Podcasts about Cabaret

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Thu, 03 Jul 2025 17:30:00 GMT http://relay.fm/rd/264 http://relay.fm/rd/264 Alphabetical Shadow 264 Merlin Mann and John Siracusa Merlin presents some Microwave Results and John shares his most recent Graduation Results. Merlin presents some Microwave Results and John shares his most recent Graduation Results. clean 5847 Subtitle:  That's why it's hard to be Janice.Merlin presents some Microwave Results and John shares his most recent Graduation Results. This episode of Reconcilable Differences is sponsored by: Vitally: A new era for customer success productivity. Get a free pair of AirPods Pro when you book a qualified meeting. Grist: A modern, open source spreadsheet that goes beyond the grid. Try it for free today. Links and Show Notes: Things kick off with some document disagreements and a surprisingly long discussion of HTML. Next up, Merlin presents some Microwave Results and John shares his most recent Graduation Results. In this month's member bonus episode, your hosts discuss the 1981 German submarine epic, Das Boot. You can sign up today to hear all the member episodes, get more bonus stuff, and help support our program. (Recorded Tuesday, June 24, 2025) Credits Audio Editor: Jim Metzendorf Admin Assistance: Kerry Provenzano Music: Merlin Mann The Suits: Stephen Hackett, Myke Hurley Get an ad-free version of the show, plus a monthly extended episode. Postel's law Reconcilable Differences #218: Train ParliamentThis is the episode where we talk about the people who row boats across oceans. Reconcilable Differences #232: Ham Means OneThis is the episode where we talk about Waffle House's Pull Drop Mark Order Calling Method. Das Boot (1981) Das Boot: Behind the Scenes Blade Runner (1982) Legend (1985) Time Bandits (1981) Dragonslayer (1981) Excalibur (1981) The Godfather Part II (1974) Once Upon a Time in America (1984) Cabaret (1972)

Thu, 03 Jul 2025 17:30:00 GMT http://relay.fm/rd/264 http://relay.fm/rd/264 Merlin Mann and John Siracusa Merlin presents some Microwave Results and John shares his most recent Graduation Results. Merlin presents some Microwave Results and John shares his most recent Graduation Results. clean 5847 Subtitle:  That's why it's hard to be Janice.Merlin presents some Microwave Results and John shares his most recent Graduation Results. This episode of Reconcilable Differences is sponsored by: Vitally: A new era for customer success productivity. Get a free pair of AirPods Pro when you book a qualified meeting. Grist: A modern, open source spreadsheet that goes beyond the grid. Try it for free today. Links and Show Notes: Things kick off with some document disagreements and a surprisingly long discussion of HTML. Next up, Merlin presents some Microwave Results and John shares his most recent Graduation Results. In this month's member bonus episode, your hosts discuss the 1981 German submarine epic, Das Boot. You can sign up today to hear all the member episodes, get more bonus stuff, and help support our program. (Recorded Tuesday, June 24, 2025) Credits Audio Editor: Jim Metzendorf Admin Assistance: Kerry Provenzano Music: Merlin Mann The Suits: Stephen Hackett, Myke Hurley Get an ad-free version of the show, plus a monthly extended episode. Postel's law Reconcilable Differences #218: Train ParliamentThis is the episode where we talk about the people who row boats across oceans. Reconcilable Differences #232: Ham Means OneThis is the episode where we talk about Waffle House's Pull Drop Mark Order Calling Method. Das Boot (1981) Das Boot: Behind the Scenes Blade Runner (1982) Legend (1985) Time Bandits (1981) Dragonslayer (1981) Excalibur (1981) The Godfather Part II (1974) Once Upon a Time in America (1984) Cabaret (1972)

durée : 01:28:32 - Une saison exceptionnelle de Cabarets 42e rue - par : Laurent Valière - Company, Les Misérables, Starmania, Gypsy ou Sweeney Todd : retour sur une saison exceptionnelle de Cabarets 42e rue au Carreau du Temple cette saison. Vous aimez ce podcast ? Pour écouter tous les autres épisodes sans limite, rendez-vous sur Radio France.

The Department for Education has just released the latest figures that show another rise in the number of Education, Health and Care Plans, or EHCPs, in England. These are the legal documents that outline what support a child or young person with special educational needs and disabilities is entitled to. The BBC's education reporter Kate McGough, Jane Harris, vice chair of the Disabled Children's Partnership, and Jacquie Russell from West Sussex County Council joined Clare McDonnell.Christiane Amanpour has been at the forefront of international news for more than 40 years, reporting from all over the world as a journalist and war reporter as well as being CNN's Chief International Anchor, steering the helm of several programmes including CNN International's nightly interview programme Amanpour. She's now launched a podcast, Christiane Amanpour Presents: The Ex-Files with Jamie Rubin. It's a weekly foreign affairs show, co-hosted with Jamie, a former U.S. diplomat and Assistant Secretary of State and also her ex-husband. Christiane joined Clare to discuss.The musician, songwriter and actress, Rebecca Lucy Taylor, aka Self Esteem won the 2021 BBC Music Introducing Artist of the Year Award and achieved a nomination for the Mercury Prize in 2022 with Prioritise Pleasure. More recently she has performed the lead role of Sally Bowles in the West End production of Cabaret. She talks to Anita Rani about her new album, A Complicated Woman, and performing on the Park Stage at Glastonbury this weekend.The bullet bra has made a recent return to the catwalk and to the cover of British Vogue, where singer Dua Lipa can be seen sporting a blush satin Miu Miu creation in the July issue. But will the silhouette, once favoured by Marilyn Monroe and Madonna, cut through to the high street? And what does that mean for the comfortable t-shirt bras that have been going strong since lockdown? Julia Hobbs, British Vogue's contributing senior fashion features editor has recently road-tested the bullet bra. She joins Clare to discuss the experience, along with Karolina Laskowska, a lingerie designer and the director of The Underpinnings Museum.Presenter: Clare McDonnell Producer: Annette Wells Editor: Rebecca Myatt

In deze aflevering ontvangt Teddy Tops acteur Joes Brauers. Hij speelt in de nieuwe serie ‘De Vuurwerkramp', over de gebeurtenissen in Enschede in 2000. Joes deelt zijn cultuurtips met Teddy en de luisteraar. De tips van Joes Brauers:   Recent album + liedje: Ik Zou Voor Veel Kunnen Sterven Maar Niet Voor Een Vlag, (https://genius.com/albums/Sef/Ik-zou-voor-veel-kunnen-sterven-maar-niet-voor-een-vlag)De Machine (https://genius.com/Sef-de-machine-lyrics) Aankomend concert: Brabo Leone (https://nite.nl/voorstelling/braboleone/#:~:text=Door%20middel%20van%20muzikale%20verhalenvertelling,geven%20op%20wat%20het%20betekent) Boek: Op een andere planeet kunnen ze me redden (https://uitgeverijpluim.nl/op-een-andere-planeet-kunnen-ze-me-redden), Het getijdenboek (https://uitgeverij-ijzer.nl/boeken/346-het-getijdenboek) Podcast: Trojka! De Russische revolutie met Johan de Boose, Reve tot leven (https://www.vrt.be/vrtmax/podcasts/klara/t/trojka--naar-rusland-met-johan-de-boose/) Toneel: Guernica, Guernica (https://toneelhuis.be/nl/programma/guernica-guernica/), Milennial 1: Vrede (https://www.oostpool.nl/voorstellingen/millennial-i-vrede/) Dans: Afternoon of a nymph (https://www.dunjajocic.com/afternoon-of-a-nymph/) Musical: Stoornis of my life (https://stoornisofmylife.nl/), Cabaret (https://delamar.nl/cabaret/) Cabaret: Beetje Vies (https://deparade.nl/programma/beetje-vies/) Tentoonstelling: How we can ('t) exist (https://www.instagram.com/sacmaastricht/p/DLHVztXNViZ/) Museum: Van Gogh Museum (https://www.vangoghmuseum.nl/nl) Openbare Kunst: Street Art in Heerlen (https://stichtingstreetart.com/) Festival: Nederlands Film Festival (https://www.filmfestival.nl/) Nu in de bioscoop: Dogma'95 films (https://www.vprogids.nl/cinema/lees/artikelen/specials/2025/Dertig-jaar-Dogma-95--hoe-de-Deense-filmbeweging-de-filmwereld-veranderde.html), Hemelsleutel (https://www.imdb.com/title/tt33400327/) Film op streaming: Chungking Express (https://www.imdb.com/title/tt0109424/) Serie: Succession  (https://www.imdb.com/title/tt7660850/?ref_=nv_sr_srsg_0_tt_8_nm_0_in_0_q_Succession%2520) Docu: What's Right (https://npo.nl/start/serie/what-s-right/seizoen-2_1/what-s-right-linkse-tranen), De Bezette Stad (https://npo.nl/start/serie/npo-doc_1/seizoen-1/npo-doc-de-bezette-stad) Kindercultuur: Theater Artemis (https://artemis.nl/), Hoofdzaken (https://www.vpro.nl/jeugd/programmas/hoofdzaken.html) Gratis: Eye Film Player (https://player.eyefilm.nl/nl/home)

Connor and Dylan are joined by Graham Phillips (Little Shop of Horrors, 13). Suddenly, Graham y'all! The twins are gagged to have this star of stage and screen on the podcast to honor his highly anticipated return to the New York stage. But first, the boys gag over Orville Peck and Eva Noblezada in Cabaret at the Kit Kat Club. Graham is currently starring as Seymour in Little Shop of Horrors, alongside longtime friend and castmate Liz Gillies. From the workshops of 13 to the streets of Skid Row, they're finally reunited onstage. Graham discusses what it's been like joining the show, spills tea on the roles-that-almost-were over the years, and a possible clowning storyline. We ask about highlights from The Good Wife (and what he would've done on The Good Fight!), memories from Riverdale, and his film studio that he runs with his brother: Phillips Pictures. Chemistry reads with Zachary Quinto, wrap parties with Calista Flockhart and Harrison Ford, and late night karaoke sessions with Liz Gillies and 13 alums are allllll mentioned. Stick around to find out what Graham's (and Seymour Krelborn's) enneagram type is! Catch Graham in Little Shop of Horrors through July 27th only.Follow Graham on InstagramFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramSubscribe to our show on iHeartRadio Broadway! Support the podcast by subscribing to DRAMA+, which also includes bonus episodes, Instagram Close Friends content, and more!

Governor Maura Healey joins for Ask the Governor.GBH News executive arts editor Jared Bowen discusses the Boston Public Art Triennial, Cabaret at the Kit Kat Club and the fate of Iran's architectural treasures with escalation of war.Harvard national security expert Juliette Kayyem discusses the emerging details of the U.S. strike on Iran and the proposed "Golden Dome"  US-wide missile defense system.Boston Globe Love Letters columnist Meredith Goldstein discusses some of her recent columns and podcast episodes including how to deal with a partner's moodiness and the role of artificial intelligence in dating.

"Thrill with excitement and scream with fear!" The man behind Dracula's Cabaret promises their latest show will scare and delight audiences. Luke Newman is a third generation Dracula, he told Jesse what makes their performances stand out from the rest.

This one caught my eye for a completely different reason than most of the postcards I've written about. It's not a quiet street scene or a charming old building—it's people. A whole lineup of them. Dancers, performers, maybe a few singers too, all standing in formation in front of a dramatic backdrop. They're dressed in full costume—fringe, sequins, feathers—ready to perform, or maybe just wrapping up another night's set. The caption at the bottom reads: The Ensemble of “The Famous Hollywood Cabaret” Restaurant, Broadway at 48th St., New York City. It says a lot in just a few words. This wasn't just a restaurant—it was a place where dinner came with a full night of entertainment. And this postcard doesn't just show a building or a business—it captures a whole slice of nightlife in one of New York's most legendary neighborhoods. Podcast Notes: https://ancestralfindings.com/hollywood-cabaret-new-york/ Ancestral Findings Podcast: https://ancestralfindings.com/podcast This Week's Free Genealogy Lookups: https://ancestralfindings.com/lookups Genealogy Giveaway: https://ancestralfindings.com/giveaway Genealogy eBooks: https://ancestralfindings.com/ebooks Follow Along: https://www.facebook.com/AncestralFindings https://www.instagram.com/ancestralfindings https://www.youtube.com/ancestralfindings Support Ancestral Findings: https://ancestralfindings.com/support https://ancestralfindings.com/paypal  #Genealogy #AncestralFindings #GenealogyClips

Actriz mexicana de cine, televisión y teatro, con notables participaciones en muchos de los títulos más destacados de la escena contemporánea. Entre sus trabajos más sobresalientes en teatro se encuentran ‘Todo Sobre mi Madre' (Dir. Francisco Franco), ‘Cock' (Dir. Toño Serrano), ‘Crímenes del Corazón' (Dir. Enrique Singer), ‘Medida por Medida' y ‘Medea' (Mauricio García Lozano), ‘Network' (Dir. Francisco Franco) con Daniel Giménez Cacho, y ‘Cabaret' (2024). Ha sido nominada al Premio Ariel en cinco ocasiones y a los Premios Platino en tres. Con ‘Las Niñas Bien' (Dir. Alejandra Márquez Abella) recibió el Premio Ariel en 2019 en la categoría de Mejor Actriz, además del premio del Festival Internacional de Cine de la Habana y el Festival Internacional de Lima. Con ‘Plaza Catedral' (Dir. Abner Benaim) recibió el reconocimiento del FICG como mejor interpretación. Ilse enlista más participaciones relevantes dentro de su filmografía, como ‘GÜEROS' ( Dir. Alonso Ruizpalacios), ‘Sabrás que Hacer Conmigo' (Dir. Katina Medina Mora), ‘Museo' (Dir. Alonso Ruizpalacios), ‘Cantinflas' (Dir. Sebastián del Amo), ‘Amores Modernos' (Dir. Matias Meyer), ‘Maquíllame Otra Vez' (Dir. Guillermo Calderón), ‘Familia' (Dir. Rodrigo García) y ‘Pedro Páramo' (Dir. Rodrigo Prieto). Para televisión, ha formado parte de proyectos como ‘Locas de Amor' (Televisa), ‘Capadocia' (HBO), ‘Sr. Ávila' (HBO), ‘Historia de un Crimen: Colosio' (Netflix), ‘100 Días para Enamorarnos' (Telemundo), ‘Señorita 89' (Fábula / Pantaya), ‘La Liberación' (Prime Video), serie de la que también es productora, y ‘Futuro Desierto' (Paramount Television), próxima a estrenarse.Síguenos en redes:http://instagram.com/cableatierrapodhttp://facebook.com/cableatierrapodcasthttp://instagram.com/tanialicious Hosted on Acast. See acast.com/privacy for more information.

Marcus Collick co-hosts The West End Frame Show!Andrew and Marcus delve into the controversy surrounding Rachel Zegler's balcony performance in Jamie Lloyd's production of Evita at the London Palladium. They also discuss Miss Myrtle's Garden (Bush Theatre) and their favourite West End LIVE performances (Trafalgar Square) as well as the latest news about Broadway closures, Marisha Wallace and Billy Porter transferring to Cabaret in New York, The Curious Case of Benjamin Button closing and lots more.Marcus' US theatre credits include White Christmas and Damn Yankees. Since moving to the UK they have been in Spring Awakening (Phoenix Arts Club) and Zanna, Don't! (Old Joint Stock Theatre). Most recently they performed in the West End at ATG's flagship creative learning program PLAYground at the Savoy Theatre!Earlier this year Marcus hosted the Stalls to Stage Awards at the Bush Theatre and now they're teaming up with Emmanuel Akwafo to co-produce and host The Blackprint Concert: A Fearless Declaration of Black Artistry Taking Up Space at the Phoenix Arts Club. The concert has a killer line-up including Koko Alexandra, Lauren Azania, Tanasha Chege, Elan Ayana Davies, Cameron Benard Jones, Idriss Kargbo, Claudia Kariuki, Leah St Luce, Paige Miller, Georgina Onuorah, Jordan Shaw and Jaz Terry. Musical supervision and orchestrations are by Sean Green.You can see The Blackprint Concert: A Fearless Declaration of Black Artistry Taking Up Space at the Phoenix Arts Club on 3rd August 2025. Visit www.phoenixartsclub.com for info and tickets.Follow Marcus on Instagram: @_markyyymark_This podcast is hosted by Andrew Tomlins. @AndrewTomlins32 Thanks for listening!Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

The Broadway revival of CABARET has recently announced it will conclude its run later this year at the August Wilson Theatre.The production, which was first staged in London, began with Eddie Redmayne in the role of the Emcee and has since welcomed stars including Adam Lambert and Orville Peck, with Marisha Wallace and Billy Porter set to join the show this summer as its concluding stars.In this essay, Mickey-Jo is sharing some answers as to why the show is closing by glancing back at its West End origins, Broadway opening, critical reception, Tony Awards success, and replacement casting...•00:00 | introduction02:33 | closing details07:46 | West End history13:10 | Broadway opening17:19 | box office21:26 | the Broadway run27:38 | political factors32:14 | conclusion•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 80,000 subscribers. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. Instagram/TikTok/X: @MickeyJoTheatre Hosted on Acast. See acast.com/privacy for more information.

‘Cabaret’ to close with Porter and Wallace, Jeff Ross to bring solo show to Broadway, Jinkx to play Mary Todd Since 2016, “Today on Broadway” has been the first and only daily podcast recapping the top theatre headlines every Monday through Friday. Any and all feedback is appreciated:Grace Aki: grace@broadwayradio.com | @ItsGraceAkiMatt read more The post Today on Broadway: Thursday, June 19, 2025 appeared first on BroadwayRadio.

Tenemos en el estudio a Ale Ballina que es ahorita la directora residente en Cabaret, como alguna vez lo fue en Los Miserables, y que habiendo también dirigido proyectos propios tiene mucho que contar de cómo es este multiverso de dirección que ahorita en Kit Kat Club la tiene ensayando a muchos, muuuuuchos nuevos integrantes.

Sous l'impulsion de Zize Dupanier, les Grosses Têtes se verraient bien au cabaret... Retrouvez tous les jours le meilleur des Grosses Têtes en podcast sur RTL.fr et l'application RTL. Distribué par Audiomeans. Visitez audiomeans.fr/politique-de-confidentialite pour plus d'informations.

Last night the winners of this year's Women's Prize were announced. The winner for fiction is Yael van der Wouden for her novel The Safekeep and the non-fiction prize by Rachel Clarke for her book The Story of a Heart, which tracks the lifesaving gift of a transplant. Anita Rani discusses the winning books with the Chair of Judges for the Fiction Prize, author Kit de Waal, and Chair of Judges for the Non-Fiction Prize, journalist and author Kavita Puri.Race Across The World reached its finale on BBC One this week, after a nearly 9,000-mile dash across Asia, from the Great Wall in north eastern China to the southernmost tip of India, via the Himalayan peaks of Nepal. This year's winner were mother and son team Caroline Bridge and her 21-year-old son Tom. Caroline talks to Anita about the experience.An entrepreneur and mother was refused entry to a tech event in London because she had brought her eight-month-old baby with her. Anita speaks to the woman in question, Davina Schonle, and the director and producer Jude Kelly about the issue of banning babies from events of this nature.It's festival season, with Glastonbury starting at the end of June. However it's not just the music and the atmosphere that festival goers need to be thinking about. The UK Health Security Agency has warned that measles is circulating across the country, with high numbers in the South West and London. Anita is joined by the UK Health Security Agency Deputy Director of Vaccination Programmes, Dr Julie Yates - who is the former public health lead in South West on Glastonbury.Grammy-nominated Ute Lemper has had a career spanning stage, film and music. She is renowned for her interpretations of Kurt Weill, Brecht and chanson legends like Marlene Dietrich. Ute won the American Theatre World Award and the Laurence Olivier Award for her performance as Chicago's Velma Kelly both on Broadway and in London's West End, and the Molière Award for her performance as Sally Bowles in Cabaret in Paris. Utel Lemper now has a new album, Pirate Jenny, celebrating the music of legendary composer Kurt Weill. She joins Anita to talk about her passion for his work.Presenter: Anita Rani Producer: Rebecca Myatt

Le spectacle d’humour “Père Recherché” le samedi 14 juin 19h30 au Cabaret des Curiosités (4264 rue Ste-Catherine Est). Entrevue avec Virginie Courtiol et Radi, humoristes. Regardez aussi cette discussion en vidéo via https://www.qub.ca/videos ou en vous abonnant à QUB télé : https://www.tvaplus.ca/qub ou sur la chaîne YouTube QUB https://www.youtube.com/@qub_radio Pour de l'information concernant l'utilisation de vos données personnelles - https://omnystudio.com/policies/listener/fr

When Australian comedian Michelle Brasier was scammed by a stranger, she didn't report it. Instead, she extended her hand in friendship and turned the experience - into a cabaret.

Ayer presentaron a Mon Laferte como la nueva Sally Bowles en "Cabaret". Esperamos una buena temporada de teatro. Que buena esta la obra de teatro Spamalot. See omnystudio.com/listener for privacy information.

Rob Madge grew up staging living room musicals with wigs, smoke machines, and the unwavering support of their parents and grandmother—but what started as childhood play eventually became the viral, heartfelt, and Olivier-nominated solo show My Son's a Queer (But What Can You Do?). In this episode, Rob shares how those home videos evolved into a theatrical sensation, and how a show born during lockdown has become a powerful celebration of queer joy, family, and radical acceptance—now heading to New York City Center for its limited U.S. debut. We talk about everything from queer theory and comedy as activism to being a theater kid in a small UK village and why their grandmother was the ultimate co-conspirator. Rob opens up about the emotional weight of visibility, the importance of letting kids be themselves, and the unshakable confidence that comes from being loved early and completely. Plus, they reflect on their journey from Gavroche to leading their own story—and the joy of tweaking the show for each new audience. Rob Madge is a writer and performer whose solo show My Son's a Queer (But What Can You Do?) earned an Olivier Award nomination following its West End run. They began their career as a child actor in Mary Poppins, Oliver!, and Les Misérables, and trained at Sylvia Young Theatre School before studying English Literature at Warwick University. Rob also stars as the Emcee in Cabaret on the West End, and continues to explore themes of identity, family, and theatricality through their writing and performance. Connect with Rob Instagram: @robmadge02 Connect with The Theatre Podcast: Support the podcast on Patreon and watch video versions of the episodes: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Patreon.com/TheTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Twitter & Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@theatre_podcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Facebook.com/OfficialTheatrePodcast⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠TheTheatrePodcast.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Alan's personal Instagram: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠@alanseales⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Robbie Rozelle wraps up his episodes with the moment we've all been waiting for: Stephen Sondheim stories!! Robbie talks about extensively working so closely with the legend he calls a "deity" and why you always, always (always!) sing what Sondheim wrote on the page.  Robbie also takes us through creating his cabaret shows and explains why it's all about storytelling. Celebrities? Boring. What do YOU have to say? Let's find out what that is and then find ways to lift people up and make good art with and for the ones we love. Oh and we are all over the place so buckle up! We're talking Housewives, Taylor Swift, Scandoval (Team Ariana!), The Traitors (Gabby Windey 4eva we heart you Gaggy), the invisible string theory, and our TikTok FYPs. Robbie Rozelle @DivaRobbie  Robbie Rozelle - Songs from Inside My Locker (Live at Feinstein's/54 Below) Gabby Windey on TikTok - Gaggy to u Fairuza Balk Taylor Swift - tolerate it   /// Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

Drees, Jan www.deutschlandfunk.de, Büchermarkt

Ute Lemper is an internationally celebrated German singer and actress. She first gained international acclaim playing Sally Bowles in Cabaret in Paris, a performance that earned her the Molière Award for Best Newcomer. She went on to star as Velma Kelly in Chicago in both the West End and on Broadway, winning the Olivier Award for Best Actress in a Musical and a Theatre World Award. Her early career also included key roles in Cats in Vienna and Peter Pan and The Blue Angel in Berlin. Ute has become an international cabaret icon, renowned for her interpretations of Kurt Weill, Marlene Dietrich, Édith Piaf, and Astor Piazzolla. She has performed at prestigious venues such as La Scala, Lincoln Center, and the Sydney Opera House. Her recording career includes over 30 albums, with standout projects like Ute Lemper Sings Kurt Weill, Illusions, and Punishing Kiss, featuring songs by Elvis Costello, Tom Waits, and Nick Cave. She was named Billboard's Crossover Artist of the Year in 1993/94. Her film work includes notable roles in L'Autrichienne as Marie Antoinette, Peter Greenaway's Prospero's Books, and Prêt-à-Porter. She also provided the German voice for Ariel in Disney's The Little Mermaid and Esmeralda in The Hunchback of Notre Dame. With multiple Grammy nominations and a ballet created for her by Maurice Béjart, Ute Lemper remains one of the most dynamic and influential performers of her generation .Ute Lemper is our guest in episode 499 of My Time Capsule and chats to Michael Fenton Stevens about the five things she'd like to put in a time capsule; four she'd like to preserve and one she'd like to bury and never have to think about again .For Ute Lemper's concert dates and tickets, music and videos, visit - https://www.utelemper.comFollow Ute Lemper on Instagram: @utelemperFollow My Time Capsule on Instagram: @mytimecapsulepodcast & Twitter/X & Facebook: @MyTCpod .Follow Michael Fenton Stevens on Twitter/X: @fentonstevens & Instagram @mikefentonstevens .Produced and edited by John Fenton-Stevens for Cast Off Productions .Music by Pass The Peas Music .Artwork by matthewboxall.com .This podcast is proud to be associated with the charity Viva! Providing theatrical opportunities for hundreds of young people . Hosted on Acast. See acast.com/privacy for more information.

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

“That transformation was key to my next step as an artist, to knowing that's what acting is. It isn't just posing; it isn't just being a version of yourself in a way that was free. Performing wasn't just performing; it was transforming. I think that artists find that in many different ways, and as actors, there are many ways into that.I would encourage you, as I do if you're an actor, to know your own equipment, know your own psychology, and use the great teachers that are synthesized in my favorite teacher's book, Moss, who I studied with later. There is a book called Intent to Live that distills down Uta Hagen, Stella Adler, Bobby Lewis, and Stanislavski. The great teachers at the Group Theatre believed that the method needed to be altered to be constructive rather than destructive to artists.David Milch's mind is so singular because he uses language in a way that defines character. That's what all good writers do: use language to get to the heart of something. He would use malapropisms to make up words, and Milch loved playing with that. As someone who played the love interest of such a unique character as Andy Sipowicz, I found it fascinating.Through Sylvia and David Milch's understanding, his wife humanized him. Sipowicz was portrayed as an addict, a very flawed human who had many addictions. David Milch is now suffering from Alzheimer's, so we won't get his words again. However, the words that he has to offer are timeless because he studied Robert Penn Warren and had many mentors throughout his vast literary education. That is key. I love speaking Noël Coward's words. As a bon vivant, he wrote musically, to charm us and amuse us. So going and reading Noël Coward is important for actors to learn those cadences and the musicality of a certain era. Of course, Shakespeare comes to mind. I also think of the female playwrights who delight me now, whether it's Caryl Churchill. She has that singular mind and plays with gender so well, challenging gender norms. Seeing ‘Cloud Nine' when I was in college blew my mind open because men were playing women and women were playing men. Of course, Shakespeare was doing it too, but her work felt more intimate; it was in a small theater. That's another thing I encourage actors and audiences to do: go see things in small theaters. See it up close because that will excite you and help you learn the craft.”Sharon Lawrence is an acclaimed actress best known for her Emmy-nominated, SAG Award-winning role as ADA Sylvia Costas on NYPD Blue. She has delivered memorable performances in Desperate Housewives, Monk, Law & Order: SVU, Criminal Minds, Shameless, and Queen Sugar. On stage, she's earned praise for roles in The Shot (a one-woman play about the owner/publisher of the Washington Post, Katharine Graham), Orson's Shadow, and A Song at Twilight. Shestarred in Broadway revivals of Cabaret, Chicago, and Fiddler on the Roof. Her recent work includes the neo-Western series Joe Pickett, opposite Michael Dorman, and the films Solace with Anthony Hopkins and The Bridge Partner. Lawrence is also a dedicated advocate, serving on the boards of the SAG-AFTRA Foundation, WeForShe, and Heal the Bay, and is a former Chair of the Women In Film Foundation.Episode Websitewww.creativeprocess.info/podInstagram@sharonelawrence@creativeprocesspodcast

On this episode, Tom goes "On the Aisle" with Clint Holmes, a concert and cabaret singer, songwriter, and Las Vegas entertainer who truly is a show business legend.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.

Auckland's Cabaret Festival is on at The Civic until next Friday. The final show will be Songs from the Factory directed by Anapela Polata'ivao.

My guest this week is culture writer Erik Piepenburg, author of the new book Dining Out: First Dates, Defiant Nights, and Last Call Disco Fries at America's Gay Restaurants. It's a nationwide tour of the places queer people gather to eat, and how those places satisfy more than just our literal hunger. When Erik started the project, he expected that he'd be documenting the dying-out of gay restaurants, but he found something surprising and thriving instead.We'll have that conversation in just a minute. First — if you're in Seattle, I hope you'll join me at two upcoming live events. The first is a book signing and sitcom-themed hangout at the Northgate Barnes & Noble — that's this Sunday, June 8 from noon to 4pm. Come enjoy clips from classic sitcoms, get your copy of Hi Honey, I'm Homo! signed, and pick up some free stickers & bookmarks! The store's located right off the light rail — just take it up to Northgate.The second event this month is a presentation entitled What's so Gay About Frasier — a deep-dive into why Seattle's most eligible bachelor keeps managing to find himself at the center of queer farces. That's on Tuesday, June 24 at Elliott Bay Books on Capitol Hill at 7pm. I have all the details in the shownotes and at mattbaume.com/events.Also, if you're enjoying The Sewers of Paris, I hope you'll consider supporting the show on Patreon. You may also enjoy my YouTube videos about the making of iconic movies and TV shows — I have a new video about the magic of Star Trek's Lwaxana Troi. And check out my weekly livestreams on Twitch, my book Hi Honey, I'm Homo!, and my free email newsletter. There's links to all that in the episode shownotes, and at MattBaume.com.

Orville Peck is full of apparent contradictions. As a kid in South Africa, he went from dancing ballet to playing drums in a punk band. He loves musical theater but made a name for himself as a country singer. He sings about vulnerability but covers his face with a mask. Peck talks to Rachel about embracing those contradictions and about starring in "Cabaret" on Broadway. To listen sponsor-free and support the show, sign up for Wild Card+ at plus.npr.org/wildcardLearn more about sponsor message choices: podcastchoices.com/adchoicesNPR Privacy Policy

EAST COAST PREMIEREBook and Lyrics by Mickle Maher Music by Merel van Dijk and Anthony Barilla Directed by Taibi Magar & Tyler Dobrowsky Commissioned and Co-Produced by Daryl Morey, Philadelphia 76ers President of Basketball OperationsPhiladelphia loves sports, so why not a sports-themed musical? Step into the surreal, magical world of Small Ball, where melancholy journeyman basketball player Michael Jordan (no, not that Michael Jordan) has recently started playing in the international league with the Lilliput Existers – as in Lilliput, from Gulliver's Travels. With teammates who are only six inches tall, the team's fortunes, and the post-game press conferences, rest on Michael's shoulders. Small Ball is an off -beat musical delight, commissioned and co-produced by Daryl Morey, President of Basketball Operations for the Philadelphia 76ers. Directed by Co-Artistic Directors Taibi Magar and Tyler Dobrowsky. An East Coast Premiere.Content Advisory: Small Ball contains strong language, adult themes, and surreal humor. Recommended for ages 13 and up.Adam Chandler-Berat - PIPPINPTC: Debut. Broadway: Next to Normal (original cast); Peter and the Starcatcher (original cast); Amélie (original cast); Saint Joan (revival). Off-Broadway: The Jonathan Larson Project; I Can Get It for You Wholesale; Assassins; The Fortress of Solitude (Lortel Award nomination); Rent; Fly by Night; How to Load a Musket; Nantucket Sleigh Ride; Zorba; Titanic. Regional: A New Brain, Barrington Stage Company; Sunday in the Park with George, Huntington Theatre Company; The Year to Come, La Jolla Playhouse. Film: Delivery Man. TV: Gossip Girl (HBO Max); Veep; Elementary; The Good Wife; Doubt; The Code; NCIS: New Orleans; Soundtrack.JORDAN DOBSON, MICHAEL JORDONPTC: Night Side Songs. Broadway: Bad Cinderella (Prince Sebastian, OBC); Hadestown (Orpheus); A Beautiful Noise (Shilo, OBC); West Side Story (Tony, dir. Ivo van Hove). Tour: Rent (Angel), Japan Tour. Regional: Hair, Signature Theatre and Two River Theater; Austen's Pride, Into the Woods, ACT of Connecticut; The Wanderer, Paper Mill Playhouse; Cabaret, Gypsy, Arden Theatre Company; The Color Purple, Theatre Horizon. Film: Maestro (William), dir. Bradley Cooper; Closing Night (Jericho). More: @jordandobson_.

Robbie Rozelle is back for round two and I think it's safe to say that we are officially off the rails. After passing up lottery tickets to Hamilton at the Public in 2015, Robbie eventually saw it in previews and promptly had an out of body experience, prompting a StubHub debacle the very next day (remember those days?!). Robbie was the creative director of Playbill at the start and eventual astronomical height of Hamilton, so we take a look back on some of the insane fervor of that time and why some of it was probably not very cool (it's me, hi, I'm the problem, it's me). Plus, we share stories about being in the room for some very famous on-stage mishaps: breaking the fourth wall in Wicked and Gypsy, a drunk Richard Burton furious that they gave him the curtain during Camelot, Bette Midler mugging with a purse in Hello Dolly!, and the famous Emily Skinner/Linda Eder situation for that one night only performance of Jekyll & Hyde. Robbie Rozelle @DivaRobbie  Robbie Rozelle - Songs from Inside My Locker (Live at Feinstein's/54 Below) Original Cast Album: Co-Op Nobert Leo Butz - Girls, Girls, Girls: Live at 54 Below Emily Skinner Finally Confirms That Rumor About Jekyll and Hyde Flight of the Conchords Season 2, Episode 7: “Prime Minister” /// Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

On episode 289 of The AwardsWatch Podcast, Executive Editor Ryan McQuade is joined by Editor-In-Chief Erik Anderson, Associate Editor Sophia Ciminello, AwardsWatch contributor Mark Johnson, and special guest Kevin Jacobsen, Entertainment Weekly Content Update Editor and host of the And the Runner Up Is podcast. Fasten your seatbelts, it's going to be a bumpy night. While everyone is settling into the summer blockbuster season and recovering from the Cannes Film Festival from the month of May, the AW team turn to the month of June by going back to a favorite exercise from last year, an extensive tier ranking of an Oscar category. After doing Best Director last year, the team moves the most popular category the Oscars has for the team; Best Actress and its 98 winners. In trying to place these winners in the correct spot, the team had to come together and decide on whether to place these performances in the S (all-time winner), A, B, C, D, or F tier and explain the ranking. Only 49 of the winners are discussed on this episode, including Vivien Leigh in Gone with the Wind, Liza Minnelli in Cabaret, Jessica Chastain in The Eyes of Tammy Faye, Judy Holliday in Born Yesterday, Elizabeth Taylor in Who's Afraid of Virginia Woolf?, Marion Cotillard in La Vie en Rose, Loretta Young in The Farmer's Daughter and Sally Field in Norma Rae, with the rest covered next week. For the first time in the tier ranking episodes, the performances have been randomized, making the show even more unpredictable as to who will be covered from the list of winners on this episode. Also, the team has instituted two rules that include only 15 winners being able to be in the “S tier” and if an actress has multiple wins, only one of their wins can make it into the 15. It adds a fun wrinkle for the team to try and figure out when they get to their final rankings. It may only be part one, but it's a great episode and we hope you all enjoy it and listen next week to part two. You can listen to The AwardsWatch Podcast wherever you stream podcasts, from iTunes, iHeartRadio, Soundcloud, Stitcher, Spotify, Audible, Amazon Music, YouTube and more. This podcast runs 3h58m. We will be back in next week for part 2 of our Best Actress tier ranking episode. Till then, let's get into it. Music: “Modern Fashion” from AShamaleuvmusic (intro), “B-3” from BoxCat Games Nameless: The Hackers RPG Soundtrack (outro).

Small boy begins breeding budgerigars in Liverpool, makes enough to buy a drum kit and becomes the power behind Big In Japan, the Slits, the Creatures and Siouxsie and the Banshees. And one half of punk rock's most famous couples. The immensely engaging Budgie has finally written his memoir, ‘The Absence', and talks to us from Berlin about … … are bands only as good as their drummers? … Siouxsie, the Ice Queen goth-in-waiting who was actually “a cackling crazy tomboy from Chiselhurst”.    … playing Shadows instruments in a nightclub cabaret, aged 13. … the gnawing pain of not being asked to play Live Aid – “we just weren't part of that all-pals-together-in-the-wonderful word of music”. … “World Exclusive!”: seeing Bill Nighy in a band in the ‘70s singing Rosalita. … the Apache and Wipeout drum patterns in the rhythms of the Slits and Banshees.   … in praise of drummers: Bill Buford, Phil Collins, the Glitter Band, Humble Pie's Jerry Shirley. … the peculiar world of the teenage budgerigar breeder. … the dynamic of the Slits – “Palmolive, off-the-scale crazy”. … ‘You're The Biggest Thing Since Powdered Milk' by Burke Shelley's Budgie, Humble Pie's ‘Rockin' the Fillmore' and when you only have one cassette in your car and it's ‘Wonderworld' by Uriah Heep. … Siouxsie's Jim Morrison fixation and lack of ambition. … the advantage of being in a band with a girl singer. … and the likelihood of a Banshees' reunion. Order Budgie's memoir ‘the Absence' here: https://www.amazon.co.uk/Absence-Memoirs-Banshee-Drummer/dp/1399621564Find out more about how to help us to keep the conversation going: https://www.patreon.com/wordinyourear Get bonus content on Patreon Hosted on Acast. See acast.com/privacy for more information.

Today's Guests Paul & Paul the owners and operators of Birdie's Cabaret formerly The Joint. Opening this weekend these two fellas have some incredible things planned. New things every night of the week, themed events, all kinds of different entertainment you can think of. You might just have a new spot to go and hang out. Do yourself a favor and go check it out you won't be disappointed    Links down below for all the goods. If you want behind the scenes and episodes 2 days early sign up for our Patreon it helps support the show in many ways.   As always thank you for listening.     Patreon  https://www.patreon.com/crashcastn    YouTube https://www.youtube.com/c/crashcast      Instagram https://www.instagram.com/crashcastpod/   Facebook https://www.facebook.com/crashcastpod   Twitter https://twitter.com/crashcastpod1   Tik Tok https://www.tiktok.com/@crash.cast   YouTube Episode https://youtu.be/tkFGtqo2TMQ

Robbie Rozelle is a beloved cabaret artist, director, producer, housewives aficionado, and my friend. He identifies as a Charles Nelson Reilly with a Paul Lynde Rising. And guess what?! We're going back to basics! Robbie joins me in person, in my living room, and we talk about his Hamilton experience as well as pretty much everything else.  As a kid, Robbie fell in love with classic movie musicals (The Wizard of Oz, The Sound of Music, Annie (1982 ONLY), Bye Bye Birdie, Damn Yankees) and became transfixed. By the time he was cast as Scarecrow his freshman year of high school he knew he was going to be a performer. As a young gay kid in the middle of the AIDS crisis, Robbie found hope, joy, and a sense of belonging in theatre, which is why he's made it his life goal to preserve musicals through producing cast and artist albums.  This week, Robbie talks about his journey to New York City by way of upstate New York with a quick stop in Pennsylvania, how he became the Creative Director of Playbill, his transition to Center Stage Records, and how wise words from Jan Maxwell led to his "second life" as a cabaret icon.  Robbie Rozelle @DivaRobbie  Robbie Rozelle - Songs from Inside My Locker (Live at Feinstein's/54 Below) Original Cast Album: Co-Op /// Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

[REBROADCAST FROM April 10, 2024] Country singer Orville Peck continues his Broadway debut alongside two-time Tony nominee Eva Noblezada in “Cabaret” at The Kit Kat Club. Peck stars as the Emcee and Noblezada as Sally Bowles. The two discuss stepping into their roles in this Broadway revival through July.