason, and I have no idea where this, why this happened. I had a boyfriend in summer stock whose mother worked at Barnard and her best friend was a woman named Martha Hill. Martha Hill ran the dance department at a school called Julliard. Nope. I had no idea. Cool. Just a little, nothing school. This is back in the day. It's a long time ago. It was just a plain old school. It wasn't like a school, you know, where you bow down. And I really was a very good dancer and always loved dancing.3 (39m 33s):You know, I've been dancing since I'm like a kid, a little five or six or whatever. So I was a little disenchanted with my successes at Boston U even though I had friends, I was having a great time. I mean, Boston in the late sixties was amazingly fun, but I felt like I wasn't getting it. I mean, it wasn't a school that was cutting people. Thank God, because that would have been torture. I don't know how anybody survives that, but I audition for this dance department in this school called Juilliard and got in and then told my parents that I was going to change colleges. I remember making up a dance in the basement of my dorm in Boston.3 (40m 17s):Cause you had a sort of take class and then you had to show something that you should have made up. And somebody else from college was leaving school to come to New York to be a singer. So we decided we were going to be roommates. And then we had a summer stock. Somebody at BU started some summer theaters. So I had a job or two, I think I had some friends from there. So I ended up moving, changing colleges and going to Juilliard. And I spent three years there. I was a modern dancer major. So we had the Limone company, including Jose Lamone wow teachers and the Graham company.3 (40m 59s):I mean, Martha, Martha Graham did not teach, but her company did as a winter and Helen, I was Helen McGee. One of the, they were maniacs. I mean, they're, they're like gods and goddesses and their whole life is about dance. And I was one of those demonstrators for her eight o'clock beginning class, my third year of school. I mean, I, it was all about technique. We had amazing ballet teachers. We had Fiorella Keane who, I mean, Anthony tutor taught class there and he was Anthony. I mean, so I got a out of being at that school that I have never lost. I mean, I can, I'm making up the answers for high school kids now really.3 (41m 42s):I'm just finishing up a production of grease, which is really kind of boring, but whatever I liked Greece, tell me more. Yeah. It's okay. If you hear it enough, you really get sick of it. Well, that's true. Yeah. I mean high school kids doing high school kids is like, Jesus, God, you just want to slit your throat. The moodiness when it comes to the girls. I mean, I love them. I really love them. I love the guys because puppies, they fall all over each other and they're fabulous, but that's a lie anyway. So I did something that I don't know why I did it and how it worked out. That way I left. I had a very best friend in college that was, you know, and I came to New York and made, made and shared an apartment with this slightly crazy woman.3 (42m 32s):And a year later I got myself a studio apartment on west end avenue and 71st street. And my mom co-signed the lease. And I spent three years dancing, honestly dancing almost every day. I wanted to take sights singing, but they wouldn't let me because I was in the dance department. And I didn't know, you could advocate for that. Sure. I didn't know. You could take classes at Columbia. I mean, who had time anyway, but was it a three-year program? It was a four year program, but I had taken a music class at BU that was like music appreciation one. Yeah. And for whatever reason, they gave me credit for that.3 (43m 14s):So I had a full year credit. Yep. Three years of Juilliard where I really worked my tail off. What's weird about it is that I am, you know, just a plain old Jewish girl from New Jersey, you know, a middle-class Jewish girlfriend. And to, to think that I could have a profession where people don't talk and don't eat, which is what the answers do is a riot to me. Yeah. Yeah. It's an absolute riot because you know, I mean, that should be basically the manual for dancers. Don't talk, don't eat, but I always knew that I was heading to Broadway. I really have always wanted to do that.3 (43m 55s):And I, and, and w was not really ever in question that I would, I somehow assumed if I worked hard and figured it out enough, I would find my way to working on Broadway. And I, and I made the right choice in the sense of switching colleges. Because in the seventies, if you look at your list of Broadway shows, all the directors were choreographers. They were all dancers, all of them Fauci, Michael Bennett champion, all of them. So I started working when I got out of school, you know, it was, and I had already done a couple of summers of summer stock and I did a summer Bushkill pencil, you know, these ridiculous, stupid theaters all over, but it was a blast.3 (44m 36s):It was fun. Where, what was your first job out of school? I was still, I was in school and it was the Mount Suttington Playhouse, which was like a tin shell in Connecticut. And I think it was still in college. Cause two guys from school had opened this theater at the skiing place, but it wasn't skiing. Then it was a sh it was like a tin shell. So couldn't really do a show when it was raining very well. And I believe it was stopped the world. I want to get off and I can still remember the Alto harmony to some of the songs. So you okay. Wait, so you don't consider, you didn't consider yourself a, an actor or did you?3 (45m 20s):Well, I did, but I think what happened was I had to audition for something. It'd be you like, they had grad programs and it wasn't that I was unsuccessful there, but somebody came and I didn't get cast. I didn't get hired. And I didn't understand, you know, like they give you all these acting exercises. We do sense memory. Well, I didn't know they were exercises. I didn't, they were they're like plea aids. Right. They're like learning things. I took this all very seriously. I would stand in a room and try to feel it was like that song from chorus line, you know, try to feel the emotion, feel the, yeah, yeah, yeah, yeah.3 (46m 5s):I did all of that. I didn't really understand the simple, what am I want here? And what's in my way of trying to get it. Yeah. It took me so long to find teachers that I really could understand and make me a better actor. So when did you find them? When did you start to find them? Oh, that's interesting. Well, I found a couple of good teachers in New York. I mean, honestly there was a woman named Mary Tarsa who had been in the group theater and an older lady. I mean, it's a long time ago anyway, you know, but I remember sitting in her class and she would talk about using imagery and th and I started to sort of understand a little bit, which is amazing to me because after I moved to Westport and I met, do you know the name Phoebe brand?3 (46m 58s):Yeah. Phoebe brand was in our theater workshop. Oh, taught a class. She was already up in her eighties and she taught a class, a Shakespeare class on Sunday mornings. And all of a sudden these things that I didn't understand from decades before. Hmm. It sort of pulled it all together. But for me, I went, I was in California after I got married and moved to LA for a couple of years, found a teacher named John LAN and Lee H N E and two years in his class. I started to really understand how to do it. And then when I came back to New York, he sent me to Michael Howard and Michael Howard, Michael Howard was a great teacher for me.3 (47m 44s):He's still a great, I don't know if he's still around if he's teaching or not, but he was a wonderful teacher. And I started to understand how to do it. Was Len the, did he teach the method or what was yes, he was, he was an actor studio teacher. And I started to understand about being present on the stage and being able to deal with people. All of it, it just changed dramatically. I mean, I started to understand what this was about and seeing other good actors and chipping away at it and finding people to rehearse with. And1 (48m 22s):You, you, from what I know, and what I'm gathering is that once you graduated Juilliard, you were cast in New York.3 (48m 30s):Well, you know, I did get my very, my V I I've. I mean, I, I remember going to see midnight cowboy, which was about the same time as I got out of college. And I remember going into a terrible panic of, oh my God. I mean, really scared about all of it. And I, I went, I joined a class that a friend of mine, somebody told me about this class, you know, I always follow somebody to a class. I'm always, I have good friends. And I, somebody says, oh, I love this guy come to class and I'd show up.3 (49m 12s):And this was a musical comedy singing class, kind of where there were writers in the class and actors in the class. And the writers in the class would work on a musical that they didn't have permission for. It wasn't like they were, we were doing this for money or for, for future. So my friend who I became friends with wrote her musical version of barefoot in the park and which has never been done, but I remember I was in it and this guy was in it. And we, it was the kind of a class where it was a very warm, funny group, funny group of wacko theater people. And I would go to open calls and I'd usually go to open dance calls because that was a door for me.3 (49m 59s):And also I used to have to sneak out of Jew, not sneak necessarily, but essentially sneak out to take my singing lessons. And I took singing lessons every, you know, every week for years, for three years, I would, you know, and I, and I was not really, I don't think a very good singer, but I became a good singer. I would sneak out of school and go to an acting class. I don't even know when I started that, but I know that I would find the time to do it and then talk about acting and find a teacher so that when I would audition for a musical and I would get through the dancing. Usually if I got through the first cut, I would make it to the end. I wouldn't always get the job, but if I made it through that first horrible, random cut, you know, where there's 200 people in your dancing across the stage and it's yes, no, yes, no.3 (50m 47s):Is it really?1 (50m 48s):Because I'm not a dancer. So I never had this. I, when my agents are like, oh, there's an open dance call. I'm like, ah, that's you sent the wrong person, the email. So it's really like that, like in, in chorus line where they say, you know,3 (51m 1s):Oh yeah. It's like all that jazz. It's really like that.2 (51m 6s):Wait, I have a question. I want to hear the re the rest of that. But I, I just, I've never asked anybody. What's the biggest difference between the people who got cut immediately. I mean, was it training or were there people that, in other words, were there people who were just walking in off the street with no training trying to audition? Yeah,1 (51m 29s):No, truly an open call.3 (51m 31s):No. And sometimes these were equity calls. Cause I, I, I did get my equity card on a summer. That one summer I worked for a non-union, you know, we were in either Bushkill Pennsylvania or Southern Eaton Connecticut, or I did a couple of those summers. And then the next summer, the choreographer from that show had an equity job. And he hired like three of us from our non-unions summer stock, because we were good enough. And1 (52m 4s):So when you went to these open calls, everyone, there was a bad-ass dancer. No one, there was like,3 (52m 10s):That's not true. That's not true. There were all different levels of dancers, but it was also a look await, you know, it was always, I was always like seven pounds overweight. It was like, the torture is thing of weight does enough to put anybody over the edge1 (52m 26s):That they literally3 (52m 27s):Weigh you, Carol. Oh God. No. Oh, but it's so look, and I will tell you there's one. There was one time when I remember auditioning for above Fossey show and there were a lot of people on the stage and we were whatever we were doing. And then at 1.3 Fossey dancers, it was their turn. And these three gals, okay. Their hair was perfect. Their makeup was fabulous. They had a little necklace, they had a black leotards, you know, cut up high, but not out of control. Good tights, no, no runs, nice shoes, nails done.3 (53m 7s):And they were fantastic. They were clean. They were technically, and we all sort of went, oh fuck.1 (53m 16s):Right.3 (53m 18s):Right. And I have friends who became Fossey dancers. I mean, I worked for Bob, but I have friends who did a lot of shows him. And they had that same experience where they saw other people, the way it should be. And then they would go back a month later and get the job because they knew what it took. It was all about knowing what it takes. But the thing about having studied acting and having slowly studied singing is that in the world of musical theater, I was ahead of the game because there's not that much time. So you have to be willing to spend all of your time.3 (54m 0s):Right.1 (54m 1s):There are some people I'm assuming Carol, that could dance wonderfully, but couldn't do the singing and the acting part. And that's where you were like, that's the triple threat newness of it all is like, you could do3 (54m 12s):Well, I could do them better than a lot of people. And I certainly could sing well, and I had, I could sing a short song and I knew that you sing a short song. I knew that you'd probably do an uptempo, you know? And also I tend to be a little angry when I go into an audition. It's like, why do I fuck? Do I have to audition? I better, duh. So I needed to find things that allowed me to be a little angry so I could be myself. And I could also be a little funny if I could figure out how to do that. So all of these things worked in my favor. And then of course, like everybody else in her, a lot of people, pat Birch, who was a choreographer, she had like a gazillion shows running, including Greece on Broadway. And now over here, I don't know if she did grease, but she did over here.3 (54m 55s):She did. She was very prolific choreographer. She had been a Martha Graham dancer and she had taught a couple of classes at Julliard. And when it came to my auditioning for her, she needed girls who could dance like boys. She didn't need tall leggy, chorus girls. We were doing the show she was working on, was a show called Minnie's boys. And it was a show about the Marx brothers and the last number of the show. We were all the whole chorus was dressed up like different Marx brothers. And she needed girls who could be low to the ground, who can, you could turn who and I was the right person.3 (55m 36s):And I remember being in that class, that wonderful musical theater class with a teacher named Mervin Nelson, who was just a great older guy who kind of worked in the business. I remember I had to go to my callback. I went to my class and the callback was at night. And I remember him walking me to the door, putting his arm around me and saying, go get the job. And if you don't get this one, we'll get you. The next one1 (56m 4s):That makes me want to3 (56m 4s):Cry. Well, it made me feel like part of the family, cause we all want to be part of that theater family. And so I tend to do that when I'm with an actor, who's going to go get a job or go get, you know, you want to feel like it's possible. Yeah. You feel like you can, you deserve it.1 (56m 29s):You said, you mentioned briefly that you worked for Bob3 (56m 32s):Fossey. I did.1 (56m 35s):Oh my gosh. Did you turn into one of those ladies that looked like a bossy dancer too? Like, did you then show up to those auditions? Like, oh3 (56m 43s):No, I don't think I, I couldn't, I didn't, I could not get into a chorus of Bob Fossey, but I did get to play for strata in Pippin in the, in the, in the first national tour. And he, Bob was the, he was the director and I, I knew I was the right person for that job. It was also a funny, kind of lovely circumstances that I was in some off-Broadway an off-Broadway show that had started as an awful off, off of a, that, that Bubba, that moved to an off-Broadway theater. I got some excellent reviews. And I think the day the review came out was the day I had my audition for Bob Fossey.3 (57m 24s):So I, and I played it. I had talked to people who knew him. I talked to, you know, I, I knew that I, I don't know, I just, I, I had done some work and I just, I don't know the right person at the right time, somebody, he needed it. That part required a good dancer. Who could, I don't know how I got the part. I just,1 (57m 57s):I'm kind of getting the impression that we're talking about being a strong dancer.3 (58m 0s):Well, let's strong dancer. And also being able to, being able to talk and sing was really the key. I'm not sure that I certainly, as a young person, I, I didn't do nearly as much comedy as I did when I got a little older, but, and also there were a lot of divisions. You sort of either did musicals or you did straight plays and it was hard to get into an audition even for a straight play. And the truth is I think that a lot of us who thought we were better than we were as you get better, you see when you really, wasn't a very strong actor.1 (58m 43s):Right. But there's something about that. What I'm noticing and what you're talking about is like, there's something about the confidence that you had by maybe thinking that you might've been a little better than you were that actually behooves young actors and performers that, you know, cause when Gina and I talked to these people were like, oh my God, they have a healthy ego, which actually helps them to not give up as where I was like, I'm terrible. I'm giving up at the first hour.3 (59m 9s):Exactly. Right. Right. And, and it, and it goes back and forth. It's like a CSO one day, you feel like, oh yeah, I'm good at this. I can walk it. I get, I'm like, I'm okay with this. And the next day you just to hide under the bed, I think that's sort of the way it goes. I didn't know that people who worked on Broadway even then all had coaches and teachers and support systems and you know, being kind of a little more of a lone Wolf, which I was, and still fight against in a way I come against that a lot, for whatever reasons, you know, whatever it doesn't work, what to be a lone Wolf.3 (59m 54s):Yeah. Yeah. You can't do this alone. You can't do it without a support system. It's just too hard because when I actually had the best opportunity I had, which was being part of a chorus line, it was harder than I thought to just be normal, come up with a good performance every night, you know, it was up and down and loaded and that you lost your voice and had nobody to talk to because you couldn't talk anyway. And we didn't have the internet yet. You know, there was so many, it was so much pressure and so much, and I hadn't really figured out how to create that support system up for myself.3 (1h 0m 42s):And it was harder, harder than it needed to be. Did you ultimately find it with the cast? No. Oh, not really where they mean, oh, none of the cast was fine. It wasn't that anybody was mean it's that I didn't take care of myself and I didn't know how I was supposed to take care of my shirt. How old were you when you were cast in a chorus line? 27? Maybe I was, I was young and, but I wasn't that young. I just, but it wasn't that C w it was a strange situation to, I was, I had already had one Broadway show, so I had done, and then I had gone out of town to bucks county Playhouse.3 (1h 1m 25s):And did west side story Romeo was your first Broadway show. I'm sorry. It was called Minnie's boys. Oh, that was it. That was my, I did. And it was a show about the Marx brothers. Right. And I don't know if you know who Louis. We would probably do Louis Stadol and Louis J Staglin who works with, he works with Nathan Lane a lot. Oh yeah. Yeah. He's like second bun and he's incredibly talented. He played Groucho. Okay. We were all 25 years old. We were kids. We were right out of college. And the weirdest part of all was that the mother was played by Shelley winters. And this was a musical. What a weird you've really. Okay. So then you went onto chorus line.3 (1h 2m 6s):Well then, well then in between that, this is like, you know, then, then I went out of town to bucks county. I love being in bucks county for a year. We did west side story. We did Romeo and Juliet during the week. We do them together, one in the morning, one in the afternoon for high school kids. And then on the weekends, we do one of the, and I was the only person in the cast who liked dancing at 10 o'clock in the morning. You know, I didn't mind doing west side at 10 in the morning. I'd been up at eight, being a demonstrator for Mary Hinkson, teaching people how to do a contraction. So I didn't care. I love working in the daytime. That's what I play with your food is such a nice success. My lunchtime theaters here, I get tired at night.3 (1h 2m 47s):I don't know.2 (1h 2m 49s):Most people do wait. So was the, was the audition process for chorus line?3 (1h 2m 56s):I have a great story. I can tell you what my story is. Okay. So I, I was in, I don't know what I was doing. I had done a lot of off-Broadway work. I had been doing, I had been working a lot. And then of course there were the year where I didn't work. And then I went off to south North Carolina and played Nellie Forbush in south Pacific, in the dinner theater for three months. And I loved that. Actually, I think it was one of those times I had a job and a boyfriend and it was like a relief. It was wonderful to have like a life and then do the show at night. You know, I, I enjoyed that a lot and I didn't, you know, it was a big part and I didn't panic about seeing it.3 (1h 3m 37s):And it was just, I learned a lot from doing a part like that. I was doing Fiddler on the roof at a dinner theater in New Jersey, down the street from where my folks lived. And occasionally my mom would stop by her rehearsal and watch the wedding scene. Honest to God. I'm not kidding. She's like, Carol, you ever gonna get married? Are you ever gonna? Okay. So I'm doing Fiddler on the roof, in New Jersey. And there's a guy in the cast, one of the bottle dancers who were dropping off at night on 55th street, because he's working on this little musical about dancers and he would bring in monologues and he'd asked me to read them at rehearsal because he wanted to hear them out loud.3 (1h 4m 25s):And there was some stuff about this place to ever hear the peppermint lounge back in the studio. Right. It was a disco thing, but it was also a place where there was something. I remember one the couch girls, girls who would just lie on the couches and the guys, I mean really crazy stuff that did not make it into the show, but some interesting stuff. And I was playing the eldest daughter sidle, and it's a terrific part for me. So I was good. Yeah. And Nick knew I was a dancer. Anyway, this little show called the chorus line was in its workshop. Second workshop. They had already done the I, cause I was not a Michael Bennett dancer. I didn't, you know, I, I, I had auditioned for my goal once for the tour of two for the Seesaw.3 (1h 5m 10s):And it was the leading part and I didn't get it. I auditioned, I sang and I read and I read and I sang and I didn't get the part. And I came home and I was like in hysterics for like five days. I just, you know, I, I didn't get the part year and a half later, I'm doing Fiddler on the roof with Nick, Dante in New Jersey. And somebody leaves the second workshop and Nick brings up my name because there's a job all of a sudden to cover, to be in the opening and to cover a couple of parts next, bring up my name. And Michael Bennett says, wait a minute. I know her. I know she's an actress and she's a singer. Can she dance?3 (1h 5m 52s):So I showed up the next morning and I danced for 10 minutes and I got the job. I mean, I think, wow. Yeah. That's a great story.2 (1h 6m 1s):No. So that means you didn't have to participate in3 (1h 6m 4s):Callbacks or nothing. Oh, I started that day. I mean, honestly, it was Fiddler on the roof, you know what, I don't remember whether, how it went. Cause we were already in performance tour or something, you know, I, I it's a long time ago, so I don't really remember, but I know that this particular story is the absolute truth. That's fantastic. That2 (1h 6m 27s):Was it a hit right away3 (1h 6m 29s):Chorus line. Well, it wasn't, we were in previews. I'm no, we weren't even previous the second workshop, which means it was still being figured out. And when I came to the first rehearsal and sat and watched what was going on, I could not believe what I was seeing because the truth of what was happening on stage and the way it was being built was astounding. It was absolutely astounding because something about it was so bizarre. Oh. And also, also Marvin Hamlisch was the rehearsal pianist on Minnie's boys.3 (1h 7m 10s):Wow. So I knew him a little bit, not well, you know, but he was the rehearsal pianist that nobody would listen to a show about the Marx brothers, Marvin would say, wait, this is the Marx brothers. You got to have a naked girl running out of the orchestra pit. You gotta, you gotta, and of course, nobody would listen to him. Wait a minute, just turn this off, stop, stop, turn off. Sorry. So I couldn't get over what I was seeing. And I, I knew from the beginning, of course, I think most of us did that. Something very, very unique was going on and it was always changing. Like Donna McKechnie came in late at the audition, all dressed up in like a fur thing.3 (1h 7m 56s):And it was like, I'm sorry, I'm late. I'm sorry. I'm late. And then Zach says, would you put on dance clothes? And she said, no, no, wait a minute. Anyway, you couldn't help. But know sort of, you just kind of put,2 (1h 8m 8s):I mean, I remember seeing it when I was a kid and not, not being able to relate as an actor, but now that I think back, it just must've felt so gratifying to be seen for all of the, you know, because like we w the Joe Montana episode, we3 (1h 8m 28s):Haven't listened to yet, but I'm looking forward to2 (1h 8m 30s):It here today. But he was saying, I love3 (1h 8m 33s):Him2 (1h 8m 34s):For you. You were saying that when he won the Tony and everybody would say, well, it's like to win the Tony, what's it? Like he said, it's like, you won the lottery, but you been buying tickets for 15 years. You know, that's the part of acting that people now, I think it's a pretty common knowledge that it's really difficult to be an actor, but I don't know how Hmm, how known that was then. And it just, must've been so gratifying for all of those people. I mean, who are living in their real life? The story of that musical. Yeah.3 (1h 9m 9s):I think that that's true. And also, I mean, it really did come out of people's experiences. Those stories are so, so to be part of something like that, and down at the public theater, which of course it was a vol place to be, you know, you, you knew that Meryl Streep was walking down the hallway and you knew that. I mean, talk about confidence. I mean, I don't know if you've read her new book, no book about her. No, it's worth the time I listened to it. Actually, I didn't read it. I listened to, it's quite wonderful because you see a very confident person who's working on creating who she is.1 (1h 9m 47s):Do you feel, I feel like you have a really strong sense of confidence about yourself too. Where did that come from? Would you agree? First of all, that you have, it sounds like you had some comps, some real chutzpah as a youngster and maybe now as well. Where'd that come from3 (1h 10m 5s):Beats me. I have it now because I, I, I, I've had a lot of, a lot of experience. And I, I think that, that, I, I think I know a lot about this, but I don't know that I had it. The trick was to have this kind of confidence when it really matters. Yes. And I think I had it, like if I was in an off-Broadway show, I could say, I don't think that's good enough. Could you restage this blah, blah, blah. Or if I'm in North Carolina, I'm not, I think we need to dah, dah, dah, dah, dah. But when it comes down to the real nitty gritty of standing up for yourself, when it really, really matters, boy, that's harder than it looks.3 (1h 10m 51s):You know, even things like, I mean, my character, when I eventually took over the role of Miralis, which I under, you know, I was we've covered all these parts. There were nine of us. We sang in the little booth in the wings. We had microphones and little headsets. And the coolest part of all was Jerry Schoenfeld, who was the chairman of the Schubert organization would bring any visiting dignitary who was visiting the city that he was showing around his theaters. He would bring them into our little booth. And then we would watch the show from stage left in our little booth while we're singing, give me the ball, give him the ball. Cause half the dancers on the stage, cause stop singing because they had a solo coming up.3 (1h 11m 31s):So, you know, singing in a musical is not easy. You know, there's a lot of pressure and you got to hit high notes and you, you know, you just wake up in the middle of the night going torture, torture, and you have to work through that and finally go, fuck it. You know, fuck it. I don't care what I weigh. Fuck it. I don't care if I, if I can't hit the high note, but it, it takes a long time to get there. You know, I see people who do this all the time. I don't know how they live. I don't know how they sleep at night. There's no wonder people like to hire singers who have graduated from programs where they really understand their voice, know how to protect that, which you don't, you know, you have to learn, you have to learn how to really take.3 (1h 12m 24s):That's why, you know, it's wondering about ballet companies now have misuses and we didn't have any of that. You were hanging out there alone. I felt maybe I'm wrong, but that's how I felt. And if I was vulnerable or if I didn't feel well, and I was like, oh, what am I going to do? I can't tell anybo

Cindy Williams is most recognized for her role as Shirley Feeney in the TV comedy series LAVERNE AND SHIRLEY. Born in Van Nuys, California, Cindy first became interested in acting during high school. After graduation she attended L. A. City College where she majored in Theatre Arts. After leaving college, she landed her first television roles on ROOM 222, NANNY AND THE PROFESSOR and LOVE, AMERICAN STYLE. Some guest-starring roles include LAW AND ORDER: SVU, 7th HEAVEN and 8 SIMPLE RULES. Other television credits include starring in an episode of THE ODD COUPLE for CBS, A DREAM OF CHRISTMAS for Hallmark Channel and SAM AND CAT for Nickelodeon. Cindy's stage credits include, among other productions, the national tour of GREASE playing Miss Lynch, the national tour of DEATHTRAP with Elliot Gould, THE FEMALE ODD COUPLE with Joanne Worley, STEEL MAGNOLIAS as Ouiser Boudreaux and, in 2007, she made her Broadway debut in the role of Mrs. Tottendale in the award-winning musical THE DROWSY CHAPERONE. She also appeared as Rev. Mother Mary Regina in NUNSENSE and NUNSET BOULEVARD; THE NUNSENSE HOLLYWOOD BOWL SHOW. Cindy appeared in MENOPAUSE: THE MUSICAL in Las Vegas for three years, then reprising her role at the Ogunquit Playhouse in Maine. She also co-starred in the premiere of MIDDLETOWN with Don Most, Didi Conn and Adrien Zmed at The Smith Center for the Performing Arts in Las Vegas as well reprising her role with Most, Conn and Zmed at The Bucks County Playhouse in New Hope, Pennsylvania. Cindy has enjoyed the privilege of working with extraordinary directors in great films. Her first film was for Roger Corman in GAS-S-S-S with Talia Shire and Ben Vereen. She appeared in TRAVELS WITH MY AUNT with Maggie Smith, directed by George Cukor, and THE CONVERSATION with Gene Hackman, directed by Francis Ford Coppola. Next she co-starred with Ron Howard, Richard Dreyfuss and Harrison Ford in AMERICAN GRAFFITI directed by George Lucas, a low-budget film that went on to become a box office smash and film classic. Among her favorite honors are her star on the Hollywood Walk of Fame, her TV Land award for Fan Favorite as well as winning Best Actress at the L. A. Comedy Film Festival for the Indy film STEALING ROSES. Cindy also garnered a BAFTA (British Academy of Film and Television Arts) nomination for best supporting actress in AMERICAN GRAFFITI. Unfortunately, she was beat out by Ingrid Bergman. Cindy still wonders how the heck that happened. Her book “Shirley, I Jest!: A Storied Life” was released to much critical acclaim and is now available in paperback. Cindy shares her memories and hilarious backstage tales in her one-woman show, ME, MYSELF & SHRILEY, covering a lifetime in entertainment. The show is 90 minutes without an intermission and is followed by a Question & Answer session between Cindy and members of the audience. JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker & creative communications consultant) and Susan C. Bennett (the original voice of Siri). JONES.SHOW is produced and edited by Kevin Randall Jones. Cindy Williams Online: Twitter: https://twitter.com/cindy_williams1 Facebook: https://www.facebook.com/profile.php?id=100057789443328 Instagram: https://instagram.com/therealcindywilliams Web: www.memyselfandshirley.com JONES.SHOW Online: Join us in the Jones.Show Lounge on Facebook. Twitter (Randy): https://twitter.com/randallkjones Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ Web: RandallKennethJones.com Follow Randy on Clubhouse Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ Web: SusanCBennett.com Follow Susan on Clubhouse LinkedIn (Kevin): https://www.linkedin.com/in/kevin-randall-jones/ Web: KevinRandallJones.com www.Jones.Show

An award-winning character actor recognized for his salute to the lunacy and legacy of Groucho Marx and his portrayal of the outrageous Latin Lover Caesar in Teatro ZinZanni. Frank is a theatrical barnstormer and has performed lead roles at the Arena Stage, Goodspeed Opera House, Cincinnati Playhouse in the Park, Milwaukee Rep, Bucks County Playhouse, Pasadena Playhouse, Boston's Huntington Theatre, Paper Mill Playhouse and Alliance Theatre.  Ferrante is the in-house director at the Walnut Street Theatre for the critically-acclaimed revivals of Neil Simon's Brighton Beach Memoirs, Biloxi Blues, Broadway Bound, Laughter on the 23rd Floor, The Sunshine Boys and Lost in Yonkers. The film version of his stage show Frank Ferrante's An Evening with Groucho premieres on public television in Spring, 2022. On this episode he shares insights on the importance of preparation when creating and channeling characters and the value of focusing on “quality of performance” in every show. Learn more about your ad choices. Visit megaphone.fm/adchoices

Dr. Tabitha Dell'Angelo is a professor, storyteller, playwright, mother, and potential school board member. She holds a Ph.D. in Interdisciplinary Studies in Human Development from the University of Pennsylvania and is currently a professor at The College of New Jersey, in addition to her work as an improvisational acting teacher at Bucks County Playhouse in New Hope, PA.  Tabitha shares her arts-based research approach as a way of communicating findings, through plays and comics. She launched the Urban Education Program at The College of New Jersey, which is focused on recognizing and responding to conditions that contribute to inequalities in schools. Through first-hand experience, she talks through teacher education and preparing pre-service teachers for the reality of teaching, particularly in high-needs urban districts. She shares her ideas on what areas of education need to be completely overhauled, and her journey to running for her local School Board. Tabitha's experience of the political process—the stress of running for the first time, the vulnerability of going door-to-door to ask strangers(potential voters) for money, trying to be bipartisan in a very partisan time—offers us a behind the scenes look into processes that guide what teachers in a district's classrooms can do. To learn more about Tabitha and for full show notes with links to the resources mentioned in the episode, please visit 180days.education/podcast. You can also connect with us on social or subscribe to our newsletter at the bottom of our site at https://www.180days.education/

Karla Garcia booked her broadway debut while still a student at NYU and has continued to channel her incredible talents not just towards an impressive performing career, but also as a breakout choreographer herself. Most recently performing as a swing in Hamilton on Broadway, she’s also choreographing a brand new musical, Other World, slated for its Debut at Bucks County Playhouse in the fall of 2021. We’ll talk about what she’s learned while performing for other choreographers, how she found her own voice as a creator, and the importance of saying yes to opportunities… but we begin our conversation with how she got her start, which interestedly enough is linked to last weeks episode, choreographer Rachel Dolan.  Learn more about your ad choices. Visit megaphone.fm/adchoices

For the video edition, click here and subscribe: www.youtube.com/watch?v=fnybKN94zl0&t=9s http://www.eveningwithgroucho.com FRANK FERRANTE, actor, director and producer is the recipient of New York's Theatre World Award for 'Outstanding Debut,' a New York Outer Critics Circle nomination, London's Laurence Olivier Award nomination for 'Comedy Performance of the Year,' Washington D.C.'s Helen Hayes nomination and two Connecticut Critics Circle Awards. He was picked a 'top ten' theater performance by the Wall Street Journal in 2017 and in 2019, the Chicago Tribune picked him as a 'top ten' stage performance for his role in cirque's "Teatro ZinZanni." His New York, London and PBS performances in the title role in "Groucho: A Life in Revue" written by the comedian's son Arthur received not only acclaim from critics and audiences but from the Marx Family. Ferrante is one of the busiest touring performers in theater today with over 3,000 performances as 'Groucho' internationally in over 500 cities for over 35 years. He is considered a 'new vaudevillian' having performed in the variety world as the comic host 'Caesar' in "Teatro ZinZanni" since 2001 in over 1,500 performances from San Francisco to Seattle to Amsterdam. He has performed lead roles in many of the country's most prominent regional theaters including Washington D.C.'s Arena Stage, Goodspeed Opera House, two-time Tony Award-winning Cincinnati Playhouse in the Park, Milwaukee Repertory Theatre, Bucks County Playhouse, Pasadena Playhouse, Boston's Huntington Theatre, New Jersey's Paper Mill Playhouse and Atlanta's Alliance. 

Yes, Bob Saget has starred in many successful television shows, including two of the most family-friendly shows network TV has ever produced ("Full House" and "Americas Funniest Home Videos") but he's also an out of his mind, Grammy-nominated standup comedian for over thirty years. From his HBO special "That Ain't Right" to his scene-stealing cameos in "Entourage," and "The Aristocrats," it's always effective as Saget embraces his dark side. From directing MGM's cult favorite feature film "Dirty Work," to directing and producing the highly acclaimed ABC television movie, "For Hope," to starring in the critically acclaimed, Paul Weitz off-Broadway play, "Privilege, to starring on Broadway in the Tony Award winning "The Drowsy Chaperone," Bob Saget shows no signs of stopping.  Ever.  In 2007 came the hugely successful DVD release of "Farce of the Penguins," an R-rated comedy/documentary/love story, that he voiced-over, wrote, directed, and produced, with producer David Permut.  And then came the hit NBC quiz show "1 VS 100," where Bob ad-libbed his way through the one-hour prime time format.  In 2008, "The Comedy Central Roast of Bob Saget" premiered to the second highest ratings of all TV that night, second only to the Olympics.   For many years now, Bob has been a proud board member of the Scleroderma Research Foundation. He co-produces and hosts "Cool Comedy Hot Cuisine" fundraising events in Los Angeles, New York, Las Vegas and San Francisco.  To date, they have raised over 53 million dollars for the SRF going directly to research to cure this disease.   Bob was seen several times reprising the role of “Himself” on HBO's hit series “Entourage” as well as a cameo in the film.  He also starred in his own documentary comedy series for A&E titled, “Strange Days with Bob Saget,” an exploration of unusual subcultures in America.     ----------   Robert Reiner was born in New York City, to Estelle Reiner (née Lebost) and Emmy-winning actor, comedian, writer, and producer Carl Reiner. As a child, he often looked up to his father as his inspiration and role-model. Carl Reiner was on The Dick Van Dyke Show, which he created and also starred in. Estelle was the inspiration for Rob Reiner to become a director. Her history as a singer helped him understand how music was used in a scene. Rob often felt pressured about measuring up to his father's twelve Emmys, and prestigious awards and successful streak. When Rob graduated high school, his parents advised him to participate in Summer Theatre. Reiner got a job as an apprentice in the Bucks County Playhouse in Pennsylvania. He went to be further educated at UCLA Film School. Reiner felt he still wasn't successful even having a recurring role on one of the biggest shows in the country, All in the Family. Reiner began his directing career with the Oscar-nominated films This Is Spinal Tap, Stand By Me, and The Princess Bride,. With these successful box-office movies in 1987, Reiner founded his own production company, Castle Rock Entertainment, along with Martin Shafer, Andrew Scheinman, Glenn Padnick, and Alan Horn. For Castle Rock Entertainment, he went to direct the Oscar-nominated films When Harry Met Sally, Misery, and A Few Good Men. Reiner often credits former co-star Carroll O'Connor in helping him get into the directing business, and showing Reiner the ropes. Reiner also is known as a political activist, co-founding the American Foundation For Equal Rights, a group that was an advisory for same-sex-marriage. Reiner has spoken at several rallies on several controversial topics, and is also seen as an advocate on social issues, such as domestic violence and tobacco use. Reiner has also made cameos on show like 30 Rock, The Simpsons, and Hannah Montana, and in the films The First Wives Club, Bullets Over Broadway, Primary Colors, and Throw Momma From The Train, among many others.  

Music Series of "The Soprano" Heather HillUpward and Onward Productions Presents “Our Meeting at the Crossroads” music series. “The Soprano” The Opera way, with Heather Hill (Soprano), and our Host Darren Lorenzo. This particular episode, touches on Heather's theatrical climb to success and her journey. Join us every week for more Artist and Music, from our series. Heather's career encompasses work in opera, concert stage both national and international, Broadway, TV and film. Some of her credits include The Phantom of the Opera, Porgy and Bess. Prince of Players with The Little Opera Theater of New York, the New York premiere of Gloria by Robert Harris at the Lincoln Center, and Carmina Burana and the Lord Nelson Mass at Carnegie Hall, just to name a few. She holds a Master's degree in Vocal Performance from The Manhattan School of Music, and a B.S. degree in Biology from Clark Atlanta University.Prior to the Covid-19 shut down, she was in the midst of a world premier production of the new Musical “Other World” at Bucks County Playhouse. Heather can be heard on the 2012 Broadway cast album of The Gershwin's Porgy and Bess.“After Talk” Host, Director and Creator - Darren LorenzoCo host, Sound Editor, Sound Mixer - Bruno Diaz 

Welcome to the 16th episode of Broadway Babies! This week, Noelle and Stephanie welcome the lovely Lesli Margherita (Matilda, Zorro, Emojiland) An Olivier Award winner for her West End debut as Inez in ZORRO THE MUSICAL , Lesli made her Broadway debut originating the role of Mrs. Wormwood in MATILDA THE MUSICAL. After over 1000 performances, she bid farewell to the Broadway company of Matilda and crossed the street to The Helen Hayes to star as the diva Mona Kent in the Broadway premiere of DAMES AT SEA. Lesli returned to MATILDA to close out its Broadway run. Off-Broadway, Lesli starred as Princess in EMOJILAND and Cindy Lou Who in the one woman tour-de-force WHO'S HOLIDAY. Her hilarious show-stopping performance earned her critical acclaim including a Drama Desk nomination for Outstanding Solo Performance, a Lortel nomination for Outstanding Solo Show and an Off-Broadway Alliance nomination for Best Solo Performance. Television credits include the ABC sitcom pilot "Most Likely To" opposite Yvette Nicole Brown and recurring roles on "Homeland" (Showtime), "Instinct" (CBS), "Seven Seconds" (Netflix), "Transparent" (Amazon), and "The Crew" (Netflix). Movie credits include the upcoming The Many Saints of Newark, Opening Night and Boogeyman 2 and Number 23. Lesli's voice can also be heard on several animated films and shows including Disney's Cinderella 3 and Nickelodeon's "Sponge Bob Squarepants". Regional stage credits include Adelaide in GUYS & DOLLS (Sacramento Music Circus; Bucks County Playhouse), Signora Psyche Zinobia in A SCYTHE OF TIME (NYMF), Esmeralda in HUNCHBACK OF NOTRE DAME (Sacramento Music Circus), Lilli / Kate in KISS ME KATE (Reprise; Ovation Award - Best Actress), THE GRONHOLM METHOD (The Falcon ; Ovation nom. - Best Ensemble), Aldonza in MAN OF LA MANCHA (MTW; Ovation & LADCC nom - Best Actress), Julie in SHOWBOAT (Goodspeed Opera), Audrey in LITTLE SHOP OF HORRORS (La Mirada), and Lady of the Lake in SPAMALOT (Sacramento Music Circus). She is the creator/star of 'Looks Not Books' and 'Ship Happens' the popular backstage vlogs commissioned by Broadway.com, as well as the digital short series 'Sparklefpuff,' all of which can be seen on YouTube. Lesli's books, NECK PUNCH and CARRY ON: Advice from the "Queen" and BLU!, are available on Amazon & iTunes. Lesli's critically acclaimed solo shows Rule, Broad, and This Broad's Way continue to play to crowds across the country. Her debut live album RULE YOUR KINGDOM is currently in stores and available on all digital platforms. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/broadway-babies/support

Matt takes us on a deep dive into the showbiz industry. What it's like to go on an audition, to win the room, be kind, and being prepare for, not only the moment, but for the role you are auditioning. If you are thinking about going into theater, then Matt is here to shed light on what you will have to endure and overcome to make it in the business. Also, Matt hones in how preparation has led into bigger roles throughout his career. Another key component is treating everyone with kindness. You never know who and when you will run into the person that can take your career to the next level. Originally from Boston Massachusetts, Matt grew up on show-tunes and Boston sports. Matt studied theater at both University of Southern Maine and The Boston Conservatory before heading down Rte 95 to NYC in 2004. In June of 2009 Matt got the call to make his Broadway debut in the TONY winning production of HAIR with TONY winner Diane Paulus at the helm. Matt continued with that production “Across the Atlantic Sea” to The West End in the role of “Woof” and then launched the 1st National US Tour of HAIR and was seen back on Broadway in the “Summer of Love” revival of HAIR. Following his time with the hippies, Matt launched the 1st National tour of Green Day’s AMERICAN IDIOT as the “Representative from Jingletown”. Matt’s cross country adventures continued in 2014 with the 1st National Tour of ONCE, where he played “Svec” and 5 instruments. Collectively over the last 5 years Matt is a veteran of almost 2000 performances. Thankfully Matt returned home to Broadway (again with Diane Paulus) in the hit musical WAITRESS, where he has starred opposite TONY winner Jessie Mueller, 2 time Grammy winner Jason Mraz, and 7 time Grammy nominee, and the shows composer, Sara Bareilles. He then toured the country with the WAITRESS National Tour as Earl opposite his real life wife, Christine Dwyer, as Jenna. Upon returning from the road Matt was a part of developing the World Premiere of The Secret Life of Bees at The Atlantic Theater Company, directed by TONY winner Sam Gold. Most recent regional credits include: playing Guy in ONCE at Bucks County Playhouse and the upcoming World Premiere of Pure Country at TUTS, starring opposite TONY winner Levi Kreis. On television Matt has made many performance appearances with these multiple shows, including the Macys Thanksgiving Parade. Matt can also be seen on Person of Interest, Madam Secretary, Marvel’s Daredevil, EVIL, For Life, and Chicago PD. Matt lives with his beautiful wife and fellow performer (and Bostonian) Christine Dwyer, and their Boston Terrier “Chowdah". Matt and Christine also co-own THE WORKING STUDIO, a music theatre and acting studio dedicated to unlocking peoples potential and embracing individuality in the audition process.Contact info: https://www.theworkingstudio.net/theworkingstudio@gmail.comhttps://www.upgradeyouraudition.com/--- Send in a voice message: https://anchor.fm/wherethefortuneis/message

This episode, we spoke with Mason Reeves. Mason is a young actor whose resume is already impressively full. He’s worked in theaters across the US, playing historic houses like the St. Louis MUNY; the Connecticut Repertory Theatre; and the Bucks County Playhouse, where he’s spent part of this summer as an artist-in-residence. He’s also a dancer, a musician, a writer, and is currently a cast member of the 1st national tour of the Disney musical, Frozen, in which Mason is starring as Kristoff.  Links to Mason’s Work https://www.masondreeves.com/ (Mason’s Website) https://www.instagram.com/rasonmeeves/?hl=en (Instagram) Mason’s Recommendations https://naacp.org (NAACP.org) https://www.naacp.org/campaigns/we-are-done-dying/ (NAACP’s “We Are Done Dying“ Campaign) https://www.hbo.com/watchmen (Watchmen) https://a24films.com/films/the-last-black-man-in-san-francisco (The Last Black Man in San Francisco) Arts Equity and Antiracist Support Resources https://www.broadwayworld.com/article/How-BroadwayWorld-Will-Stand-with-Black-Lives-Matter-20200602 (BroadwayWorld Collection of Links) https://www.justiceforgeorge.nyc/join (Justice For George (NYC Racial Justice Events)) https://docs.google.com/document/d/1DxR4B-GNwdeY8qH7FaTPZQ7DyWJTGtYzx-H_kP4JZC4/edit#  (Playwrights Horizons Google Doc) http://bit.ly/ANTIRACISMRESOURCES (Collection of Antiracism Resources) https://docs.google.com/document/d/1H-Vxs6jEUByXylMS2BjGH1kQ7mEuZnHpPSs1Bpaqmw0/mobilebasic (Lesson Plan for Learning More) https://integratedschools.simplecast.com/ (The Integrated Schools Podcast) Former Guest Projects https://www.nlbarn.org/ (Jacob Tischler: Radio Play with NLBP) https://www.youtube.com/c/AlineMayagoitia (Aline Mayagoitia: “School to Stage” Series) Show Links: https://www.creativeconsumptionpodcast.com/ (Creative Consumption Website) https://www.facebook.com/creativeconsumptionpodcast (Facebook) https://www.instagram.com/creativeconsumptionpodcast (Instagram) https://www.twitter.com/_createconsume (Twitter) https://www.patreon.com/creativeconsumption (Patreon)

Halfway between New York and Philadelphia lies the tiny but historic riverside town of New Hope, Pa. It's the home of the Bucks County Playhouse, New Hope & Ivyland Railroad, Delaware Canal Mule Barge, James Michener Museum, and 1870 Wedgwood Inn and its two sister properties. Hear all about the inns, the town, and their history Thursday, July 30 when long-time innkeeper Carl Glassman visits TRAVEL ITCH RADIO. Listen live on iTunes or BlogTalkRadio.com at 8 EDT when Dan Schlossberg and Maryellen Nugent Lee learn all about the Wedgwood Collection, its connection to the Underground Railroad, and the local legacies left by George Washington, the Revolutionary War, and the Civil War in the 300-year-old town.

Nicole Calabrese was supposed to be in a show right now. She's a dancer and a musical theater performer whose show got canceled due to COVID. One of the MANY performers who are out of a job and facing an uncertain future.  She was ALSO supposed to get married this summer. So, there's a lot of pivoting going on in Nicole's house. But, she is a positive thinker and a really great conversationalist, so we managed to keep it nice and breezy. She told me what it was like when the Bucks County Playhouse doors were barricaded shut because the theater was seized from the awful human who owned it! Enjoy! Support the show (http://patreon.com/lightersidepodcast)

It's the 4th of July, and what better way to celebrate than with Louis Palena and Jordan Brennan, two of my dear friends from my days at the Bucks County Playhouse and beyond. We talked about their coming out stories; we talked about that time Louis went to Russia and almost got invaded by rebels (yuh huh); we talked about how difficult it can be for two kind, loving, DESERVING people like Louis and Jordan to adopt a child. And, most of all, we laughed. Happy Fourth! Louis and Jordan's theater company, Music Mountain Theater, is producing a live performance of Stars N' Stripes, a 4th of July Cabaret, today (July 4th 2020) at 3:00pm EST. These are some supremely talented folks! Check it out here.Support the show (http://patreon.com/lightersidepodcast)

A writer, director and actor, Hunter is currently the Artistic Director for the Redhouse Arts Center in Syracuse, NY where he most recently directed Rent, God of Carnage and A Syracuse Christmas Carol. He has directed over 50 productions of plays and musicals across the country as well as the hit musical The Other Josh Cohen off-Broadway. He was named the 2018 “Director of the year” by the Wall Street Journal for his productions of 42nd Street at the Bucks County Playhouse and The Drowsy Chaperone for the Goodspeed Opera House. He has written the books for 6 musicals including the off-broadway shows, Summer of 42 and Jasper in Deadland; and was nominated for a Tony Award for leading actor in the Broadway production of Little Shop of Horrors

Josh Fiedler on Avenue Q, letting go of fear, and avoiding complacency. This Producer for Broadway and Bucks County Playhouse shares how he found his way to producing early in his career. With insights into how he and his casting director husband manage busy careers while also raising their twin daughters, episode 19 celebrates fathers in June and Gay Pride Month. S1 E19. Show Notes at DitchYourBackupPlan.com

Marilu Henner will be featured on Bucks County Playhouse’s Virtual Variety Show on Sunday, June 14 at 7 p.m. 

Thank you for taking the time to listen to our ONE YEAR ANNIVERSARY EPISODE. We appreciate that you've decided to share your time with us! In this special birthday episode, co-hosts Brian and Mary celebrate with a few games, recap from this year, and set goals for the next 365 days. If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! Mary Elizabeth Dina lives in New York City where she works for Tony Award-winning Producer Ken Davenport (Once On This Island, Spring Awakening, Daddy Long Legs). Mary is the co-host of the theatre podcast, Page To Stage: A Conversation with Theatre Makers and continues to freelance photography and social media marketing. Formerly, Mary worked in the Development office at Bucks County Playhouse and worked as a director and dramaturg. She has an MA from Montclair State University and a BA from University of Delaware.  Brian Sedita grew up in northern New Jersey, graduated from Montclair State University where he earned his BFA in Acting, and presently considers himself an actor/director…or a director/actor depending on how you look at it! Brian is the co-host of the podcast, Page To Stage: A Conversation with Theatre Makers. As a theatre artist, Brian hopes to show audiences the world from someone else’s perspective – to engage with audiences by opening their eyes and hearts to another person’s emotions, thoughts, or way of life. “Let’s flip stigmas, stereotypes, and expectations through theatre!” Want more of Page To Stage?! Follow us on Social! @PageToStage on Instagram and Facebook MARY DINA: Instagram or Twitter BRIAN SEDITA: Instagram or Website BROADWAY PODCAST NETWORK: Website or Instagram #PageToStagePodcast

Karla Garcia has a style and groove all her own. You can’t help but stop and take notice when she showcases her amazing choreography. Not to mention she’s incredibly kind, generous, and funny! We can’t wait for you to get to know Karla!Karla is a New York based performer and choreographer who has spent the last 4 years as a swing in Hamilton on Broadway. We get to chat with Karla about choreographing the brand new musical, ‘Other World', which was set to make its world premiere at Bucks County Playhouse right before COVID sent us into isolation. We talk about how her sense of rhythm and musicality influences her choreography, and we hear some stories about her time with Hamilton. Karla is an award winning choreographer for her work on In The Heights (VA Repertory). She made her Broadway debut in Hot Feet, and been on the National Tours of Wicked and The Addams Family. Other Broadway credits for Karla include Hamilton: An American Musical, GiGi and West Side Story. Karla is a regular faculty member at Broadway Dance Center, was a top 7 female finalist on So You Think You Can Dance (Season 5), has a BFA in Dance and a minor in Journalism from NYU and in 2011 was named UNIpro Magazine’s ‘Top 30 Filipinos Under 30”.Come hang with us, grab a drink, and let’s all get through this together.

Join Susi Raphael and Patrice Samara as they explore “The New” New Hope, PA, including the Ghost Light Inn, Stella by Jose Garces Restaurant, the Bucks County Playhouse, and the Ferry Market. Then they visit the Simeone Foundation Automotive Museum, Voted #1 Car Collection in the World and interview Dr. Fred Simeone, the museum’s founder!

Hi from Let’s travel!. We hope you’re all safe out there. This month we’re reprising our show on New Hope, PA including the story about the famed Simeone racing car collection. If we can’t all travel in person, at least we can travel virtually with Susi and Patrice. Join Susi Raphael and Patrice Samara as they explore “The New” New Hope, PA, including the Ghost Light Inn, Stella by Jose Garces Restaurant, the Bucks County Playhouse, and the Ferry Market. Then they visit the Simeone Foundation Automotive Museum, Voted #1 Car Collection in the World and interview Dr. Fred Simeone, the museum’s founder!

Geoff Josselson is a Casting Director and Partner at JZ Casting in New York City. In his 15 years as a casting director, his work includes a wide variety of plays and musicals, ranging from Broadway, off-Broadway and major New York and Regional Theatre companies. He is responsible for casting the Broadway production of The Velocity of Autumn starring Estelle Parsons (2014 Tony Nominee) and many other acclaimed New York productions, including Southern Comfort (Public Theatre), Yank! (York Theatre), Pretty Filthy (The Civilians), John and Jen (Keen Company), Enter Laughing (York Theatre), Himself and Nora (Minetta Lane), Altar Boyz (off-Broadway and tour), The Originalist (59E59) and National Tours for Disney, Nickelodeon and Ringling Bros and Barnum & Bailey Circus. He regularly works with many award-winning companies including Arena Stage, Arizona Theatre Company, Baltimore Center Stage, Brooklyn Academy of Music, Bucks County Playhouse, Cape Playhouse, City Springs Theatre Company, The Civilians, Cleveland Play House, Denver Center, Marriott Theatre, The Old Globe, Oregon Shakespeare Festival, Pittsburgh CLO, Pittsburgh Public Theatre, Round House Theatre, San Francisco Symphony, and the York Theatre Company, among others. He is a graduate of New York University’s Tisch School of the Arts and member of the Casting Society of America. For more information, please follow @jz.casting and visit: www.jz-casting.com.

On this episode of Baring It All with Call Me Adam, on the Broadway Podcast Network, I am recording at The Houdini Museum in NYC with Director Carl Andress, whose long time collaboration with Tony nominee Charles Busch is continuing at the Cherry Lane Theatre with Charles' hilarious new show The Confession of Lily Dare, running through March 5. The Confession of Lily Dare is part of Primary Stages 35th Anniversary Season. The Confession of Lily Dare tells the story of one woman’s tumultuous passage from convent girl to glittering cabaret chanteuse to infamous madame of a string of brothels—all while hiding her undying devotion to the child she was forced to abandon. This comic melodrama celebrates the gauzy “confession film” tearjerkers of early 1930s pre-code cinema, such as The Sin of Madelon Claudet, Frisco Jenny, and Madame X. The Confession of Lily Dare will play at The Cherry Lane Theatre (38 Commerce Street) through March 5. Click here for tickets! The Houdini Museum is located at 213 West 35th Street, 4th floor, in Midtown Manhattan. Like what you hear? Then become a member of my Patreon Page for exclusive behind-the-scene perks! For more "Call Me Adam" interviews visit: https://callmeadam.com  Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ)  Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY)  Edited by Drew Kaufman (https://bit.ly/2OXqOnw) More on Carl: Carl Andress is an American theater director whose credits include the world premieres of Charles Busch’s critically acclaimed comedies, such as: The Confession of Lily Dare (Theater for the New City, Cherry Lane Theatre with Primary Stages in 2020); The Tribute Artist (Primary Stages); The Divine Sister (Soho Playhouse, Theater for the New City, Bucks County Playhouse, LA TheaterWorks); The Third Story starring Kathleen Turner (MCC Theater, La Jolla Playhouse);  Charles Busch's Cleopatra and Judith of Bethulia (Theater for the New City, GPR Records); Die! Mommie Die! (New World Stages, LA TheaterWorks); Queen Amarantha (WPA Theater); Bunnicula (DR2 Theater, TheaterWorks USA); and Shanghai Moon (Drama Dept., Bay Street Theater, Theater for the New City). Carl is the director of such plays as FAKE by Carmen Pelaez (Colony Theater, Miami New Drama), Still at Risk by Tim Pinckney (Theater for the City), Matthew Lombardo's Who's Holiday! starring Lesli Margherita (Westside Theater);  Joe Godfrey's Romance Language (Ars Nova); Crush the Infamous Thing - the Adventures of the Hollywood Four (Coconut Grove Playhouse); My Fair Lady (Tent Theater); Paul Rudnick's I Hate Hamlet (Dorset Theater Festival); Carmen Pelaez's Rum & Coke (FringeNYC, Abingdon Theater); and Douglas Carter Beane’s The Cartells (Drama Dept.). Other credits include the New York concert premieres of Kander, Ebb and McNally's musical, The Visit, starring Chita Rivera and John Cullum (Ambassador Theater); Sheldon Harnick and Joe Raposo’s A Wonderful Life (Shubert Theater); Charles Busch & Julie Halston Together on Broadway (Music Box Theater); Mr. Magoo's Christmas Carol (Actors Fund); The Tale of the Allergist’s Wife (Paper Mill Playhouse; Coconut Grove Playhouse; Royal Poinciana Playhouse); the annual Times Square Angel (Theater for the New City); It's Not My Fault, It Was On Fire When I Got There (FringeNYC, Theater for the New City); Tenderloin, Harold & Maude, I Love My Wife and The Mad Show (all for “Musicals in Mufti” – York Theater Co.); Here's to the Girls! and Being Comden & Green (Lyrics & Lyricists – 92nd Street Y); numerous galas and special events, including the annual Broadway on the Boardwalk concert series in Atlantic City, Valley of the Dolls and A Party for Comden & Green for The Actor’s Fund. Carl is also the co-writer and costar of the independent feature, A Very Serious Person (Tribeca Film Festival, available on DVD).

Steve Rosen (IG:@stevierosen) is currently co-authoring the musical adaptation of The Secret of My Success for Universal, world-premiering at the Paramount Theater in Chicago in 2020. With Gordon Greenberg, Rosen has written Ebenezer Scrooge’s BIG Playhouse Christmas Show, performed at Bucks County Playhouse (2017, 2018, and upcoming 2019) and The Old Globe (scheduled 2019). Together they also penned The Curious Case of the Curse of Count Dracula, a farcical five-person comedic retelling of the classic horror story, premiering this October at the Maltz-Jupiter Theater. Rosen has worked extensively as a performer on stage and screen. He currently plays recurring roles on NBC’s Law and Order: SVU, Fox’s The Resident and has been nominated for a Drama Desk Award for his performance in THE OTHER JOSH COHEN as well as a Lucille Lortel Award for his performance in Pretty Filthy for The Civilians. He also originated principal roles in the original Broadway companies of MONTY PYTHON’S SPAMALOT, Aaron Sorkin’s The Farnsworth Invention and the 2009 revival of Guys & Dolls.

Adam Gwon is a musical theater writer named one of "50 to Watch" by The Dramatist magazine and hailed "a promising newcomer to our talent-hungry musical theater" by The New York Times. His musicals have been produced on six continents, in more than half a dozen languages. Off-Broadway: Ordinary Days (Roundabout Theatre; Keen Company, Drama League Award nomination, Best Revival), Old Jews Telling Jokes (Westside Theatre); Regional: String (Village Theatre), Cake Off (Signature Theatre, Helen Hayes Award nomination; Bucks County Playhouse), Cloudlands (South Coast Repertory), The Boy Detective Fails (Signature Theatre), Bernice Bobs Her Hair (Lyric Theatre of Oklahoma); West End: Ordinary Days (Trafalgar Studios). In this episode, we talk about . . . How he went from writing individual songs to full-length musicals  What he looks for when looking for something new to write about, or when looking into making adaptations The 3 "blind dates" he went on that led him to adapt Scotland, PA into a musical What it's like to constantly be considered an emerging artist This week’s #SongwriterOfTheWeek is Anna Jacobs and Michael R. Jackson! Check out "I Want To Choose" from their musical TEETH at the end of this episode. If you enjoyed the outro music in this episode, go on over to www.annakjacobs.com/ & www.thelivingmichaeljackson.com for more tunes. This week's episode is brought to you by TERRY KNICKERBOCKER STUDIO. Terry Knickerbocker Studio offers a two-year acting conservatory, workshops, studio rentals, one-on-one coaching, beginner acting classes, and the best actor training in New York, period. While the conservatory training is based on the Meisner Technique, Terry Knickerbocker Studio offers a holistic approach to actor training with a commitment to nurturing the total actor: Mind, Body, and Soul. For more information, please visit www.TerryKnickerbockerStudio.com  Keep up with me: @KenDavenportBway This podcast was edited by Stanley Wiercinski.  www.theproducersperspective.com  Learn more about your ad choices. Visit megaphone.fm/adchoices

Justin Guarini has acted and sang all over the world. One of his most cherished performances was as Bobby in Stephen Sondheim's Company, at the Bucks County Playhouse. He discusses that show, theatre in general, and reveals the advice he'd give to young actors.

Robyn chats with Justin about star quality, actors with wit, and what’s really happening on the other side of the casting table. Robyn Goodman is a Broadway producer known for Avenue Q (2004 Tony Award) and In the Heights (2008 Tony Award), and she is the Executive Producer of Bucks County Playhouse. Connect with Robyn on Instagram @robyngoodman3419. For more Audition Secrets and full show notes, visit http://www.auditionsecrets.com. Follow Justin at @justinguarini on all social media. Join our Facebook group and keep the conversation going at https://www.facebook.com/groups/auditionsecretsvip!

Counter-intuitive Hygiene.  Dan's NCAA rant.  Bucks County Playhouse fun:  Big Names come to a Small Town.  Turns out it hard to jog with Big Breasts. (there's a study)  Museums as Hoarders.  Bird Board Games!  (I can't say if there is sex...)  Session Drummer Hal Blaine.  Growing up in an Irish Bar. Credits: Talent:  Tamsen Granger and Dan Abuhoff Engineer:  Ellie Suttmeier Art:  Zeke Abuhoff  

This week’s episode is with Kathryn Allison. In 2014 she was chosen out of 200 singers to win the NY Musical Theatre Festival’s Next Big Broadway Sensation contest put on my New World Stages. She is an alumni of Paper Mill Playhouse where she won the Douglas Michael Krueger Scholarship in addition to having Bucks County Playhouse and The Muny on her resume. Kathryn was also recently featured by Broadway.com as 1 of the 5 rising stars they’d pick to play Dorothy in The Wiz Live! Now currently in Disney’s Aladdin on Broadway and playing Madison in the new podcast musical Loveville High (LovevilleHigh.com).  Interview content begins at 1:33. Connect with Kathryn:Instagram and Twitter: @kathryndallisonWeb: kathryn-allison.comSoundcloud.com/kathryn-allisonConnect with The Theatre Podcast:Twitter & Instagram: @theatre_podcastFacebook.com/OfficialTheatrePodcastTheTheatrePodcast.comAlan’s personal Instagram: @alansealesJillian’s personal Instagram: @jillianhochmanEmail us at feedback@thetheatrepodcast.com. We want to know what you think.Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.

In this episode, the POA reviews Guardians of the Galaxy Vol. 2 and King Arthur: Legend of the Sword. Also, the POA discusses the new Blade Runner 2049 trailer, MTV's IT footage, the premiere of Clue Live at Bucks County Playhouse and answers the question, was The Dark Knight all it was cracked up to be? Trailers Blade Runner 2049 Dunkirk War Machine The Recall The Hunter's Prayer It  News  New Mutants film casts Maisie Williams and Anya Taylor-Joy/Charlie and the Chocolate Factory and James and the Giant Peach author Roald Dahl biopic/Alien Sequels/The Strangers horror film casts Christina Hendricks in sequel/Stranger Thing's David Harbour to play Hellboy in reboot/Aladdin confirmed as a musical Reviews Clue Live at Bucks County Playhouse King Arthur: Legend of the Sword (Non-Spoiler 51:52-1:01:35) (Spoiler 1:01:35-1:15:00) Guardians of Galaxy Vol. 2 (Non-Spoiler 1:15-1:21:13)

Garth Kravits is an actor, singer, musician and composer and award winning film maker. He made his Broadway debut in the musical The Drowsy Chaperone. Kravits has appeared in the Off-Broadway productions of Old Jews Telling Jokes and Toxic Audio Loudmouth; regionally in Gettin’ The Band Back Together, Meet Me in St. Louis: A Live Radio Play, and It’s A Wonderful Life: A Live Radio Play, (Bucks County Playhouse); The Producers (Gateway Playhouse) and Happy Days: A New Musical (Goodspeed Opera House); and as Benny Southstreet in the regional tour of Guys and Dolls. On television, Kravits has guest starred on 30 Rock, The Blacklist, Nurse Jackie, Hostages, Tin Man and The Carrie Diaries www.garthkravits.com. Song Premiere: "The Night Cafe" by Joel B. New (joelbnew.com), inspired by the artwork of Vincent Van Gogh, accompanied by Josh Kight (joshkight.com). To pledge to Joel's album Kickstarter campaign thru 4/6, please click here: bit.ly/1LPzB35

About our Interview with Lorin Latarro: Choreographer Lorin Latarro was 2 weeks into the rehearsal process for the highly anticipated new musical by Sara Bareilles: WAITRESS when she sat down with us in the studio. Lorin tells a great story involving Barry Weissler, and Diane Paulus and how she actually got the job to be the choreographer for the new musical. While she says she’s “lucky” to have had so many successful working collaborations, it is clear to us that talent and her great personality are the key to her “luck.” We also touch on her transition from a dancer who has 14 Broadway credits, to a choreographer. Lorin recounts her Broadway debut as a dancer in which she left her Radio City show, started rehearsal on a Monday, and by Friday night was on. A self described “work horse,” Lorin is also the Artistic Associate at Bucks County Playhouse, and teaches at her alma mater, Juilliard where she is continuing to help dancers find their voice on many levels. She is also a strong advocate for the school to develop a musical theatre program. Listen in; we are sure you will love Lorin just as much as we did. Links to learn more Lorinlatarro.com Waitress The Musical Lorin Latarro