Podcasts about dinettes

  Bassist Tom Mendel has had a long and storied career as a bass player. He has been ‘based' (pardon the pun) in Chicago for decades. He's played in the pit for long running shows like ‘Lion King', ‘Wicked', ‘Hamilton', ‘Moulin Rouge', ‘Billy Elliott', ‘Kinky Boots', and many more. But his music has taken him all over the country. He has toured with the likes of Lainie Kazan. He's played club dates with Christine Ebersole, Mandy Gonzalez, Hollis Resnik, to mention just a few. Tom has also recorded extensively, playing hundreds of jingles in Chicago's recording houses. He's also played numerous sessions from Los Angeles to New Orleans to New York. Tom has also been an advocate for union musicians for decades. Much of that work was for those who make their livings playing in the theatre musicians. In fact, he was an early member of the Theatre Musicians Association. He served 7 years as the president of the Chicago chapter, before spending 5 years as the national president of TMA. Tom has also worked on many union committees, negotiating contracts for higher wages and better working conditions with Chicago theatres, as well as for touring musicians. And that's just the tip of the iceberg as far as his work on behalf of performing professionals. But Tom is more than ‘just' a musician. He's also a Master Scuba instructor, a yoga enthusiast, and is not only a proud father, but has recently joined the ranks of his favorite new title: grandpa! Basis for bassist I first met Tom in 1987 when I joined the cast of Chicago's longest running musical up until that time, ‘Pump Boys & Dinettes'. We performed that show together for nearly three years at Chicago's Apollo Theatre. We've been good friends ever since. We know each other's family and have shared the best and worst of those times. Professionally, we've had the good fortune to work together many times over the years. And because the world of pit musicians is not that big, we have a lot of friends and colleagues in common. ‘Bassist Tom Mendel' is just the jumping off point for this conversation. Come check out this friendly chat between two good friends. I think you'll enjoy getting to know this admirable and accomplished man. See more on Instagram. @mendelmusic Chapters (00:00:05) - Introducing Tom Mendel(00:02:14) - Tom Joins In(00:02:44) - Pump Boys, of course(00:10:04) - Louisiana Days

Bannerman Island to host tribute to country singer The production Always . . . Patsy Cline is a staple on the regional theater circuit in large part because it requires only two actors, a small band and a director. The talent marshaled to present the musical play on Bannerman Island seven times beginning Wednesday (July 24) includes its author, Ted Swindley, who moved to Beacon in February, and director Neil Caplan, who is the founder and executive director of the Bannerman Castle Trust. The stage director, Sue Regan, is from Kingston and the music director, Tom McCoy, from Fishkill. Jessica Welch, a Beacon resident who portrays Cline, has performed the role more times than anyone. She sings 27 tunes in each show, from deep cuts to all the hits. Emily Clare Zempel, who plays Cline's pen pal, Louise Seger, nails the Southern accent, although she hails from Wisconsin. Swindley followed Welch to Beacon. "Jessica is like a daughter to me, so why not move here?" he says. "I wanted to get out of Houston anyway." There are plans to take the show off-Broadway in 2025. During a recent rehearsal, Swindley sat in a padded, high-backed chair and tweaked the script. "It's not the Constitution," he quips. Unwittingly, Swindley helped create the "jukebox musical" - an easy go-to for Broadway producers. When his Stages Repertory Theatre in Houston faced financial woes in the late 1980s, Patsy saved the place. "A member of our troupe wanted to sing Patsy Cline songs and I was looking for a 'review-sical,' not a biography or straight-up song showcase," explains Swindley, who grew up in South Carolina. "This all started with a simple question: 'Did Patsy Cline ever play in Houston?' " In fact, not only had Cline performed at a local honky-tonk in 1961 as she was gaining traction on the pop and country charts, that night she met Seger, a divorced housewife who had arrived early and started a conversation. Cline came to the gig by cab. After the show, Seger offered her a ride to the hotel. Instead, they stopped at Seger's home and talked about life and love for hours. The rising star stayed the night and dropped by a radio station in the morning before heading to a show in Dallas. This relaxed encounter, where the two strangers bonded over troubled marriages and motherhood issues, makes up most of Act Two. Cline wrote many letters to fans relating her loneliness on the road and connected with Seger, who was a single mother of two. After the night in Houston, they spoke on the phone and exchanged a volley of letters until Cline's death in a 1963 plane crash. The title adapts Cline's signature ending to her correspondence: "Love always, Patsy Cline." Toward the end, the play includes a reading of the first missive Cline sent to Seger, in which the singer writes about having to iron a pile of clothes. Welch has performed the role more than 3,000 times. She also performed in South Pacific, Annie Get Your Gun and Pump Boys and Dinettes. Despite missing out on the Broadway run of Always . . . Patsy Cline, she took a long ride on the first national tour in 1995. The Arkansas native, who scrubbed her Southern accent, ticks off longstanding residencies in major markets, including a stint at the historic Ryman Auditorium in Nashville. She met her husband in Cleveland. Cline, the first woman inducted into the Country Music Hall of Fame, battled with record company executives over touring, repertoire and other issues. "She worked in a man's business back then and had to kick doors open," says Welch. "She lived hard and fought hard for what she wanted." Over the years, Welch immersed herself in Cline's world, visiting the singer's hometown (Winchester, Virginia), studying her songs and reading everything she could about the icon, who died at 30. "If I ever get kidnapped, I could just keep talking about Patsy Cline and they'd let me go," she says. "Beekeeping, too." Welch's goal is to narrow her wide vocal range to a husky alto and sing the melodies in Cline...

Send us a Text Message.Over the past three interviews and five episodes, I was beginning to get the feeling that we were drifting too far afield of the original intent of this podcast. That is writing and performing songs. However, each of our subjects are song writers. Mark Baxter our Vocal Behaviorist has been writing songs all along since he started in rock bands in the last century. Yaron Gershovsky, band leader of the Manhattan Transfer, is constantly writing and publishing new, original songs. And Debra Monk, our star of stage and screen, early in her career, collaborated on the songs for the Tony nominated “Pump Boys and Dinettes” and other musicals. So, the more I thought about it, the more I realized that I hadn't wandered too far from my original purpose. All these people are legitimate songwriters. This is often what the life of the songwriter is like. Precious few can live off their songwriting talent alone. Now, I'm not a rich person. Oh, I do Ok, and I don't really lack for anything, but I don't have a lot of disposable income. So, I've decided to sort of pay back these three with the only currency I have. I've written three new songs. Each one of the three subjects inspired a different song. Today we'll hear those songs and follow the process of their creation.Welcome to the 50th episode of the Tim Tunes podcast. Begun on a whim almost three years ago, I started with the stories and recollections of my best songs. I thought I'd be done once I made through the first batch. But episode after episode, I managed to find some songwriting or performance-based content to share with you listeners. In this episode we'll explore three recently written songs that were inspired by the subjects of this season's podcast. If you haven't listened to episodes 5-1 through 5-5, I suggest you go back and give them a listen to better appreciate these songs. Support the Show.Please consider making a one time donation via the Paypal link aboveOr, consider becoming a monthly subscribing patron of the show here:https://www.patreon.com/timtunesAnd get lots of extra documentation and music associated with the show.

Henry Gross is a hit singer-songwriter. He was a founding member of Sha Na Na, the extraordinarily successful 1950s cover band. He had a huge solo hit in 1976 with “Shannon”. He's written songs like "In My Own Sweet Time" and “Waltz Of The Toreadors” as part of his long and successful solo career. As a session musician he played guitar on Jim Croce's breakthrough album “I've Got A Name”, and on albums by Judy Collins and Andy Kim. His songs have been recorded by Mary Travers, Cyndi Lauper, Jonathan Edwards and others. And he was in the show “Pump Boys and Dinettes”.My featured song is “A Lover's Plea” from my 2023 album Bobby M and the Paisley Parade. Spotify link. ---------------------------------------------The Follow Your Dream Podcast:Top 1% of all podcasts with Listeners in 200 countries!For more information and other episodes of the podcast click here. To subscribe to the podcast click here.To subscribe to our weekly Follow Your Dream Podcast email click here.To Rate and Review the podcast click here.“Dream With Robert”. Click here.—----------------------------------------“MILES BEHIND”, Robert's first album, was recorded in 1994 but was “lost” for the last 30 years. It's now been released for streaming. Featuring Randy Brecker (Blood Sweat & Tears), Anton Fig (The David Letterman Show), Al Foster (Miles Davis), Tim Ries (The Rolling Stones), Jon Lucien and many more. Called “Hip, Tight and Edgy!” Click here for all links.—--------------------------------------‘THE SINGLES PROJECT” is Robert's new EP, featuring five of his new songs. The songs speak to the ups and downs of life. From the blissful, joyous “Saturday Morning” to the darker commentary of “Like Never Before” and “The Ship”. “This is Robert at his most vulnerable” (Pop Icon Magazine)Reviews: “Amazing!” (Top Buzz Magazine)“Magical…A Sonic Tour De Force!” (IndiePulse Music)“Fabulously Enticing!” (Pop Icon Magazine)“A Home Run!” (Hollywood Digest)Click here for all links.—--------------------------------------“IT'S ALIVE!” is Robert's latest Project Grand Slam album. Featuring 13 of the band's Greatest Hits performed “live” at festivals in Pennsylvania and Serbia.Reviews:"An instant classic!" (Melody Maker)"Amazing record...Another win for the one and only Robert Miller!" (Hollywood Digest)"Close to perfect!" (Pop Icon)"A Masterpiece!" (Big Celebrity Buzz)"Sterling effort!" (Indie Pulse)"Another fusion wonder for Project Grand Slam!" (MobYorkCity)Click here for all links.Click here for song videos—-----------------------------------------Audio production:Jimmy RavenscroftKymera Films Connect with Henry:www.thehenrygross.com Connect with the Follow Your Dream Podcast:Website - www.followyourdreampodcast.comEmail Robert - robert@followyourdreampodcast.com Follow Robert's band, Project Grand Slam, and his music:Website - www.projectgrandslam.comYouTubeSpotify MusicApple MusicEmail - pgs@projectgrandslam.com

Jimmy Ryan has been Carly Simon's guitarist since the 1970s. He's an American artist, composer, producer, and author with a career that has spanned six decades. Beginning at seventeen, he and his college band, The Critters, had their first top forty hit, “Younger Girl,” which was followed by three charting albums and two more top forty hits, “Mr. Dieingly Sad” and “Don't Let The Rain Fall Down on Me.”In 1970, Jimmy's friend, Carly Simon, called him to put a band together for her. She was rising fast on the US and British top 40 charts with “That's The Way I've Always Heard It Should Be,” as well as her first album “Carly Simon,” on which Jimmy played guitar. Jimmy went on to perform with Carly on most of her future albums and continues to work off and on with her to this day. He's the guitar soloist on many of Carly's hits, the most memorable being “You're So Vain,” and the Academy Award winning song of the year, “Let the River Run,” from the movie, Working Girl. Aside from Carly Simon, Jimmy's also recorded with numerous superstars including no less than: Paul McCartney, Mick Jagger, Luther Vandross, James Taylor, Cat Stevens, Jim Croce, John Entwistle, Elton John & Kiki Dee, The Doors, Rod Stewart, and many more, earning him six gold records and one platinum record. As a studio musician Jimmy has recorded alongside legendary session players, like: Jim Gordon, Claus Voorman, Jim Keltner, Nicky Hopkins, Will Lee, Steve Gadd, Lowell George, Robbie Robertson, Paul Shaffer, David Sanborn and many more. Along the way, he found time to perform in the original Broadway production of Hair. And he was a principal actor and musician in the Broadway production of “Pump Boys and Dinettes.”Jimmy has scored music for TV, creating themes and music for NBC News, CNBC, MSNBC, Lifetime, USA, and PBS. He's also composed, arranged, and produced music for over 500 radio and TV commercials for clients like: Doritos, McDonalds, IBM, Ford, Nikon, Pizza Hut, Budweiser, Chevy, Coke, Diet Coke, and more.In April 2019, he and his touring band, The Hit Men, were honored with the first ever Road Warrior Award from the Nashville Musician's Hall of Fame. In 2022, Jimmy published his memoir, Behind: Autobiography of a Musical Shapeshifter. It's a fascinating look at the life of a musician working at the highest levels of the music industry, especially the life of a working rock musician.And please be sure to stick around at the end of the show for a real treat. Jimmy has generously loaned us an unreleased song that he wrote and produced, Slow Burn.

Director Adam Pankow and Actor (Jim) Miles Barnum share their experience in putting together the Stage West production of 'Pump Boys and Dinettes.' You can get tickets at www.westfargoevents.com - the show runs May 4th - 6th and the 10th - 12th.See omnystudio.com/listener for privacy information.

About the Guest Randy Redd made his Broadway debut in PARADE at Lincoln Center directed by Harold Prince. Broadway and Off-Broadway credits include MAY WE ALL, Max Vernon's THE VIEW UPSTAIRS, ALLEGRO at Classic Stage Company directed by John Doyle, Alain Boublil's MANHATTAN PARISIENNE directed by Graciela Daniele, and PUMP BOYS & DINETTES at City Center Encores. Other credits include MILLION DOLLAR QUARTET, RING OF FIRE directed by Richard Maltby, Jr., Randy Newman's FAUST, THE BURNT PART BOYS, Terrence McNally's SOME MEN, the American premiere of Andrew Lloyd Webber's BY JEEVES directed by Alan Ayckbourn, David Greig's MIDSUMMER, LUCKY STIFF, ONE MAN BAND with James Lecesne, and SMOKE ON THE MOUNTAIN. Film and TV credits include https://www.youtube.com/watch?v=L1HQ5OP9E8c (“Beautiful Creatures”) and “The Last 5 Years” directed by Richard LaGravenese, https://www.youtube.com/watch?v=iJjmpO8k9m0 (“After The Storm”) directed by Hilla Medalia, "Kinsey" directed by Bill Condon, “From Broadway With Love” (PBS), “All-American New Years” (FOX), "The Wright Verdicts", Good Morning America, the Today Show, the Tony Awards, the Macy's Thanksgiving Day Parade with Wynonna Judd, and Show Biz After Hours with Frank DiLella, a monthly variety show at Birdland. He has worked as an actor, writer, musician, and director at Manhattan Theater Club, Lincoln Center Theater, Classic Stage Company, Tectonic Theater, Atlantic Theater Company, Naked Angels, Second Stage, New York Musical Theater Festival, The Kennedy Center, Goodspeed, Geffen Playhouse, Primary Stages, York Theater, Emelin Theater, City Theatre, Cincinnati Playhouse In The Park, New Stage Theatre, Pittsburgh CLO, Charlotte Repertory Theater, the Flat Rock Playhouse, the Coconut Grove Playhouse, Stamford Center For The Arts, the Arden Theater, New World Stages, the Cape Playhouse, the Actor's Playhouse, and more. Recordings: https://itunes.apple.com/us/album/showfolk/id305047066 (SHOWFOLK) with Tony Award-winner Rachel Bay Jones, Robin Skye's https://itunes.apple.com/us/artist/robin-skye/id383949971 (HOUSE OF LOVE), LUCKY STIFF, NEO, Jason Robert Brown's WEARING SOMEONE ELSE'S CLOTHES and the Original Cast Recordings of PARADE, RING OF FIRE, THE BURNT PART BOYS and THE VIEW UPSTAIRS. In concert: Carnegie Hall, Jazz at Lincoln Center, Town Hall, Symphony Space, Cooper Union, St. John the Divine, Feinstein's, Ars Nova, Birdland and Joe's Pub. Links North Carolina Theatre http://www.randy-redd.com/ (Randy Redd's Website) Connect with Us Facebook @beltlinetbroadway Twitter @beltlinetobway Instagram @beltlinetobroadway

Intro: Boz's brain hurts, Ozark, the ordinariness of crime, drug running in Tijuana, Molly, Jerry Harris and Season 2 of Cheer, unpleasant surprisesLet Me Run This By You: I didn't do anything wrong.Interview: We talk to Carolyn Hoerdemann about Steppenwolf's From The Page to The Stage, John C. Reilly, tenacity, hyper-empaths, Oscar Wilde's fairy tales, Tarrell Alvin McCraney, feminist theatre, Pump Boys and Dinettes, Faith Wilding, Rob Chambers' Bagdad Cafe, Ominous Clam, Zak Orth, Good Person of Szechwan, European Repertory's production of Agamemnon, Danny Mastrogiorgio, Michael Moore's Roger & Me, Chicago Shakespeare Theater, the anti-memoir memoir, and Ann Dowd.FULL TRANSCRIPT (unedited):1 (8s):And Jen Bosworth from me this and I'm Gina Polizzi. We went to theater school together. We survived it, but we didn't quite understand it. 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all. We survived theater school and you will too. Are we famous yet? I have a place to go to do with, it's not my one bedroom with my dog and my husband, but it's still a lot of work, like an and so, and then on top of that, I mean, I just feel like literally, you know what, I texted you yesterday and you said you knew the feeling like my brain is hurting me, but not in a bad way.1 (50s):I don't have a headache. Like I don't, I just was, you know, telling our couple surface, like, I feel like I can literally hear my brain turning and growing and groaning and like working. I've never had that feeling before in my life, which is weird. But like that, that feeling of, oh, I'm doing or knowing that what it was, what it was like, I'm doing a lot of work, you know, like my brain is doing so ridiculous, but that's how I feel, but it's all like, it, it doesn't feel, you know, what it is. I'm used to doing a lot of physical work.1 (1m 32s):Like I'm used to my body doing a lot of work. Like whether it's, you know, like the jobs I've had, like even the jobs that I, when I was a therapist account, you know, a counselor at social services, like I spent a lot of my time, like moving cases of diet Coke and cause we were in like a halfway house. So like I did a lot of manual labor and lot and case management and case management management is a lot of manual labor, like taking clients to appointments. And like, so when using my brain now in this different way, like literally I wished I would have been a camera on me when I was redoing my resume and cover letter specifically for the ad industry, because it is like making something out of nothing and also using words to like basically, you know, trick people, not trick people, but you know, get them to think what you want them to think.1 (2m 27s):And you think, oh, well she's, you know, television writing. The thing about that is like, you can make up anything like television writing really. You can really say, and then pigs flew out of his asshole and then people are like, oh, that's a weird show. But when you're trying to sell yourself to a particular industry with a particular set of skills, trying to make your skills meld into the skills they want, I was like, I couldn't see. After a while I was like, I don't even know what this, like using words like in this space, you leave space is a big word now.2 (2m 59s):So Metta that you are selling yourself to an advertising1 (3m 8s):Up girl.2 (3m 10s):So the PR how I understand it is there is somebody affiliated with this that is an advocate of yours, a champion of yours. And she wants, she wants you in that industry.1 (3m 23s):Okay. Yes, you are understanding. And there's like multiple things here. So she's, she's a screenwriter that I met and she continued on with the master's program. But her big job is her. Her day job is she's like a creative director at an ad agency in the, in the copy department. Right? So she's a big wig and she edits, she's like, she's the big editor there right at this. And I guess they hop around from agency to agency. Look, I don't know how it works, but so she started this new job and she's like, I want you to come work in the copyright. She also gets a very large bonus for every person that comes on that she refers, which I good look, do what you need to do.1 (4m 6s):But I think it's like five grand per person that she brings. I that's what I'm led to believe from the website. So anyway, there's like a, and so she literally Gina. So I sent her my updated resume and cover letter letter looked great. And then she applied me for 30 jobs. So then I have two.2 (4m 27s):Wow.1 (4m 29s):So which sounds great, which is awesome. Copywriting, all different kinds of copywriting. But for each of those jobs, I have to fill out demographic form. So last night I literally was up after myself tapes one self-tape last night clicking. I am not a veteran. Yes, I am Latina. No, I'm not disabled2 (4m 53s):Online. I was going to say, why don't they have one form, but it's1 (4m 58s):Yeah. It's a different job number. Right? So like every time, oh my God. So then, and sign, you have to sign every, so I literally was like, by the time I went to that, my brain, I was like, what? I'm not a veteran. I'm not a veteran like that. I was like mumbling to myself. And so, so, but I have to say like, you know, it's a good skill to build for. Like, I think that thing about, we only use 5% of our brain. They they've like debunked that right. They've said like that. You can't, but I'm telling you my brain, just like the Grinch's heart grew three sizes that day. My brain is like literally growing three side.1 (5m 41s):I don't know if it's three sizes, but it's, I can feel my, my, my like pathways changing in terms of the skills that I'm using. So that's great. You know,2 (5m 51s):I don't know. I mean, it can't be bad. Nothing. The good news is all of this work you're doing can't lead to anything bad to something. Yeah. Not illegal, You know, honestly, it's really saying something. I finally started watching Ozark. Oh God. And I, what strikes me about it is like, oh, this is not, it's not that this could happen to anybody, but you just think about like how ordinary crime really can be, you know, and how criminals aren't all in a layer or living in a way it's just, it's just moms and dads and, and people who need it, who need money in and who needs to run around and get it right quick.2 (6m 40s):Yeah. And I don't know, I will, I'm only one, not even the full first season in, so there may be a lot of stuff that I don't know, but like, it seems to me that this Jason Bateman guy was just a regular guy who got kind of wrapped up in this criminal enterprise1 (6m 58s):Didn't happen. You, I can see like most of my clients that I saw like were knowingly doing, you know, they were like, oh, I'm going to be a drug dealer and a gang member now. And no, but there were occasionally people that got involved in like scams, you know, financial fraud that you could see how it would start off and, and, and case in point miles. And I have a friend, an older guy, friend, we won't name because this is so illegal was like, Hey, what are you guys doing over Christmas break? And we're like, we're going, doing whatever. And he's like, Hey, do you want to, I shit, you not do you, if you'd let me know if you want to make some money, driving a camper from here to Tijuana.1 (7m 41s):And I, why like, what are you talking about? He's like, yeah, we'll give you like each $5,000 of it. And I said, well, what do you mean? Why do you need the, the, the, the camper and Tijuana? And he was like, oh, there's drugs in it. There's marijuana. And I was like, no. And miles was like, absolutely not. I'm like, have you met miles? Are you boy?2 (8m 3s):Oh, not, not marijuana, I guess,1 (8m 5s):Because it's marijuana. I don't, I don't2 (8m 7s):Think it's legal. Why do they have to do1 (8m 9s):That? I don't know. I think it was like a mass quantity or something like that. I don't know. Like, you're not allowed to like traffic, like large amounts of marijuana from different countries to over the border. Like, but so, especially in Mexico, like what? So I don't know. And we were like, Myles was like, absolutely not. I mean, miles is a lawyer. Like, what are you talking about?2 (8m 34s):Well, it's funny how just one casual aside a reference can really change your whole perspective on somebody you've known for a long time. Like I thought I've been in that situation before, you know, you think, you know, somebody and then they just casually say like, well, you know, we're swingers or1 (8m 55s):The other, the other, the other day I was meeting with somebody. Totally. And this actually didn't make me think less of him, but it was just like, he's like a totally looks like a total straight laced guy. If you're going to look at him, you know, white dude, thirties, balding, whatever. And he's like, yeah, I met him like the first time I, he was talking and he was like, oh yeah, the first time we met, we did Molly. And I was like, wait, what? At first I thought, Tina that's crystal meth. And I thought, but that wasn't, that it's Molly is whatever, HBM,2 (9m 25s):Whatever,1 (9m 26s):MTMA Molly. And I, like, I was so weird and we're like old people, what is happening? It's sitting in a cafe and you're talking about Molly. I don't know. I just it's, it totally rocked my world, which is, I think why I like to write too is because I do like to write those things in where you're like, wait, what? You know? Like, like,2 (9m 53s):Yeah, I have to say just, just the thought of learning, something like that, about somebody that I know is scary to me. And it, it just made me remember that I, after you mentioned season two of cheer, I started watching it. And I forgotten about the whole thing about that guy, Jerry Harris. And it was so heartbreaking to me when that happened. Not that it's worse or better if the person is well-known, it's just, you know, he, he seemed like a person who has such a hard life and it seemed like he was finally getting some, you know, something that he really deserved.2 (10m 38s):And then, and of course, I understand that when I hurt that hurt people, hurt people. And that he was probably doing this because this has been done to him. I don't know, man, I don't, these are surprises. I don't care for, I wanted it to stand for the rug and like for these kids to go on and being abused, that's not it at all. It's just, it's so disheartening. Well, it's really1 (11m 5s):It's. So there is, so yeah, it goes beyond grief. It's like goes beyond disappointment. It's like grief. And it's also, I think for me anyway, and I don't know about for you recreates the feeling of which is what I felt all the time with my parents, which is, oh, I know these people. I can trust these people. Oh God, I'm not safe around these2 (11m 30s):People. Okay. Thank you. That's exactly what it is.1 (11m 33s):I have that experience in Los Angeles, 40 times a day. Right. We're like, I want to like someone and then they'll say some fucking shit. And you're like, okay, well this is, you're a psychopath. Okay. Right. Like I'm talking to this. There's like, I meet them all the time at co-working because you know, co-working attracts like everybody, you just have to have money to have an office here. It's not like they, you know, vet people and some I'll be having a conversation with someone who seems relatively normal. And then they'll be like, oh yeah. You know, I was like, I really admire this Japanese porn star that like really knew what she wanted in life.1 (12m 13s):And it's not that there's anything wrong with being a Japanese porn star. It's that this guy like casually dropping, you know, and then talking about the kind of porn she does in a coworking setting. I I'm like, dude, I gotta go. I gotta make a fucking resume over here. Like I don't need to, but it's it's that in with him. It's just, I was just more like, oh, you're that you're going to bring this up to a stranger. Then I'm getting better about like, what's safe and not safe. But I do think that when you invest in something like Jerry or the cheer or a parent, and then they fucking do some shit, you're like, oh great. I'm not safe with you. That's,2 (12m 50s):It's what it is. It makes the feeling of own. And then, because I tend towards misanthropy, I'm like, okay, nobody's say if you can't trust anybody, everybody's out to get you, which is not true either. But it becomes, that is my defensive posture that I immediately tack back to, you know, I could go away thinking like, oh, there's goodness in the world. And some people and humans are inherently good. And then boom, something happens and I fail. And instead of, and I don't do the opposite when somebody does something good. I don't say yes, it's P you know what I mean? I don't, I don't have the same positive connotation that when somebody does something bad, it makes me say everybody's terrible.1 (13m 34s):It's really interesting because I'm having the experience of having to, what is it? So having to have a little more caution with people, I tend to really, really, really love everybody at first. Like really like I'm like, that person is awesome, but then they start talking crazy shit. And in the past I would have dismissed it and been like, no, I'm just sensitive. Right. Or I'm just so I'm trying now to be like, no, I wasn't there. When I was in therapy yesterday, I was like, no, no. Like in that moment I felt like this is not good for me.1 (14m 16s):And if I am not going to stand up for myself and take care of myself, nobody else is. So I have to mix a little more of the caution in with my, what can be Pollyanna kind of stuff. I have to be mindful of what my instincts are telling me about somebody, because I then will end up, you know, talking about very explicit Japanese porn techniques for half an hour and then walk away feeling violated and fucked up.2 (14m 49s):Yeah, yeah, yeah. Yeah. You know, I knew this. I ha I know somebody who's exceedingly reserved. She doesn't, I like her I'm we're friends, but she doesn't tell you anything about herself. Like, or it takes a long time. And it's just this little snip, like, as an example, I don't know how old she is. And I bring up my age all the time and I, and I think she's younger than I am, but somebody recently said, oh, actually I don't think she's. I think she's more like your age, but that's, but she's never chimed in whenever I've said anything about how old I am.2 (15m 31s):She, she, she won't tell she's, she's a mystery. And on the one hand, I think, oh, she's just, she's just protecting herself for the reason that you just said. I mean, you know, she, she knows me kind of, but it's not like she really, really knows me. Some people really wait until some people don't just give out their confidence to anybody for some people you really, and I, you know, I guess like good for her. Maybe that's the way to go. I don't know. I, I tend to be more like you, not that I love everybody, but that I assume, I assume everybody has good intentions.2 (16m 13s):And, and then it's very surprising and sad and shocking to me when they don't like the thing that happened to me last week, this fricking guy, I was at the, I was picking my son up from tennis and where I've been, where I've been. Yes. And the place has bad vibes. I, I w I don't like the place. The parking is annoying, but yeah, the parking is annoying anyway. So you're, you're not supposed to wait by the curb. The parents aren't supposed to wait by the curb and align for their kids to come out, but everybody does. Right. It's just how it goes. Cause there's nowhere to go. Right. And it's, and it's been really icy here. So even sometimes I will park whatever, but this time I'm thinking, well, it's really icy.2 (16m 57s):And I just don't want him to, it's not lit up really in the parking lot. I just don't want him to fall. So I'm waiting in line and the guy in the car behind me hunks, and I, I assume he's not honking at me. Why would he behind me? Me? I'm just, my car is just sitting there honks again. Hong's a third time. And I put my arm out, like, go, go around. I just thought maybe he didn't think he could go around me. I still honking. So I just kind of opened the door a little bit. I look behind me and I'm like, what's the deal? And he's just yelling something. So I think, okay, whatever, I'll just loop around, pull over, go through the parking lot, turn to come back. And the guy I had the right of way.2 (17m 39s):And he just zoomed in, in front of me made so that I had to slam on the same guy. So I had to slam on my brakes, but then he gets out of the car and walks up, walks over to me. Of course, I lock my doors and he's like just screaming obscenities at me. Now later on, I had the thought this of course had nothing to do with me. Of course, this is how, you know, I didn't do anything wrong. This is about a person who really wanted to kick the dog. And he found that he found somebody to, to do that with absolutely. But I tend to go through my life in kind of this bubble of like, everybody's got everybody's well-intended and maybe even he was well-intended it just, it just didn't come across in the, in this experience.2 (18m 30s):And1 (18m 32s):Did he walk away?2 (18m 34s):I said, get the fuck away from me. Get the fuck away from me. By the way, my dog was in the back of my dog, who barks at literally every leaf like Wallace.1 (18m 54s):What kind of wing man are you? You fucker anyway. Okay. Yeah. I mean, I think those experiences are very particularly about driving and cars and obviously there's a whole road rage. Like there's literally a television show about road rage, right? Like the truth really? Oh my God. Yeah. It's a horrible it's so triggering. Don't watch it, but okay. I mean, yeah, it's ridiculous. But that being said it's very, to me, what happens to me in that situation? I'm sorry, that happened to you is yeah. Like what you mentioned on social media, which is feeling completely powerless and like, it's scary.1 (19m 38s):It's out of control. It's traumatizing. It's I, it's not good. It's not good. And it is also to me that what the feeling is being ambushed, right? Like you're being ambushed by, by a fucking crazy ass and you didn't do anything wrong. See, the thing is, I get into this thing of like, I didn't do anything wrong. And again, if I can get to the core of it, which is as a kid, I literally didn't do anything wrong. And all this shit rained down upon me, this trauma and this and this in this bullying and this whatever. And it triggers that in me. Like, wait a minute.1 (20m 19s):I, all I'm trying to do is do good, protect my son, pick up my thing, do this merge into the fucking freeway. It doesn't matter. And then I get like, this is not fair. Like I get really hurt is what it is. I get hurt. I'm shocked and hurt. And then the person, there is no, there is no resolution, right? Like the guy doesn't then call you later and say, I'm so sorry I acted a Dick. Or you can't even call the police and be like, this guy acted like a Dick. We're like, they're like, well, did he threaten you? No. Did he? Then they're like, fuck yourself.2 (21m 5s):Right. To say that it's, it is linked to, you know, growing up in a dysfunctional family. I'm for myself, looking a little bit more deeply into that. And because I, and I'm not saying this is the case for you, but for me, I think that I have said that I think that I have convinced myself that I'm never doing anything wrong, you know? And, and not just say that I was doing something necessarily wrong in the situation with the sky, although actually, you know, if I could have crafted it better, I would have paid attention to the flag from really from the first time they honk, which is like, there's something wrong with this person.2 (21m 51s):Do you know what I mean? Like, and yes,1 (21m 55s):Like get away, let me remove2 (21m 57s):My instinct. My instinct is to want to fight back. In fact, I remember this time that the some concert or something like that with Aaron, it was early in our relationship. So I was in my early twenties and this guy kept whatever. He kept stepping too close to me something. And I, I pushed him and pushed him. He, and of course, what did he do? He looked at Aaron like, are you gonna like, don't do that to me. I don't want to, you know, and it's, but it's not fair. He's encroaching on my space. He's like fair. Who, who told you the thing that we're going to be fair? Like it's, you know, so I guess that's the thing is I sometimes go out in the world thinking like, I'm an, a student and therefore, you know, nothing.2 (22m 42s):I don't, I shouldn't be getting any demerits. And if I get into merit, it's not my fault. I do that a lot.1 (22m 50s):I have the same thing. Yeah. I mean, I, I do it where it's like, I, yeah, I have my version of that is like, I'm a nice person. Like I do good. I'm nice. How dare you do bad or do wrong or treat me bad. Yeah. I mean, he it's, all this stuff is so layered. And2 (23m 10s):As far back, like it takes a lot. Yeah. Yeah. It's so far back. If it took this many years for us to form this way, imagine how long it's going to take us to On the podcast we are talking to Carolyn. Carolyn has a BFA from a theater school and imitate from the school of the art Institute of3 (23m 45s):Chicago. Carolyn is a performer and a professor and a lovely and pathic, amazing human. So please enjoy our conversation with Carolyn Bournemouth.4 (24m 8s):We're not here to talk about cancer. I've got no theaters because the Rick Murphy shirt Murphy's now this is actually made by Kevin Foster, who was my, that student. But I guess so I directed a workshop that he was in. He's a wonderful man. He ended up moving to Alaska, teaching people how to climb ice mountains. And now has a wife and a baby and never left Alaska. So we had that weird connection. Cause I lived in Alaska for the summer in between my first and second year of school, which I guess is it's like another theater school story in a way. I forgot about that one.2 (24m 47s):We're here. So Carolyn Hornimann, congratulations. You survived theater school. Yes you do.4 (24m 56s):You survived it. I know. That's why I bought this very expensive mix. So I would get lots of voiceover work that I never get.2 (25m 2s):Hey, maybe this is going to be your open Amy4 (25m 4s):Visit shit. This is it. This is my ticket. This is my ticket. I love podcasts.2 (25m 10s):So you survived as a student and you teach4 (25m 13s):DePaul. I teach there. I mainly teach the non-majors, which I love, but I have directed a couple of a workshop, intro type things. But many years ago, I keep putting in proposals. They don't ask me to do again, supposedly next year, maybe I will be, which would be awesome because I have this idea to do a version of Bernhardt Hamlet with all genders and just like totally gender fluid. So2 (25m 42s):You have to submit a proposal4 (25m 44s):For a show. That's a whole nother story. I'm probably another podcast, but I have submitted proposals. But oddly enough, a couple of times I did direct. I was just asked to, and that, I guess we're going backwards to go forwards. Are we always bad and make it go forward? Right. Which is that amazing? I think it's David Ball. The book that they made us read called backwards and forwards. Do you guys think I read In HDL, you had to read this book called backwards and forwards. Anyway, I used it in my master's thesis too. Cause it's brilliant. But anyway, backwards and forwards, I was in graduate school.4 (26m 24s):Rick Murphy was like kind of very interested in what I was doing. I was doing work on performing new feminisms and he was like, what the fuck is that? What's going on at the white cards? You can curse. Oh, no podcast. And, and that's a whole nother story because actually Rick Murphy was not my teacher. I had David AVD, Collie, and I went into to Rick Murphy's office. Like I guess it was probably my senior year to ask him advice about wanting to go to London, to study his full cereals. Right. As if I hadn't already been studying for serious. Right. Cause I wanted to go to Europe and be a fancy pants, real actor. And he was like, why are you going to do that? Why don't you just stay here and find a company that does European work.4 (27m 7s):So then I was in the European repertory company for 12 years. Oh,1 (27m 10s):Oh, that's a, that's a nice long run. Is that, is that company still around?4 (27m 14s):No, that's another story.1 (27m 16s):You have so many stories4 (27m 18s):We need to have, like, I have too many stories, too many stories. I don't even1 (27m 21s):Know where to start. Well, here's where I'll start. Did you just let's get the facts? So you went to BFA at the theater school, but you got to be MFA somewhere.4 (27m 32s):Oddly enough. No, I got, what is an M a E a masters of art and art education from the art Institute of Chicago, which is funny. Cause the Goodman started at the art Institute. So I guess I'm like super Chicago already.1 (27m 45s):You did that. Okay. I wanted to get the facts down. That is why. So then I would like to start when you were a child, were you always this awesome where you just like, fuck it. I'm going to4 (27m 59s):Just be crunchy. I have cool glasses, like YouTube,1 (28m 2s):There's serial killer glasses that we have just FYI.4 (28m 7s):I am from a small town down south. And I guess in a way I knew somehow that I wanted to be an actor from like watching old Betty Davis movies with my mom,1 (28m 17s):Her like Betty Davis.4 (28m 20s):And then I, my dad died when I was a sophomore in high school unexpectedly. And I was with my English teacher who taught us Shakespeare. He was fabulous. Mr. Beaver, very eccentric man who was probably gay and was not able to be out in our little small town. And Mr. Beaver took us to another small farm town school bus to all in, to see the show that was coming in from Chicago. And it was from the page to the stage Shakespeare by step and1 (28m 55s):Walk, a little company called4 (28m 59s):John C. Riley was one of the two count of two actors. There was a man and a woman. I wish I knew who she was. I went on deep dive search last night to find out and I can't find it anywhere on the internet. Was that my computer making a noise? Oh,1 (29m 15s):I didn't hear, I didn't hear it either. So something, well, here's the thing I'm sort of in touch with John C. Riley for various weird reasons. So I might ask him,4 (29m 27s):Please ask him, oh, he's the only one that will know. It's not anywhere on the internet. And I don't talk to him, although he's very close with Rick Murphy, oddly enough. They're like buds. But so, so anyway, we're in this, you know, school editorial, I'm watching this Shakespeare show with Jonsi rally and this woman that was also amazing. I hate that. I only know the guy, right. But they had a trunk and they would pull out costumes and props from the trunk. And they went through several scenes of Shakespeare. It was, you know, like devised, wonderful, amazing theater traveling the country, like the old frickin work progress association do used to do with the federal theater, which we should still have. Thank you very much.4 (30m 7s):And I, you know, had the PR I remember holding the program to like, with like, who are these people? What did they do? Where did they go to school? Oh, theater school, DePaul university. That's one question. Okay. How old were you? Like 15 amazing. Maybe 16. Cause I looked and it said it was 86. My dad died in 85. I was 15. I was 16. So I then also had, I was the president of the thespians of Lincoln community high school in Lincoln, Illinois. And I had, we, one of the things that we got was I forgot what it was. Oh, I wish I remembered it was a fabulous name. Like it wasn't forensics theater or something.4 (30m 49s):The, the title of the magazine you would get, it was like a high school theater magazine. And you got a free subscription of that for a year. Cause you, you know, you were the president of the Philippines and it also of course had a wonderful little spread about the theater school. So then I decided it was either going to be NYU theater school. My mom wanted me to go to ISU and kept saying, John Malcovich went there. John Malcovich went there because that was only 45 minutes away from me. So she really wanted me to go there, you know, cause my dad had just fucking died and she and I had moved from the country into the town and she wanted me to stay close, but she wasn't going to say that. But I know that now that that's what she wanted. Plus it was a lot cheaper and also Webster, which is in St. Louis. I think so somehow I got into, I think ISU in Webster, but I don't remember auditioning.4 (31m 33s):I think I just like had to write an essay and say I wanted to go Tish. I didn't even, I don't think pursue it because I couldn't afford to go to New York to audition. I only auditioned at the theater school. I addition to in my junior year I got in and my junior year, I knew where I was going for my senior year of high school. That's awesome. My brother drove me there and his, he had this old convertible. I remember driving down lake shore drive with my brother. It's my brother who now has cancer. And he took me to this audition. I don't know where he went or what he did with his big, long, old, like 67 do you know, muscle car that he had. But I went in and I did the audition and I did the voice and I did the weird movement and I did my two monologues and I don't remember exactly who was there.4 (32m 16s):I think it was maybe Phyllis Gemma stuff. Maybe it was his Carol Delk person who was a movement teacher who then I never really had. But anyway, yeah, I got, I got in, I remember getting the letter. I remember standing on my stairs in my house in Lincoln, Illinois, because then, you know, you've got to actually better in the mail. There's no emails or anything. And I was standing on the stairs is my, mom's stood at the foot of the stairs and opening it and being like, and then she's like, well, you know, we'll figure it out2 (32m 47s):Time out for one second. Do you think that kids think about us opening letters? The way that we think about people opening scrolls1 (32m 55s):Or telegrams? Yeah.4 (32m 59s):I have to explain to my students with snail mail is because at the end of every quarter I send everyone a little card, just a little thank you card. I've been doing it for like 15, 16 years now. So I can't stop now that I started this tradition and I'll ask them for their snail mail and they'll be like, what's that? And then I'll have to explain to them what it is and then they'll give it to me and they'll leave off like there's zip code or the town on her. I'm like, no, you have to put everything.1 (33m 19s):So there is a, I met someone at my coworking space who is like, I think 25 and they didn't know to put stamps on letters. So he just4 (33m 34s):Imagined that he1 (33m 34s):Was going to the post box and I said, oh, you're going to the postbox. I said, oh, you forgot your stamp. He goes, what? I was like, oh my God. Anyway.2 (33m 46s):And also I have to backtrack about one of the things that John C. Reilly thing was that a DePaul production or Novus Devin4 (33m 54s):Oh seven2 (33m 55s):Will forever. Right? Okay.4 (33m 57s):It must've been one of his first jobs out of school cause it was 1986. And I was also looking because there was this amazing picture of him from Gardenia, I think in the brochure. So then not only are in the magazine that I had, I don't think I ever got a brochure in the mail. It was this magazine. I'm going to find out the name of it. Cause it was just a cool little magazine that the theater kids, theater nerd, Scott, and we, and I got it for free when I was the president of, at that speeds. And so there was this wonderful picture that was some of the, you know, lovely glorious lady like grabbing, holding onto his leg or something was very dramatic. And this story goes further because then I'm at the theater school is my freshman year and there was the God squad party.4 (34m 39s):Nobody's really talked about the gods squad a little2 (34m 41s):Bit.4 (34m 43s):So the God squad party, I don't remember who my God parent was. I don't even, I must not been very good cause I have no idea who it was, but I was at this party and John C. Riley was there.2 (34m 56s):You must've been levitating.4 (34m 59s):And Don Elko was there. There was teachers therapy for smoking and drinking with the teachers. I was like, mind blonde, what's going on? And I said, I want it to John C. Riley in the kitchen, leaning up against the kitchen sink with like a beer or something. And I was like, excuse me. I need to tell you it's still on me about why I'm here. You know? Like I got tell him2 (35m 22s):That he's4 (35m 23s):A nice guy. Remember what he said? I don't remember anything. I was just like, that's1 (35m 27s):So good that,4 (35m 29s):And this is before yeah, it was famous. Right. And he might not have even ended up being famous. This is like, I thought he was that famous from skiing. That fricking page, the stage new person traveling around tiny little rural towns of Illinois.1 (35m 45s):That's amazing.4 (35m 47s):So I would love to know what he thinks of that, that show. If he has memories of doing it, who the other,1 (35m 53s):This podcast. I mean like you'll listen, you'll listen to, if you listen to some of the podcasts, you'll hear my John C. Riley story. It's pretty, it's pretty funny.4 (36m 1s):Oh, you have one too. Okay. I've been, I went this way. I have bags. I went down deep dive last night.2 (36m 9s):I love that. A lot of people do that. A lot of people when they find the podcast go and listen to a bunch of. So what was the experience like for you? You were walking down memory lane. What was it making you feel?4 (36m 21s):Ooh, I don't know. Now it's making me want to cry. It was, you know, I was 17 and I started there. I had no idea what I'd got myself into and a lot of it, you know, really broke my heart, but I also think it may, you know, like everyone else has said it made me who I am, made me kind of a tough skinned bad-ass, but I'm also a hyper empath and have trauma. And so now I have to deal with, you know, all of that in my old age. But I did have experiences there in classes with certain teachers, with certain instructors, certain directors, I lived with five girls in a two bedroom apartment on the corner of Sheffield and Belden.4 (37m 13s):We were all poor. Nobody could afford anything else I could barely afford to go to showcase. It was only in New York that year was when they went back and forth between New York and LA I guess, or I don't think we'd even started doing LA. It was the only New York and yeah, I don't know. I mean the whole casting pool process, the whole cutting process. I mean, obviously it didn't get cut, but that was, you know, traumatic. I've heard other people talk about how they didn't really think about it or this and that. Like Eric Slater was like, I don't really think about it. And I was like, I have to say,2 (37m 45s):I hope that isn't over the wrong way. A lot of men didn't really4 (37m 47s):Think about it. I was going to say, it goes a little bit ago and I know him, I'm friends with him and sat there for a little bit of privilege there.2 (37m 55s):Just like, it's just, it's like how a fish doesn't know it's in water. Like you just don't know.1 (38m 1s):Yeah. I mean, they just are doing their set dance. Right. And everyone's dancing around them, but we sort of had to do our own thing. What do you think the tears are about? Like when you, when is it just raw motion or is there like tears for young, a young version of you? Or like it's just a lot.4 (38m 22s):I'm a very teary person. I think. I don't know exactly what it is. I'm in therapy. It's I know. I just,1 (38m 29s):I am the same way. Like I,4 (38m 32s):I get, I get overwhelmed. I get really moved just by kind of yeah. And that sort of strange and weird that I'm still there in some weird way. Like I'm an adjunct, I teach the non-majors, but I'm there. And I went back actually, Rick Murphy directed a show that I adapted for the children's theater called the selfish giant and other wild tales. W I L D E all the Oscar Wilde's fairytales and Alvin McCraney was in it. First of all, Oscar Wilde wrote, wrote, he wrote fairytales and I had actually adapted another book that somebody else ended up having the rights to.4 (39m 13s):And so Rick was like, well, you know, I know you really wanted to do that one, but if you find something else, I'll still direct it. And so I was like, okay, let's do this. And so I adapted us, grows fairytales. Awesome. For me to read, love, to read that I can find it somewhere. Might actually be a hard copy of it and I'd have to like scale or something. I don't know where it is. That was like 2002. I think there's also pictures of that. I also found which I didn't know the production history of the theater school online. You get the pictures for almost everything and they're almost all taken by John Bridges, right. Bridges, which is amazing. Cause these, I don't know why I only have these two printed out of the old whore and the sister-in-law from the good person of such one, which actually is like a happy, sad, weird story because I auditioned to be course and I was called back for it and I really wanted it.4 (40m 8s):And it was that awful time where they would post on our side of the theater school, glass doors that casting it like midnight. So we would come there while we waited and we went to the door and not only did I not get it, but one of my friends got it, of course. Cause how were, how was it not going to be your friend gets it? And, and then I see old whore and sister-in-law, and I just, I had heels on and I took them off and I started running and I like cut my feet up, running in the street crying and like old 18 years old. And your sister-in-law told her, well, that's another thing, you know, because of my voice and my larger frame, I've always been cast older.4 (40m 53s):Even in high school. I have a very traumatic story actually being in high school. And my father dying when we were doing cheaper by the dozen, which if you know the story, the dad leaves at the end and doesn't come back cause he dies and we're doing this play. And it was must have been like the end of the rehearsals right before we opened. And my director who was one of the English teachers at my high school, I remember being on the phone with her because I remember exactly where I was standing in my house. And instead of being like really sympathetic about my dad dying, she was talking about how I was the younger of three of the sisters and the girl that got the older sister, which is the part I wanted, who was the daughter of another English teacher who was always getting all the parts I wanted.4 (41m 34s):She didn't have as big of breasts. And my English teacher was like, maybe we can, you know, tape you down. And I thought, why didn't you just cast me as the older sister plus I was wearing this like beautiful, old, like 40 suit. That was my mom's was vintage suit that I loved. So it was kind of tight and probably did really show my frame. I was 15 and my dad had just died. This woman's telling me to tape my breasts down.2 (42m 7s):So yeah,4 (42m 7s):I always, I always got cast older and I can see what2 (42m 10s):He went down the road of wanting to do feminist theater. I mean, it sounds like from an early age, you were, you were made aware of double standards and beauty standards and all that kind of stuff.4 (42m 21s):1994, I think it was, I had graduated. I was auditioning. And it was when you had to look in like this paper for the auditions and there was like a line you called, oh God, I wish I could remember it. It was, you had to call this line and stay on hold forever and listen to all the audition notices. And there was an audition for pump boys and dynamics, which I was excited about. Cause I'd seen it when I was younger with my mom and I thought, oh, that's fun. And it literally said the men will be paid. And I got a fucking article in the Chicago Tribune about that.2 (42m 55s):You did. Oh, tell us about it. You just wrote about,4 (42m 60s):You know, they they're, they're like backpedaling about, it was like, well it's because the musicians they're going to get paid and the musicians are mad at first of all, now I'm thinking back like, why did the musicians have to be men? And you literally still wrote, the men will be paid. He didn't write, the musicians will be pay. So yeah. I don't know how I did it now. Now it's all kind of a blur. I just started calling places and I got a reporter from the Tribune to like talk to me and do a whole article about it.2 (43m 25s):Oh. So you're really tenacious. That's what I'm getting. I'm getting that. You get something, whether it's a goal or you're trying to write an injustice and you attach yourself to it,4 (43m 36s):Right. I'm an Aquarius moon. I know this. Isn't an astrology podcast, but I've looked at your side. I've learned in the last couple of years, I'm Scorpio, sun cancer, rising, thus the tears and then Aquarius moon, thus the righteous justice for all.2 (43m 52s):I love that. I love that you4 (43m 54s):Did tons of work after school ended up doing tons of work like in, in schools, after-school programs, writing and drama programs and things like that, which ended up taking me to go back to graduate school and get the Mae and education. But then that was like a lot of solo performance work I did too, with this woman, faith wilding, who was like, look her up. She likes started women house it, I think Cal arts and like the seventies, she has this famous piece where she rocks in a rocking chair and says, I'll, I'll wait until I'm old enough. I'll wait till I fall in the I'll wait until I'm married. I'll wait. You know, just incredible woman who taught this class called new feminisms. She taught one called body skin sensation.4 (44m 37s):I mean just, and so I was doing all this incredible work again, looking at myself and being a woman and being an actor and what the trauma that I'd been through. And then my thesis was doing a performance experiment with a bunch of young women from all over Chicago, like high school age women talking about their mothers and feminism and teaching them about feminism and1 (45m 1s):Well what, okay, so, so a question for you, first of all, I tidbit I have to share that we ha we spoke with, I think it was Joel Butler who was a stage manager and said that they would come out and walk to tease us. When we were waiting for the list to come home, they would pretend that they had news and go like the people who weren't involved. Anyway, I just have to say the whole thing was a setup. Like the whole thing was a fucking setup. So all it was like the hunger games and it was also that in itself was a play like a theatrical experience of man.4 (45m 41s):I don't really know how they do it now. It's all online.1 (45m 44s):It's all online. Yeah. They sent you an email with your casting, but I'm just saying like, when I look back, my little corner of the world was walk, walk, walk, look at the list. Feel like shit, walk, walk, walk. But there was a whole play happening around us of everyone knew what the fuck was going on. And it was part of the thing to have this sort of, yeah, it was, it was a production, it was a fucking production, a tragedy for most of us. Right? Like, and anyway, it just was interesting to hear the perspective, like everyone knew what was going on and everyone played a part is what I'm saying is what I get from the theater school. Like it was all back in the day. Anyway, it was all part of a thing.1 (46m 24s):And like, you get the idea2 (46m 26s):We're working through for some of the faculty who, you know, themselves couldn't realize their professional dreams. And you know,4 (46m 35s):That makes me so sad. I hope that it's really not1 (46m 40s):Okay. I mean, like it's not okay, but it's like, they, we, a lot of times we talk on this podcast, right. About the psychology of never fixing what you needed to fix in the first place inside of yourself gets fucking played out all over everywhere.4 (46m 54s):We are living in a new time of awakening and people being able to talk about their trauma. That was not that time. And that was also the time, like I said, where the teachers were coming to parties with us and drinking and somebody else was mentioned, somebody else was mentioning, you know, relationships between faculty and students. I only knew a couple of those instances, but yeah, the fact that they happen at all and yeah, yeah. I've found that like in my own teaching, like even, even in the last couple of years and I've been doing it for a long time, I just I've become so much more transparent. Like I talk about my own mental health issues or what's going on with me or I, I check in and check out with them every day. And it's like, what's something beautiful you saw today.4 (47m 35s):What, what are you going to do good for yourself when you leave this zoom glass, whatever, you know, like, so I think that as a culture we're evolving as facilitators instructors teachers, but yeah, we were there at a really hard, whoa time. I, for sure. I mean, you were there pretty shortly after that, but also I had some amazing experiences. I loved Betsy Hamilton. I loved John Jenkins. Jim. I still laugh. I actually had for two years cause Adam second year and fourth year, which nobody did because he randomly taught second year acting one year for some reason. And everybody had him for fourth year for what that was called, like ensemble or exit or whatever the hell it was called.4 (48m 19s):So I had him second and fourth year. He actually told me at one point, heard him out, what you're doing, why are you an actor? You should be a singer. And so then I sang in the, oh no, it was after I sang in this, it was Rob chambers thesis show Baghdad cafe. And I sang backstage live for just a couple parts of the show. Just Rob asked me to do this. I don't even remember how that all came about. And, and you know, Jim being the jazz and music aficionado called me to his office and was like, what are you doing? You should be a singer. Shouldn't be the act. But was that ever a, a w dream of yours to be a singer? I was in rock band called dominance clam I did say I did sing a lot that there was a summer.4 (49m 7s):I wasn't even 21. So I would go, I've sang it like the Metro and I wasn't really supposed to be in there and, and Zach wards and Steve Sal and all these people from my class came to see me. And yeah, I wanted to do that and I would audition for musicals and stuff after I graduated, but just like Marriott Lincoln Shire and all those like fancy places would never hire me. And I would always end up in shows where I sent, but they weren't musicals, you know? And I also think I have a little bit of trauma around singing. I started singing in my church after my dad died. I was the song leader in Catholic church. Believe it or not. And I would go out the night before and be like smoking and drinking with my friends and then sitting on the alter with like the breeze and like, like Christ, what the hell are we doing?4 (49m 55s):I would say at funerals, I sang at my mom's second wedding. I sang at my brother's wedding, my sister's wedding, my other brothers. But yeah, I say I sang a lot. I haven't really been singing recently cause I, I usually end up crying when I sing. I had a very traumatic audition, 2008. I think it was where I cried when I was singing the song. And the song was about the girl's dad a little bit on the high note and it cracked and the casting director will remain nameless called my agent and told them that they thought I had mental problems and needed help. Okay. Again, this is something that would never happen today.4 (50m 37s):Right. But it wasn't that long ago, 2008, she also said that I was dressed in appropriately. I wore a forties style suit and a pillbox hat, because that was the period of the show. How is that inappropriate? That's someone who's. And why you calling my agent how intrusive to call my agent and tell them that you think I'm. And then the funny thing about it was I had just gone through a huge breakup and had moved and gotten a new job and all this other stuff was going on, but that had nothing to do with it. And that's nobody's business and I was moved by the song. And don't you want somebody, that's just somebody who, who is scared of their own emotions, like, correct. That's all that is. Yeah. So anyway, I digressed cause that's like post theater, school drama,2 (51m 20s):But I've had auditioning. Okay. So you arrived at the theater school at a tender young age. You4 (51m 28s):17. I was 17 because I have a November birthday, 17.2 (51m 32s):And you did your whole BFA there. Tell us about some of your show experiences.4 (51m 41s):Well, the one that I was going to talk about was the good person of such one. Cause oddly enough, it's the only one that I have printed pictures of. And I don't even remember when or how I acquired them. I think I got them from John Bridges cause he took all these pictures and that one of me is the sister-in-law. I don't know that that one was like a production photo. I think that was him coming up. And he saw me in this moment and like had to get this shot. So not only was I not cast as Shantay, which I want it to be now I'm the, the sister-in-law on the old whore. So I'm like, I'm going to kill this. I had 16 lines between the two characters, my old whore. If you look at that picture, I have a blonde wig. I didn't wear a bra. I have a tube, top, a pleather red skirt. I had these hoes that had a dragon up the side.4 (52m 22s):So it looked like I had a dragon tattoo on my leg and high, high red pumps that I think were mine actually from when I was in a beauty contest in high school anyway, and I got these earrings, oh my God. I think I found those earrings too. They were Chinese lanterns like that opened up, but they were earrings and they were huge. And I smoked a cigar. Oh. And I, I don't know if you remember this or if they did this when you were there, but after shows closed, mainly the main stage shows they had like this post mortem, postpartum, whatever you call it in the lobby and everybody and they would critique. I probably blacked that right out while you sat there and just took it.4 (53m 7s):And, but I don't know if it was during that or like after that, I would just be like walking in the halls and all these teachers, some that I had and some that I hadn't yet even had made a point of coming to tell me how excellent I wasn't that. Sure. And it was not false. It was not put on. But I mean, come on. Those people did not give compliments unless they really felt1 (53m 29s):Whatever. Yeah, yeah,4 (53m 30s):No. And I was like, yeah, cause I freaking killed it. Cause I took it so seriously. I was like, I'm going to make these roles so deep and so real. And if you, if you look on the production photos, they have this screen and, and, and, and people would make shadow play on the screen at the beginning of the show to show like the street life of the pool or the Sichuan and stuff. And I got to ride a bike and I rode a bike across and you see the shadow of the girl on the bike and I'm like, I still look at that. And I'm like that.1 (53m 57s):So do you think that's, I love hearing that. That's a great story for me to hear. For some reason, it just really warm, but warms my heart, but also talks about Gina's calling you on being tenacious. But do you think that that sort of set a tone for, cause what I'm getting from you is that like you're simultaneously a, bad-ass a bit of an outsider never given your chance. Never really given the chance to maybe in terms of outside casting, do what you could really do. So then you take what you get and then you fucking kill it. Does that ring a bell4 (54m 37s):Kind of? I think so. And I think I've always been that way really. And that also being in that show, Joe sloth directed, it was Bertolt Brecht. And really got me thinking about political theater and theater for social movement and theater for change. And I really believe when I graduated and I started doing work at the European repertory company, I believed that doing theater could change the world. You don't think that anymore change sometimes, you know, it beats you down pretty hard when you, when you work and work and work and work and you have to have three other jobs. Cause you're in a theater company that doesn't pay you any money.4 (55m 17s):And I, I still like the best work of my life was at that place. I was client of Nestor and Agamemnon for three years. I mean, I, Y you know, yeah, the best work of my life, but was it going to say that there's a different, and I think it's good. There's a different culture, a different mindset. Now students now would never graduate and say, yes, I'm going to be in a school or I'm going to be in a theater company for 12 years that never pays me and I'm going to have three or four jobs. And it was nice to kind of almost like a martyr, poor theater, Jersey, Petoskey board theater mindset of like, I'm an artist. Well, of course I'm, I'm struggling and I'm poor and I'm, you know, but I'm for the oppressed. And so I must experience that.4 (55m 59s):I don't, I dunno, like it just, I wonder how much I manifested that, right. Because I, I would have auditions for TV and film stuff that I would get close to and just not get, or it took me. I was, I think, 30 when I finally gotten a show at the Goodman or no, wait, I was 30 when I got at apt in Wisconsin. I think I was even older when I got in the show at the Goodman. But anyway, yeah. You know, eventually I have done shows larger theaters, but I still will say, I mean, people that saw the stuff I did at the European rep and I was like 24, 25, but I played clouded minister and it was Steven Berkoff's choir master. So it was like the most rockstar frickin, you know, I made my own costume.4 (56m 41s):It was, it was all like fishnet. And I just like punched my hands through fish nets to make sleeves and high heels and crazy Kabuki makeup. And I stood at the top of this ladder Agamemnon. And I came out at the end with like Hershey's syrup on my hands after I'd feel them. And I was like, I mean, if you saw that as hit, you were blown away, this was three years while we did it, like in a regular run. And then it was so popular. It was so popular that we did it on Friday, Saturday nights, like late night. And then we were doing, cause we want it to be a real repertory. So at the time we were doing Agamemnon Electra, uncle Vanya, and this show called all of them are just, yes.4 (57m 32s):And we would also change this. You remind me, okay, this is what I think Steven Davis was talking about when he said he was in four shows at the same time he, he was in, he was in all those shows and yeah. So, oh my God,2 (57m 51s):That's super intense4 (57m 53s):Looking at my notes2 (57m 54s):That like, though, while you're looking at your notes, I mean, was that draining, not just the number of shows you did4 (58m 4s):The physical training. Well, also I was, yeah, I was like a waitress during the day. I mean, I had a job I had to live and I was a waitress where I could only work lunches because all the shows were at nights. So lunches weren't as busy. And if it was really slow at lunch, I mean, so I would find myself every day while I was working calculating in my head, how many tables I had to have, how many tips I had to get just to make enough for that week to pay the rent, you know? And at the time I was living with two British guys, actually, they're the ones that brought me into the European rep, my friend, Charlie, Charlie Sherman, who is a actor and director in and out of Chicago for years. I met him when I was 18.4 (58m 44s):And I worked at cafe Roma, which was down the street from the school. That was my job. Cause I also worked when I was in school. And so when other people were like, we're going to the dead show. You want to come? I was like, you get, not only do I not have money for that, but I got to work all weekend. Right. So anyway, he, he knew that I wanted to do the play Caligula and he called me up one day and he's like, oh my God, this company is already doing it. Maybe you should audition. And this was right when I got out of school. So I auditioned and I got in the chorus and like the first week, the girl that was supposed to place, Zonea had gotten a movie and left and they were like, okay, now you're the lead. And I was like, okay. And that, and that was the company that I ended up being with for 12 years.4 (59m 27s):But it was exhausting as it was. I know we did. We were also all like drinking and smoking and going to the bar every night after the show is2 (59m 35s):You is a powerful force. I was just thinking the other day, remember when you used to wake up in the morning and no matter what had happened to you the night before, and you're like, okay, well, but anyway, it's time to do it today. I haven't had that feeling in years. I haven't had that. Like I can even when some we've once a day, I'm super excited about, I don't ha I don't wake up with this body, like readiness that I remember feeling in my twenties and thirties. Okay. So look at your notes. What are you, what are some of, some of the points that you wanted to get to?1 (1h 0m 7s):So if a showcase question, I have a showcase. Cause I'm obsessed. Since I live in Los Angeles, now I'm obsessed.4 (1h 0m 12s):Oh my God, are you guys going to try to avoid? No, no, no, no, no,1 (1h 0m 15s):No, no, no. I'm obsessed with the idea of the showcase because I made such an ass out of myself at my showcase that I, we went to LA, but I know you were in New York, but what was that? I'm obsessed with the showcase experience because I think it is really one interesting, but two where DePaul lacked in so many ways to getting people to the showcase and then after the showcase.4 (1h 0m 42s):Okay, great. This was before stars and all that. So nobody was collecting money for us. You just had to, you either had the money or you didn't. And so I was able to get enough money to buy a plane ticket, but then I wasn't going to have anywhere to stay. So my friend, Sarah Wilkinson, who was also at the school, but a couple of years behind me, her boyfriend, Daniel master Giorgio, who's also been in a lot of TV shows and on, on, you know, Lincoln stage and public theater, like this dude that went to Juilliard, actually I stayed in his dorm at Juilliard on the floor cause I didn't have money to stay anywhere. And I also could only stay for like a couple of days where like other people were like staying the rest of the week or going out and partying.4 (1h 1m 23s):And I remember having like just enough money to do one of the things people were doing, which was go to a jazz club with Frick and Jim Osstell Hoff, which I did. And that was really cool. The other part of that, that was kind of messed up was in the, in the, you know, audition class that Jane alderman, God rest her soul. And I love her dearly and became closer to her. I probably more after school than during school, but in our audition class where you brought, you know, monologues, I had brought this monologue and then she loved it and wanted me to do it and was just like, that's the, when you're doing. And then I had this total panic about it and was like, I don't think this is right. I don't think this shows me in a good light.4 (1h 2m 3s):I'm going to pick something else. And I don't remember what my other second or third choice was. I did, I did have something else. And I remember calling her on the phone. I don't know if I called her office or at home. And again, before cell phones. So I remember the little window I was sitting in my apartment on the corner of Sheffield and Belden on our little phone, talking to Jane alderman, all nervous. Cause I was going to tell her I'm not doing that when it's not right for me. And she still talked me into it and I did this monologue from Roger and me, the film. Did you see it?2 (1h 2m 34s):The Michael Moore movie4 (1h 2m 36s):About the Michael Moore movie, Roger,2 (1h 2m 40s):The documentary about the auto industry. I mean, yeah.4 (1h 2m 44s):Yes. And it was the poor woman, poor white woman who sold rabbits. Pets are mate. Right? Pets are me. Got it.2 (1h 2m 55s):That's what I did. Wait a minute though. I have a feeling.4 (1h 2m 60s):So I actually became, I probably did, but I actually came from where they had tried to, to suppress and to change and to mold me into anything. But this hit girl from Southern Illinois. And then I did that. Right. And that's what I, I wore my boots. I wear my cowboy boots. I think I had my friend's jacket on my long hair. And I came out and I was like pets for me. Oh my God, mortified, mortified. And I only got, I got like a couple of calls, like one was from like a soap opera. And then another one, I don't remember. That was another weird thing. Like the same thing with the casting call we waited in, I was in somebody else's hotel room.4 (1h 3m 42s):Cause remember I didn't have a hotel. I was staying on the other side of town and the dorm room of somebody who went to Julliard. And so we're in somebody's hotel room waiting for Jim Mostel Hoff. And whoever else was with us to come in with like this list, it was literal. It was like my notes here. There was just like tiny pieces of paper with like telling us who got what calls. Some people were like, got nothing, got 10 that too, about whatever. Yeah. And, and mine were not meetings. Mine were just like, these people want you to call them or send your resume. I was like, they already got my resume. Everybody got what, what? So, you know, like I wanted to move to New York. I wanted to be a New York fancy actor, you know? So that was like really devastating too.4 (1h 4m 23s):But then I was like, well, if I don't get that, I'm going to be an amazing Chicago theater actor. And I'm going to show everybody that Chicago theater is actually better anyway.2 (1h 4m 31s):Yeah. I don't to remember VAs if I've told this on the podcast before, but remember how I did that thing or if I didn't get any meetings. And so then I snuck into administrative office at DePaul after showcase and I found a list of all of our names and everybody had gotten, everybody had agencies or agents names written next to theirs, but not everybody was told that. Yeah. Yeah. So,4 (1h 5m 5s):Oh, podcasts, then couldn't see my face gaping. Now what, what did you do? Did you tell, did you, what?2 (1h 5m 12s):I swallowed it and carried it around resentfully for the next 20 years. Yes ma'am I did my God. And you know, who knows? Maybe there was an important reason for that. Maybe it was, these are shady characters. I don't know what it would have been, but I, I know that I would have4 (1h 5m 36s):That you didn't feel. Yeah. I feel so bad for you that you didn't feel like you could, you know, go further, ask more. I don't know. Probably2 (1h 5m 44s):Carolyn it probably didn't occur to me. I'm sure it did. I'm sure. The way I thought about it was, well, this has happened now. It is over, this is the thing that it is forever such. I just, I would have never thought that way. I would have never thought to advocate for myself. I mean, I fought to find out,4 (1h 6m 4s):Snuck in there. You thought, well, enough of yourself to sneak in there,2 (1h 6m 9s):You know, whatever. That's that's for me to figure out because I, I, I that's what, but that's what I did with it. I, I took it. I took a carried it around like a shame instead of, oh, by the way, I didn't mean to blow anybody up. I just needed to say like, what's the deal? Like what happened happened, right. Yeah.1 (1h 6m 29s):I feel like it's interesting. It is. It is. It is just really, now that we have this podcast, we spend a lot of our time being like, well, yeah, what's the deal. Why did that happen? And, and what,4 (1h 6m 41s):I wonder what John Bridges or somebody like that would say about that.2 (1h 6m 46s):I I'm sure. John Bridges, who is a theater school loyalist to the end when say that, that I, that I misunderstood. He tells them he doesn't tell the truth. I'm saying, listen. And, and by that I've said a thousand times we understand that we couldn't possibly know all of the factors that went into any decisions like casting and stuff like that. And that there are certain things that happened. That felt terrible. That were for my own good, you know, but Yeah, because getting back to that whole thing about casting, I mean, I'm sure that the guiding principle in their minds was, this is what it's like, you know, you want to move to New York.2 (1h 7m 33s):I mean, Don, we had another person on here who told us living in New York. You, you you'd have to go wait in line in the morning at a theater so that you could get your audition later. And if you wanted to have, it had to be a lunchtime thing, so you could leave work. And those sl

Xandrion explores the Hinterlands for the first time, Manny still hates Sebastian, and Brandon accuses the Inquisition of following Manifest Destiny.   @EnchantmentCast | EnchantmentPodcast@gmail.com | https://enchantmentcast.com   Audible: https://enchantmentcast.com/audible Amazon Recs: https://enchantmentcast.com/recs Twitter: https://www.twitter.com/enchantmentcast Patreon: https://www.patreon.com/enchantmentcast Shop: https://enchantmentcast.com/shop Discord: https://enchantmentcast.com/discord

Jim Wann, composer, lyricist, and performer of PUMP BOYS AND DINETTES talks about the Country and American Roots-influenced scores he brought to the stage. He discusses his early work Off-Broadway, including DIAMOND STUDS and HOT GROG, and explains the origins of both the Pump Boys and the Dinettes, and how they eventually made their way to Broadway. A marvelous guitarist and singer in his own right, Wann talks about how Country music is a natural translation to the stage due to its roots in storytelling through song. Featured songs: “Highway 57,” “Cakewalk Into Kansas City,” “Sleepy Time Down South,” “Bound Away,” “Pump Boys,” “Fisherman’s Prayer,” “The Night Dolly Parton Was Almost Mine,” “Romance Of The Rented Room,” and “Closing Time.” Originally produced and broadcast in 1986. For more information go to AnythingGoesPL.com or BPN.FM/Anything Goes. Theme music arranged by Bruce Coughlin. Sound mixing by David Rapkin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway’s Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

JOIN OUR PATREON TO HELP KEEP BTC ON THE AIR SHOWS: Pump Boys and Dinettes, Steel Pier, Curtains Yes, she's Everybody's Girl but today she is all ours! Tony and Emmy Award-winning actress Debra Monk joins the boys to look at her incredible career which includes the Broadway productions of Pump Boys and Dinettes, Prelude to a Kiss, Redwood Curtain, Company (1996), Steel Pier, Curtains, and so many more! Debra pulls back the curtain on her career to discuss how she discovered the meaning of "blocking," what it was like trading dirty jokes with Fred Ebb, and why she made her Broadway debut without an agent! Also, Debra shines the spotlight on Scott Ellis, Stephen Sondheim, and John Kander! Learn more about your ad choices. Visit megaphone.fm/adchoices

On the April 9th Friday LIVE, host Genevieve Randall, William Padmore, and guests have lively conversations about: musician Kinan Azmeh and visual artist Kevork Mourad's audio-visual performance (00:48); Doane University's Spring Music Concerts (17:24); Lincoln's Symphony Orchestra's “Beethoven and Florence Price (26:54)"; TADA Productions presentation of the musical "Pump Boys and Dinettes" (39:35); and, Norfolk Arts Center's annual Juried Competition and Faculty Exhibit (48:19). Also, poetry by Saddiq Dzukogi (13:57), and KVNO's Corbin Hirschhorn tells us about another arts event in Omaha (55:19).

On the April 9th Friday LIVE, host Genevieve Randall, William Padmore, and guests have lively conversations about: musician Kinan Azmeh and visual artist Kevork Mourad's audio-visual performance (00:48); Doane University's Spring Music Concerts (17:24); Lincoln's Symphony Orchestra's “Beethoven and Florence Price (26:54)"; TADA Productions presentation of the musical "Pump Boys and Dinettes" (39:35); and, Norfolk Arts Center's annual Juried Competition and Faculty Exhibit (48:19). Also, poetry by Saddiq Dzukogi (13:57), and KVNO's Corbin Hirschhorn tells us about another arts event in Omaha (55:19).

Today, my guest is Broadway star Cass Morgan, writer and star of Pump Boys and Dinettes. Tune in to hear her talk about re-staging a show in a day, the dangers of doing Mary Poppins, how a cathartic trip to Ireland was the basis for her solo show, and more stories about Paul Simon, Debra Monk, Kelli O'Hara, and more.  Also, hear her discuss what it was like being part of the original productions of Violet, Floyd Collins, Memphis, and more. Thanks to logo designer and theme song orchestrator Tom Judson for setting up this interview.

Bachman Turner Overdrive - My Wheels Won't Turn (1977)   Brian Protheroe - Pinball (1975) He had a small role in the 1978 film Superman as a co-pilot of Air Force One. In 1984 he played in the West End musical "Pump Boys and Dinettes" on piano and vocals and percussion.  Cher - Classification 1A (1971) Written by Sonny Bono. Tacky as ever. Especially the end.  Dave Clark Five - Put a Little Love In Your Heart (1969) Dunn & McCashen - Alright In The City (1970) Gary Glitter - Rock And Roll Part 5  (12" extended version) (1987) Produced by Trevor Horn. Wretched. Sometimes you get the feeling I don't like you at all.  O'Kaysions - Love Machine (1968) Their hit was "Girl Watcher". Creepy album cover.  Nat Dove and the Devils - Theme from "Petey Wheatstraw" (1977) I saw this movie a few days ago. Pretty entertaining.  Robey - One Night In Bangkok (1984) While Murray Head's "One Night In Bangkok" was just starting to climb the Billboard Hot 100, Canadian singer and actress (Louise) Robey hit the charts with her own version. It spent three weeks on the Hot 100 in March 1985, peaking at No. 77. Robey's version fared better on the Billboard Hot Dance Club Play chart, peaking at No. 5. Remember when I talked about Kid Creole appearing on this chart repeatedly? Same thing.  Roller Blade Trailer (1986) Sly & The Family Stone - Frisky (1973) The Archies - Bicycles Rollerskates & You (1969) The Checkmates - I Keep Forgetting (1970) "I Keep Forgettin'" is a song originally released by Chuck Jackson, written by Jerry Leiber, Mike Stoller, and Garfield. This single is often cited as one of the most innovative yet least commercial singles written and produced by Leiber-Stoller. In 1982, Michael McDonald released a song titled "I Keep Forgettin' (Every Time You're Near)". The song's similarity to Jackson's "I Keep Forgettin'" resulted in Leiber and Stoller being given a songwriting credit. The Klowns - Lady Love (1970) The brainchild of songwriter Jeff Barry, The Klowns were formed on the success of the Archies. The band featured actor Barry Bostwick, who portrayed Brad Majors in Rocky Horror Picture Show. Unlike the Archies, the Klowns never achieved heavy chart success with their only Billboard Hot 100 entry, "Lady Love", which peaked at #95.  The Klowns - River Cruisin' (1970)  The Klowns - Honey Bunny Day (1970) Bob Dylan - It's Alright, Ma (I'm Only Bleeding) (Live) (1965)  Bob Dylan - Wigwam (1970) Bob Dylan - You're A Big Girl Now (1975) Donovan - Comin To You (1980) Donovan - A Well-Known Has-Been (1976) Donovan - Dare To Be Different (1977) Donovan - Rock and Roll Souljer (1974) Noosha Fox - More Than Molecules (1980) Noosha Fox - Odd Peculiar Strange (1980) Fox - Dejenina (1977) Nat Dove and the Devils - Theme from "Petey Wheatstraw" (1977) I programmed this song twice. Dur dur.  Procol Harum - A Salty Dog (1969) Wooden Horse - Loving Man (1972) Noosha Fox's folk group before Fox was formed. Sort of like Debbie Harry or Gail Garnett in reverse. I have played Fox's song "S-s-s-single Bed" a few times on my show. I really like it.  Chicago Line - Shimmy Shimmy Ko Ko Bop (1966) Bass player Louis Cennamo played on James Taylor's first album as well as being a member of the original version of the band Renaissance (pre-Annie Haslam). Kill me for knowing that.  Terry Knight - Saint Paul (1969) The Fortunes - Seasons In The Sun (1968) An English harmony beat group. Formed in 1963 in Birmingham, they first came to prominence and international acclaim in 1965, when "You've Got Your Troubles" broke into the US and UK Top 10s. So Terry Jacks' version was a cover of a cover, basically. The original, written by Jacques Brel, was translated (more or less) into English by Rod McKuen in 1964. His lyrics were a little more...adult... Adieu, Francoise, my trusted wife,  Without you, I'd have had a lonely life,  You cheated lots of times, but then,  I forgave you in the end,  Though your lover was my friend,  With your lovers everywhere,  Just be careful, I'll be there...   The Rollers - No Doubt About It (1981) Who does this sound like to you? I hear Toto. The Bay City Rollers, long removed (in '70s rock years) from fame, kept going for a while and released three records under the name The Rollers. They are not as bad as you might think. Sort of a Corporate Rock sound. No heart or soul, but no embarrassing shit, either, and YES, I have heard all three.  The Klowns - Yellow Sunglasses (1970)

The 36th Annual Tony Awards were held on June 6, 1982 and hosted by Tony Randall. That season, there were a number of Broadway theatres being demolished to make way for the Marriott Marquis, so the theme of the telecast was to celebrate a great Broadway theatre at the home of that night's celebration: the Imperial. Going into the Awards ceremony, Dreamgirls led the pack with 13 nominations, followed closely by 12 nominations for Nine. The original production of Joseph and the Amazing Technicolor Dreamcoat was nominated for seven awards, while the fourth contender, Pump Boys and Dinettes was nominated for just one. Only one musical was nominated for Best Revival, a Rex Harrison-led production of My Fair Lady.

The 36th Annual Tony Awards were held on June 6, 1982 and hosted by Tony Randall. That season, there were a number of Broadway theatres being demolished to make way for the Marriott Marquis, so the theme of the telecast was to celebrate a great Broadway theatre at the home of that night’s celebration: the Imperial. Going into the Awards ceremony, Dreamgirls led the pack with 13 nominations, followed closely by 12 nominations for Nine. The original production of Joseph and the Amazing Technicolor Dreamcoat was nominated for seven awards, while the fourth contender, Pump Boys and Dinettes was nominated for just one. Only one musical was nominated for Best Revival, a Rex Harrison-led production of My Fair Lady. Learn more about your ad choices. Visit megaphone.fm/adchoices

In which the Musical Man memorizes the Fisherman's Prayer while working on his farmer's tan. Donate today via Patreon: patreon.com/musicalmanpod / Twitter: @musicalmanpod / Podbean: musicalmanpod.podbean.com / Email: musicalmanpod@gmail.com

Selections from recent digitized vinyl albums that have been incorporated into the playlists of Sounds of Broadway, the 24/7 online Broadway radio station, including "Call Me Mister," "drat! the cat," "Pump Boys and Dinettes," and "Don't Bother Me, I Can't Cope."

Beyond the Cabin in the Woods goes beyond Gremlins 2: The New BatchIMDB SynopsisDirected by: Joe DanteWritten by: Charlie HaasReleased: 1990Quote: “Creatures? Is that accurate?” “Mmmhmmm.” “Creature what is it that you want?” “Fred, what we want is, I think, what everyone wants, and what you and your viewers have: civilization.” “Yes, but what sort of civilization are you speaking of?” “The niceties, Fred. The fine points: diplomacy, compassion, standards, manners, tradition... that's what we're reaching toward. Oh, we may stumble along the way, but civilization, yes. The Geneva Convention, chamber music, Susan Sontag. Everything your society has worked so hard to accomplish over the centuries, that's what we aspire to; we want to be civilized. You take a look at this fellow here.” KAPLOW! “Now, was that civilized? No, clearly not. Fun, but in no sense civilized. Now, bear in mind, none of us has been in New York before. There are the Broadway shows - we'll have to find out how to get tickets. There's also a lot of street crime, but I believe we can watch that for free. We want the essentials. Dinettes. Complete bedroom groups. Convenient credit, even though we've been turned down in the past.”Poll: If they made a Gremlins 3, should it be more like the first one or the second?Rule: Don't rent to questionable scientists. If you enjoyed this, please consider buying us a coffee? https://ko-fi.com/A487KYMOur logo was created by Billy Whala and Debbie Buchanan.Some parts of it are used under a creative commons license: Designed by Freepik https://creativecommons.org/licenses/by/4.0/ http://www.supercoloring.com/silhouettes/log-cabinOur music was modified from Dementia by Decomentarium and is licensed under a Creative Commons Attribution License. https://creativecommons.org/licenses/by/4.0/Thanks to Billy Whala for editing this episode.#beyondthecabininthewoods #beyondthecabin #horror, #horrormovies, #currentlywatching, #AdreanMessmer, #DonnaLeahey, #KenziWhala ,#debbiebuchanan, #macboyle #SnarkCasts #gumbiecatnetwork

Beyond the Cabin in the Woods goes beyond Gremlins 2: The New BatchIMDB Synopsis Directed by: Joe DanteWritten by: Charlie HaasReleased: 1990Quote: “Creatures? Is that accurate?” “Mmmhmmm.” “Creature what is it that you want?” “Fred, what we want is, I think, what everyone wants, and what you and your viewers have: civilization.” “Yes, but what sort of civilization are you speaking of?” “The niceties, Fred. The fine points: diplomacy, compassion, standards, manners, tradition... that's what we're reaching toward. Oh, we may stumble along the way, but civilization, yes. The Geneva Convention, chamber music, Susan Sontag. Everything your society has worked so hard to accomplish over the centuries, that's what we aspire to; we want to be civilized. You take a look at this fellow here.” KAPLOW! “Now, was that civilized? No, clearly not. Fun, but in no sense civilized. Now, bear in mind, none of us has been in New York before. There are the Broadway shows - we'll have to find out how to get tickets. There's also a lot of street crime, but I believe we can watch that for free. We want the essentials. Dinettes. Complete bedroom groups. Convenient credit, even though we've been turned down in the past.”Poll: If they made a Gremlins 3, should it be more like the first one or the second?Rule: Don’t rent to questionable scientists. If you enjoyed this, please consider buying us a coffee? https://ko-fi.com/A487KYMOur logo was created by Billy Whala and Debbie Buchanan.Some parts of it are used under a creative commons license: Designed by Freepik https://creativecommons.org/licenses/by/4.0/ http://www.supercoloring.com/silhouettes/log-cabinOur music was modified from Dementia by Decomentarium and is licensed under a Creative Commons Attribution License. https://creativecommons.org/licenses/by/4.0/Thanks to Billy Whala for editing this episode.#beyondthecabininthewoods #beyondthecabin #horror, #horrormovies, #currentlywatching, #AdreanMessmer, #DonnaLeahey, #KenziWhala ,#debbiebuchanan, #macboyle #SnarkCasts #gumbiecatnetwork

Music from the stage and big screen this week from Frozen 2, Pump Boys & Dinettes, and Love Actually!

Sue told us stories about San Diego's (to use the terminology of the time) all-girl bands, the Dinettes and the Cockpits.

Laura Heywood Interviews composer/ lyricist Rob Rokicki of The Lightning Thief: The Percy Jackson Musical, along with actors Sarah Beth Pfeifer (Clarice & others) and Kristin Stokes (Annabeth) about the touring production! They perform live instudio and discuss the Percy Jackson phenomenon as well as Rob's upcoming concert, "Rob Rokicki & the Good Kids: Face Your Fears." In "Just Cause," we discuss www.ShesTheFirst.org.

In this episode, Cass shares her very unusual journey to Broadway and getting an agent. She also shares an incredible audition technique that is sure to be useful!   Cass Morgan’s Broadway credits include The Bridges of Madison County, Memphis, Mary Poppins, Ring of Fire, Beauty and the Beast, The Capeman, The Human Comedy, Pump Boys and Dinettes (co-creator) and Hair. Off-Broadway credits include The Immigrant, Floyd Collins and Violet. Regionally, Morgan has appeared in 1776, Picnic, The Bridges of Madison County(Williamstown), Uncle Vanya, Saint-Ex (Weston Playhouse), The Music Man (Geva), Emmet Otter’s Jug Band Christmas (Goodspeed Musicals), Cabaret, Best Little Whorehouse in Texas, Das Barbecu (Baltimore Centre Stage) and Children of Eden (Mill Mountain Playhouse).

Patty & Emily talk about Pump Boys and Dinettes and The Father. They check back in on Tinkerbelle, their nemesis dog, who did a feature for BroadwayWorld. In casting news, they discuss all the casting for The MUNY’s summer season and Privacy at … Continue reading →

Milling About goes behind-the-scenes with Pump Boys & Dinettes playing The Papermill Playhouse April 6-May 1. Joining host Robin Milling is James Barry (Jim), Julie Foldesi (Prudie), Jason Ostrowski (L.M.), Alysha Umphress (Rhetta) and choreographer JoAnn M. Hunter (School of Rock). All the action takes place on North Carolina's Highway 57. The Pump Boys at the gas station (James, Jason, Gabe Bowling as Jackson and Sam Weber as Eddie) are a musical foursome, playing all their own instruments in the show with styles ranging from the 30s to the 80s. On acoustic guitar is James who tells Robin he grew up playing in rock bands. He says the music in the show features ragtime to classic country, soul and funk. On piano, percussion, accordian and a 'little tap dancing' is Jason, an accomplished pianist who tells Robin tapping while playing accordian was a challenge, 'It's a funny moment because I'm playing accordian while I'm doing it in cowboy boots!' Jason goes from Sondheim to country rock 'n roll having played piano and bass in Company. And then there's the Dinettes of the Double Cupp Diner featuring Julie and Alysha as the Cupp sisters. Julie is musically inclined as well playing ukelele, guitar and piano but had to learn accordian and harmonica for the show. She tells Robin, 'I have my own 'Keep Your Eye on Foldesi' band, sort of bluegrassy folk. I have two albums on iTunes and Amazon!' Alysha trades in her taxi medallion in On The Town as a percussive dinette. She laughs, 'I play tubs, a cheesegrater and a whisk. I do oatmeal. Things you never thought could be played, I play!' Pump Boys and Dinettes premieres April 10 at The Papermill Playhouse. For more information visit www.PaperMill.org/PumpBoys Music provided by Pump Boys and Dinettes Original Broadway Soundtrack  

In this episode: Executive/Artistic Producer of NYMF, Isaac Hurwitz stops by to talk about the happenings with this year's festival. Written by Tony Winning Book Writer William Hauptman (Big River) and Broadway Composer Jim Wann (Pump Boys and Dinettes), THE GREAT UNKNOWN is one of the more high-profile offerings at the festival. Broadway veterans Tom Hewitt (Rocky Horror, Dracula) and Don Stephenson (The Producers, Dracula) stop by the studio to discuss the show. Two friends childhood pact to hike the Appalachian Trail sets the stage for the musical TRAILS, and lyricist Jordan Mann and Book-Writer Christy Hall stip by to discuss the show. Composer Jay Alan Zimmerman started slowly going Deaf in his early twenties, and has put his story on stage in the new musical, THE INCREDIBLY DEAF MUSICAL. Actress Casey Erin Clark dropped by to discuss the show and talk about the unique story behind it. Karen Bishko's pop songs formed the foundation of the show, THERAPY ROCKS. She stops by the studio with Musical Director Boko Suzuki to discuss the process transforming stand-alone pop songs into a fully realized book musical.