Podcast appearances and mentions of Cameron Mackintosh

Lucie-Mae Sumner is playing Winifred Banks in Mary Poppins.The show is back on tour across the UK & Ireland, following its most recent runs in the West End and Australia. Mary Poppins has original music and lyrics by Richard M. Sherman and Robert B. Sherman with new songs and additional music and lyrics by George Stiles and Anthony Drewe. The book is by Julian Fellowes and the production is co-created by Cameron Mackintosh. Lucie-Mae has a long history with Mary Poppins; she has previously performed with the show in the West End and on its UK and international tours as the understudy or standby for Mary. Lucie-Mae has now transitioned into the role of Winifred Banks for the show's current run.Most recently Lucie-Mae starred as Kathy Seldon in Singin' in the Rain (Kilworth House) and Ella in I Should Be So Lucky: The Stock Aitken Waterman Musical (UK Tour).Some of Lucie-Mae's other theatre credits include: Kate McGowan in Titanic the Musical (UK and International tours), Roxie Hart in Chicago, Charlotte Parratt in Quality Street and Cecily in Travesties (all for Pitlochry Festival Theatre), Chester Lyman & understudy Jenny Lind/Chairy Barnum in Barnum (Menier Chocolate Factory), understudy Sarah in Guys and Dolls (UK Tour/Savoy Theatre), Annabelle in A Damsel in Distress (Chichester Festival Theatre), Kate Monster/Lucy the Slut in Avenue Q (UK Tour), cover Jenny/Chairy in Barnum (Chichester Festival Theatre) and understudy Sister Mary Robert in Sister Act (UK Tour).In this episode Lucie-Mae discusses her history with Mary Poppins, including how it felt to conquer the role of Mary and what it has been like to step into the shoes of Mrs Banks. She also chats about working with Kyle Minogue on I Should Be So Lucky, how she approaches life as an actor, her memories of working with Cynthia Erivo on Sister Act... and lots more along the way.The Mary Poppins tour is booking through to January 2026. Visit www.marypoppins.co.uk for info, tour dates and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

A man who can only be described as musical theatre royalty, Michael Ball made his West End debut in 1985 as Marius in the original cast of Les Misérables. He went on to play the lead role of Alex Dillingham in Andrew Lloyd Webber's Aspects of Love in both the West End and on Broadway. He's appeared in a long string of musicals covering all parts of the repertoire – The Phantom of the Opera, Sweeney Todd, Chitty Chitty Bang Bang, Chess, Sunset Boulevard, even going full drag for Hairspray. He's recorded 27 albums, including 6 number 1s, not including the 12 cast recordings he's a part of. He's twice won the Olivier Award for Best Actor in a Musical, and in 2015 was made an Officer of the Order of the British Empire for his services to musical theatre.In this lively and heartfelt interview, Michael reflects on his illustrious career, from his breakout role as Marius to his current portrayal of Javert in the Australian arena tour. He shares behind-the-scenes stories about the show's early development, the camaraderie among its global cast, and how the evolving production has stayed relevant over four decades. Michael opens up about personal challenges, including a battle with stage-related anxiety early in his career, and how he overcame it with support from Cameron Mackintosh and others. We also hear about his success as a solo artist, his collaborations with Alfie Boe, and his ventures into songwriting. With warmth and humour, he discusses some of his memorable roles, his thoughts on fame and creative control, and the deep satisfaction he finds in all aspects of his work.

Cast off the shackles of yesterday, because we're shoulder-to-shoulder with Anthony Drewe! (Say what?! *faints*) This week, the legendary lyricist of Mary Poppins the Musical joins AW for a spoonful of Green Jelly with a 'Cereal Killer Soundtrack', before celebrating the 40th anniversary of Drewe and Stiles winning the Vivian Ellis Prize with their charming musical 'Just So'. Plus we chat Star Quality, Casting "cold, hard" Mary Poppins, Working with Steven Spielberg, Honk! beating The Lion King to the Olivier, Ants details his recent horrific accident, and AW tries not to lose his Temper, Temper over deleted Poppins bops. As well as a special bonus cameo appearance from George Stiles with this week's sneak peek of 'Talk Musicals to Me' in this practically perfect episode!--SOCIALS--Anthony: https://www.instagram.com/antsdrewe/TnT/Bloop Network - Thrash 'n Treasure, Around the World in 80 Plays, And The EGOT Goes To..., Talk Musicals to Me, and MORE!https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure, and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 ***** ★ Support this podcast on Patreon ★

durée : 01:28:49 - Cameron Mackintosh, le plus grand producteur de comédie musicale (2/2) - par : Laurent Valière - Cameron Mackintosh n'est pas seulement derrière le succès mondial des "Misérables". On lui doit aussi "Mary Poppins" sur scène, "Le Fantôme de l'Opéra". Dans cette 2e partie de l'entretien, il raconte le début de sa carrière et son travail avec Stephen Sondheim et Andrew Lloyd Webber. - réalisé par : Céline Parfenoff

Consider yourself spoilt with a bonus podcast episode as Cameron Mackintosh, Matthew Bourne, Shanay Holmes, Simon Lipkin and Billy Jenkins talk bringing Oliver! to the West End! If you're looking for our main episode, we released it slightly early this week – so scroll on to hear more from the RSC's co-artistic directors. Hosted on Acast. See acast.com/privacy for more information.

Originally aired as episode 198 on March 22, 2022. Trigger warning: This episode contains discussion of eating disorders. At the age of 25, Eva Noblezada is a two time Tony Award nominee, a Grammy Award winner, and a WhatsOnStage Award winning actress and singer. She starred as Kim in Cameron Mackintosh's London revival of Miss Saigon when she was 17 years old, and shortly after played Eponine in the West End revival of Les Misérables. Eva later reprised her performance as Kim in the first Broadway revival of Miss Saigon (also her Broadway debut). In 2019, she made her film debut in Yellow Rose starring alongside Lea Salonga, who originated the role of Kim in Miss Saigon. Eva originated the role of Eurydice in Hadestown on Broadway, and it's in Hadestown where she continues to lead, and take audiences “way down under the ground”.  Eva speaks candidly about her past toxic relationship with the word “perfect”, how it affected her life as a 17 year old all on her own abroad, leading Cameron Mackintosh's London revival of Miss Saigon, and why she felt like she was “falling for years”. She opens up about living with anxiety, panic attacks, and body dysmorphia, and how she's learned to come back to herself at those times, and ask the important questions - “Are we in danger? - We're okay”. Talking about Hadestown, Eva shares her thoughts on Eurydice (and playing Eurydice), and her love for the “extra layer of consciousness” that can be seen throughout the whole show.  In this episode, we talk about:  Growing up Filipino Mexican, and discovering musical theater  A strong work ethic, instilled by her father  The mental and physical toll of an 8 show schedule  Meeting Tara Rubin at the Jimmy Awards Pole dancing as fitness, and how society sexualizes women  Her “all or nothing” way of life  Connect with Eva: IG: @livevamaria Twitter: @EvaNoblezada Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

durée : 01:28:33 - Cameron Mackintosh, le producteur qui a fait le succès mondial des "Misérables" - par : Laurent Valière - Cameron Mackintosh est l'un des producteurs les plus célèbres, on lui doit entre autre "Cats", le "Fantome de l'opéra" et bien sûr "Les Misérables" (en ce moment au Châtelet) dont il raconte la genèse à Laurent Valière. Et à 13h, l'étoile c'est "Phi Phi" de Henri Christiné et Albert Willemetz. - réalisé par : Céline Parfenoff

Check out this podcast replay of the SDCF Panel: Art of Collaboration with Shana Carroll, Jesse Robb, and Jessica Stone that we hosted at the Museum of Broadway. They discuss the ins and outs of their creative processes as they collaborated on Water for Elephants, both the finer details as well as overarching ideas about what goes into a productive collaboration on a show. This was a moderated panel with dedicated time for a Q & A. We hosted this panel in August 2024. This video and audio was recorded by Michael Weir supported by the Maria Torres Emerging Artists Foundation. Transcript available upon request. Shana Carroll is Co-Founding Artistic Director of the Montreal based circus company The 7 Fingers. Since its founding in 2002, Carroll has written, directed and choreographed 12 of their touring and/or resident shows, 3 of which (Passengers, Duel Reality, Dear San Francisco) are currently running, and which also includes Sequence 8 at NY City Center and Traces off- Broadway run at Union Square Theatre. Carroll received a Drama Desk Nomination for Choreography and Best Theatrical Experience for their show Traces. Outside The 7 Fingers, Carroll directed Cirque du Soleil's first- ever ice show Crystal, in addition to their performance at the Academy Awards in 2012. Also, for Cirque du Soleil, Carroll was circus choreographer and designer for their shows Iris (Los Angeles) and Paramour (Broadway). Other credits include: Queen of the Night (Drama Desk Recipient); Soul of the Ocean (Moment Factory); Cité Mémoire (Lemieux-Pilon); and the Sochi Winter Olympics Opening Ceremonies (medieval segment). Prior to directing and choreography, Carroll was herself a trapeze artist, performing for over 20 years in the air with circuses and dance companies around the world, most notably as the original solo trapeze artist for Cirque du Soleil's Saltimbanco. She also appeared in Cirque du Soleil produced television and film. Now based in Montreal, where she relocated in 1991 to attend l'École Nationale de Cirque, Carroll is originally from Berkeley, California. In 2023, Carroll was inducted into the Ordre of Arts and Letters of Quebec, a distinction honoring those who have contributed to artistic and cultural development in the province of Quebec. Most recently, Carroll was Circus Designer and Co-choreographer of the musical Water For Elephants, first at the Alliance Theatre in Atlanta and now in its Broadway run at the Imperial Theatre, for which she received a Suzi Bass Award and the Chita Rivera Award for Best Choreography, as well as Tony, Drama Desk and Outer Critics' Circle nominations in the same category. Jesse Robb's work spans Broadway, Cirque Du Soleil, Momix, Les Ballet Jazz de Montréal, Mirvish Productions, Disney, Cameron Mackintosh, Prime Video, Opera Philadelphia, and more. He is the co-choreographer (alongside Shana Carroll) for the Broadway production of Water For Elephants, which was nominated for seven Tony Awards including Best Musical. Jesse and Shana were nominated for Tony, Drama Desk, and OCC Awards and received the 2024 Chita Rivera award for Outstanding Choreography. Jesse is the Movement Director for the North American Touring, South Korean, and Japanese productions of the international hit Les Misérables. He was also the Associate Choreographer for the Broadway, North American Touring, and Austrian companies of the 2017 Revival of Miss Saigon. Regionally, Jesse has choreographed at The MUNY, The Alliance Theater (Suzi Bass Award for Outstanding Choreography), The Stratford Festival of Canada, Theatre Calgary, and Ogunquit Playhouse among others. Jessica Stone: Most recently, Stone was nominated for a Tony Award for directing the original Broadway musical Kimberly Akimbo, which won 5 Tony Awards including Best Musical. Stone worked as an actress on and off-Broadway, in television and in film for decades before transitioning to directing. Broadway credits included Anything Goes, Butley, The Odd Couple, The Smell of the Kill, Design for Living, How to Succeed in Business Without Really Trying and Grease. Her directing career began in earnest with her all-male 2010 production of A Funny Thing Happened on the Way to the Forum for the Williamstown Theatre Festival. She has since been directing all over the country at such theaters as The Old Globe, A.C.T, Shakespeare Theatre Company, Huntington Theatre Company,  Two River Theatre Company, and the Williamstown Theatre Festival among others. Productions include As You Like It, Kate Hamill's Vanity Fair, Barefoot in the Park, Dancing at Lughnasa, Bad Dates, Ken Ludwig's Robin Hood! (World premiere), Ripcord, Bad Jews, Arms and the Man, Vanya and Sonia and Masha and Spike, Charlotte's Web, June Moon, Last of the Red Hot Lovers, The 25th Annual Putnam County Spelling Bee, Absurd Person Singular, and Kimberly Akimbo (off-Broadway premiere at the Atlantic). She currently lives in Brooklyn with her husband and two sons.

On this "Behind the Mitten" podcast, John Gonzalez talks to the Wharton Center's Bobby Hoffman about the upcoming production of "Les Misérables," which kicks of the 2024-2025 Broadway series in East Lansing.OCT 8-13, 2024"Les Misérables"Cameron Mackintosh presents the acclaimed production of Boublil and Schönberg's Tony Award-winning musical phenomenon, Les Misérables. This brilliant staging has taken the world by storm and has been hailed as “a reborn dream of a production” (Daily Telegraph). Set against the backdrop of 19th century France, Les Misérables tells an enthralling story of broken dreams and unrequited love, passion, sacrifice, and redemption–a timeless testament to the survival of the human spirit. The magnificent score of Les Misérables includes the songs “I Dreamed a Dream,” “On My Own,” “Bring Him Home,” “One Day More” and many more.Learn more about the show at whartonseason.com.Learn more about Behind the Mitten at amyandgonzo.com.

Frances is a leading actress whose credits include the titular role of Bonnie in Bonnie and Clyde in London's West End (WhatsOnStage Nominee for Best Performer) following its sell out concert at the Theatre Royal Drury Lane, opposite Jeremy Jordan.Other theatre includes: Kylah in Our Ladies Of Perpetual Succour (Olivier Winner Best New Comedy and Olivier nominated Best Supporting Actress), Misa in Death Note (London Palladium), Wendy in Peter Pan (London Palladium), Svetlana in Chess (Theatre Royal Drury Lane), Heather McNamara in Heathers The Musical (Theatre Royal Haymarket),  Eponine in Les Misérables (Cameron Mackintosh), The Mistress in Evita (Regents Park) Macbeth, The Great Wave and Here Lies Love (National Theatre).Film: A Tale To TellTelevision: Department Q, Silverpoint, Sister Boniface, Shetland, River City and Lip ServiceSoundtracks include: Original West End cast recording of Bonnie and Clyde. Original English language cast recording of Death Note.

Michelle Martin thinks Miss Saigon is an unmissable experience for any fan of musicals. With a cast that reflects Asia's diversity, this production is a fantastic retelling of a tale that has been reinterpreted by counteless stagings all across the globe. But this Cameron Mackintosh and Base Entertainment production  brings even more depth to star-crossed lovers Kim and Chris's devastating choices. Both profoundly moving, and unique, this production brings a new layer of understanding to a musical some of us may have first experienced some 23 years ago. This epic of doomed love, fierce parental instinct, patriotic zeal, the dignity of the everyman and woman, the clash of self-determination and tradition, all wrapped in music and lyrics that are too beautiful to ever forget, is a must watch.See omnystudio.com/listener for privacy information.

Theatre critic Mark Shenton discovered his sexuality via a porn mag in Soho aged 16, that quickly turned into an addiction alongside sex addiction which escalated to him hiring porn stars by the hour. Now 12 years into his recovery, Mark found a way out of a living hell that ended in a deep, dark depression and a stark feeling of hopelessness. Mark Shenton is a very well known theatre critic but today he shows us his deeply personal and human side in, perhaps, my most raw and astoundingly honest interview yet. I cannot thank you enough for being so deeply candid to help people. Legend ❤️ More on Mark - Mark Shenton has been a full-blown theatre addict since the age of 14. He later found a way to monetise it — and get free tickets as well — by becoming a full-time professional theatre critic and commentator.  Born and raised in South Africa, he emigrated with his parents to England when he was 16, and attended Cambridge University where he read law (but spent most of his time reviewing and producing student theatre).  He later became editor of arts and entertainment at the Press Association and spent a year working in the offices of producer Cameron Mackintosh. In 2002 he went freelance and became a full-time writer, separately (and sometimes simultaneously) acting as theatre critic for WhatsOnStage, The Stage (where he was also an associate editor), the Sunday Express and londontheatre.co.uk for the next two decades. He also regularly broadcast on BBC London (radio and TV), as well as contributing to other outlets including LBC, Times Radio and Talk Radio. In 2022 he moved to West Sussex with his husband, and now writes a regular theatre newsletter which is published on his own website, ShentonStage.com. Topics - 0:00 Intro 3:45 Mark's rock bottom 8:35 Porn addiction 12:30 Porn addiction turns to sex addiction 24:00 Addiction to hiring porn stars 26:30 The consequences & sex addiction turns to love addiction 29:00 Why the addiction for Mark? 32:50 Is spirituality needed to recover? 32:40 Let's break the stigma! 36:50 My name's Mark and I'm a theatre addict 39:17 Actors mustn't read reviews! 47:25 How to heal the "empty" feeling? For anyone struggling with these topics Mark suggests reaching out to - SLAA - https://slaauk.org This Podcast is not for profit but my goal is to break even. To help me make more please donate here. Thank you! https://bit.ly/3kSucAs Follow Mark X - https://x.com/ShentonStage Instagram - https://www.instagram.com/shentonstage Follow Oliver Instagram - https://bit.ly/3IemHLY Facebook - http://bit.ly/3w8S1Gx TikTok - https://bit.ly/3YGLsYm LinkedIn - http://bit.ly/3kp4ymC Threads - https://bit.ly/3svw7yL X - http://bit.ly/3GQYj2l Listen or watch on: (please subscribe/follow & rate/review) Spotify - https://bit.ly/3WCXK5s YouTube - https://bit.ly/3Ytj4f7 Apple - https://apple.co/3PajZvQ

CharacterWorks, a faith-based after-school theater program, will present “Disney and Cameron Mackintosh's Mary Poppins” at 2 p.m. and 7 p.m. June 14-15 and at 2 p.m. June 16 at the Lora M. Robins Theatre at Steward School, 11600 Gayton Road. Based on the books by P.L. Travers and the classic Disney film, the Broadway adaptation of “Mary Poppins” received nominations for nine Olivier and seven Tony Awards, including Best Musical. The jack-of-all trades, Bert, introduces the audience to England in 1910 and the troubled Banks family. Young Jane and Michael have sent many a nanny packing before Mary Poppins arrives...Article LinkSupport the Show.

Send us a Text Message.Avita Jay talk about her work as an actor and her experiences of stroke, her father dying of a stroke when Avita was fifteen.  Theatre includes: The Empress, Falkland Sound, The Comedy of Errors, The Winter's Tale (RSC); Jinnistan (Òran Mór, Traverse); Favour (Bush Theatre); The Lovely Bones (Birmingham Rep); Billionaire Boy (NST Theatre/UK tour); The Secret Garden (York Theatre Royal); The Jungle Book (national tour); Bottled Up (Lyric Hammersmith); Bring on the Bollywood (national tour); We're Stuck (Shoreditch Town Hall/national tour); Rapunzel, Warde Street (Park Theatre); Pioneer (Sheffield Crucible/tour); Unsung (Wilton's Music Hall); The Merry Wives of Windsor (national tour); Sunday Morning at the Centre of the World (Southwark Playhouse).Television includes: Casualty; Doctors; The Good Ship Murder; Emmerdale; Silent Witness; Coronation Street; L8R.Film includes: By Any Other Name; The Rezort, London, Paris, New York; Twenty8K.Other: Avita also narrates audiobooks for Audible and works for the charity, InterAct Stroke SupportSupport the Show.

Musical producer Cameron Mackintosh brings a new production of Mary Poppins to the Bord Gáis Energy Theatre from December 11th to January 11th.

Catch up with Oliver Callan on the weekend. This week Oliver was joined by psychotherapists Helen Villiers and Katie McKenna who discussed narcissism, Corkman Bill O'Shea, a former Echo newspaper boy and musical prodcuer Cameron Mackintosh.

On January 14th we learned of the passing of Theatre Impresario, Martin McCallum. He was a featured guest on the STAGES podcast in January 2019. The podcast was only a year old, but Martin with his enthusiasm and vigour for supporting new ventures was keen at my first suggestion. I am so honoured that we were able to record some of his story in this episode.Martin resided in Australia for the past 20 years. He was brought here originally when overseeing the transfer of global hit musicals such as Evita, to Australian shores; working alongside the Adelaide Festival Centre Trust.The relationships he established in Australia would enable him to successfully bring Cameron Mackintosh's four juggernaut musicals to our theatres in the 80s and 90s; Cats, Les Miserables, The Phantom of the Opera and Miss Saigon.Martin guided Mackintosh's overseas production ventures and managed Australian and New York offices. He worked closely with Mackintosh on restoring The Prince Edward and Prince of Wales theatres in London's West End.He commenced his life in the theatre as a stage manager and bit-part actor in regional repertory theatre in the UK, working his way up the ranks to joining Laurence Olivier and the National Theatre at the Old Vic in 1971.Adept at all technical elements of the theatre, and proving himself as an accomplished manager, Martin oversaw the practical and technical transfer of the National to the South Bank building in 1976.He was indeed a giant and gentleman of the theatre. And a lovely bloke and treasured friend to many of us.Vale Martin McCallum (April 6, 1950 - January 14, 2024)The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Natalie Kassanga is a professional actress and singer from England, and she is best known as a musical theatre performer. A 10-year-old Natalie was first seen in the West End as Young Nala in The Lion King, a role she portrayed for about a year. Later, she joined Oliver! In its original cast as Fagin alongside the renowned Rowan Atkinson. Most recently Natalie was seen playing Irene Roth in Susan Stroman's West End Revival of Crazy For You!  For the first time, Natalie returned to the West End ever since she was a child, to pick up the lead role. She has been in the West End for about a decade. Her first work as the leading lady happened in Motown: The Musical at the Shaftesbury Theatre, where she portrayed the character of Diana Ross.   Awards: Natalie was nominated for the Best Female Performer Award in the 8th annual Mousetrap Awards. Theatre: Credits include her role as Diana Ross in the West End's Motown: The Musical (Shaftesbury Theatre); Dear Evan Hansen (Noel Coward Theatre) where she is a part of the original West End cast and understudies Zoe Murphy and Alana Beck. She also plays Young Nala in The Lion King (Lyceum Theatre). She is an original cast member of Cameron Mackintosh's Oliver! At the Theatre Royal, Drury Lane. Want to try working with your own Broadway fitness coach? www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Natalie Kassanga is a professional actress and singer from England, and she is best known as a musical theatre performer. A 10-year-old Natalie was first seen in the West End as Young Nala in The Lion King, a role she portrayed for about a year. Later, she joined Oliver! In its original cast as Fagin alongside the renowned Rowan Atkinson. Most recently Natalie was seen playing Irene Roth in Susan Stroman's West End Revival of Crazy For You!  For the first time, Natalie returned to the West End ever since she was a child, to pick up the lead role. She has been in the West End for about a decade. Her first work as the leading lady happened in Motown: The Musical at the Shaftesbury Theatre, where she portrayed the character of Diana Ross.   Awards: Natalie was nominated for the Best Female Performer Award in the 8th annual Mousetrap Awards. Theatre: Credits include her role as Diana Ross in the West End's Motown: The Musical (Shaftesbury Theatre); Dear Evan Hansen (Noel Coward Theatre) where she is a part of the original West End cast and understudies Zoe Murphy and Alana Beck. She also plays Young Nala in The Lion King (Lyceum Theatre). She is an original cast member of Cameron Mackintosh's Oliver! At the Theatre Royal, Drury Lane. Want to try working with your own Broadway fitness coach? www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

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From London's Theatreland, we're joined by Broadway and West End stars Bernadette Peters and Lea Salonga at the Gielgud Theatre. The duo are performing in Stephen Sondheim's Old Friends, devised by Cameron Mackintosh, and directed by Matthew Bourne.Nick Curtis and Nick Clark review Hamnet, which is now on at the Garrick theatre. Then, Nancy Durrant and our chief theatre critic review Lynn Nottage's Clyde's at the Donmar Warehouse.We join tributes to acclaimed West End producer and stage impresario Bill Kenwright, who has died.Our hosts also discuss the news that Cruel Intentions and The Hunger Games are coming to the London stage.And finally, we've got an email address! We'd love to hear from you what you think of the show - and the shows - so that we can get to know our fellow theatre-lovers better. Drop us a line at theatrepod@standard.co.uk.Listen to our episode about Mlima's Tale here. Hosted on Acast. See acast.com/privacy for more information.

Tony and Olivier winner Lea Salonga is back In The Frame and back in the West End, starring in Stephen Sondheim's Old Friends at the Gielgud Theatre. Devised and produced by Cameron Mackintosh, Stephen Sondheim's Old Friends has direction and musical staging by Matthew Bourne, side by side with Julia McKenzie, with choreography by Stephen Mear. Lea come to London direct from Broadway where she was starring in Here Lies Love for which she is also a producer.  Lea left the Philippines as a teenager when she was cast as Kim in Miss Saigon. She originated the role in the West End and on Broadway to tremendous acclaim, winning Olivier and Tony Awards for her performance.  Lea also has a long association with Les Misérables, having played both Eponine and Fantine in London and New York, including for the musical's 10th and 25th anniversary concerts.  Just a few of Lea's other theatre credits include: Eliza in My Fair Lady (Manila), The Witch in Into The Woods (Singapore), Grizabella in Cats (Manila), Kei Kimura in Allegiance (Broadway), Helen in Fun Home (Manila), Erzulie in Once On This Island (Broadway), Grace Farrell in Annie (Hollywood Bowl) and Mrs Lovett in Sweeney Todd (Manila/Singapore).  Lea has worked extensively in film and television and famously provided vocals for the title role in Disney's Mulan I (1998) and Mulan II (2004) as well as for Princess Jasmine in Disney's Aladdin (1994), earning her the official title of a Disney Legend! Away from the stage, Lea is a judge on the Philippines' version of The Voice and has sold 19 million albums worldwide, making her one of the best-selling Filipina artists of all time.  Lea recorded her first episode of In The Frame last year whilst preparing for the UK leg of her Dream Again concert tour which included a special performance at the Royal Albert Hall.  Recorded backstage at the Gielgud Theatre, in this episode Lea discusses all-things Stephen Sondheim and delves into some of the material she sings in Old Friends. Lea also speaks about her whirlwind year, her relationship with her voice and towards the end of the interview she discusses the incident which took social media by storm when some fans found their way to Lea's dressing room on Broadway earlier this year.  Stephen Sondheim's Old Friends runs at the Gielgud Theatre until 6th January 2024. Visit www.sondheimoldfriends.com for info and tickets. Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Today's episode is the second half of my recent discussion with author Grace Barnes whose fascinating new book it titled: National Identity and the British Musical — From Blood Brothers to Cinderella. In this conversation we explore how British national identity has, and often has not, been dramatized in British musical theater, and among the topics that we discuss are the musicals Blood Brothers, Mama Mia, Billy Elliott, The Last Ship, Bend It Like Beckham, and the current smash hit SIX, and, of course, the tremendous impact and domination that the mega musicals of Andrew Lloyd Webber and Cameron Mackintosh have had on the British musical theatre industry.  We also discuss why UK critics so seldom give any serious consideration to musical theater , the near complete absence of female voices in British musical theater, and the future of British musicals. Grace Barnes is an independent scholar, director, and playwright who has worked as an associate and resident director on productions of My Fair Lady, Fiddler On the Roof, Into The Woods, Sunset Blvd, The Witches of Eastwick, Martin Guerre, West Side Story, and Guys And Dolls in the United Kingdom, Germany, and Australia. She has a PhD from the University of Technology in Sydney and her previous book is titled Her Turn Onstage — The Role Of Women In Musical Theatre. Become a PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club members including one of our newest members: Lois Hunter. If you would like to help support the work of Broadway Nation I will information at the end of the podcast about how you too can become a Patron. If you are a fan ofBroadway Nation, I invite you too to become a PATRON! For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is Grace Barnes whose new book it titled: National Identity and the British Musical — From Blood Brothers to Cinderella. This is a fascinating book that explores how British national identity has, and often has not, been dramatized in British musical theater, and she does this by examining the content and context of musicals such as Blood Brothers, Mama Mia, Billy Elliott, The Hired Man and the current smash hit SIX. And, of course, she also considers the tremendous impact that the "mega musicals" such as Les Miserable and The Phantom Of The Opera (both of which are still running in London), as well as the tremendous power and domination that Andrew Lloyd Webber and Cameron Mackintosh have had on the British musical theatre industry.  In addition she explores why UK critics so seldom give any serious consideration to musical theater and — in contrast to the way American musicals are often discussed — why British musicals are so often overlooked in national debates regarding culture and identity. This is the first part of our recent conversation in which we discuss all of that and more!  Grace Barnes is an independent scholar, director, and playwright who has worked as an associate and resident director on productions of My Fair Lady, Fiddler On the Roof, Into The Woods, Sunset Blvd, The Witches of Eastwick, Martin Guerre, West Side Story, and Guys And Dolls in the United Kingdom, Germany, and Australia. She has a PhD from the University of Technology in Sydney and her previous book is titled Her Turn Onstage — The Role Of Women In Musical Theatre. Become a PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club members including one of our newest members: Lois Hunter. If you would like to help support the work of Broadway Nation I will information at the end of the podcast about how you too can become a Patron. If you are a fan ofBroadway Nation, I invite you too to become a PATRON! For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jose Llana returns to Broadway in the highly anticipated production of David Byrne & Fat Boy Slim's Here Lies Love, for which he earned a Lucille Lortel Award nomination for creating the role of “Marcos” at the Public Theatre. He most recently starred as The King Of Siam in Lincoln Center Theater's Tony Award Winning revival of The King & I on Broadway, the US National Tour and the UK Tour. Previous Broadway credits include Chip Tolentino in William Finn's The 25th Annual Putnam Country Spelling Bee (Drama Desk Award, dir. James Lapine), El Gato in Wonderland, Wang Ta in David Henry Hwang's adaptation of Rodgers & Hammerstein's Flower Drum Song, Angel in RENT (dir. Michael Greif), Jessie-Lee in Streetcorner Symphony and his debut as Lun Tha in the 1996 Revival of Rodgers & Hammerstein's The King & I opposite Donna Murphy and Lou Diamond Phillips. Off-Broadway appearances include Adam in Falling For Eve (York), Gabey in On the Town (dir. George C. Wolfe, Delacorte) and Adam Guettel's Saturn Returns (dir. Tina Landau, Public Theater). Regional appearances include Bill Sikes in Oliver! (Papermill), Guillaume in Cameron Mackintosh's Martin Guerre (Guthrie Theater), Tin Man in Ballad of Little Jo (Steppenwolf Theater, dir. Tina Landau, Jefferson Nomination - Best Supporting Actor) and Candide in Candide (Prince Theater, Barrymore Nomination - Best Actor). TV/Film appearances include HBO's Sex and the City opposite Margaret Cho and Hitch with Will Smith. Appearing on numerous cast albums Jose is also a best-selling recording artist on the VIVA Philippines label. He has made two appearances with American Songbook in 2019 and 2015 which led to the release of his second solo CD, Altitude in the spring of 2016. Learn more about your ad choices. Visit podcastchoices.com/adchoices

“The minute we think we know everything, or do everything… we become irrelevant.” – Jamie Forshaw What happens when we stop learning? What happens when we stop exploring? That's what makes Jamie Forshaw's artistry as a producer with Madison Wells Live extremely personal and special – he doesn't stop exploring. We as artists always have to keep exploring… and sometimes that exploration heals us from a nervous breakdown or have massive commercial hits on Broadway.  In this episode we discuss… Why we do what we do Exploration What happens when you meet an idol respectfully? Art healing a nervous breakdown Do coincidences exist? How does a piece speak to Jamie when he is producing a project? Developing The Thing About Jellyfish and Jenkins Show doctors! Not every show needs to go to Broadway Finding the right theatre for a show Jamie Forshaw (Producer) leads Madison Wells Live as their Executive Producer. Under his oversight, Madison Wells Live has developed a robust-but-curated slate of stage productions focused on essential, artist-driven storytelling. Broadway credits include Shucked, The Old Man and the Pool, Company (Tony Award for “Best Revival of a Musical''), Hadestown (Tony Award for “Best Musical''), Pass Over and The Inheritance (Tony Award for “Best Play”). West End: The Ocean at the End of the Lane (Olivier nomination for “Best New Play”). Off-Broadway: Seven Deadly Sins (Drama Desk Award for “Best Unique Theatrical Experience”). Regional: Swept Away. Over the course of his 20+ year career working with an array of internationally recognized producers, including Cameron Mackintosh, Thomas Schumacher, and Michael Cohl, Forshaw has become a sought-after specialist in managing high profile, multi-million dollar budgeted global theater productions. He most recently served as V.P. of Production at Andrew Lloyd Webber's Really Useful Group, where he oversaw its full global roster of First-Class productions. Mr. Forshaw holds an M.F.A. from Columbia University in Theatre Management and Producing. Learn more about your ad choices. Visit megaphone.fm/adchoices

Blake Erickson has worked throughout Australia, Asia, Britain, and the United States as a writer, actor, and singer. He studied drama and musical theatre at the University of Sydney and The Actor's Connection New York.  Previous to this, he studied Political Science and International Relations. He is the co-writer of the new Australian musical The Dismissal: An Extremely Serious Musical Comedy. Other writing credits include Pearls Before Swine and Hold Me Closer Logies Dancer (Gooding Productions, Hayes Theatre) Acting credits include Shrek (GFO), the international tour of Cameron Mackintosh's Les Misérables (Michael Cassel Group), Mamma Mia! (Packemin Productions), CRY-BABY, High Fidelity, Melba, and his acclaimed cabaret Hold Me Closer Logies Dancer (Hayes Theatre Co.); the Australia & New Zealand tour of Madiba, Of Thee I Sing at the Sydney Opera House; Grey Gardens, Title of Show, Forbidden Broadway, and Sondheim on Sondheim (Squabbalogic).  Blake is presently on stage in Tina - The Tina Turner Musical at the Theatre Royal, Sydney.  The Dismissal: An Extremely Serious Musical Comedy plays The Seymour Centre, Sydney from August 26th. The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

When Albert Poland was a teenager, he wrote to Judy Garland requesting that he create The Judy Garland fan club and she accepted. Tune in to hear this amazing story!    Legendary Producer and General Manager Albert Poland's work has spanned the dawn of Off Broadway to the Broadway blockbusters of the 1980s and 1990s and beyond. He worked with them all, from an unknown Sam Shepard and David Mamet to Edward Albee and Arthur Miller. He was also the founder of the Judy Garland Fan Club as a young teen. STAGES-a theater memoir is more than an insider's view of his many major productions, although there is plenty of that, from The Fantasticks and Little Shop of Horrors to Long Day's Journey into Night and from The Grapes of Wrath to The Boy from Oz. Witty, colorful, unconventional, and wickedly insightful, Poland has had a career that comprises a fascinating portrait of the social and cultural landscape of New York, from the '60s to the present, seen through the lens of a life in the theater (and yes, he managed the play with that title). You will get intimate and personal views of such stars as Judy Garland, Bette Davis, Hugh Jackman, Vanessa Redgrave, Truman Capote, and Liza Minnelli, as well as such theatrical titans as Cameron Mackintosh, Bernard B. Jacobs, Gerald Schoenfeld, and Ellen Stewart. Poland is the co-author/editor of The Off Off Broadway Book, and is a principal player in Michael Riedel's best-seller Razzle Dazzle: The Battle for Broadway. In June of 2019, The Off Broadway Alliance presented Albert Poland with a Legend of Off Broadway Award.

When Albert Poland was a teenager, he wrote to Judy Garland requesting that he create The Judy Garland fan club and she accepted. Tune in to hear this amazing story!    Legendary Producer and General Manager Albert Poland's work has spanned the dawn of Off Broadway to the Broadway blockbusters of the 1980s and 1990s and beyond. He worked with them all, from an unknown Sam Shepard and David Mamet to Edward Albee and Arthur Miller. He was also the founder of the Judy Garland Fan Club as a young teen. STAGES-a theater memoir is more than an insider's view of his many major productions, although there is plenty of that, from The Fantasticks and Little Shop of Horrors to Long Day's Journey into Night and from The Grapes of Wrath to The Boy from Oz. Witty, colorful, unconventional, and wickedly insightful, Poland has had a career that comprises a fascinating portrait of the social and cultural landscape of New York, from the '60s to the present, seen through the lens of a life in the theater (and yes, he managed the play with that title). You will get intimate and personal views of such stars as Judy Garland, Bette Davis, Hugh Jackman, Vanessa Redgrave, Truman Capote, and Liza Minnelli, as well as such theatrical titans as Cameron Mackintosh, Bernard B. Jacobs, Gerald Schoenfeld, and Ellen Stewart. Poland is the co-author/editor of The Off Off Broadway Book, and is a principal player in Michael Riedel's best-seller Razzle Dazzle: The Battle for Broadway. In June of 2019, The Off Broadway Alliance presented Albert Poland with a Legend of Off Broadway Award.

John Diedrich is one of the Australian theatre's greatest and most versatile talents, having contributed to the industry across many platforms as actor, writer, director and producer. John commenced his career at age 11 with J.C. Williamson's, appearing in the classics Camelot and then Oliver!, playing the Artful Dodger. At the age of 19 John produced and directed his first musical, presenting Minnie's Boys, a musical based on the life of the Marx Brothers. Regular engagements as an actor followed in both plays and musicals, including Salad Days at St Martins, Grease for Harry M. Miller, Two Gentlemen of Verona for Kenn Brodziak, Lloyd George Knew My Father, starring alongside Sir Ralph Richardson, and with Leslie Phillips in The Man Most Likely To.John co-wrote, directed and performed in three highly successful revues; Gershwin - a musical tribute to the songwriting brothers, The Twenties and All That Jazz and Oh Those Thirties.In 1980, John was cast as Curly in Cameron Mackintosh's revival of Rodgers & Hammerstein's seminal musical Oklahoma!, playing the Palace theatre on London's West End. The production was directed by Oscar's son, James Hammerstein. For his performance, John was nominated for an Olivier Award as Best Actor in a Musical. He returned to Australia in 1982 to recreate the role in the Australian production and tour.In 1987, John co-produced and starred as Guido Contini in the ground breaking musical Nine, for which he was nominated as Best Director of a Musical in the Sydney Theatre Critics awards. Nine was also nominated as the outstanding production of the year. John co-produced the original cast album of Nine which won the ARIA Award for Best Cast recording. He has recorded five other cast albums. John's other theatre credits include Inspector Javert in Les Miserables, Wolf by Tobsha Lerner and Insignificance by Terry Johnson for Playbox, Aren't We All with Sir Rex Harrison and Claudette Colbert, High Society for the Melbourne Theatre Company, as Dr Grant Swain in David Williamson's Dead White Males for the Sydney Theatre Company and as Vittorio Vidal in Sweet Charity. In 1993, he again appeared on London's West End at the Prince of Wales theatre in the role of Frank Butler in Ronald Lee's production of Annie Get Your Gun.In 1998, John created the role of the silver-tongued lawyer, Billy Flynn, in the acclaimed revival of Chicago. In 2000, he was invited to London to play the role on the West End stage. Further theatre credits include Mack & Mabel, South Pacific, Into the Woods and Follies. Producing and directing credits include the musicals South Pacific, Titanic, Zorba and Jekyll & Hyde.His television and film credits include Bluey, Special Squad, Class of '74 and The Challenge. In the UK, the sitcom The Gingerbread Girl and Second Thoughts; and Fred Scheppsi's The Devil's Playground. In this two part conversation with John Diedrich, STAGES recounts many of those highlights, along with the challenges of a life in the theatre, and the tremendous legacy that his career has gifted us.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

John Diedrich is one of the Australian theatre's greatest and most versatile talents, having contributed to the industry across many platforms as actor, writer, director and producer. John commenced his career at age 11 with J.C. Williamson's, appearing in the classics Camelot and then Oliver!, playing the Artful Dodger. At the age of 19 John produced and directed his first musical, presenting Minnie's Boys, a musical based on the life of the Marx Brothers. Regular engagements as an actor followed in both plays and musicals, including Salad Days at St Martins, Grease for Harry M. Miller, Two Gentlemen of Verona for Kenn Brodziak, Lloyd George Knew My Father, starring alongside Sir Ralph Richardson, and with Leslie Phillips in The Man Most Likely To.John co-wrote, directed and performed in three highly successful revues; Gershwin - a musical tribute to the songwriting brothers, The Twenties and All That Jazz and Oh Those Thirties.In 1980, John was cast as Curly in Cameron Mackintosh's revival of Rodgers & Hammerstein's seminal musical Oklahoma!, playing the Palace theatre on London's West End. The production was directed by Oscar's son, James Hammerstein. For his performance, John was nominated for an Olivier Award as Best Actor in a Musical. He returned to Australia in 1982 to recreate the role in the Australian production and tour.In 1987, John co-produced and starred as Guido Contini in the ground breaking musical Nine, for which he was nominated as Best Director of a Musical in the Sydney Theatre Critics awards. Nine was also nominated as the outstanding production of the year. John co-produced the original cast album of Nine which won the ARIA Award for Best Cast recording. He has recorded five other cast albums. John's other theatre credits include Inspector Javert in Les Miserables, Wolf by Tobsha Lerner and Insignificance by Terry Johnson for Playbox, Aren't We All with Sir Rex Harrison and Claudette Colbert, High Society for the Melbourne Theatre Company, as Dr Grant Swain in David Williamson's Dead White Males for the Sydney Theatre Company and as Vittorio Vidal in Sweet Charity. In 1993, he again appeared on London's West End at the Prince of Wales theatre in the role of Frank Butler in Ronald Lee's production of Annie Get Your Gun.In 1998, John created the role of the silver-tongued lawyer, Billy Flynn, in the acclaimed revival of Chicago. In 2000, he was invited to London to play the role on the West End stage. Further theatre credits include Mack & Mabel, South Pacific, Into the Woods and Follies. Producing and directing credits include the musicals South Pacific, Titanic, Zorba and Jekyll & Hyde.His television and film credits include Bluey, Special Squad, Class of '74 and The Challenge. In the UK, the sitcom The Gingerbread Girl and Second Thoughts; and Fred Scheppsi's The Devil's Playground. In this two part conversation with John Diedrich, STAGES recounts many of those highlights, along with the challenges of a life in the theatre, and the tremendous legacy that his career has gifted us.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

The only thing more rickety than a wall made of furniture in this week's episode of From The Top! are Mary and Steven as they fight their own dramatic French angst to get through a review of the iconic and, dare they say, (in an overly exaggerated French accent) superb spectacle that is Les Misérables. Steven digs up the history of what was happening in France for the setting of this musical and shares some insight into Victor Hugo as to why he would write his second popular work about a June Rebellion. Mary focuses on the major themes of this show and how the characters are affected by worldly forces, trying to understand what makes her so tepid about such a high-energy, very awe-inspired, production that Cameron Mackintosh has swept the world with. So visit the Thenardier's Inn and sit a spell (just check your pockets before you leave) and listen in to some great discussion over a thief, a love triangle for the ages, a lady of the night and Rapunz-... I mean, Joanna-... I mean... her daughter, and a hyper-focused po-po. Happy Listening! FOLLOW US! For all the latest content and fun things to come, subscribe, hit that like button, and follow. Share with your friends and castmates and remember to rate us where you are listening! Thank You :) Tap the button to get notified, so you never miss an episode. ⁠⁠Listen Anywhere You Enjoy Your Podcasts⁠⁠ ⁠⁠⁠⁠INSTAGRAM⁠⁠⁠ ⁠⁠⁠Goosebump Worthy Broadway Playlist⁠⁠⁠ - FTT Spotify Exclusive Playlist --- Send in a voice message: https://podcasters.spotify.com/pod/show/podcastfromthetop/message

“The Phantom of the Opera,” the longest running show in the history of Broadway, will close its doors on Sunday after more than three decades.We went backstage during one of the final performances before the show's famous chandelier crashes down one last time.Guest: Michael Paulson, a theater correspondent for The New York Times.Background reading: The show was originally set to close in February, but the announcement set off a surge in ticket sales. “Phans,” as they call themselves, rushed to see it one last time.In an interview, Cameron Mackintosh said weakening box office and rising production costs led to the decision to end “Phantom's” run.For more information on today's episode, visit nytimes.com/thedaily. Transcripts of each episode will be made available by the next workday.

Who is the real Phyllis? Shoshana Greenberg joins Kyle to discuss the song that Sondheim wrote for the London production of Follies. Topics include: seeing Follies at a young age, the energy it takes to wear a mask all the time, and whether we want Phyllis to reconcile with Ben.Listen and subscribe to the musical theater podcast Scene to Song here: https://scenetosong.podbean.com/Visit Shoshana's website here: shoshanagreenberg.comYou can follow her on Twitter at @vmarshmellowOr on Instagram at @shoshanacreatesOur sponsors this week are: Edmonton Community Foundation - https://www.ecfoundation.org/ - Edmonton Community Foundation connects you to the resources you need. With our help, donors are able to make the best decision for their funds. Students can find the grants that help them succeed. Charities are able to fund their latest projects. We build relationships that strengthen the Edmonton community — because connecting people is what we do best. Park Power - https://parkpower.ca - your friendly, local utilities provider in Alberta. Offering Internet, Electricity, and Natural Gas with low rates, awesome service, and profit-sharing with local charities. Send feedback to puttingittogetherpodcast@gmail.comPutting It Together is a proud member of The Alberta Podcast Network: Locally grown. Community supported. Here's their link again: https://www.albertapodcastnetwork.comRecorded by Media Lab YYC. Media Lab is a production company. They help you tell your story. They do this by assisting in the creation of videos and podcasts. Find more information at: http://medialabyyc.comKeep up to date with Putting It Together by following its social media channels.Patreon: https://www.patreon.com/puttingittogetherpodcastTwitter: https://twitter.com/sondheimpodcastInstagram: https://www.instagram.com/sondheimpodcast ★ Support this podcast on Patreon ★

THE PHANTOM OF THE OPERA  Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Book by Richard Stilgoe & Andrew Lloyd Webber | Based on the novel Le Fantome de  l'Opera by Gaston Leroux | Originally Directed by Harold Prince | Orchestrations by David Cullen & Andrew Lloyd Webber | Original Production by Cameron Mackintosh Ltd. and The Really Useful Group Ltd. Works Consulted & Reference :The Phantom of the Opera (Original Libretto) by Andrew Lloyd Webber, Charles Hart, and Richard StilgoeSense of Occasion by Harold PrinceUnmasked by Andrew Lloyd WebberRazzle Dazzle by Michael ReidelThe Complete Phantom of the Opera by George PerryMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"The Music of the Night” from  The Phantom of the Opera (Original London Cast Recording) | Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Performed by Andrew Lloyd Webber, Phantom of the Opera Original London Cast, Michael Crawford"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

When your resume of theatrical smash hits includes Les Miserables, The Phantom of the Opera, Cats and Oliver, it might seem safe to assume you have the Midas touch for staging musicals. But the industry's global doyen, Cameron Mackintosh, takes nothing for granted.Mackintosh is in Melbourne right now for the opening of one of his other shows –Mary Poppins. Recording from within Her Majesty's Theatre, he chats with Good Weekend senior writer Konrad Marshall, about singing and stagecraft – and sales within a creative yet cutthroat field.See omnystudio.com/listener for privacy information.

I'm Patricia O'Connell for This is Capitalism. Today I'm talking with Brian Lipton, who is the Chief Theater Critic for Cititour.com and the former editor-in-chief and currently a contributing editor to TheaterMania.com. He is going to take us behind the scenes at Broadway and give us a little bit of a look at what's going on with Broadway, the return to Broadway for both actors and theatergoers. Key Takeaways:   [:29] Patricia O'Connell introduces Brian Lipton, a theater critic for Cititour.com and contributing editor to TheaterMania.com, and welcomes him to This is Capitalism. [1:01] What does the closing of Phantom mean after 35 years? Is it just time? It has made its money back so many times that its lead producer, Cameron Mackintosh, could run it as long as he wanted to. With its closing notice, its grosses have soared to their highest in years. Winter is not the tourist season, and COVID-19 is still a factor. [3:01] All Broadway shows are capitalized, which is really the amount of money it takes to put the show on from start to finish: rehearsals, scenery, rent, and things up until day one. For a large musical now, $15 to $25 million is not an unusual capitalization. You have to make that money back during the run to get a profit. [3:38] Then you have the weekly running costs. The set's already done, but you still have to pay rent, actors, and union people every week, and make that money back. For a musical like Phantom, that's estimated to be in the $750,000 to $1 million range because Phantom is a very elaborate show to make every week just to break even. [4:17] If you're doing a limited run, it's often built in that you need to be running at pure capacity. Into the Woods is still at the St. James, but it was originally scheduled for an eight-week run, and the only way that could've made money at eight weeks is if, for eight weeks it ran 100 percent. It did come close to that, but it's no longer coming close. [4:45] The longer the run goes on, sometimes the less you have to make that 100 percent. But you can't do badly; you have to still pack a fair amount of the house at full-price tickets if you're going to meet your running costs. And the minute you don't do that, you run the risk of being in the red. [5:05] Discounting tickets is a major factor. If you're selling 1,000 seats at $60 or $70, you're making $700,000 a week instead of $2 million a week. The Music Man doesn't discount, so it is taking in over $3 million every week. That will help it to be profitable by the time it closes. If they discounted by 50 percent, they wouldn't have a chance. [5:51] The Music Man had the option of running after Hugh Jackman decided to leave. And he is staying a few weeks past his contract. This has been done before when you have a star who is so powerful. Maybe the wisest business move, even if you could still make money — it's an expensive show with a large cast — is to take the money and go. [6:23] Hugh Jackman is one of those rare people who is a true movie star and a true theater star even though he has only been on Broadway three or four times, most notably, of course, in The Boy from Oz, his big Broadway debut. But he has created a huge following. Some people go back to see him four to six times. [7:04] There are shows that have always done stunt casting. You'll see, for example, Pamela Anderson doing Chicago. She was quite good. But more to the point, she brought in business. She had the highest grosses for Chicago in many months, if not years. And that was a perfect example of the right way to do stunt casting. [8:08] A lot of Broadway will be dominated, especially straight plays maybe more than musicals, by star casting, whether it's stunt casting or not. In a lot of cases, they're going to look for that star power to motivate the box office. [8:27] Now conversely, the musical, Some Like It Hot, stars Christian Borle, Adrianna Hicks, and J. Harrison Ghee, who, their talents notwithstanding, are not known stars. They are banking on the property and the careers of Scott Wittman and Marc Shaiman, who wrote the score. They have Tonys for Hairspray and they're very well known. [9:00] Brian doesn't think we're going to see a lot of truly original work on Broadway for a while. Everything will be based on a movie or a book or is a revival of a famous play. Theater that comes from scratch is few and far between. [9:21] This '22 to '23 will be the first “normal” Broadway theater season that we've had in several years now. I mean the 2019 to 2020 season got cut short, of course, because of Covid. What we're seeing now is a lot of flux. [9:42] This is a very unusual year in that a number of shows opened in December, including one, The Collaboration. It's an imagined conversation between Andy Warhol and Jean-Paul Basquiat. It's also being filmed simultaneously and it's coming in for a limited run. By the end of 2022, Broadway will be surprisingly full. [10:12] But January will bring the closing of Beetlejuice, after eight months. A Strange Loop, which won the Tony in 2022, for Best Musical, is closing on January fifteenth, which will make it, depending on how you count things, either the shortest or the third-shortest running Best Musical ever. There are also some limited runs now. [10:43] Phantom closes in February. But spring is usually the more prominent season than fall. Again, better weather, maybe more tourists, and closer to Tony time. Almost all of the big musical houses, The Winter Garden, the Marquis, and the St. James, are vacant for the spring. Brian wonders if the producers are hedging their bets. [11:20] Back to the Future, for example, is the kind of show that would probably have to take a million to a million-and-a-half every week just to be in break-even territory. [11:31] There is a symbiotic relationship between the New York City economy and Broadway. In the last full theater season, 2018 to 2019, Broadway ticket sales were $1.8 billion. That is more than the ten major league sporting teams in the New York City area, which is staggering, because what's more popular, sports or Broadway? [12:05] Can Broadway rely on locals? This fall, Broadway is doing surprisingly well without a huge tourist influx. There is a very strong local audience — New York City and the tri-state area, that will come to Broadway for something they want to see. The tourists augment locals in any season and are most important in spring and summer. [12:53] If we looked at a forecast and said that nobody is coming in the summer of 2023, that may be why spring producers are hedging their bet. You're never going to be able to run big, expensive shows without the tourist base. You can run Laura Linney for 16 weeks, and it's probably not a big deal because that's not what the tourists flock to. [13:37] When the tourists come, they want to see musicals. Broadway has some very long-running musicals like Hamilton, that's still bringing in insane amounts of money, Lion King, that's doing super well, and Wicked, that's still close to $2 million a week. They're there for the tourists. [14:01] A lot of tourists only come to New York once in their life and the one time they're coming they want to see Hamilton, The Lion King, and Wicked — the big, long-running shows. They don't necessarily want to see the hot, new show. Book of Mormon is running still on tourists. Chicago has run this long because tourists go see it. [14:33] What show will be the next “Phantom”? Chicago and Lion King, which opened in 1997, have run for 25 years. Will they run another ten? Lion King might. Its enduring popularity is because it is child-driven while pleasing to adults. There are always children being born. So Disney may have a chance to break the Broadway record. [15:27] Nobody would've bet on Chicago running 25 years. Chicago has the advantage of having made its money back so many times that its producers, led by Barry and Fran Weissler, if they want to just do this for the sake of doing it, they can run it. [15:34] Chicago is a very minimalist show; its running costs are very small, probably half a million or less. And so all you need to do is break that every week, give or take, and you can keep running. So those two have the chance to be the new Phantom. [15:55] We've seen recent revivals of the King & I, Carousel, Oklahoma, My Fair Lady; and South Pacific. How many of the great classic musicals are there left to recycle? The Sound of Music hasn't had a major Broadway production in around 25 years. So Brian won't be shocked if that comes down the pike. [16:35] We may be getting revivals featuring people of color or other non-traditional castings. There's a buzz for the first real revival ever of Kiss of the Spider Woman, which provides roles for three Latinx performers. Chita Rivera originated it but she was the only Latinx lead of the original threesome – we could easily have a revival of that. [17:14] All of the Lomans in Death of a Salesman, the five family members, are Black. The rest of the characters, who were always white, have remained white, which gives the play another dimension because we see interracial relationships and how that plays into the text. [17:40] There may be a way to breathe new life into “old shows” or revivals and bring new life to them in an interesting spin. Death of a Salesman is color-conscious casting. You know the Lomans are Black even though they have not changed the text. In the more popular color-blind casting, you're not supposed to think about their color at all. [18:16] There are producers that are in this for the glory and they'll produce things so they can get their Tony award. And there is the larger group of producers who treat theater as show business, not show art. They want to make money. If a particular type of play is not making money, you're not getting more of it. That's how this works. [18:45] If Brian could produce any show he wanted, with any star, in the world of show business, he would produce Audra McDonald in anything she wanted to do: Gypsy, A Little Night Music, Sweeney Todd. Audra McDonald and Stephen Sondheim are probably Brian's dream combination. [19:39] Patricia thanks Brian Lipton for joining us today on This is Capitalism and asks him to give our regards to Broadway!   Mentioned in This Episode: This is Capitalism Brian Scott Lipton Cititour.com TheaterMania.com Phantom of the Opera The Music Man The Boy from Oz Chicago Into the Woods Some Like it Hot The Collaboration Hairspray Back to the Future The Musical Hamilton The Lion King Wicked Beetlejuice the Musical A Strange Loop the Musical The King & I Carousel Oklahoma My Fair Lady South Pacific

The masked man of Broadway is going out strong. “The Phantom of the Opera” — Broadway's longest-running show — has postponed its final performance by eight weeks, pushing its final curtain from February to April after ticket demand spiked. In the fourth week of November 2022, the show raked in an eye-popping $2.2 million with a full house. The musical — a fixture on Broadway since 1988, weathering recessions, war and cultural shifts — will now play its final Broadway performance on April 16. When it closes, it will have played 13,981 performances. “We are all thrilled that not only the show's wonderful fans have been snapping up the remaining tickets, but also that a new, younger audience is equally eager to see this legendary production before it disappears,” lead producer Cameron Mackintosh said in a statement. Producers said there would be no more postponements. “This is the only possible extension for the Broadway champion, as the theater will then be closed for major renovations after the show's incredible 35-year run.” Based on a novel by Gaston Leroux, “Phantom” tells the story of a deformed composer who haunts the Paris Opera House and falls madly in love with an innocent young soprano, Christine. Andrew Lloyd Webber's lavish songs include “Masquerade,” “Angel of Music,” “All I Ask of You” and “The Music of the Night.” The closing of “Phantom” would mean the longest-running show crown would go to “Chicago,” which started in 1996. “The Lion King” is next, having begun performances in 1997. Broadway took a pounding during the pandemic, with all theaters closed for more than 18 months. Some of the most popular shows — “Hamilton,” “The Lion King” and “Wicked” — have rebounded well, but other shows have struggled. Breaking even usually requires a steady stream of tourists, especially for the costly “Phantom,” and visitors to the city haven't returned to pre-pandemic levels. This article was provided by The Associated Press.

This special Halloween edition of Broadway Nation! This is the first part of my conversation with Adam Abraham, author of Attack of the Monster Musical – A Cultural History of Little Shop Of Horrors.  In this terrific new book Adam relates the unlikely story of how Roger Corman's schlocky, low budget, 1960's monster movie was transformed 20 years later into a smash hit, long-running, Off-Broadway musical that became an international sensation and spawned a hit film musical adaptation as well. And of course, today Little Shop Of Horrors is a hit all over again and can currently be seen in another long running off-Broadway production. Adam Abraham is a Postdoctoral Teaching Fellow at Auburn University, and he also has taught at Virginia Commonwealth University, NYU, and Harvard. His previous books include When Magoo Flew: The Rise And Fall of Animation Studio UPA, and Plagiarizing The Victorian Novel: Imitation, Parody, Aftertext. He has also written for film, television, and theater. Attack of the Monster Musical provides us with a fascinating, in depth, look into the dynamic partnership of Howard Ashman & Alan Mencken and their creation of what I believe is one of the best and most perfectly crafted musicals of all time.    Topics discussed in this episode include: How Howard Ashman was influenced by the cast album of GYPSY; how he discovered Roger Corman's film in the first place; his first musical The Candy Shop; the truth behind the legend that Corman shot the original movie in just two days; NYC's Off Broadway scene during the late 1970s and early 80s; the WPA Theater; how an early version of Little Shop bombed at the BMI Workshop; the casting of Ellen Greene & Lee Wilcoff (and how Nathan Lane & Faith Prince were almost in the original cast); why the show never moved to Broadway; what Cameron Mackintosh, David Geffin & the Shubert Organization have to do with the show; how the dream team of Ashman & Menken worked together; and the tragic loss of Howard Ashman. Learn more about your ad choices. Visit megaphone.fm/adchoices

As you have probably heard, The Phantom Of The Opera – the longest running show in Broadway history –– recently announced that it will close this coming February, just over 35 years after it first opened on Broadway. This New York production of Phantom has been seen by nearly 20 million people and has grossed $1.3 billion dollars. Globally the show has been seen by 145 million people in 42 countries. Since this week marks the anniversaries of both CATS – which first opened on Broadway on October 7, 1982, and Les Misérables – which first opened in London on October 8, 1985, it seemed like the perfect time to bring back Episode 28 of Broadway Nation which is titled Cameron Mackintosh & The British Invasion of Broadway (or Sondheim vs. the Poperetta). In a recent interview in the New York Times, Mackintosh stated that the weekly running cost for TPOTO were more than $950,000, which is about $100,000 more than it was pre-Covid. And at the same time ticket sales have been down 10 to 15 percent on average.  And when asked why the show was so expensive to run, he went on to say this:  “Many of the long-runners — “Cats,” “Chicago,” “Chorus Line,” even “Hamilton,” which will be a long-runner — they're all single-set shows with mostly limited costumes. We've got 27 musicians. It was a different world that Andrew and I created the show in. Most of my great shows were created during the '80s, and that world has disappeared. We are in different times.” So, today I thought it would be interesting to journey back to those different times by revisiting one my favorite episodes! Learn more about your ad choices. Visit megaphone.fm/adchoices

A transcript of this episode is available here: https://thedanceedit.com/transcript-episode-126Subscribe to The Dance Edit Extra: https://podcasts.apple.com/us/podcast/the-dance-edit-extra/id1579075769Visit/add to the Dance Media Events Calendar: https://dancemediacalendar.com/Get the latest dance news direct by subscribing to our free newsletters. Find the ones that match your interests: http://www.dancemagazine.com/subscribeLinks referenced in/relevant to episode 126:-Washington Post piece on the death of Ukrainian ballet dancer Oleksandr Shapoval in combat: https://www.washingtonpost.com/theater-dance/2022/09/16/dancer-killed-ukraine-war/-New York Times obituary for Tina Ramirez: https://www.nytimes.com/2022/09/09/arts/dance/tina-ramirez-dead.html-2022 Dance Magazine Award honorees: https://www.dancemagazine.com/dance-magazine-awards-2022/-New York Times story on New York City Ballet dancers' new contract: https://www.nytimes.com/2022/09/07/arts/music/new-york-city-ballet-dancer-contract.html-Pointe's article on the CODA talent agency for ballet dancers: https://pointemagazine.com/rebecca-haw-on-founding-a-classical-ballet-agency/-Information about Dance Data Project's Gender Equity Index: https://www.dancedataproject.com/gender-equity-index/-New York Post story on "Phantom"'s closure: https://nypost.com/2022/09/16/phantom-of-the-opera-will-close-on-broadway/-New York Times interview with "Phantom" producer Cameron Mackintosh: https://www.nytimes.com/2022/09/18/theater/phantom-broadway-cameron-mackintosh.html

Damian Sandys is currently bringing his talent to the Broadway stage as The Kite Runner's associate director. The theatre director talks about the difference between the UK production and Broadway production of “The Kite Runner”, the importance of humor in the show, and how its US audiences are more vocal. He shares how he started getting into theatre directing, from watching and learning from his dad to meeting Cameron Mackintosh which opened up opportunities for him. Damian recalls how after graduating, he ended up taking a teaching job at a boy's boarding school where he taught English and Drama, and after putting on shows at the Edinburgh Festival, a producer who watched one of his shows offered him a directing job. He talks about working for the show, “NewsRevue” which was influential in his career. Damian also shares how he got connected with "The Kite Runner" production, why he decided to stay with the show for this long, and why he thinks a line from the show, "there's a way to be good again" is the key to life. Damian Sandys is a theatre director with productions across the UK, Edinburgh Fringe, the West End and internationally. He graduated from Oxford University and has directed over 50 productions at the Edinburg festival, including “Shakespeare For Breakfast: 25th Anniversary”. He has been the resident/associate director for several West End and international tours of “Priscilla Queen of the Desert”, “The Kite Runner”, and more. His other directing credits include “Aladdin”, “The Taming of the Shrew”, “Beauty and the Beast”, and “Sleeping Beauty” among others. He's also been a part of the teams responsible for the London revival of “Tick, Tick... Boom!”, “When Midnight Strikes”, and “West Side Story”. Currently, he's the associate director for Broadway's "The Kite Runner”. Connect with Damian: Twitter: @munchkindamo Instagram: @munchkindamo 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

This is our last podcast before our summer break, so we've selected some of our favourite conversations of the last year. ART: We celebrate Patrick Hughes's birthday, talk to Tracey Emin about battling cancer and to gallerist James Burch about drinking with Francis Bacon. BOOKS: Rose Tremain tells us about her novel ‘Lily', Barbara Taylor Bradford explains how she found inspiration to write the prequel to ‘A Woman of Substance', Ben Okri inspires to see trees in a totally new light, we discuss culture wars with Bernardine Evaristo and lyricist Don Black, while talking at Jewish Book Week, makes us laugh. THEATRE: We talk to playwright David Hare about ‘Straight Line Crazy' and the death of the avant garde, actor Nathaniel Parker about playing Henry VIII in Hilary Mantel's ‘The Mirror and the Light', Nick Allott from Cameron Mackintosh regales us with hilarious theatrical anecdotes and Creative Director of the Young Vic, Kwame Kwei-Armah, praises playwright James Graham. HISTORY: Andrew Roberts tells us about George III and A.N. Wilson explains how our Trafalgar Square Christmas tree was a gift from the King of Norway during World War II. MUSIC and DANCE: We talk to ballet-dancer Marcelino Sambé about playing Romeo in Kevin McMillan's ballet, to choreographer Matthew Bourne about his stellar career, to soprano Anush Hovvanisyan about all the Armenians at the Royal Opera House and playing Violetta in Richard Eyre's ‘Traviata' and finally Dylan Jones, polymath and long-standing editor of GQ, tells us what David Bowie was really like. Enjoy the summer. Ed and Charlotte will be back on Sunday September 11th September.

Episode #66 then - a musical in its third decade. Some of you may recall the strange affair of The Phantom of the Opera, the longest running Broadway show in history... a mystery never fully explained. We're told that this is the very production that figured in the famous disaster (that, of course, being Cameron Mackintosh's stranglehold on American musical theatre). Rehearsals over the pandemic have restored it, so that we may get a hint of what it may have felt like when it was new. One may even feel the presence of the two co-hosts who bore witness to this very production, and hear the reverberations of their discussions pertaining to gift horses, the CATS movie, and whether or not the show with over 13,000 performances is a good musical. Perhaps we may frighten away the ghostly bitches of so many words ago with a little conversation. Gentlemen! Tune in to next week's episode when we discuss The Life; specifically, the Broadway production's performance from April 24th 1997! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Dana P. Rowe is an acclaimed American musical theatre composer whose works have been performed all over the world. His musicals “The Fix” and “The Witches of Eastwick” were both nominated for London's Olivier Award and produced by legendary theatre producer Cameron Mackintosh. “The Witches of Eastwick” is receiving a new concert staging in London's West End this June. In recent years, Dana has combined his passion for composing with a passion for coaching – not as a vocal coach, but as a coach and mentor to other creative entrepreneurs who wish to expand their impact in the world. What happens when we crash and burn from success. Why loving what we do is the prerequisite for a sustainable life. How transcending our hidden promise sets us free. https://www.danaprowe.com/content/ (www.danaprowe.com)

Trigger warning: This episode contains discussion of eating disorders. At the age of 25, Eva Noblezada is a two time Tony Award nominee, a Grammy Award winner, and a WhatsOnStage Award winning actress and singer. She starred as Kim in Cameron Mackintosh's London revival of Miss Saigon when she was 17 years old, and shortly after played Eponine in the West End revival of Les Misérables. Eva later reprised her performance as Kim in the first Broadway revival of Miss Saigon (also her Broadway debut). In 2019, she made her film debut in Yellow Rose starring alongside Lea Salonga, who originated the role of Kim in Miss Saigon. Eva originated the role of Eurydice in Hadestown on Broadway, and it's in Hadestown where she continues to lead, and take audiences “way down under the ground”.  Eva speaks candidly about her past toxic relationship with the word “perfect”, how it affected her life as a 17 year old all on her own abroad, leading Cameron Mackintosh's London revival of Miss Saigon, and why she felt like she was “falling for years”. She opens up about living with anxiety, panic attacks, and body dysmorphia, and how she's learned to come back to herself at those times, and ask the important questions - “Are we in danger? - We're okay”. Talking about Hadestown, Eva shares her thoughts on Eurydice (and playing Eurydice), and her love for the “extra layer of consciousness” that can be seen throughout the whole show.  In this episode, we talk about:  Growing up Filipino Mexican, and discovering musical theater  A strong work ethic, instilled by her father  The mental and physical toll of an 8 show schedule  Meeting Tara Rubin at the Jimmy Awards Pole dancing as fitness, and how society sexualizes women  Her “all or nothing” way of life  Connect with Eva: IG: @livevamaria Twitter: @EvaNoblezada Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

For Video Edition, Please Click and Subscribe Here: https://youtu.be/PUshNVucPFI Legendary Producer and General Manager Albert Poland's work has spanned the dawn of Off-Broadway, the Broadway blockbusters of the 1980s and 1990s, and beyond.  He worked with them all, from an unknown Sam Shepard and David Mamet, to Edward Albee and Arthur Miller.  He was also the founder of the Judy Garland Fan Club as a young teen.  An insider's view of his many legendary productions, although there is plenty of that, from The Fantasticks and Little Shop of Horrors to Long Day's Journey Into Night, and from The Grapes of Wrath to The Boy from Oz. Witty, colorful, unconventional, and wickedly insightful, Poland has had a career that comprises a fascinating portrait of the social and cultural landscape of New York from the early 60s to the present, seen through the lens of a life in the theater (and yes, he managed the play with that title).  We talk about Judy Garland,  Hugh Jackman, and Liza Minnelli, as well as such theatrical titans as Cameron Mackintosh, Gerald Schoenfeld, Bernard B. Jacobs, and Ellen Stewart.  Poland is the author of Stages: A Theatrical Memoir

This Week: Going back to the 1990s with the Cameron Mackintosh extravaganza HEY MR. PRODUCER and Michael Riedel's new book about Broadway in that decade, SINGULAR SENSATION: THE TRIUMPH OF BROADWAY Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and under appreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 Learn more about your ad choices. Visit megaphone.fm/adchoices