Podcast appearances and mentions of Christian Borle

We march through a tribute to the composer/lyricist with a variety of performances--Mary Testa, Christian Borle, Malcolm Gets, Finn himself--with classics and rarities.

This Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.Broadway Drumming 101 – Episode: Quinton “Q.” Robinson (2025 Update)

This one originally dropped in September 2021 in two parts—but if you missed it back then, don't worry. I'm bringing it back as part of the Broadway Drumming 101 Classic Interview Series.Ray Marchica is one of those drummers whose name has been floating around the NYC scene for decades—and for good reason. He's done it all: gold records, TV house band gigs, iconic Broadway runs, off-Broadway, jazz big bands, the works. From James Brown's "Living in America" to The Rosie O'Donnell Show to Mamma Mia!—Ray's been laying it down with feel, power, and style.In this episode, Ray shares stories about:* Growing up in Brooklyn and learning drums from his uncle in the basement* Studying classical percussion at Brooklyn College with the legendary Morris Lang* Landing his first major gig on the A Chorus Line tour in the ‘70s* Navigating the world of jingle sessions, Radio Registry (yes, that was a thing for you young folk), and Broadway subs* Getting the gig with Dan Hartman and playing on hit records* What it was like playing for La Cage aux Folles, Starlight Express, Will Rogers Follies, and other major shows* His time in the pit for Miss Saigon, the long run with Mamma Mia!, and his approach to training subs* Real talk about the rise of drum machines, the shift in Broadway orchestra pits, and how he's stayed versatile through it allWhether you're a drummer, a fan of Broadway, or just someone who loves hearing stories from the road, the pit, and the studio, you'll dig this.Hit play. Subscribe if you haven't. And check out more at BroadwayDrumming101.com.If you loved this episode, check out some of the other powerful resources we've created for musicians looking to bridge the gap between the classroom and the Broadway pit:*

Chelsea is joined by “It's Broadway Bitch” host Casey Balsham to break down actor and singer Sutton Foster's memoir, “Hooked: How Crafting Saved My Life.” They unpack everything from Sutton's deeply complicated relationship with her agoraphobic mother to her rise from understudy to Tony winner and the affair rumors that went wild. Plus: Bobby Cannavale, Christian Borle, and the Hugh Jackman of it all. Join the cookie community: Become a member of the Patreon Follow Chelsea: Instagram @chelseadevantez Show Notes: Brooke Shields Memoir Episode (with Casey Blasham) Brooke Shields, Blake Lively, and Celebrity Meh-moirs  Where to find our Guest: Casey Balsham  It's Broadway Bitch (Apple Podcasts) It's Broadway Bitch (Spotify) YouTube Instagram TikTok *** Glamorous Trash is all about going high and low at the same time— Glam and Trash. We recap and book club celebrity memoirs, deconstruct pop culture, and sometimes, we cry! If you've ever referenced Mariah Carey in therapy... then this is the podcast for you. Thank you to our sponsors: Visit Brooklinen.com and use code TRASH to get $20 off your order of $100 or more. Libro.fm - Click here to get 2 audiobooks for the price of 1 with your first month of membership using code TRASH. Learn more about your ad choices. Visit podcastchoices.com/adchoices

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In this exclusive clip from the upcoming Broadway Drumming 101 podcast, percussionist Andrew Atkinson shares how a one-off gig on America's Got Talent led to an unforgettable opportunity on Hamilton. Hear how a backstage connection, a feature in Modern Drummer, and pure preparation paved the way for his Broadway debut — all without asking for a single gig.Andrew recalls the moment he heard "My Name Is Alexander Hamilton" live for the first time, the wild audience reaction, and how he learned the book in just two weeks. Most powerful of all? His mindset: "I don't get nervous. I get prepared."

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Back in 2021, I sat down with one of the most versatile and in-demand drummers on Broadway: Sean McDaniel.Since that interview, Sean's career has only expanded. He's played Some Like It Hot, Cabaret at the Kit Kat Club and now holds the drum chair for one of the most buzzed-about new musicals on Broadway: Smash.So I figured—why not bring this conversation back to the forefront?In this re-released episode, Sean gives us an inside look at the early development of The Book of Mormon, starting with a modest 20-minute workshop. It's wild to hear how the show started with hand-drawn cartoons projected behind a reading stage—and how Sean's ability to adapt, play by ear, and control dynamics became essential in shaping the drum parts that evolved over the years.Broadway Drumming 101 is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber.He talks about the two lives of Broadway drumming: playing with “toothpicks” during readings and unleashing full stadium energy in the pit once the show is fully staged. That flexibility—combined with a deep understanding of styles and musical storytelling—is what sets him apart.Sean also shares how his high school show choir days prepared him for the dynamic, mic-less world of workshops and readings. He developed a skill many overlook: playing softly while still maintaining intensity.If you're a drummer looking to understand what it really takes to build a Broadway career from the ground up—this is an essential listen.The full episode drops this Saturday.

In this episode of Broadway Drumming 101, we sit down with Andrew Beall, an accomplished percussionist, composer, and Broadway musician whose career spans international performances, musical theater orchestration, and a deep love for percussion. From his early days in Ohio to working on some of Broadway's biggest productions, Andrew shares insights into his journey, his influences, and his passion for composition.We dive into the art of orchestration, the challenges of subbing on Broadway, and how he balances multiple musical roles—including running Bachovich Music Publications and managing orchestras. Andrew also talks about adapting to technological advancements in music, the impact of Finale's discontinuation, and how biking in NYC keeps him in rhythm with the city's fast pace.Whether you're an aspiring Broadway musician or just love behind-the-scenes stories from the theater world, this episode is packed with wisdom, humor, and practical advice.Episode Highlights:

Throwback to one of the wildest and most unforgettable nights of my Broadway career—the opening night of Ain't Too Proud - The Life And Times Of The Temptations on March 21st, 2019, and performing on The Tonight Show Starring Jimmy Fallon. Playing live on national TV was already a huge deal, but throw in a mad dash through Times Square with a police escort to make it back to the Imperial Theatre for opening night? That took it to another level.After performing on The Tonight Show with Jimmy Fallon at 5 PM, we still had to race across town to the Imperial Theatre for our Ain't Too Proud opening night. Traffic leaving Rockefeller Center was brutal, and for a moment, it looked like we might not make it. But somehow, we pulled up just in time.I had a click track in my ears during this Tonight Show performance—same with the music director. The band and lead vocals were 100% live, but the background vocals were pre-recorded and locked to the click.Here's a little secret that not many folks—maybe not even most of my Ain't Too Proud cast and bandmates—know: between “Get Ready” and “Ain't Too Proud to Beg,” I had four clicks to cue me into the next tune. I was supposed to kick things off with that classic Benny Benjamin intro fill… but with the adrenaline rushing, nerves firing, and Questlove and The Roots watching from the wings, I skipped the fill and went straight into the groove.Thankfully—it worked. But man, knowing millions of people were watching, then thinking about how we had to jet across town and race to opening night right after this? My head was spinning.Looking back, I'm grateful for moments like that—creating something meaningful, making people smile, and sharing the stage with some of the best in the business. Ain't Too Proud should still be running, no doubt—but that's a convo for another day. For now, I'm just appreciating the journey. And with what I'm working on over the next few weeks, maybe there's one more Broadway run in my future.But if not? I'm good. I've had my shot—and I truly hope you get yours. There's nothing like the feeling of playing a show. It's one of the most rewarding experiences a musician can have.Have you ever had one of those moments where you knew the show or song like the back of your hand—but then one little thing throws you off? Let me know. I know I'm not the only one. Leave a comment here: Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.comThis Substack is reader-supported. To receive new posts and support my work, consider becoming a free or paid subscriber. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Broadway Drumming 101 – Classic Interview: Gary SeligsonIn this classic episode of Broadway Drumming 101, I sit down with the incredible Gary Seligson. If you've been around the Broadway scene, you already know his name. Gary's played on some massive shows, including Aida, Tarzan, Wicked, and Billy Elliot. His resume is stacked, but what really makes this interview special is the insight he shares about navigating the business, working in the pit, and adapting to the ever-changing world of theater drumming.We get into everything—how he got started, what it takes to lock in with a Broadway orchestra night after night, and how he keeps his playing fresh even after doing the same show hundreds (or thousands) of times. He also shares his approach to learning a book, staying prepared, and making a lasting career in this business.Gary's been in the game for a long time, and he's got a ton of wisdom to share. Whether you're an aspiring Broadway drummer or just someone who loves hearing behind-the-scenes stories from the pit, this episode is packed with gems.Episode Highlights:* Gary's Beginnings in Drumming: From banging on pots and pans as a child to his first toy snare drum, Gary's love for drumming was evident from an early age. His father nurtured this passion, leading him to study with Glenn Weber, who became a pivotal figure in his musical education.* High School and Early Gigs: Gary discusses his experiences in regional and all-state jazz bands, his first gig at age 13 with a Chicago/Blood, Sweat & Tears-style horn band, and how playing Bar Mitzvahs and country music gigs gave him a solid foundation for professional musicianship.* Music Education at Hartt School of Music: He shares why he chose the Hartt School over Berklee and North Texas, his influential mentor Al Lepak, and how studying in Hartford put him on a path toward a professional career in music.* Breaking into the New York Music Scene: After studying with legendary studio drummer Gary Chester, Gary received his first opportunity to sub on Broadway's The King and I in 1984. His first night in the pit was a nerve-wracking but pivotal moment that shaped his future on Broadway.* National Tours and Nine Years on the Road: Gary recounts his time playing Cats, Les Misérables, and Miss Saigon on tour, how driving between cities gave him a new appreciation for different parts of the U.S., and how this extensive road experience prepared him for his return to Broadway.* Landing Long-Running Broadway Shows: His journey from subbing on Chicago and The Lion King to originating the drum books for Aida, Wicked, and Tarzan. He shares fascinating behind-the-scenes stories, including how Phil Collins personally insisted that Gary be the drummer for Tarzan after hearing him play Wicked live.* Working with Legends: Gary reflects on playing drums alongside Elton John and Phil Collins, what made their playing styles so unique, and how their guidance influenced his own musicianship.* Adapting to Different Roles: From drumming to percussion work on Motown: The Musical, Gary shares how playing alongside master percussionists like Roger Squitero and Javier Diaz elevated his approach to groove and feel.* Navigating Broadway's Ups and Downs: Gary talks about the transitions between gigs, the importance of subbing, and how he balanced a career that included School of Rock and subbing next to me at Ain't Too Proud.This in-depth discussion offers incredible insights into a Broadway musician's life, the industry's realities, and the dedication required to thrive in musical theater drumming. Whether you're an aspiring drummer or a theater enthusiast, this episode is a must-listen.Give it a listen, and let me know what you think!

Thanks for reading Broadway Drumming 101! This post is public so feel free to share it.In this episode of Broadway Drumming 101, host Clayton Craddock sits down with the incredibly talented drummer Jaylen Petinaud to discuss his journey from an eager young musician introducing himself at LaGuardia High School to playing with Herbie Hancock and holding the drum chair for Hell's Kitchen on Broadway.Jaylen shares stories about his early aspirations of playing in the NBA, how his love for music eventually won out, and his experiences at SUNY Purchase, where he studied both jazz and economics. He takes us through his path from jam sessions at Smalls and New Blue to working with artists like Kenny Seymour (For Colored Girls, The Harder They Come) and his pivotal mentorship with Zane Mark that introduced him to the world of theater.Jaylen talks about the moment he received a life-changing call from Herbie Hancock, his approach to preparing for the gig, and the whirlwind experience of balancing Broadway, jazz, and international touring. He also discusses what it was like auditioning for Alicia Keys' Hell's Kitchen, getting the approval of Adam Blackstone and Alicia Keys herself, and his first experience playing on electronic drums for the show.From studying Tony Williams and Jeff "Tain" Watts to working with Terrence Blanchard, Jaylen offers insights into developing his unique voice on the drums, handling the pressures of high-level gigs, and the importance of always being ready for the unexpected.This is an inspiring conversation for anyone looking to break into Broadway drumming, navigate the jazz scene, or just hear an incredible success story of a young drummer making waves in the music industry.

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode of Broadway Drumming 101, I chat with the legendary Jonathan Haas about his incredible journey from studying liberal arts to becoming a virtuoso timpanist and professional musician. We talk about his groundbreaking work in Broadway and orchestral music, his passion for drumming, and his thoughts on navigating the challenges of the entertainment industry.Highlights from the Episode:* Jonathan's Journey: How he transitioned from liberal arts to music and became a timpanist with the St. Louis Symphony before moving to New York to study at Juilliard.* NYU Broadway Percussion Seminar: The creation of a one-of-a-kind program that brought over 400 students from around the world to learn from Broadway professionals, observe live pits, and engage with union leaders.* Broadway Experiences: Jonathan shares stories about his early days as a sub on Broadway, a memorable sword accident during Pirates of Penzance, and the lessons he learned.* Making Connections: Why being a good person and building relationships is essential for success in the music industry.* The Role of Luck and Hard Work: Jonathan reflects on serendipity, the reality of hard work, and balancing dreams with practical goals.Key Takeaways:* Aspiring percussionists need to sound exactly like the person they're subbing for—the best compliment is being mistaken for the regular.* Always respond promptly to emails and calls, and don't take on tasks you're not ready for.* Hard work, connections, and adaptability are crucial in building a sustainable career in entertainment.Subscribe and Don't Miss Out!Make sure to subscribe to Broadway Drumming 101 on your favorite podcast platform and turn on notifications to be the first to hear this inspiring episode with Jonathan Haas!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Get ready for an exciting upcoming episode of Broadway Drumming 101! I'll be talking with the legendary timpanist Jonathan Haas about his groundbreaking work with the NYU Broadway Percussion Seminar. Jonathan shares how the program started, its impact on over 400 students worldwide, and how it gave young musicians a real taste of Broadway—playing with top percussionists, sitting in active pits, learning about unions at Local 802, and getting advice from icons like contractor John Miller.We'll also dive into how a simple lunchroom conversation sparked the creation of the NYU Broadway Orchestra Program. You won't want to miss these incredible behind-the-scenes stories about Broadway music education and what it takes to succeed.Subscribe now to Broadway Drumming 101 on your favorite platform and turn on notifications so you'll be the first to know when this episode drops!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this episode of Broadway Drumming 101, I sit down with Jonathan Haas, a percussion legend who revolutionized the timpani and built an extraordinary career performing with major orchestras, rock bands, and jazz icons. We talk about what it really takes to make it on Broadway—the hard work, the unexpected breaks, and the reality of starting at the bottom. Jonathan shares real-world advice and stories from his career, giving you a no-nonsense look at the industry. If you're serious about breaking into Broadway or curious about what it takes to succeed as a musician, you have to listen to this episode!Virtuoso timpanist Jonathan Haas has raised the status of the timpani to that of a solo instrument throughout his unique career that has spanned more than twenty years. From classical concertos to jazz and rock & roll, from symphonic masterpieces to the most experimental compositions of living composers, Haas has championed, commissioned, unearthed and celebrated music for his instrument, becoming, as Ovation magazine hailed him, "The Paganini of the timpani."His concerts on the world's most prestigious musical stages and his ground-breaking recordings have delighted critics and listeners on both sides of the ocean. The New York Times wrote, "Wherever one finds a percussion instrument waiting to be rubbed, shook, struck or strummed, [Haas] is probably nearby, ready to fulfill his duties with consummate expertise... he is a masterful young percussionist."Most recently, Haas has garnered widespread praise and attention for his performances of Philip Glass' Concerto Fantasy for Two Timpanists and Orchestra, a piece conceived by Haas and completed because of his quest to spotlight the timpani. The Concerto Fantasy features not only two timpanists, but also 14 timpani, all placed downstage in front of the orchestra. In 2000, Haas performed the world premiere of the piece with the American Symphony, and he has subsequently performed it at Carnegie Hall and in Phoenix, New Jersey, Baltimore, Pasadena, Long Beach (California), St. Louis and Mexico City. Haas also performed the European premiere with the BBC Symphony in London, the world premiere of a chamber orchestra version with the Iris Chamber Orchestra in Memphis, the Czechoslovakian premiere with the Prague Symphony Orchestra at the International Music Prague Spring Festival, the Norwegian premiere with the Bergen Philharmonic, and he will perform the Australian premiere with the Sydney Symphony and the Turkish premiere with the Istanbul Philharmonic.Haas' successful efforts to expand the timpani repertoire have led him to commission and premiere more than 25 works by composers in addition to Philip Glass such as Stephen Albert, Marius Constant, Irwin Bazelon, Eric Ewazen, Thomas Hamilton, Robert Hall Lewis, Jean Piche, Karlheinz Stockhausen, Andrew Thomas, and many others.Haas built the world's largest timpani and debuted it in 2003 at the Aspen Music Festival. This unprecendented, incredible instrument -- nearly 6' wide and nearly 4' tall – beats the world's second-largest timpani — a 48-incher used by Amsterdam's Concertgebouw Orchestra — by almost half.Haas' recordings include the trail-blazing 18th Century Concertos for Timpani and Orchestra and Johnny H. and the Prisoners of Swing, both on Sunset Records. The latter was named for his jazz group and features innovative renderings of jazz compositions featuring "hot timpani" in front of a full jazz ensemble. His rediscovery of Duke Ellington's brilliant composition for jazz timpani, "Tympaturbably Blue," is included on this recording, as are other jazz standards played on a set of ten kettledrums.Demonstrating a remarkable versatility as a musician, Haas has performed and recorded with Emerson, Lake and Palmer, played on the Grammy Award-winning recording Zappa's Universe, recorded with Aerosmith, Michael Bolton, Black Sabbath, and explored heavy metal with his rock group Clozshave.The rarest of modern virtuosi, Haas embarked on his career as a solo timpanist by performing the only solo timpani recital ever presented at Carnegie Recital Hall in 1980. As an orchestral soloist, he made his debut with the New York Chamber Orchestra under Maxim Shostakovich and his European solo debut with the Bournemouth Sinfonietta. He made his French debut performing Andrez Panufnick's Concerto for Percussion, Timpani and Orchestra with the Orchestra de la Garde Republicaine. He was the soloist in the Druschetsky Concerto for Eight Timpani, Oboe and Orchestra with the Aspen Chamber Orchestra. He has also performed as a solo timpanist for the Distinguished Artists Recital Series at New York's 92nd Street ‘Y' and as a guest artist with the Lincoln Center Chamber Society, the Chamber Music at the ‘Y' Series, and the Newport Chamber Music Festival. He has championed new music by presenting adventuresome programming such as The Music of Frank Zappa, showcasing the music of Edgar Varese and Frank Zappa, under the auspices of Lincoln Center's Great Performers Series.Haas is the principal timpanist of the New York Chamber Orchestra, the Aspen Chamber Orchestra and EOS Ensemble, principal percussionist of the American Symphony Orchestra, and a member of the American Composers Orchestra. He performs with the Orpheus Chamber Orchestra, Mostly Mozart Festival Orchestra, New York Pops, and New Jersey Symphony and has performed and recorded with the New York Philharmonic, the Stuttgart Chamber Orchestra and the St. Louis Symphony Orchestra.A graduate of Washington University in St. Louis, Haas received his Master's Degree from the Juilliard School as a student of Saul Goodman. An inspiring teacher, he has been the director of the Peabody Conservatory Percussion Studio for twenty years and a faculty artist of the Aspen Music School, and he conducts the percussion ensembles at both schools. He has presented master classes throughout the United States and internationally at the Toho Gauken, Hanoi Conservatory, Paris Conservatory, and the Graz Percussion School. Sharing his enthusiasm for music with young people, he has presented over two hundred concert-demonstrations with his "Drumfire" program, under the auspices of the Lincoln Center Institute, the New York Chamber Symphony's Sidney Wolff Children's Concert Series, and the Aspen Festival Young Person's Concert Series.As active an entrepreneur as he is an artist, Haas heads Sunset Records, Kettles and Company, and Gemini Music Productions which contracts musicians for Lincoln Center, New York Pops, and many other organizations. He also works closely with percussion industry manufacturers Pearl/Adams, Promark and Zildjian, among others.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome back to another Broadway Drumming 101 Classic episode! This time, I'm revisiting an incredible conversation I had with the talented Shannon Ford back in late 2021. Shannon has an amazing story, and I'm excited to share it with you again today.Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Shannon is a versatile drummer and percussionist who has carved out an inspiring path in the Broadway world. Whether it's his impeccable groove, his dynamic adaptability, or his incredible professionalism, Shannon has earned his place in this tight-knit and supportive community. His journey into Broadway is a testament to hard work, persistence, and the power of connection.In this episode, Shannon dives into how he got his start in the Broadway scene, sharing both the challenges and triumphs of building a career in this unique industry. He talks about the importance of relationships, the mentorship he's received along the way, and how the Broadway drumming community has been welcoming and encouraging to him. If you're an aspiring Broadway musician, Shannon's story is one you'll definitely want to hear—it's filled with insights and advice that can help you on your journey.I loved hearing Shannon talk about his approach to the craft and what it takes to succeed in this competitive but rewarding world. There's so much to take away from his experiences, whether you're a drummer, a musician, or just someone who appreciates the hard work that goes into making Broadway magic happen.So take a listen, and let Shannon Ford's journey inspire you. This is an episode filled with heart, wisdom, and the kind of perspective that makes the Broadway drumming community so special. I hope you enjoy it as much as I did when I first recorded it.Be sure to check it out today, and as always, feel free to share your thoughts after listening—I'd love to hear what resonated with you. What's New at Broadway Drumming 101?We're always working on bringing you more incredible content! Here's what else we've got going on:* Exclusive Articles & Tips: Subscribe to our website to gain access to exclusive behind-the-scenes posts and resources you didn't learn in music school.* Video Content: Check out our YouTube channel for interviews, tutorials, and in-depth discussions with Broadway's top drummers. Don't forget to hit that subscribe button!* Shop Broadway Drumming 101: Grab your favorite merch, including T-shirts, hoodies, and more, at our Shopify store to show your love for the art of Broadway drumming.

On the next episode of Broadway Drumming 101, we sit down with Mike Ramsey, a seasoned professional musician who's been making it happen in New York City for years. Mike shares what it takes to build a career in one of the most competitive music scenes in the world—talking about why being early, prepared, and easy to work with are non-negotiables for success.We dive into the nitty-gritty of subbing on Broadway, where Mike's had to step into some intense percussion setups, like the dynamic dual percussionist roles in The Lion King. He explains why subbing is about emulating the chair holder's style—not showing off your own. “It's not your gig,” Mike reminds us, “your job is to make it seem like the regular musician is in.”Mike also shares some hilarious (and humbling) stories from his career—like a U-Haul mishap on the Belt Parkway that ended with the truck roof peeled back like a can of sardines. Somehow, the instruments survived, and Mike learned a valuable lesson about NYC driving restrictions.If you're an aspiring musician, this episode is loaded with practical advice, from how to get started in Broadway pits to why versatility and freelancing skills are a must in a city where gigs can be unpredictable. We even touch on the importance of building your online presence and why Mike might finally create a website after all these years.Don't miss this one—it's packed with insights, laughs, and gems for anyone looking to make it in NYC's music scene.

On the next episode of Broadway Drumming 101, we chat with Mike Ramsey, who's been making it happen as a professional musician in New York City for many years. We get into what it really takes to build a career in New York—from being on time (actually, being early) to knowing how to gel with people and stay prepared. Mike also drops some major gems about subbing for other musicians—like why it's never the time to “do your own thing” when you're filling in. If you're serious about playing in this city, this episode is packed with practical advice and real talk about what works—and what doesn't—when it comes to making it in the NYC music scene.Check out all of our podcasts HERE!Our last was with Nate Patten. A must-listen: Mike Ramsey: Musician, Educator, and Broadway PercussionistMike Ramsey is a versatile percussionist and educator based in Brooklyn, New York, with over a decade of experience in the music industry. Originally from Maryland, Mike's musical journey began with an unexpected pivot from saxophone to drums, sparking a lifelong passion for percussion. His early involvement in school jazz bands and marching bands laid the foundation for his exploration of diverse musical styles.Mike pursued his studies at West Virginia University, where he immersed himself in a range of percussion instruments and global music traditions. This rich background prepared him for a multifaceted career that has included performing on Broadway and teaching as an accompanist in the dance department at NYU. Since 2007, Mike has brought his talents to Brooklyn, contributing to New York City's vibrant music scene by playing for dance classes, teaching lessons, and collaborating with ensembles.As a Broadway percussionist, Mike has built a reputation for his meticulous preparation and ability to interpret music with nuance and authenticity. He has subbed for iconic productions like The Lion King, where he mastered the percussion books on both sides of the pit, Ain't Too Proud - The Life And Time Of The Temptations, and Once on This Island. His work showcases his adaptability and dedication to capturing the unique styles of the original musicians.Beyond Broadway, Mike has performed with the Exit 9 Percussion Group, participated in international tours, and lent his expertise to orchestral and ensemble performances. He is passionate about sharing his knowledge with the next generation of musicians, emphasizing the importance of being a well-rounded player and a dependable professional.When he's not performing, Mike is committed to education and mentorship, inspiring aspiring musicians to achieve their goals through hard work and preparation. His blend of musicality, professionalism, and teaching expertise has made him a respected figure in the world of percussion and beyond.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In the next episode of the Broadway Drumming 101 Podcast, I chat with Mike Ramsey, a talented drummer/percussionist and an accompanist in the Dance department at NYU, to discuss his musical journey and offer invaluable advice for aspiring Broadway musicians.When asked about how to break into the Broadway scene, Mike shared a memorable lesson from his mentor, Javier Diaz, during a clinic at Rutgers University. The advice? "Focus on becoming a good musician." It's a simple reminder that technical skill and musicality are the foundation for success.Mike Ramsey: Musician, Educator, and Broadway PercussionistMike Ramsey is a versatile percussionist and educator based in Brooklyn, New York, with over a decade of experience in the music industry. Originally from Maryland, Mike's musical journey began with an unexpected pivot from saxophone to drums, sparking a lifelong passion for percussion. His early involvement in school jazz bands and marching bands laid the foundation for his exploration of diverse musical styles.Mike pursued his studies at West Virginia University, where he immersed himself in a range of percussion instruments and global music traditions. This rich background prepared him for a multifaceted career that has included performing on Broadway and teaching as an adjunct faculty member at NYU. Since 2007, Mike has brought his talents to Brooklyn, contributing to New York City's vibrant music scene by playing for dance classes, teaching lessons, and collaborating with ensembles.As a Broadway percussionist, Mike has built a reputation for his meticulous preparation and ability to interpret music with nuance and authenticity. He has subbed for iconic productions like The Lion King, where he mastered the percussion books on both sides of the pit, Ain't Too Proud - The Life And Time Of The Temptations, and Once on This Island. His work showcases his adaptability and dedication to capturing the unique styles of the original musicians.Beyond Broadway, Mike has performed with the Exit 9 Percussion Group, participated in international tours, and lent his expertise to orchestral and ensemble performances. He is passionate about sharing his knowledge with the next generation of musicians, emphasizing the importance of being a well-rounded player and a dependable professional.When he's not performing, Mike is committed to education and mentorship, inspiring aspiring musicians to achieve their goals through hard work and preparation. His blend of musicality, professionalism, and teaching expertise has made him a respected figure in the world of percussion and beyond.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this special episode of Broadway Drumming 101, we step out of the drum chair and into the conductor's podium with Nate Patten, a celebrated music director, writer, and comedian based in New York City. With a resume spanning eight Broadway shows—including Company, The Prom, Charlie and the Chocolate Factory, and Catch Me If You Can—Nate brings a wealth of knowledge and humor to our discussion.Currently conducting Elf, the holiday musical lighting up Broadway through January 7, 2024, Nate shares the secrets of his success, from networking and building genuine relationships to fostering curiosity and taking unconventional opportunities. Whether you're a drummer, a percussionist, or any musician looking to understand the dynamics of working with a music director, this episode offers invaluable insights.What You'll Learn:* How Nate got his start in musical theater and built his career.* Why the chemistry between musicians in a pit is just as important as their talent.* The critical role drummers play in maintaining the pulse of a Broadway production.* Nate's unique approach to giving feedback and fostering artistry in the pit.* Tales from the rehearsal room with Broadway legends like Marc Shaiman, Scott Wittman, and Kristin Chenoweth.

Landing a gig in a Broadway pit is about more than just being talented or prepared—although that's important, too. Music directors are looking for musicians who bring something unique to the table and can fit into the group's chemistry. It's not just about being the best at your instrument; it's about being the right fit for the team and the project.In this video, we break down what music directors are looking for and how you can stand out—not just as a player but as a collaborator. If you're serious about working on Broadway, this is the kind of insight you need.Also, don't miss the latest podcast episode featuring Nate Patten, the conductor of the new holiday musical Elf, now playing at the Marquis Theatre in Midtown! Make sure to subscribe for more tips, behind-the-scenes knowledge, and interviews with the best on Broadway.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, Aquarian Drumheads, and Empire Ears in ear monitors.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.In this episode, we're honored to feature Ed Shea, a distinguished musician whose career spans from the Philadelphia soul scene to the stages of Broadway.Highlights from the Episode:* Early Musical Influences: Ed shares his initial fascination with music, sparked by the lively bands performing at his grandfather's bar in Wildwood, New Jersey.* Educational Journey: Attending North Catholic High School in Philadelphia, Ed was mentored by esteemed band director Tony Marchione, leading to his first theatrical experience with Do Re Mi.* Mentorship and Development: The impact of Nick D'Amico, a leading Philadelphia show drummer, in honing Ed's drumming skills and professional approach.* Philadelphia Sound Era: Insights into recording at Sigma Sound Studios with legends like Gamble and Huff, contributing to the iconic “Philadelphia Sound” alongside artists such as the O'Jays and Teddy Pendergrass.* Atlantic City Performances: Experiences from the peak of Atlantic City's entertainment scene, including performances with luminaries like Sammy Davis Jr. and Tony Bennett.* Broadway Transition: Ed's move to New York City in the early '90s, marking his Broadway debut and solidifying his reputation through tours like The Music of Andrew Lloyd Webber.* Sustaining Performance Excellence: Strategies for maintaining enthusiasm and precision in performances, and the camaraderie among Broadway musicians.* Guidance for Aspiring Musicians: Practical advice on preparation, subbing, networking, and succeeding in the competitive Broadway environment.* Adapting to Technological Advances: Navigating the integration of drum machines and evolving demands of contemporary drum compositions.Memorable Anecdotes:* Performing for Frank Sinatra at the Latin Casino at 25 and managing on-stage challenges.* Bringing personal timpani to a Sigma Sound session, receiving support from producer Thom Bell.* Mentoring emerging Broadway drummers, including Joe Nero, Taylor Simpson and Dan Berkery.Ed reflects on his dynamic career, the music industry's evolution, and the privilege of being part of Broadway's vibrant community. He encourages perseverance, adaptability, and embracing the challenges of a musical career in New York City.About Ed SheaEd Shea is a seasoned percussionist and drummer whose career began in the rich musical landscape of Philadelphia. A member of the American Federation of Musicians across multiple cities, including New York and Philadelphia, Ed has showcased his versatility across various platforms.Broadway Contributions:* Dream (1996)* Peter Pan (1999–2000)* Martin Short: Fame Becomes Me (2006)* Newsies The Musical (2012–2014)* Holiday Inn, The New Irving Berlin Musical (2016–2017)He has also substituted in productions such as Cats, Phantom of the Opera, Grease, and Les Misérables.Touring Experience:* A Chorus Line (National Company, 1977; Japan Tour, 1986)* Paul Anka East Coast Tour (1982)* Debbie Reynolds Tour (1990)* The Music of Andrew Lloyd Webber (1991–1992)* Jesus Christ Superstar (1994)* South Pacific West Coast Tour (2002)* Urinetown (2003–2004)* Chicago (2006–2007)Television Appearances:* Miss America Pageant (1988–1991)* Dick Clark's Freedom Festival (1989)* Merv Griffin's New Year's Eve (1990–1992)* A&E's Live by Request with Johnny Mathis (1997)* PBS's Wonderful, Wonderful with Johnny Mathis (2006)Recording Collaborations:Ed has recorded with labels such as Philadelphia International, Columbia, and Motown, working with artists including:* Four Tops* Spinners* Temptations* Patti LaBelle* O'Jays* Teddy Pendergrass* Lou Rawls* Stylistics* James Ingram* Deniece WilliamsFilm Contributions:* The Fish That Saved Pittsburgh (1979)* Staying Alive (1982)* City Slickers (1991)* Flirting with Disaster (1996)Educational Background:Ed studied at the Philadelphia Music Academy, graduating in 1972. He is also a professor of percussion at Seton Hall University, aiming to develop well-rounded percussionists and music educators.

In this clip, legendary percussionist Ed Shea takes us back to his days at Sigma Sound Studios. Ed paints a vivid picture of the studio's bustling energy, where top-tier musicians like Bobby Eli and Tom Bell seamlessly crafted iconic records.Ed shares insider details about what it was like working with legends like Kenny Gamble and Leon Huff, recording albums for Lou Rawls, and navigating the laid-back yet precise atmosphere of Sigma. He talks about how the sessions were structured—three sessions a day, double scale pay, and often a relaxed schedule where creativity could flow uninterrupted.He also offers a practical tip for musicians: always be prepared. He recounts how he kept a manuscript book handy to quickly jot down parts when Leon Huff or other producers needed overdubs on the fly. Ed's approach to adapting to each session's unique demands highlights the professionalism and versatility that have defined his remarkable career.Ed also compares the relaxed recording environment to the high-pressure world of subbing on Broadway, giving you a glimpse into the different dynamics of studio and theater drumming.Subscribe today for more and to be notified when new content is released:Broadway Drumming 101 is a reader-supported publication. To receive new posts and support my work, consider becoming a free or paid subscriber.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, Aquarian Drumheads, and Empire Ears in ear monitors.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Mike Dobson is a drummer, percussionist, and Foley artist who has spent over 20 years bringing stories to life with his unique combination of live music and sound effects.With degrees from The Hartt School (B.M.) and The New School (M.M.), Mike has the training and the creativity to tackle any project. He co-wrote the offbeat production Room 17B and has worked with top directors like Tina Landau.Mike's journey started behind the drum kit, but his passion for sound grew during his early days performing in circus and clown shows. That's where he learned how sound effects can create humor and enhance storytelling, lessons he's carried throughout his career. One of his standout roles was as the live Foley artist for The SpongeBob Musical. I first met him there and was able to work with him when subbing for Damien Bassman. He continued that role in The SpongeBob Musical Live On Stage, proving that sound can bring just as much personality to a show as the actors on stage.He's the drummer and percussionist for the Broadway show Water for Elephants, based on the bestselling novel. In this production, Mike doesn't just play drums—he helps create the world of a traveling circus during the Great Depression and uses traditional percussion, found objects, and custom instruments. Water for Elephants runs through December 8, 2024, so go see it before it ends!For more: https://www.mikedobsonmusic.com/homeClayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, Aquarian Drumheads, and Empire Ears in ear monitors.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

In this clip, Mike Dobson breaks down what it's like to be part of the small, elite group of drummers and percussionists on Broadway—and how his work is even more specialized. He combines live music and Foley artistry, creating sound effects in real-time for the stage, something very few people know how to do.Mike shares his experience working in this super-niche field, reflecting on his nearly 20 years in New York, and talks about how Foley is typically taught in film and audio programs but rarely for live theater.

One of a handful of new musicals to open on Broadway this month is TAMMY FAYE, the musical story of the life of the controversial evangelist Tammy Faye Bakker. Having seen the show's world premiere production at the Almeida Theatre in London in 2022, Mickey-Jo was eager to catch the show's New York transfer at the recently refurbished Palace Theatre. This new production, directed by Rupert Goold stars Olivier Award winner Katie Brayben alongside Tony Award winners Christian Borle and Michael Cerveris, with a score by Sir Elton John and Jake Shears and a book from James Graham. Check out this full review for Mcikey-Jo's thoughts on the show's Broadway evolution, and why it fails to practice what it preaches. • 00:00 | introduction 02:51 | overview 10:13 | material 17:10 | production 23:36 | performances • get in person / live stream tickets to see MickeyJoTheatre LIVE at the Phoenix Arts Club: https://phoenixartsclub.com/events/mickeyjotheatre-live/ • get in person / live stream tickets to see MickeyJoTheatre LIVE at the Phoenix Arts Club: https://phoenixartsclub.com/events/mickeyjotheatre-live/ • 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 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. 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. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. 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. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Katie Brayben and Christian Borle talk Broadway's Tammy Faye; The latest on the Trump transition process; Patrick Radden Keefe talks new limited series "Say Nothing." Learn more about your ad choices. Visit podcastchoices.com/adchoices

Katie Brayben and Christian Borle talk Broadway's Tammy Faye; The latest on the Trump transition process; Patrick Radden Keefe talks new limited series "Say Nothing." Learn more about your ad choices. Visit podcastchoices.com/adchoices

In 2021, I started this podcast with a clear goal: to give you a behind-the-scenes look at the lives and careers of Broadway drummers. Since then, we've hosted some truly remarkable guests who've shared their unique stories, experiences, and insights.As our audience has grown, we've realized that many of you might have missed out on some of our most inspiring interviews. So, over the next year, we're bringing back some of those classic, condensed episodes. Whether it's your first time hearing them or you're revisiting them, I hope they spark the same sense of inspiration.But don't worry, that's not all—we've got some fresh, exciting episodes in the works and a few surprises along the way. Stay tuned because there's plenty more coming your way!Thanks for reading Broadway Drumming 101! This post is public so feel free to share it.In this podcast, we hear about the career of legendary drummer Matt Vander Ende, who shares his fascinating journey from the West Coast music scene to the bright lights of Broadway. Known for his dynamic playing style, Matt takes us through his transition from rock and metal drumming into musical theater, where he ultimately landed one of Broadway's most demanding drumming roles in Wicked.Throughout the interview, Matt reveals:* His musical upbringing was in Oakland, California, and he had early classical training at the San Francisco Conservatory. he has a diverse performance background spanning from school jazz bands to heavy metal tours with his band, Defiance.* How he developed his versatile style, drawing influence from drumming legends like Steve Gadd, Vinnie Colaiuta, and Metallica's Lars Ulrich, blending classical chops with rock intensity.* His unexpected path into musical theater, starting with a recommendation to try drumming in local theater productions—a choice that paved the way to his long-running career on Broadway.Matt's detailed look at his role as the drummer for Wicked is a highlight of the conversation. He describes the intense demands of this iconic show, which requires the drummer to seamlessly switch between musical genres, from reggae and punk-inspired beats to classical and traditional Broadway rhythms—all while leading a large 23-piece orchestra.Matt shares:* What makes Wicked such a challenging and unique show to play, including the precise, genre-hopping drumming style it requires to drive the music and choreography.* His experience mastering complex segments like the intense “No Good Deed,” which he describes as “Bartok meets Metallica”—an exhilarating, intricate piece that demands both technical precision and a heavy rock feel.* The importance of consistency in Wicked, with Matt highlighting his methods for keeping each performance fresh, despite the rigorous routine, and the ways he managed physical strain and injury during his tenure.Matt also gives valuable advice to aspiring Broadway drummers on the importance of discipline, professionalism, and learning a wide variety of musical styles. He emphasizes the necessity of playing each performance exactly as the regular drummer does, especially for subs, and offers insights on building relationships and working as part of a close-knit Broadway team.For Broadway fans, drummers, and musicians alike, this episode is packed with stories, lessons, and insights from Matt's extraordinary journey. Don't miss his reflections on the highs and challenges of playing one of Broadway's most iconic shows!Tune in for an unforgettable conversation with Matt Vander Ende on Broadway Drumming 101.Clayton Craddock founded Broadway Drumming 101, an in-depth online platform offering specialized mentorship and a carefully curated collection of resources tailored for aspiring and professional musicians.Clayton's Broadway and Off-Broadway credits include tick, tick…BOOM!, Altar Boyz, Memphis The Musical, Lady Day at Emerson's Bar and Grill, Ain't Too Proud – The Life and Times of The Temptations, Cats: The Jellicle Ball, and The Hippest Trip: The Soul Train Musical. As a skilled sub, he's contributed his talents to Motown, Evita, Cats, Avenue Q, The Color Purple, Rent, SpongeBob SquarePants: The Musical, Hadestown (tour), and many more. He has also appeared on major shows, including The View, Good Morning America, Jimmy Fallon, The Today Show, and the TONY Awards, and performed with legends like The Stylistics, The Delfonics, Mario Cantone, Laura Benanti, Kristin Chenoweth, Kerry Butler, Christian Borle, Norm Lewis, Deniece Williams, Chuck Berry, and Ben E. King.Clayton proudly endorses Ahead Drum Cases, Paiste Cymbals, Innovative Percussion drumsticks, and Empire Ears.Learn more about Clayton Craddock here: www.claytoncraddock.com Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

This week's Broadway News is PIPING HOT! To kick it off, we draw the curtain on a recasting shakeup with the upcoming Tammy Faye musical, between Andrew Rannels and Christian Borle. The Who's Tommy has announced their closing and two new sparkly shows are headed to New York: Boop! The Musical and Drag: The Musical! Patreon: Click HERE to become a Broadway Bestie TikTok: @LindseyStone_BroadwayInstagram: @FromTheMezzanine_PodcastYoutube: @FromtheMezzanineBroadwayBroadway Spotify Playlist: https://open.spotify.com/playlist/5t55fULcCqN0NMmK4OnfOA?si=89c08b1a8bb34d95

WTOP Entertainment Reporter Jason Fraley interviews two-time Tony winner Christian Borle, who stars in "Bye Bye Birdie" at the Kennedy Center in Washington D.C. from June 7-15. He discusses stepping into Dick Van Dyke's iconic shoes, as well as memories of his Broadway roles from “Something Rotten” to “Some Like It Hot.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit megaphone.fm/adchoices

WTOP Entertainment Reporter Jason Fraley interviews two-time Tony winner Christian Borle, who stars in "Bye Bye Birdie" at the Kennedy Center in Washington D.C. from June 7-15. He discusses stepping into Dick Van Dyke's iconic shoes, as well as memories of his Broadway roles from “Something Rotten” to “Some Like It Hot.” (Theme Music: Scott Buckley's "Clarion") Learn more about your ad choices. Visit podcastchoices.com/adchoices

Two great interviews on this episode of the pod. First up, Tony Winner Christian Borle talks working on Some Like It Hot for more than a year and why you should still see it while you can. He chats with Tamsen. Plus, Nicole Ari Parker is here - "And Just Like That," she's back on the New York City stage in The Refuge Plays. She sits down with Paul Wontorek.

Broadway star Adrianna Hicks joins The Art of Kindness with Robert Peterpaul to discuss acts of kindness during her Tony-winning new musical Some Like It Hot, the delights of working with Christian Borle and J Harrison Ghee, lessons learned from Jennifer Holiday during The Color Purple, self-kindness and so much more. Adrianna Hicks fell in love with performing at a young age, singing in church choirs in Texas. The musical theatre bug bit her bad in high school, prompting her to study it at University of Oklahoma. After racking up a slew of regional credits and tours under her belt, Adrianna made her Broadway debut in 2015 as a swing in The Color Purple. You'll find out during our discussion that this was truly a magical full circle moment. She went on to perform in Aladdin on Broadway and more recently, to originate the role of Catherine Aragon in the hit musical Six. Adrianna is currently (well depending on when you listen to this) playing the iconic role of Sugar in the Tony-winning sensation Some Like It Hot. You may know the part as being minted in Hollywood history by Marilyn Monroe during the late 50's MGM film, but Hicks brings her own joy and magic to the updated story. Got kindness tips or stories? Please email us: artofkindnesspodcast@gmail.com Follow Adrianna @missadriannahicks Follow us @artofkindnesspod / @robpeterpaul Support the show! (https://www.buymeacoffee.com/theaok) Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. We are supported by the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

On this episode of the pod, Tamsen catches up with Tony Award Winner Jefferson Mays to talk about bringing A Christmas Carol back to Broadway, but unlike ever before. It's a solo show and Jefferson plays more than 50 roles. Plus, movie magic comes to Broadway in Some Like It Hot! It's the reimagining of the classic Marilyn Monroe film with some updates for a modern audience. Paul Wontorek talks to two of the stars, Christian Borle and J. Harrison Ghee.

País Estados Unidos Dirección Michael Mann Guion Morgan Davis Foehl, Michael Mann Música Harry Gregson-Williams, Atticus Ross Fotografía Stuart Dryburgh Reparto Chris Hemsworth, Tang Wei, Wang Leehom, Viola Davis, Holt McCallany, Andy On, Ritchie Coster, Christian Borle, John Ortiz, Yorick Van Wageningen, Tyson Chak, Brandon Molale, Danny Burstein, Archie Kao, Sophia Santi, Minn Vo Sinopsis Thriller cibernético en el que varios agentes norteamericanos y chinos, con ayuda de un convicto liberado, se unen para detener a un misterioso hacker. Todo comienza cuando los gobiernos de Estados Unidos y China se ven obligados a cooperar por el bien de la seguridad nacional de ambas potencias. El motivo: una fuerte amenaza informática está poniendo en riesgo las vidas y el futuro de la población; delitos informáticos de alto nivel para los que deberán recurrir a sus mejores agentes de campo si quieren llegar a tiempo para evitar lo peor.

Mike Isaacson, Currently in his ninth season and only the third person to hold this position in The Muny's 103-year history. To date, he has produced 56 Muny shows, 23 of which had never been on the Muny stage before. He has collaborated at The Muny with many Tony award winners and breakthrough talents, including Christian Borle, Colin Donnell, Marcia Milgrom Dodge, Gary Griffin, Heather Headley, Jennifer Holliday, Denis Jones, Laura Michelle Kelly, Dan Knecht- ges, Beth Leavel, Norm Lewis, Beth Malone, Kathleen Marshall, Patti Murin, Josh Rhodes, Emily Skinner and Ken Page. The Riverfront Times wrote, “Under the leadership of executive producer Mike Isaacson, the quality of Muny productions rose like the proverbial phoenix.” The St. Louis Post-Dispatch named him “Theatre Artist of the Year,” noting that by “staging one impressive production after another, he made The Muny simultaneously hip and – be- lieve it – important to our community.” During Isaacson's tenure, The Muny has produced new developmental productions of Irving Berlin's Holiday Inn, Lerner and Loewe's Paint Your Wagon and The Unsinkable Molly Brown. During its record-breaking 100th season, The Muny became the first theatre in the world to produce the legendary Jerome Robbins' Broadway, doing unprecedented archival work on both the artistic and business side. During that same season, The Muny produced the U.S. regional premiere of Jersey Boys. Isaacson has changed the look and feel of a Muny production, overseeing a transformation in every aspect of pro- duction that culminated in 2019 with the arrival of the theatre's extraordinary James S. Mc- Donnell stage, a state-of-the art stage house that includes revolutionary LED technology, automated sets and a host of other innovations. During the summer of 2020, when The Muny was closed due to COVID-19, Mike produced and created The Muny 2020 Variety Hour Live!, an online show that reached more than a worldwide audience of over 400,000.   With Kristin Caskey, Isaacson has produced more than 23 Broadway musicals and plays, national tours, off-Broadway and London productions. All told, his productions have received more than 122 Tony nominations and 34 Tony Awards. Last year, he produced the highly ac- claimed David Byrne's American Utopia, which made every major “Top 10” list, and became a highly acclaimed film by Spike Lee on HBO, for which he also served as an executive produc- er. Just as the COVID-19 shutdown of Broadway began, he was awaiting the first preview of Neil Simon's Plaza Suite, starring Mathew Broderick and Sarah Jessica Parker.   Also, during the shutdown, Isaacson served as a supporting producer of the acclaimed re- vival of The Unsinkable Molly Brown at New York's Transport Group. Other career highlights include: Fun Home (2015 Tony Award, Best Musical; 2018 Olivier nominee for Best Musical), Legally Blonde the Musical (2011 Olivier Award, Best Musical), Thoroughly Modern Millie (2002 Tony Award, Best Musical), Red (2010 Tony Award, Best Play), The Humans (2016 Tony Award, Best Play), If/Then, starring Idina Menzel, Lanford Wilson's Burn This, starring Adam Driver and Kerri Russell (2019 Tony nomination for Best Revival of a Play), Bring It On: The Musical (2013 Tony nomination for Best Musical), A Doll's House 2 (2017 Tony nomination for Best Play), You're a Good Man, Charlie Brown (1999 Tony nomination for Best Revival of a Musical), The Seagull, starring Kristin Scott Thomas, Carey Mulligan and Peter Sarsgaard, Caroline, or Change (Tony nomination for Best Musical); One Flew Over the Cuckoo's Nest (2001 Tony Award, Best Revival of a Play) and Death of a Salesman (1999 Tony Award, Best Revival of a Play). For the Independent Presenters Network, Isaacson served as producer for Spamalot (2005 Tony Award, Best Musical), Ragtime (revival) and The Color Purple (2006 Tony nomination for Best Musical).   He has received the St. Louis Arts and Education Council's Award for Excellence in the Arts and has been awarded The Broadway League's and Theatre Development Fund's Commercial Theater Institute “Robert Whitehead” Award for excellence in producing. He has served on the board of governors and executive committee of The Broadway League and received the Samuel J. L'Hommedieu Award. He has also received the Equality Award from the St. Louis Chapter of Human Rights Campaign.

Mike Isaacson, Currently in his ninth season and only the third person to hold this position in The Muny's 103-year history. To date, he has produced 56 Muny shows, 23 of which had never been on the Muny stage before. He has collaborated at The Muny with many Tony award winners and breakthrough talents, including Christian Borle, Colin Donnell, Marcia Milgrom Dodge, Gary Griffin, Heather Headley, Jennifer Holliday, Denis Jones, Laura Michelle Kelly, Dan Knecht- ges, Beth Leavel, Norm Lewis, Beth Malone, Kathleen Marshall, Patti Murin, Josh Rhodes, Emily Skinner and Ken Page. The Riverfront Times wrote, “Under the leadership of executive producer Mike Isaacson, the quality of Muny productions rose like the proverbial phoenix.” The St. Louis Post-Dispatch named him “Theatre Artist of the Year,” noting that by “staging one impressive production after another, he made The Muny simultaneously hip and – be- lieve it – important to our community.” During Isaacson's tenure, The Muny has produced new developmental productions of Irving Berlin's Holiday Inn, Lerner and Loewe's Paint Your Wagon and The Unsinkable Molly Brown. During its record-breaking 100th season, The Muny became the first theatre in the world to produce the legendary Jerome Robbins' Broadway, doing unprecedented archival work on both the artistic and business side. During that same season, The Muny produced the U.S. regional premiere of Jersey Boys. Isaacson has changed the look and feel of a Muny production, overseeing a transformation in every aspect of pro- duction that culminated in 2019 with the arrival of the theatre's extraordinary James S. Mc- Donnell stage, a state-of-the art stage house that includes revolutionary LED technology, automated sets and a host of other innovations. During the summer of 2020, when The Muny was closed due to COVID-19, Mike produced and created The Muny 2020 Variety Hour Live!, an online show that reached more than a worldwide audience of over 400,000.   With Kristin Caskey, Isaacson has produced more than 23 Broadway musicals and plays, national tours, off-Broadway and London productions. All told, his productions have received more than 122 Tony nominations and 34 Tony Awards. Last year, he produced the highly ac- claimed David Byrne's American Utopia, which made every major “Top 10” list, and became a highly acclaimed film by Spike Lee on HBO, for which he also served as an executive produc- er. Just as the COVID-19 shutdown of Broadway began, he was awaiting the first preview of Neil Simon's Plaza Suite, starring Mathew Broderick and Sarah Jessica Parker.   Also, during the shutdown, Isaacson served as a supporting producer of the acclaimed re- vival of The Unsinkable Molly Brown at New York's Transport Group. Other career highlights include: Fun Home (2015 Tony Award, Best Musical; 2018 Olivier nominee for Best Musical), Legally Blonde the Musical (2011 Olivier Award, Best Musical), Thoroughly Modern Millie (2002 Tony Award, Best Musical), Red (2010 Tony Award, Best Play), The Humans (2016 Tony Award, Best Play), If/Then, starring Idina Menzel, Lanford Wilson's Burn This, starring Adam Driver and Kerri Russell (2019 Tony nomination for Best Revival of a Play), Bring It On: The Musical (2013 Tony nomination for Best Musical), A Doll's House 2 (2017 Tony nomination for Best Play), You're a Good Man, Charlie Brown (1999 Tony nomination for Best Revival of a Musical), The Seagull, starring Kristin Scott Thomas, Carey Mulligan and Peter Sarsgaard, Caroline, or Change (Tony nomination for Best Musical); One Flew Over the Cuckoo's Nest (2001 Tony Award, Best Revival of a Play) and Death of a Salesman (1999 Tony Award, Best Revival of a Play). For the Independent Presenters Network, Isaacson served as producer for Spamalot (2005 Tony Award, Best Musical), Ragtime (revival) and The Color Purple (2006 Tony nomination for Best Musical).   He has received the St. Louis Arts and Education Council's Award for Excellence in the Arts and has been awarded The Broadway League's and Theatre Development Fund's Commercial Theater Institute “Robert Whitehead” Award for excellence in producing. He has served on the board of governors and executive committee of The Broadway League and received the Samuel J. L'Hommedieu Award. He has also received the Equality Award from the St. Louis Chapter of Human Rights Campaign.

The curtain call for Charlie and the Chocolate Factory: The Musical has finally come. After much anticipation, we go through Act I of this Broadway production that shocked us. A new Wonka is born, Felicia fangirls over Christian Borle, and Elaine drops her first single, “The Tinkerman Can.” To keep up-to-date on all things Wonka, be sure to follow us on TikTok, Instagram, and Twitter @wonkawatch. We'd love to hear your concerns (it'd be unhealthy if you didn't have any). Email us at wonkarapture@gmail.com If you'd like to support this podcast, you can go to buymeacoffee.com/wonkawatch. Thank you! Timestamps 00:00 Elaine created a song she thinks should have been included in the musical. It is . . . beyond words. 7:43 We start talking about the musical and we are pleasantly surprised? 11:35 The start of Act I. Meet Christian Wonka! 16:45 A different take on how Wonka decides to open up his factory. 19:46 We meet the factory kids as they start to win, and they are VERY DIFFERENT from any other canon! 30:05 Another change: how Charlie gets the Golden Ticket. 33:30 We FINALLY have Willy Wonka back on stage after 50 minutes! 48:00ish We talk about our theater kid energy and what our live show would be like. 52:03 Prequel Predictions. Felicia: A wish for a Christian Borle performance of Glass Elevator. Someone is going to be wearing a pot on their head. Elaine: This musical might come back to Broadway a few years after Wonka is released. Someone will be eating a loaf of bread.

"To have faith is to have wings." In our third week of Peter Pan Month, we are looking at the novel Peter and the Starcatchers by Dave Barry and Ridley Pearson as well as the stage adaptation written by Rick Elice and starring Christian Borle, Adam Chanler-Berat, and Celia Keenan-Bolger. This Peter Pan prequel/reboot follows the adventures of Peter, an orphan being sold into slavery, and a girl named Molly who is protecting a chest full of starstuff, a magical substance with immense power. Trials on the treacherous seas lead to wild escapades on a remote island, forcing Peter and Molly to face pirates, mermaids, crocodiles, and more before their journey ends. We talk through the book's story and then discuss the creative changes and revisions made for the stage version. We discuss the characters' names, Black Stache vs. Captain Hook, the play's story theatre format, the creative parallels the play adds, the small title change, character motivations, how Peter Pan gets his name, and more! Next time, join us to discuss the 1953 Disney animated classic version of Peter Pan featuring the voices of Bobby Driscoll, Hans Conried, and Kathryn Beaumont. Join the discussion! If you want to interact with other fairy tale fans, discuss this week's retelling, participate in podcast polls, catch fairy tale related news, join our Facebook group! https://www.facebook.com/groups/ofslippersandspindles/ Follow us on Instagram! We share behind-the-scenes info, fun facts, historical pictures of Drew and Cassie, bookstagram photos, and more! https://www.instagram.com/ofslippersandspindles/ We love to hear from you! You can reach us at ofslippersandspindles@gmail.com Music: Through The Woods by Shane Ivers - https://www.silvermansound.com 

"I do believe in fairies! I do! I do!" Drew and Cassie are here to gush over the 2003 film adaptation of Peter Pan starring Jeremy Sumpter, Jason Isaacs, and Rachel Hurd-Wood! This film knows that Wendy is the protagonist and focuses on the underlying romantic tensions between Peter and Wendy in some beautiful and unique ways. We talk about the movie's incredible soundtrack, a generation's crush on Jeremy Sumpter, adaptation vs. retelling, Barrie's vision for a film version of Peter Pan, the many wonderful performances from the three leads as well as Carsen Gray, Ludivine Sagnier, Richard Briers, and Theodore Chester, Neverland's location in the universe, the pink affect, the incorporation of the power of the hidden kiss throughout the movie, Hook's flight, the emotional reunion at the end, and much more! Next time, join us to discuss the novel Peter and the Starcatchers by Dave Barry and Ridley Pearson, as well as its stage adaptation written by Rick Elice starring Christian Borle, Celia Keenan-Bolger, and Adam Chanler-Berat. Join the discussion! If you want to interact with other fairy tale fans, discuss this week's retelling, participate in podcast polls, catch fairy tale related news, join our Facebook group! https://www.facebook.com/groups/ofslippersandspindles/ Follow us on Instagram! We share behind-the-scenes info, fun facts, historical pictures of Drew and Cassie, bookstagram photos, and more! https://www.instagram.com/ofslippersandspindles/ We love to hear from you! You can reach us at ofslippersandspindles@gmail.com Music: Through The Woods by Shane Ivers - https://www.silvermansound.com 

Katie checks in with stage manager Ryan Gohsman, whose credits include Here Lies Love, The Death of the Last Black Man, The Light Years, and Mary Jane, and who is currently the production stage manager for Little Shop of Horrors at The Westside Theater (featuring Christian Borle, Tammy Blanchard, and Conrad Ricamora).

Starring Micheal Urie, Christian Borle, Mary Testa, Lillias White, James Monroe Iglehart, Ann Harada, and tons more of your favorite theatrical geniuses, TWITS is the newest radio play comedy from the Broadway Podcast Network. Visit bpn.fm/twits for more info, or listen and subscribe wherever you are listening to this podcast now! Learn more about your ad choices. Visit megaphone.fm/adchoices

McKenzie Kurtz graduated from the University of Michigan in 2019 with a degree in musical theater (MT19). Over the course of her career at University of Michigan she was lucky enough to participate in several different musicals like The Drowsy Chaperone and The Little Mermaid. She even got to play Ariel Moore in Footloose at The Muny which was directed by Broadway veteran, Christian Borle. Kurtz was the very first member of her graduating class to make her Broadway debut as Princess Anna in Frozen on Broadway. Although she was only in the show for a few weeks due to the COVID-19 pandemic and the closing of Frozen this opportunity for McKenzie was a dream come true. Hopefully, we all will be able to see her in a new Broadway show when everything opens up again this fall! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jayme-starr/support

Welcome to The Surgeon's Files: The Prodigal Son Podcast, your unofficially official Prodigal Son after-show podcast!  Each week, The Surgeon's Files: The Prodigal Son Podcast will break down the week's episode of […] The post The Surgeon’s Files: The Prodigal Son Podcast (Episode 211 with Guest, Christian Borle) appeared first on Pod Clubhouse.

It's all about theater on this episode of The OutCast Presented by Outfest, when host David Kittredge has an in-depth chat with acclaimed director Michael Mayer and actors Christian Borle and Jonathan Groff about their 2020 production of LITTLE SHOP OF HORRORS, Mayer's SPRING AWAKENING and THOROUGHLY MODERN MILLIE, Borle's roles from FALSETTOS to the TV show SMASH, and Groff's roles from FROZEN to HAMILTON— and why they all love working together so much. From the future of theater post-pandemic, to the very specific patch Groff had to wear for a sex scene in the TV series LOOKING, it's a wild and fun ride! Support this podcast