Podcast appearances and mentions of Donna Murphy

Unless you just want to conga, join us to enjoy this great Bernstein-Comden-Green score; renditions by Rosalind Russell, Donna Murphy, Audra McDonald, Bing Crosby, Julie Andrews and more. 

Life Dynamics-Mark Crutcher: Episode 98 The Grief of Miscarriage Featuring Donna Murphy by Priests for Life

The show opens with a naked couple in bed singing about how happy they are. Obviously that means everything will turn out great. Christine Chen returns to discuss the opening number of Passion.Christine's Blog: https://acrossthearch.wordpress.comChristine's Twitter: https://twitter.com/AcrossTheArchChristine's podcast, Bottomless Broadway: https://podcasts.apple.com/us/podcast/bottomless-broadway/id1457465060Its Twitter: https://twitter.com/bottomlessbwayAnd Instagram: https://www.instagram.com/bottomlessbway/Send feedback to puttingittogetherpodcast@gmail.comKeep up to date with Putting It Together by following its social media channels.Patreon: https://www.patreon.com/puttingittogetherpodcastTwitter: https://twitter.com/sondheimpodcastInstagram: https://www.instagram.com/sondheimpodcast ★ Support this podcast on Patreon ★

Donna Murphy returns to share how people can support those who have suffered pregnancy loss, and the legal situation that follows for families who need to bury a child.

Donna Murphy explains how Heaven's Gain Ministries helps parents who've lost children mid-pregnancy, how others can become care advocates, and support those who have lost children.

Donna Murphy charts her decades long journey with the seminal show and finally sets the record straight on the rumor she recored Meryl Streep's vocals for the film. Join host Ben Rimalower for this candid conversation exploring how Sondheim and Lapine went Into the Woods Learn more about your ad choices. Visit megaphone.fm/adchoices

Stars Join ‘Mattress’ Revival, Donna Murphy to Join Theatre Hall of Fame, ‘Merrily’ Final Curtain Call “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated:Grace Aki: grace@broadwayradio.com | @ItsGraceAkiMatt Tamanini: matt@broadwayradio.com | @BWWMatt Patreon: BroadwayRadiohttps://www.patreon.com/broadwayradio For a transcript of read more The post Today on Broadway: Tuesday, July 9, 2024 appeared first on BroadwayRadio.

THE KING AND I  Music by Richard Rodgers | Book & Lyrics by Oscar Hammerstein II | Based on Anna and the King of Siam by Margaret Landon | Original Choreography by Jerome RobbinsWorks Consulted & Reference :The King and I (Original Libretto)Something Wonderful: Rodgers and Hammerstein's Broadway Revolution by Todd S. PurdumMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Hello, Young Lovers" from  The King and I (The 2015  Broadway Cast Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Kelli O'Hara, Ted Sperling, Orchestra"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

Follow the homies Cam (Cameron Cox) and Dylan (Dylan Hernandez) two former AMC Theater employees as they take a nostalgic trip back in time to rewatch films that mean the most to them! This episode we decided to discuss the Star Wars movie that set it off for a lot of Millennials , "Star Wars: Episode 1 - The Phantom Menace" Spider-Man 2 is a 2004 American superhero filmbased on the Marvel Comics character of the same name. Directed by Sam Raimi and written by Alvin Sargent from a story conceived by Michael Chabonand the writing team of Alfred Gough and Miles Millar, the film was produced by Columbia Picturesin association with Marvel Enterprisesand Laura Ziskin Productions, and distributed by Sony Pictures Releasing. It is the second installment in Raimi's Spider-Man trilogy and the sequel to Spider-Man (2002). The film stars Tobey Maguireas Peter Parker / Spider-Man, alongside Kirsten Dunst, James Franco, Alfred Molina, Rosemary Harris, and Donna Murphy. Set two years after the events of Spider-Man, the film finds Peter Parkerstruggling to stop scientist Dr. Otto Octavius from recreating the dangerous experiment that killed his wife and left him neurologically fused to mechanical tentacles, while also dealing with an existential crisis between his dual identities that appears to be stripping him of his powers.Wanna ask us something?!? Hit us up at Xtrabutta@gmail.com or our Instagram https://instagram.com/xtrabuttapodcast?igshid=YmMyMTA2M2Y= ALSO Follow the homie Dylan and Steven on their fantastic Podcast "The Talk No Justsu Podcast" https://open.spotify.com/episode/05FUyTQLzBHBjGA8EIAjRB?si=b3CkutraR-Wjj5Cr1GI0FQ

For this "ReScreen" episode, Michael does a rewatch of the 2004 superhero film "Spider-Man 2", the sequel to the 2002 film starring Tobey Maguire, Kirsten Dunst, James Franco, Alfred Molina, Rosemary Harris, J.K. Simmons, and Donna Murphy. What are some of his memories of seeing this film previously and thoughts after seeing the film again? Check it out and see! Be a part of the conversation! E-mail the show at screennerdspodcast@gmail.com Follow the show on Twitter @screennerdspod Like the show on Facebook (Search for Screen Nerds Podcast and find the page there) Follow the show on Instagram and Threads just search screennerdspodcast Check out the show on Bluesky just search screennerdspodcast Be sure to check out the podcast on Apple Podcasts, Spotify, Goodpods, Overcast, Amazon Music or your podcast catcher of choice! (and please share rate and review!) Want to be a guest or share your thoughts on the podcast? Send me an e-mail! Thanks to Frankie Creel for the artwork --- Send in a voice message: https://podcasters.spotify.com/pod/show/screennerdspodcast/message

Follow the homies Cam (Cameron Cox) and Dylan (Dylan Hernandez) two former AMC Theater employees as they take a nostalgic trip back in time to rewatch films that mean the most to them! This episode we decided to discuss the most influential superhero movies ever, "Spider-Man 2". Spider-Man 2 is a 2004 American superhero filmbased on the Marvel Comics character of the same name. Directed by Sam Raimi and written by Alvin Sargent from a story conceived by Michael Chabonand the writing team of Alfred Gough and Miles Millar, the film was produced by Columbia Picturesin association with Marvel Enterprises and Laura Ziskin Productions, and distributed by Sony Pictures Releasing. It is the second installment in Raimi's Spider-Man trilogy and the sequel to Spider-Man (2002). The film stars Tobey Maguireas Peter Parker / Spider-Man, alongside Kirsten Dunst, James Franco, Alfred Molina, Rosemary Harris, and Donna Murphy. Set two years after the events of Spider-Man, the film finds Peter Parkerstruggling to stop scientist Dr. Otto Octavius from recreating the dangerous experiment that killed his wife and left him neurologically fused to mechanical tentacles, while also dealing with an existential crisis between his dual identities that appears to be stripping him of his powers.Wanna ask us something?!? Hit us up at Xtrabutta@gmail.com or our Instagram https://instagram.com/xtrabuttapodcast?igshid=YmMyMTA2M2Y= ALSO Follow the homie Dylan and Steven on their fantastic Podcast "The Talk No Justsu Podcast" https://open.spotify.com/episode/05FUyTQLzBHBjGA8EIAjRB?si=b3CkutraR-Wjj5Cr1GI0FQ

Donna Murphy holds a Masters degree in Social Work and has been a professional counselor both in industry and private practice for 20 years. Specializing in women's issues, Donna brings a passion to working within major areas such as blending families, co-parenting, general parenting, and relationship building. She is currently developing a powerful and unique educational program specifically for women. This program will teach women the practical steps involved in moving forward in “all relationships” and in such a way as to build confidence, healing and empowerment, and most importantly self love for women. Get Connected With Donna:https://dmmurphy.com/Visit www.calpeteclub.com for information on our next networking and membership opportunities.https://calpeteclub.com/https://twitter.com/calpeteclubhttps://www.linkedin.com/in/calgary-petroleum-club-3a5868117/https://www.facebook.com/calpeteclubhttps://www.youtube.com/user/calpeteclub

In this episode of Broadway Gives Back we talk about Transport Group and their mission of crafting risk-taking and thoughtful productions of theatre that widen the lens on our American experience. Their works create space for new American perspectives that deepen our shared capacity for empathy and understanding. My guests are two incredible human-beings. Jack Cummings III is the co-founder and artistic director at Transport Group, and has been nominated for Drama Desk and Obie awards. Donna Murphy is on the Artistic Advisory Board at Transport Group and she is a Five time Tony Award nominee and two time Tony winner. Her career spans film, television, and of course, theatre. Donna has starred in shows like: Passion, The King & I, Wonderful Town, and Into the Woods to name a few. For her contribution to the arts, she has received numerous special honors and she donates her time to many different organizations.  Learn more about about the worthy causes discussed in this episode and how you can donate and/or help: Website: transportgroup.org Instagram: @transportgrp Connect with Donna Murphy: Instagram: @officialdonnamurphy Connect with The Broadway Gives Back Podcast: Facebook: @broadwaygivesbackpodcast Instagram: @broadwaygivesbackpodcast Twitter: @broadwaygives Hosted & Executive Produced by Jan Svendsen. A proud member of the Broadway Podcast Network. Special thanks to Dori Berinstein, Alan Seales, and Kimberlee Garris from BPN; Julian Hills from The Bulldog Agency; and Eric Becker from Broderick Street Music. Learn more about your ad choices. Visit megaphone.fm/adchoices

In the 3rd hour of the Marc Cox Morning Show: Some Clergy members have decided to sue the state of MO over the Trigger law ending abortion Marc Lotter, former Director of Strategic Communications for the Trump-Pence 202 Campaign, joins the Marc Cox Morning Show to discuss the hit piece that the Hill ran on Trump stating that Trump is only running again to get revenge, as well as the TikTok trend of praising Osama Bin Laden's 'Letter to America' Tom Twellman Jr. joins the Marc Cox Morning Show to discuss how you can still get some Guns & Hoses tickets First Responder Spotlight - Edwardsville Fire and EMS - Chief James Whiteford Coming Up: Michele Tafoya, Donna Murphy, Ryan Wiggins, and What's on the web with Anna Bohlmann

In the final hours of the Marc Cox Morning Show: Michele Tafoya, former sideline reporter for NBC, joins Marc and Kim to discuss Charissa Thompson admitting that she made up many of her sideline reports during NFL games and gives insight into what it was like to be a sideline reporter  Donna Murphy, founder and Executive Director of Heaven's Gain Ministries (Ohio) joins the Marc Cox Morning Show to discuss the Ohio Abortion Amendment Ryan Wiggins, Host of Wiggins America, joins Marc & Kim to discuss Oregon regretting making all drugs legal.  What's on the Web with Anna Bohlmann Thanks for listening!!!

Donna Murphy, founder and Executive Director of Heaven's Gain Ministries (Ohio) joins the Marc Cox Morning Show to discuss the Ohio Abortion Amendment

Continuando con el programa que empezamos sobre las 100 mejores canciones para el cine que hizo en 2004 el American Film Institute de Los Ángeles, vamos con la segunda parte de la lista. Las canciones están ordenadas de la mayor o la menor votada. Al abarcar más de 70 años de cine, los estilos que aparecen van desde la balada más clásica al rock o el rap. La mayoría son temas muy conocidos y hemos tratado de huir, siempre que hemos podido, de utilizar las versiones que aparecieron en la película. Son temas que se han convertido en clásicos. Creemos haber encontrado un buen puñado de versiones de esas canciones que ya forman parte de la banda sonora de nuestras vidas, aquí con intérpretes de lujo desde Ella Fitzgerald a Louis Armstrong, Michael Buble, Frank Sinatra, Julie Andrews, Liza Minnelli y muchos más. Como las 100 canciones se nos iban a seis horas de duración las dividimos en tres programas. En este segundo bloque vamos del número 34 al 66 de la lista. Esperamos que te guste la selección que hemos hecho y pronto vendrá el tercero y último programa de la serie. 00h 00’00” Presentación 00h 02’25” Cabecera 00h 03’03” Let’s call the whole thing off – Ella Fitzgerald & Louis Armstrong 00h 07’08” America – Trini López 00h 10’32” Supercalifragilisticexpialidocious – Harry Connick jr 00h 14’56” Swing on a star – Mauren McGovern 00h 17’43” Theme from Shaft – Henry Mancini 00h 21’38” Days of wine and roses – Monica Mancini 00h 25’58” Fight the power – The Isley Brothers 00h 31’14” New York, New York – Audra McDonald, Donna Murphy & Mandy Patinkin 00h 32’39” Luck be a lady tonight – Seal 00h 37’09” The way you look tonight – Michael Bublé 00h 41’45” Wind beneath my wings – Bette Midler 00h 46’32” That’s entertainment – Judy Garland 00h 48’57” Don’t rain on my parade – Linda Eder 00h 51’54” Zip a dee doo dah – The Jackson Five 00h 54’58” Qué será, será – Doris Day 00h 57’00” Make ‘em laugh – Gene Kelly 01h 00’15” Rock around the clock – Ringo Starr 01h 02’24” Fame – Irene Cara 01h 07’29” Summertime – Mina 01h 11’24” Goldfinger – Louise Dearman 01h 14’11” Shall we dance – Julie Andrews & Ben Kingsley 01h 18’31” What a feelin’ – D.J. BoBo & Irene Cara 01h 21’45” Thanks Heaven for little girls – Chet Baker 01h 26’16” The windmills of your mind – Dusty Springfield 01h 29’59” Gonna fly now – Bill Conti 01h 32’41” Tonight - Sierra Boggess & Julian Ovenden 01h 36’58” It had to be you – Liza Minnelli 01h 40’25” Get happy – Frank Sinatra 01h 42’44” Beauty and the beast – Ariana Grande & John Legend 01h 46’28” Thanks for the memory – Rod Stewart 01h 49’35” My favourite things – Luther Vandross 01h 55’29” I will always love you – Linda Ronstadt 01h 58’22” Suicide is painless – Amanda Lear

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

The UK events industry accounts for 35% of the UK visitor economy and is estimated to be worth £42 billion, yet it is still incredibly wasteful, with 68% of waste going directly to landfill. Haymarket Media Group is a global media data and information company, who offer a wide range of digital print, tech and live event services. Haymarket UK had been certified to ISO 14001 (Environmental Management) and ISO 50001 (Energy Management) for a few years prior to 2019, covering most aspects of their business from a sustainability point of view. However, their live events still had many sustainability opportunities that were not being taken into consideration by their existing certifications. So, in early 2022 they embarked on their journey to gain ISO 20121 (Sustainable Event Management) certification.  Today, Gary Charlton and Natalie Harris from Haymarket join Mel to discuss exactly why they added ISO 20121 to their portfolio, the challenges faced with Implementing the Standard, and the benefits gained from certification. You'll learn ●      Who are Haymarket? ●      What is ISO 20121 Sustainable Event Management? ●      Why did Haymarket choose to Implement ISO 20121? ●      What challenges did they face? ●      What are the benefits of ISO 20121?   Resources ●      Haymarket Media ●      ISO 20121 ●      isologyhub   In this episode, we talk about: [00:50] An Introduction to Haymarket Media Group - A global media data and information company, with offices in the UK, US, Germany, India and Asia. They produce live events (including award ceremonies, conferences and exhibitions), digital print, education data and tech services. [02:25] Gary Charlton is the Head of Procurement for the UK -  Part of his role includes supporting the Haymarket approach towards sustainability, to ensure their products and services are as environmentally and socially sustainable as possible. [02:45] Natalie Harris is the Procurement Executive at Haymarket – A lot of her role revolves around live events in addition to purchasing our products and services. Additionally, she advises the wider team on buying legally, sustainably and ethically. Both Natalie and Gary form a team, and were the main driving force behind the creation of their Sustainable Event Management System. [03:40] What is ISO 20121?: ISO 20121 was launched for, and named after, the 2012 Olympics, making it the worlds first sustainable Olympics!  The Standard provides a framework for managing events sustainably, that includes having the policies, procedures, registers and records to demonstrate that the events are being run in a sustainable manner. Being certified indicates that a company is not just paying lip service to sustainability, it's actually practicing what they preach. If you'd like to learn more about ISO 20121, go back and listen to episode 38. [05:30] What was the main driver behind Haymarket achieving ISO 20121?: Haymarket first contacted Blackmores about assisting with ISO 20121 Implementation in 2019. At the time, they were already certified to ISO 14001 and ISO 50001, so they understood the benefits that came with ISO certifications - including the framework to start making better decisions and accurately measure what you're doing. Their head of facilities had started the process of evaluating other areas they could improve with ISO Standards, particularly around sustainability. Live events are a large service offering for Haymarket, which has a significant environmental footprint, so a case was put forward for the benefits if reducing that impact with the help of ISO 20121. The team running their live events were very positive about the potential benefits presented, and the go ahead was given. [07:20] Sustainability is central to how Haymarket wants to operate – Implementing ISO 20121 would ensure that there was more standardisation across their processes. This would introduce some uniformity that could apply to all types of events, which was very important to the Live event lead - Donna Murphy. Natalie was in the right place at the right time, already in the position of working in collaboration with Haymarket's Live events team on sustainable procurement, ensuring that due diligence was followed with suppliers and their accreditations. So, it was a no-brainer getting her on board with the ISO 20121 project! [09:30] How long did it take to implement ISO 20121?:  Haymarket engaged in Blackmores services in February 2022 and were accredited by July 2023. In total, it took 18 months for the planning, creation and development ahead of the assessment. They ensured the system was refined to ensure it worked efficiently, encouraging continual improvement and a harmonious approach for the whole business. [11:15] Above and beyond: Haymarket received a lot of praise from their Assessor – highlighting their thoroughness, including the involvement of top management and many others within the organisation in the creation of the Management System. Also for ensuring that the system would be applicable for the 4 main types of events that Haymarket runs. [12:00] ISO 20121 requires an audit to be conducted during a live event – So Haymarket had a lot to consider when selecting the event to be audited.   [13:30] Haymarket's key insights on Implementing ISO 20121: #1: The Gap Analysis was an integral part of the process – by highlighting the gaps you can clearly see where improvements can be made. While they may have been a bit crestfallen and daunted by the gaps presented, they came out if knowing they already had around 27% of a Sustainable Event Management system already in place – partly due to their existing certifications.  This soon bumped up to 59% at the half-way checkpoint! This assured them that ISO 20121 was within reach, and simply required at bit of time and effort to achieve. #2 Having leadership involvement and backing – They were quick to involve their live event lead, Donna Murphy, in key decision making and with the roll-out of the Management System. She was instrumental in ensuring the Standard was in place and being followed. [18:45] What were some of the gap identified and how did Haymarket bridge them?  Required documentation – Many ISO standards have required documentation. A lot of times companies do have a lot of it place, but it's simply just not formalised. Natalie highlights that this was the case with a Risk Register. It's not a universal company need to have, but as part of the Procurement Team it's simply a part of who they are and what they do. For live events, they need to do the appropriate health and safety checks, but it wasn't formalised in any way. Thankfully their facilities and environment specialist, who assisted with the existing ISO 14001 and ISO 50001 certifications, was on hand to help with the creation of risk procedures based on procedures from the existing Management System. With this collaborative approach, using elements from the exiting Management System, they created 31 brand new documents consisting of Procedures, Registers, Log and Records that are continuously used, monitored and updated. This new documentation, while a lot of work to create, ultimately helps Haymarket track, measure and set parameter's for continuous Improvement. It ensured they have a really visual system, with a clear view of what needs to be done to run sustainable events.  [23:00] What difference has Implementing ISO 20121 made?: There was a big amount of short-time work for a long term gain. It's not simply a stack of useless documents sitting in a corner, it's a living, breathing system that is injected into the business. The Management system is of benefit to everyone, including those new to Haymarket's team as it provides a structured and standardised approach to sustainable event delivery. It's provided knowledge and helped to develop new skills that will stick with all those that interact with the Management system, whether they stay with Haymarket or move elsewhere. Ultimately, it's all about ensuring they are doing the right thing for the planet. By creating more sustainable events, they are reducing their impact as a whole. [26:00] What is the main achievement from being certified to ISO 20121?: Morale and confidence that they can say they really do practice what they preach. They could hold a mirror up and say, right, we've created this system and we're confident in it – with internal audits conducted by third-parities to confirm they're on the right track with their intended goals. Certification is not the end goal. You have annual Surveillance Audits to check-in, so the system must be a long-term feature in your business, and it must drive continual improvement. [27:50] What top tip would Gary and Natalie give for ISO 20121 Implementation? Gary: Make sure you're resolute in your reasoning for Implementing the standard and the implications of doing so. Also, enlist the help of someone with Implementation experience! Natalie: Don't underestimate the amount of work required. Select someone in-house to manage the project and when / if you can, use external resources such as a consultant to assist. They can also provide unbias, reflective feedback to ensure you're on the right track. [30:10] What's a favorite quote? “The greatest threat to our planet is the belief that someone else will save it” – Robert Swan If you'd like to learn more about Haymarket check out their website! We'd love to hear your views and comments about the ISO Show, here's how: ●      Share the ISO Show on Twitter or Linkedin ●      Leave an honest review on iTunes or Soundcloud. Your ratings and reviews really help and we read each one. Subscribe to keep up-to-date with our latest episodes: Stitcher | Spotify | YouTube |iTunes | Soundcloud | Mailing List

Welcome to Captain's Pod, a Star Trek companion podcast presented by CinemaSins! This week, the crew review the third TNG movie; Star Trek: Insurrection! Join them as Ian fixes the movie's biggest flaw, Deneé invents a new type of Trek fan (#lurkies), and they both decide to fall in love with Donna Murphy.1) Subspace Comms - The crew answers your Priority One transmissions from Twitter, Discord, and Email! (4:39)2) Ten Forward - Thoughts on the episode; what did the crew love and what can go out the airlock! (10:30) 3) Engineering - ReSINstance is Futile: Everything Wrong With Star Trek in Q minutes or less. (57:48)4) The Outtakes- Bloopers and other goodies that didn't make it into the show. Don't tell Section 31! (1:18:08)CAPTAIN'S POD live will return Friday 8th September at 12:30CTish!Twitch: https://www.twitch.tv/cinemasinsliveYoutube: https://www.youtube.com/channel/UC5Nxj5dpHf2p7cN9qdUVEzAThe show's hailing frequencies are always open by email at captainspod@cinemasins.com Find us on Twitter:The Show - @captainspodcsIan - @whittsinnedDeneé - @deneesaysJoin a community of CinemaSinners and Trekkies on the CinemaSins discord:www.discord.gg/cinemasins  Want extra *holodeck privileges? Join the Sinclub! https://www.patreon.com/CinemaSins And live long and Podsper! *holodeck and ads not includedAdvertising Inquiries: https://redcircle.com/brandsPrivacy & Opt-Out: https://redcircle.com/privacy

Learn more at TheCityLife.org --- Send in a voice message: https://podcasters.spotify.com/pod/show/citylifeorg/message Support this podcast: https://podcasters.spotify.com/pod/show/citylifeorg/support

In this episode, my guest is comedian and actor Paul Reiser. We discuss his upcoming shows at Cobb's Comedy Club, his tour called the "Big Font Comedy Tour," and how he's glad to be doing stand-up again. We also talked about Paul's various roles in TV and books, including his recent appearance on Stranger Things as Dr. Sam Owens.In this episode:Stand-up comedy and live performancesThe journey of becoming a comedianFinding your comedic voiceMaking your spouse laughOpening for Buddy RichAs a seasoned actor, writer, producer, and stand-up comedian, Paul Reiser continues to add to his list of accomplishments. In addition to co-creating and starring in the critically-acclaimed NBC series Mad About You (1992), which garnered him Emmy, Golden Globe, American Comedy Award, and Screen Actors Guild nominations for Best Actor in a Comedy Series, his successes also include his book, "Couplehood," which sold over two million copies and reached the number one spot on "The New York Times" best-seller list, and "Babyhood," his follow-up book, which features his trademark humorous take on the adventures of being a first-time father, which also made "The New York Times" best-seller list. He also wrote a follow-up bestseller, Familyhood.Born and raised in New York City, Reiser was drawn to Greenwich Village clubs, which featured, among others, George Carlin, Robert Klein, and David Steinberg. He subsequently attended college at the State University of New York at Binghamton, where he majored in music (piano and composition) and participated in drama classes. During his university years, he was active in student theater productions at the Hinman Little Theater, an on-campus community theater organization located in Hinman College, his dorm community. Reiser later began performing as a comedian at the Improv and Comic Strip during university summer breaks.Remembered for notable performances in films such as Diner (1982), Aliens (1986), Beverly Hills Cop (1984) and Beverly Hills Cop II (1987), The Marrying Man (1991), Bye Bye Love (1995) and One Night at McCool's (2001). More recently, he starred in two original movies for Showtime - Strange Relations (2001) opposite Julie Walters, Chazz Palminteri's Women vs. Men (2002), opposite Joe Mantegna and Christine Lahti. His first original screenplay also became his next film, The Thing About My Folks (2005), also starring Peter Falk, Olympia Dukakis, and Elizabeth Perkins.Reiser's development company, "Nuance Productions," has produced several projects for NBC television, including, My 11:30 (2004), starring Jeff Goldblum and Donna Murphy - which Reiser co-wrote with Steven Sater. Also in the works - for the Showtime cable network - is a mock documentary about "The Smothers Brothers" and their battles with television network censorship in the late 1960s. Since then, he has maintained a lower profile, working more as an executive producer and writer than as an actor.He also paired with Steven Soderbergh to star in the Amazon Original Series Red Oaks.Reiser tours the country performing in sold-out venues and was recently voted one of Comedy Central's "Top 100 Comedians of All Time."www.GaryScottThomas.com

On the opening night of The Cottage, I'm excited to announce the release of my episode with its playwright Sandy Rustin. Tune in today to hear about the play's long path to Broadway, and other stories of her career including rewriting I Married an Angel for Encores!, her extensive research process, her useful advice for young writers, being directed by James Lapine, where her sense of humor comes from, her extensive work on audiobooks and ADR, the real-life basis for her show Comedy Is Out, working with Donna Murphy on rewriting Dear World, and so much more.

How it's taken us this long to get to this we'll never know. Joshua and Dan have FINALLY donned their Sunday clothes (Dan naturally in full headdress) to talk about none other than Donna Murphy in the most recent Broadway revival of Hello, Dolly! Tune in next time when we discuss Falsettos; specifically, the pro-shot recording of the Broadway revival from January 2017! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Linda Griffin is a tour guide at The Walt Disney Studios in Burbank, California, and that's where she and Scott met this past February. In talking with her, not only did Scott realize that they had several friends in common, he learned that Linda was in the full run of the LA company of Disney's Beauty and the Beast and did two national tours of that show along with her husband (who was a musician in the pit) and her son (who played Chip!) Scott also learned that Linda was in the original Broadway cast of one of his all-time favorite shows, Something Rotten, and was part of the Broadway company of The Drowsy Chaperone and the Encores! cast of Anyone Can Whistle starring Donna Murphy and Sutton Foster. Linda also toured the country in The Drowsy Chaperone, A Chorus Line, 42nd Street, and Wicked. Some of her television credits include General Hospital and the 2006 and 2016 Tony Awards. She was in the movie, The Prom, and her Disney movies include Shaggy Dog and Home on the Range. She's done other work for Disney and they get into that as well! Linda co-hosts a 2-hour radio show every Friday on the streaming platform boxofficeradio.co.uk. Known as Bert and Lindy, The Broadway Broads, Linda and her friend, Roberta, play musical theatre music from Broadway and the West End and songs from the movies. You can also listen on the Box Office Radio App. Be sure to follow Linda on her website: https://lindagriffinactor.weebly.com. Email: TheMouseAndMePodcast@gmail.com Support: www.patreon.com/themouseandme FB & Instagram: The Mouse and Me TikTok: @TheMouseAndMePodcast Twitter: @MouseMePodcast Music by Kevin MacLeod from https://incompetech.filmmusic.io --- Support this podcast: https://podcasters.spotify.com/pod/show/themouseandme/support

With one more week of off-season before All Stars 8, we're putting out an OnlyMarys discussion from last year on "Center Stage"! We queen out on the sheer presence of Debra Monk, Donna Murphy rubbing her neck, dancing the shit out of it in gray sweatpants, best supporting Eva, Marcia Jean Kurtz's moment, Cooper's apartment, that impossible final performance and the sheer number of times you hear the name Jodie Sawyer. Want even more Alright Mary? Become a Matreon at the Sister Mary level to get access to our thoughts on this season of Drag Race España, plus movie reviews and past seasons of US Drag Race, UK, Canada, Down Under, Philippines and more.Join us at our OnlyMary's level for EVEN MORE movie reviews, brackets, and deep dives into our personal lives!Patreon: www.patreon.com/alrightmaryEmail: alrightmarypodcast@gmail.comInstagram: @alrightmarypodJohnny: @johnnyalso (Instagram)Colin: @colindrucker_ (Instagram)Web: www.alrightmary.com

Bellamy Young, Tony Goldwyn, Donna Murphy, Robin DeJesus and more talk LIVE with The Art of Kindness and Broadway Podcast Network's Robert Peterpaul on The Thanksgiving Play Broadway opening night red carpet. From sharing early school show memories to kindness tips - you won't want to miss this one! This episode features: Scandal stars Bellamy Young and Tony Goldwyn, Broadway icon Donna Murphy (Tangled), Broadway star and friend of the pod Ilana Levine (You're A Good Man Charlie Brown), Robin DeJesus (tick, tick... BOOM!), Andrea Burns (In The Heights), Simone Recasner (The Big Leap), Antoinette Chinonye Nwandu (Passover), and The Thanksgiving Play writer Larissa FastHorse and director Rachel Chavkin. Got kindness tips or stories? Please email us: artofkindnesspodcast@gmail.com Follow us @artofkindnesspod / @robpeterpaul Support the show! (https://www.buymeacoffee.com/theaok) Music: "Awake" by Ricky Alvarez & "Sunshine" by Lemon Music Studio. We are supported by the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

Are there any Disney rom coms, you ask? Why yes! We submit for your listening pleasure Tangled, starring the vocal talents of Mandy Moore and Zachary Levi. Tangled is a retelling of "Rapunzel" with plenty of smolder and show stopping song numbers worthy of Broadway. You can stream Tangled on Disney+! Listen for our thoughts on this movie, including Katie's unending confusion over choices made with the character Maximus. Email us at MadeMePodcast@gmail.comFind us on:Facebook: www.facebook.com/MadeMePodcastInstagram: https://www.instagram.com/myhusbandmademedoit/ Podcast artwork by Anna Eggleton of Treehouse Lettering & Design: https://www.treehouseletteringanddesign.com/

Welcome to the 100th episode of Broadway Nation! To celebrate I invited Albert Evans to join me to discuss, debate, and decide once and for all who is the Greatest Broadway Musical Star Of All Time!  As you will hear, we had a lot of fun with this one, and I have no doubt it will spark a lot of comments, conversation, and controversy! And we look forward to hearing from you. (And if you are wondering what happened to the third part of my conversation with Barry Kester regarding his book Round In Circles? Never fear! Barry and I will be back next week with the final episode in that series.) So who did we choose? All I can tell you is that Bernadette Peters, Ethel Merman, Patti Lupone, Robert Preston, Liza Minelli, Mary Martin, Audra McDonald, Angela Lansbury, Vanessa Williams, Al Jolson, Julie Andrews, Kristin Chenowith, Eddie Cantor, Idina Menzel, Fanny Brice, Sutton Foster, George M. Cohan, Lea Solonga, Rex Harrison, Nathan Lane, Barbara Cook, Mandy Patinkin, Yul Brynner, Brian Stokes Mitchell, Donna Murphy, Gertrude Lawrence, Ben Vereen, Hugh Jackman, Joel Grey, Lin-Manual Miranda, Gwen Verdon, Mathew Broderick, and Chita Rivera all get considered and discussed. And a lot of Broadway history gets explored along the way as well!  Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of Patron Club Members Ruth Oberg, Neil Hoyt, and Judy Hucka.  If you are a fan ofBroadway Nation, I invite you to become a PATRON! For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions.  And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

We're passionate about one of the most wonderful singer-actresses in Broadway history. Join us for a survey of Donna Murphy's extraordinary career--Passion, The King and I, Tangled, and more.

Donna knows best! We are joined by actor and singer Donna Murphy. You Might Know Her From The Gilded Age, Tangled, Center Stage, Spiderman 2, and Broadway productions of Wonderful Town, The King & I, Passion, and Hello, Dolly! We were in long pursuit of Donna and were pleased as punch to chat with her about finding her dancer posture for Center Stage, the Joni Mitchell mishap that almost stood in the way of Mother Gothel, and how Mrs. Asher is the Mort Guffman of The Gilded Age. All that, plus how she covered for Audrey in Little Shop for one night only, dying every night on stage for Passion, and the incredible highs and lows of playing Dolly Levi as the alternate to Bette Midler in the recent Hello, Dolly! revival. Wonderful woman!  Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this week Burt Bacharach and Raquel Welch died this month Dick Van Dyke was on The Masked Singer  Nicole Scherzinger sings with multiple Phantoms of the Opera NJ's version of Punxatawney Phil (Mel) died Warren Beatty doing Dick Tracy on TCM this past week (“IP squatting” Parker Posey onstage in new play The Seagull/Woodstock, NY Foo Fighters “Everlong” Drag queen Orion Story SPICE GIRLS IN ORDER OF BEST SINGERS: 1) Sporty 2) Baby 3) Scary 4) Ginger 5) Posh We love “I Wanna Be Like You” by Louis Prima Damian's mom slept in a bald cap as Mini-Me for a work Halloween party Donna Murphy will be starring in Dear World in March 2023 Plays Mrs. Astor in The Gilded Age Starred in 2003 Broadway revival of Wonderful Town  Watch Donna sing: “100 Easy Ways to Lose a Man” Betty Comden and Adolph Green wrote the song Has big song as Mother Gothel in Tangled, “Mother Knows Best” Auditioned with “Last Midnight” from Into the Woods  Auditioned for the Witch in the OBC and then as a Baker's Wife replacement Finally performed The Witch at the Delacorte in Central Park 2012 Played many age transitions in The People in the Picture Fosca's first song in Stephen Sondheim's Passion, “I Read”  Played Tuesday nights only for the Bette Midler Hello Dolly in 2017 in the wake of her own husband's death Was in negotiations to play Elizabeth Arden in War Paint (opposite Patti LuPone) while her husband, Shawn Elliott was dying (2017). She was simultaneously acting in PBS' Mercy Street Was up for the mother role in The Marvelous Mrs. Maisel (played by Marin Hinkle)  Scott Rudin, the producer of Hello Dolly, did not treat Donna well. Scott Rudin scandal YMKHF interview with Broadway's original Minnie Fay, Sondra Lee (Episode #38) Played ballet teacher, Juliette Simone in Center Stage (directed by Nicholas Hytner) Stella Adler was more terrifying than Stephen Sondheim Brooke Shields got a re-recording of the Wonderful Town Broadway revival  The Sondheim 80th Birthday Celebration Concert (directed by Lonny Price)  Donna doing “Could I Leave You?” from Follies with other divas onstage: Patti LuPone, Marin Mazzie, Audra McDonald, Bernadette Peters, Elaine Stritch David Hyde Pierce doing “Beautiful Girls” intro  Donna approached Mandy Patinkin after the 80th Birthday Concert to tell him how much he meant to her Died a great death in Spiderman 2 (@4:54 mark) Donna telling the Little Shop story to Alan Menken Barbra directing Daisy Ridley and Anne Hathaway in her Malibu home studio Barbra's autobio is going to be over 1000 pages, thank god  Lainie Kazan full interview (Episode #29)  Lainie Kazan/Fanny Brice on The Barbra Archives (scroll halfway down the page to find)

Slowing global ad spend forecasts, geopolitical instability, a cost-of-living crisis, the continued impact of climate change and more loom large as brands and agencies plan for 2023 and beyond. For the final episode of Season 1, The Meaningful Media Podcast brought together a panel of visionary CEOs to share perspectives on the challenges and opportunities facing brand marketers and agencies in the year ahead. Tom Denford, CEO, ID Comms Group, Peter Mears, Global CEO, Havas Media Group and Chairman of Havas Group's North America Village and Donna Murphy, Global CEO, Havas Creative & Havas Health & You join host Ben Downing, Global Managing Director, Ethical Media & Strategic Partnerships, Havas Media Group to explore brand resiliency, client and agency-side transformation, the future of meaningful brands and much more. A conversation not to be missed!Enjoy! Happy Holidays to one and all!

An actress and filmmaker, Jennifer Westfeldt is perhaps best known for writing, producing and starring in the indie films Kissing Jessica Stein (Indie Spirit Nomination, Golden Satellite Award, GLAAD Media Award, multiple Audience Awards), Ira & Abby (Best Actress/HBO Comedy Festival, multiple Audience Awards), and Friends with Kids (Top Ten Films of 2012, New York Magazine, NPR), which also marked her directorial debut. Her television credits include Younger,This Is Us, Girls, 24, Grey's Anatomy, Private Practice, Notes from the Underbelly, and Children's Hospital, among others.  Jennifer made her Broadway debut opposite Donna Murphy in Wonderful Town, directed by Kathleen Marshall, for which she received a Tony nomination, a Theater World Award and a Drama League Award. Other notable stage work includes the world premieres of Scott Z. Burns' The Library at the Public Theater, directed by Stephen Soderbergh; Nell Benjamin's The Explorer's Club at Manhattan Theater Club; Nicky Silver's Too Much Sun opposite Linda Lavin at The Vineyard Theater; Joe Gilford's Finks at NYSAF; Cusi Cram's A Lifetime Burning at Primary Stages; and Alexandra Gersten-Vassilaros' Big Sky at The Geffen Playhouse.  On the writing side, Jennifer recently adapted Robinne Lee's novel The Idea of You to the screen; the film, starring Anne Hathaway and directed by Michael Showalter, is shooting this fall for Amazon Studios. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Gimme a head with hair - long beautiful hai-yahhh! Thanks to StoryBlocks for sponsoring this video! Visit http://www.storyblocks.com/REJECTS to get started! Greg & John finally catch up with Disney's take on Rapunzel - featuring Mandy Moore in the lead with Zachary Levi as Flynn Rider! Songs include "When Will My Life Begin?," "I See the Light," "I've Got a Dream," Donna Murphy's rendition of "Mother Knows Best," "The Healing Song," AND MORE! REACTION HIGHLIGHTS on our YouTube Channel & FULL LENGTH (Sync-Up) WATCH ALONGS at Patreon.com/TheReelRejects!! Learn more about your ad choices. Visit megaphone.fm/adchoices

Gimme a head with hair - long beautiful hai-yahhh! Thanks to StoryBlocks for sponsoring this video! Visit http://www.storyblocks.com/REJECTS to get started! Greg & John finally catch up with Disney's take on Rapunzel - featuring Mandy Moore in the lead with Zachary Levi as Flynn Rider! Songs include "When Will My Life Begin?," "I See the Light," "I've Got a Dream," Donna Murphy's rendition of "Mother Knows Best," "The Healing Song," AND MORE! REACTION HIGHLIGHTS on our YouTube Channel & FULL LENGTH (Sync-Up) WATCH ALONGS at Patreon.com/TheReelRejects!! Learn more about your ad choices. Visit megaphone.fm/adchoices --- Support this podcast: https://podcasters.spotify.com/pod/show/the-reel-rejects/support Learn more about your ad choices. Visit megaphone.fm/adchoices

We wrap up the first half of our second seaon this week.  Join us as we take a look back at the last two seasons and check in on where some of our guests are now.   We will be back August 1, 2022 with a surprise. But, keep checking in for bonus episodes during the break! Love where you are now.

Ministering to those who have experienced miscarriage.

The Drill with Dan Hicken, Taylor Doll, & Donna Murphy 05-04-22 by 1010 XL Jax Sports Radio

Director Lee Wilkof talks about the production of his film, “No Pay, Nudity” (starring Gabriel Byrne and Nathan Lane), as well as his work as an actor on the musicals “Little Shop of Horrors” and “Assassins.”LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Eli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast“No Pay, Nudity” trailer: https://youtu.be/toO8g8fgtP4Lee Wilkof revisits “Suddenly Seymour”: https://youtu.be/x7DNEts0yQQ“Suddenly Seymour” from MDA Telethon: https://youtu.be/b4tddRw6JVU“Little Shop” TV spot: https://youtu.be/itYxORbajScTRANSCRIPTThe Occasional Film Podcast - Episode 103NATHAN LANE 0:00I had one of the best times I've ever had making a movie doing this, this little teeny-tiny film. One could say it's a niche film. And yet I think everyone can relate to the notion dreams lost or shattered and you think it's going to turn out one way and it doesn't. And how do you come to terms with that? JOHN GASPARDThat was the one and only Nathan Lane talking about his experiences making Lee Wilkof's lovely film, “No Pay, Nudity.” Hello, and welcome to episode 103 of the Occasional Film Podcast, the occasional companion podcast to the Fast Cheap Movie Thoughts blog. I'm the blog's editor, John Gaspard. Today we're talking with long time actor and first-time director Lee Wilkof about his film “No Pay, Nudity.” It's the story of Lester Rose, a mid-career actor in crisis about show business in particular, and life in general. It stars Gabriel Byrne, Frances Conroy, Boyd Gaines, Donna Murphy, and Nathan Lane. [AUDIO EXCERPT FROM THE FILM'S TRAILER]When I saw the name Lee Wilkof listed as director during the film's credits, I thought where do I know that name from? I racked my brain and then it came to me. Suddenly.[LEE WILKOF SINGING “SUDDENLY, SEYMOUR”]Lee originated the role of Seymour Krellborn in the Off Broadway production of a little musical called “Little Shop of Horrors,” and went on to originate the role of Samuel Bick in Stephen Sondheim's “Assassins.” He talked about those two memorable roles at the end of our conversation. But first we talked about “No Pay, Nudity”, which was his first time as a film director. Tell me what it was that made you decide, hey, at this point after stage and TV and movies, I want to direct.LEE WILKOF 3:20 It was something that was gnawing at me for the last 10 years, just something that I always wished I had done. I never said I wish I wasn't an actor, and I wish I had been a director. But it was something that I just felt that I thought I could do. And I would say oh, maybe nine years ago, I was in a kind of a fallow period and I had been friendly with this young man, Ethan Sandler, we had met at this theatre festival, the Williamstown Theatre Festival. We've done a play together. He was a young, in his 20s, maybe, maybe early 30s. And I decided, I said I think we should I have this idea for a story. Let's write it together. And let's direct it together and then we'll write it for me. As it shook down, you know, I'm not, it wasn't for me, I decided it was not something that I didn't want to direct it and be in it. And then I realised the character was I was not really, the right character for it. And then as it turned out, we didn't end up co-directing it and he got the screenplay credit. And that was kind of how it played out. But it took it took and we wrote it I think together eight years ago and then it sat in my on my computer for at least five years and then I dusted it off when I was doing a play in Chicago, and I was free during the days and I looked at it and I said, this is good. I happen to be working with Nathan Lane. And we were doing a play at the Goodman “The Iceman Cometh.” And I said, I said, would you read this, this screenplay that I wrote. And I was hoping he'd get back to me eventually. And he got back to me the next day. And he said, This is really good. And I said, would you play Herschel, if I got this made? And he said, Yes. And that's really when the ball started to roll. JOHN GASPARD 5:35 Why did you decide you weren't right to play the part? Because it kind of feels like you would be. I mean, was just you didn't want to direct and act? LEE WILKOF 5:42 I didn't want to direct and act. To say that I wasn't right for it, I think, didn't mean, as it turned out, I wanted more of a leading man. But it would have worked, I think with a character actor, but I didn't want me directing my first film. I just couldn't do double duty. I admire those people that can, but I just I just couldn't. I couldn't multitask to that level. And maybe this had a little to do with it. Although I think I'd already made the decision by the time the investors came on, and they wanted a name, and I was certainly not a sufficient name. I was not. I was not and I'm not a name. So, we started making some inquiries about some names. JOHN GASPARD 6:34 So, what was your process for that? I mean, you already had one name, who had said yes.. LEE WILKOF 6:39 I had Nathan, and that was they wanted for the lead, they wanted a name. But we made some offers to some prominent names. And one was one was very interested, but his wife was ill. Several didn't get back to me. One other prominent name just was on the fence and decided no, and then I got a casting director, involved and gave me a list of a number of names. And Gabriel was on it, Gabriel Byrne, and it, sent it to him. And he responded immediately. And he wanted, he wanted to do it. He understood it, he got it. And I couldn't be more fortunate that it worked out that way. If you would have said to me when I started the process, and we were going to make this film, that Gabriel Byrne would be playing Lester Rosenthal, it was not something I would have not believed it possible. I would have said to you, I don't I'm not really positive that he's right for it. And you know, these kinds of accidents happen. And it was so fortuitous that we got Gabriel, I think he's just fantastic in the role. JOHN GASPARD 7:52 Did you find that once you had everyone in place, did you tweak the script at all to fit? LEE WILKOF 8:00 Yes, to some extent, although the Gabriel, the fact that Gabriel is you know, there's a line that when you first, when he runs into the girl from high school, she said when you first got here, your accent was so fascinating. That's the only reference to the fact that he has a not necessarily an American accent. It's not quite fish or fowl. And we didn't find that it was a problem. When he first called me. Our first phone conversation was I was at the Jazz Fest in New Orleans with music blaring. And he was in Norway, shooting I think it's called the Vikings. And we spoke, I could barely hear him. But he said I think I'm going to keep my accent. And I didn't quite know what to say. I didn't know him. I didn't want to say no, I don't want you to but by the time we started shooting, it was kind of vague, and it never seemed to be an issue. So, we didn't necessarily tweak for the particular person. Now, some of the actors wrote some things for themselves. Nathan contributed a fair amount of his dialogue, which I encouraged. And then there was an incident where somebody brought in dialogue for themselves and I did not care for it. And it created the only real conflict during shooting. And I insisted, with the help of my producer, insisted that the actor speak the words written and it I think it enhanced the performance because the actor was so upset. And the actor didn't speak to me for a couple of days.But there was tweaking all along. The role Nathan plays was originally written for actually another actor, an actor friend of mine who had passed away in between the time it was written and we shot it. It was written with, I wrote it with Maury Chaykin. You know, Maury… JOHN GASPARDYes indeed. LEE WILKOF Maury Chaykin. He and I did our first play in New York together like 44 years ago. And he was just physically and such a, such a wonderful actor that Herschel was I just wrote it, we wrote it for him. But as I said, he passed away. And Nathan stepped into it brilliantly, I think. JOHN GASPARD 10:44 I agree. So, with all your time on the other side of the camera, what was it like to step behind it? And how easy a transition was that for you? I mean, you probably know how to talk to actors, or at least how not to talk to actors… LEE WILKOF 10:59 I had spent many years in Hollywood on TV and film sets. And I probably would have paid way more attention if I knew someday I was going to be directing. But I always was paying attention. I wasn't like going up to the DP and saying, You know what size lens you're using? But I was I was like, I watched and I listened. And I also had the I had the great pleasure and the great fortune of working with Sidney Lumet twice. And I didn't do a movie with him, but I'd worked with Bob Fosse. I mean, I've been around some, some very amazing people, and I observed them as closely as I could without being in their way. So being on the set itself, physically, was not was not intimidating at all. Speaking to the actors. No one was with the exception of that one little set-to with the actor that rewrote their lines, the actors were very, I didn't have to give many notes. But when I gave notes, I was surprised that not only were they well received, but they were well understood. Because I've been directed. I'm an I'm an actor that needs as strong a good hand as possible by a director. So, I've had many directors have to talk to me to get me to what they need to do. And there was like, just like maybe two or three times. Gabriel had so much to do, there were times where I had to, like, maybe guide him and another just a little nudge, and he liked to talk things out. He probably would have wanted to talk things out longer, but we just didn't have the time. That's just how he works. One of my actors would call me up at night, and just need to be stroked. And he's a good friend of mine. And I was able to do that. I had worked with him in a play and knew that that was something that he needed. And I was sincerely telling him how wonderful he was because he was and that was useful. The first scene in the movie with the veterinarian's assistant, I cast this woman I love this actress. Her name is Janine Serralles. I don't think she'd be embarrassed by this story. She was a student of my wife, my wife used to teach at Yale Drama School. And she was somebody that I was aware of her, and my wife cast her in a lot of plays. She came in with an interpretation that was completely and it was completely valid, but it was not what I wanted her to do. And I think I like said maybe two sentences to her. And she's such a great actress, she made the adjustment. And I surprised myself by being able to communicate that to her. But luckily, I had an actress that could take it, you know, take it in and make that quick adjustment. So, I cast the film with such fine actors, that I didn't have to tell them too much. But when I did, they got it. JOHN GASPARD 14:20 Right. Did you have rehearsal time away from the set? Or was it just like, like a TV show where you just show up and block and rehearse? LEE WILKOF 14:28 We did read through the movie for about four hours, I think a couple days before we started shooting. And we talked it through and we would rehearse on the set. But my DP, my wonderful young DP, named Brian Lannon. He was he was 26 years old. I met him I had done a couple episodes of a show called High Maintenance. And he was the DP and I loved what I saw. And I hired him and he and his crew were a little, I have to say this, and I think he knows is they were a little slow. Andnd they were slow because they were, you know, immaculate with, with their setting up. But we had a little more time sometimes than I wanted. So, we were able to rehearse. And the actors, all the actors, the first nine days of the shoot, were in the lounge set that we built the Actors Equity lounge, and the actors would be in a holding area, and they would work on the stuff while I was on the set, you know, getting things set up. JOHN GASPARD 15:40 Was that the only set you built? LEE WILKOF 15:41 We built I think we built another set. I believe you are required to build a set on certain sound stages that are designated by the state in order to get your tax credit. So, we were required to build a set. It was one of the plays that was getting done. We could have found a theatre to do it at, but it was the one that was most easy to build. So, we built that, we had some raw space down in Wall Street. And that's where we built the Actors Equity lounge. And then we built one other set for the two-hander play that Lester attends. JOHN GASPARD 16:35 The lounge set is terrific. It looks, I thought oh, yeah, it's you're actually on location. LEE WILKOF 16:41 Yeah, we wanted to use the real Actors Equity lounge, but it was in a state of transition, it was finally being renovated. And it just timewise we couldn't use it. But luckily, I had a friend of mine is one of the, I think I know most of the officers there. My friend is a vice president and they were really helpful. But I had a young production designer Maki Takenouchi. And she put that together in three days. It was the last location that we found. It was the most crucial location, it was driving us insane, that we couldn't find the space we liked. But we finally settled on this. And they threw it together. And I don't mean throw it together. They put it together in three days, her and her crew. And it really was effective. JOHN GASPARD 17:35 How many days did you have to shoot overall? You said you spent nine days in the lounge? LEE WILKOF 17:40 I believe it was either 24 or 25 days. And I wanted to read I had a scene that I wanted to end the film with that I wanted to add, and we would have had to have a day of shooting but we just didn't have it in the budget. There's nothing that I miss. JOHN GASPARD 18:04 Okay. Was it always planned that the character of Herschel would narrate the story? LEE WILKOF 18:11 No. JOHN GASPARD 18:12 At what point did you decide to include that? LEE WILKOF 18:15 When certain people thought it would be a good idea. JOHN GASPARD 18:19 Okay. I'll move on. LEE WILKOF 18:25 Some people weren't as comfortable with silence as I was. So, some compromises were made to be perfectly blunt. I'm assuming you wisely got it that it was added on. I believe film works with it. And I believe the film would have worked without it. JOHN GASPARD 18:41 And that's exactly what I'm feeling to it. It certainly didn't hurt, it kind of it filled in some gaps. But it didn't feel to me like when you sat down to write at the very first thing you thought was, okay, I'm going to have this character narrate it LEE WILKOF 18:58 No. But it was I've had people that watch the film like it, and people go, Yeah, you don't need it. Okay, I'm glad you know, I feel fine about it either way. It is. It's what we have. JOHN GASPARD 19:13 Yeah. Do you want to talk about the Kickstarter campaign and... LEE WILKOF 19:18 It was not successful. I'm assuming you know that. It was very highly, highly ambitious. I think it was, uh, if memory serves me, it was like $450,000, which is a ton of money for a Kickstarter campaign. And we did nicely, but we didn't succeed. I think we got close to $200,000, which is very, I was, I was, I was touched by all the generosity, but it didn't work out. But because of the Kickstarter campaign, certain people became aware of the film. And then were able to communicate their knowledge of the film to some other people that came aboard and invested in the film. So, the Kickstarter campaign had value. Also, I did circle back to some people on the Kickstarter that had that had committed money to the Kickstarter campaign and said to them, would you still be willing to, to help me out? I'm not going to give the same kind of perks. But if you can give me, if you can help, a couple people got associate producer credits, everybody got their name in the credits, everybody got a video, no matter what the level, so that was helpful. But it was not the amount of money that, I didn't go to back to everybody. I just was like, at that point, I had had my hand out for so long, I couldn't go, like with my hand out to every single person. That was more stressful than making the movie. JOHN GASPARD 21:04 So, I was going to ask, what advice would you give to someone who is considering Kickstarter now that you've tried to get that and then end up going with more traditional investors? LEE WILKOF 21:14 I would say don't ask for so much money. But don't go nuts with the, with the perks. People are really, I don't believe, giving you, being generous for little rewards. Or I don't mean to belittle the rewards, but they're doing it out of the kindness of their, you know, belief in you. Some guys I know, did a Kickstarter campaign to do in a documentary film about something to do about my hometown. And they did I think, a 40-day campaign, and I said, Don't do it, it's too long, and you'll have like a nervous breakdown. And they did it and they raised the money. So, what the hell do I know? JOHN GASPARD 21:58 I noticed that you had Ann Roth credited for a special custom consultant. What? What way did she help you guys out? LEE WILKOF 22:08 Ann Roth is as to me, she's, you know, the premier costume designer of the second part of the 20th century, Edith Head and then Ann Roth into the 21st century. I had worked with Anne on a couple plays. I did The Odd Couple with Nathan Lane on Broadway and Ann designed that. But we had a very nice, warm relationship. And I told her, someday I'm going to direct a film and I want you to be the costume designer, and then she would if she could. And then as it turned out, she agreed to and then she got busy. And another lovely woman that works in her with her, became the costume designer. Michelle Matlin who did a great job. But Ann specifically worked with, because she's done so many shows with Nathan, they work together on his look, and Gabriel's look. And I said to her, I hope you know, I hope this is not a diss to Michelle and I don't believe it was, but I would like I would like you and to give you some sort of credit. You're Ann Roth. I mean, it's and she said whatever you want to give me. So, we gave her that title. JOHN GASPARD 23:41 As you were editing the movie, I know you've you were very in from the beginning on the writing and then I've obviously there for the directing. What was your process for finding the movie in the editing? How, how precious were things to you? How willing were you to move things around or change? LEE WILKOF 23:58 That is a very, we're opening. We're opening a very interesting can of worms. Editing was the most difficult part of the process for me. I'd never been in an editing room. My editor and I, I think sometimes we didn't see eye to eye. And I didn't really sometimes know how to communicate what I wanted. The producers got involved in the editing room. I mean, the you know, the money people, were not thrilled with the editing. And we brought on another supervising editor. And it got a little more complicated. And I was doing a play at the time. And the editor was the supervising editor was doing some editing out in California while I was in New York. And there were some ideas that were had, that I did not agree with. And there are some things in the film... Boy, I'm just opening a can of worms. JOHN GASPARD 25:12 There's open it as far as willing to open it. LEE WILKOF 25:18 There are some things in the film that it was it was suggested that we edit it a different way. And I was adamant not to. And, and those things are in the film. And there's a few things that were not my idea. And that I learned to live with. Ultimately, we ended up with I think, a pretty damn well edited film. It was a somewhat of a difficult journey, the post production, I think, where we got in, I think, I probably got us into a little bit of a little bit of jams, because I didn't do the sometimes the coverage I should have done. Yeah, if I had the opportunity, if I get the opportunity to do it again, I will. I've learned I learned a ton from that. That's where I learned the most, what I needed for the editing room. JOHN GASPARD 26:22 So, there's two questions I always ask at the end, do with these what you will. The first question is two part: what's the smartest thing you did during production? And what was the dumbest thing you think you did? LEE WILKOF 26:36 The smartest thing I did was getting Nathan and Gabriel on board, deciding when Maury wasn't available to get Nathan, and not saying, I don't think Gabriel Byrne. And the stupidest thing I'm not going to say. I won't. JOHN GASPARD 27:00 But you learned from it. LEE WILKOF 27:01 I learned from it. I learned from it. And that's all I can say. JOHN GASPARD 27:07 So, are you going to do this again? LEE WILKOF 27:10 I'm really getting itchy to do it. There's another script that I wrote with the same young man, it's called Teenage Waistband. And it's about growing up in Canton, Ohio my junior, sophomore year high school. Was at a junior? In late 60s in Canton, Ohio, it's period and it would cost a fair amount of money. I'd love to do it. But I wouldn't want to do it under the certain same circumstances. I don't want to do it. I don't want to put my hat in my hand and have to go ask a zillion people for, you know, $1,000 here and there. So, I don't know. But I hope to do it again. I'm trying to figure out what to do next. JOHN GASPARD 27:59 Before I could let him go. Lee was kind enough to spend a few minutes talking about two early-stage successes, Sondheim's Assassins, and the original off-Broadway production of Little Shop of Horrors. So, I had a couple questions for you about just that whole experience, because having talked to Roger Corman about the movie, the original movie. LEE WILKOF 28:18 Yeah, I did it in Los Angeles and met him That was thrilling. Actually, opening night in Los Angeles, Roger came, Jackie Joseph came who played Audrey, and I forget the guy's name. Yes. I forget his name. Anyhow, anyhow, what do you want to know? JOHN GASPARD 28:38 Well, Corman was so, I tell the story all the time to filmmakers, because he was he's a great interview. He's an engineer, and he speaks like an engineer and perfect sentences. And I had 20 minutes and I had to talk about five movies with him, because I was doing five different. And I asked him, I said, So you shot a little shop in three days? And he said, Well, technically, yes. But there was some pickups. I had the actors for five days, and we rehearsed for three and shot for two. And that's what I tell people all the time is you think you think rehearsal is not important? The cheapest man in the world, spent three days rehearsing. And then he said, I shot it with two cameras. He said it really was more of a stunt. I've never do that sort of thing again. But how did you get involved in that project? LEE WILKOF 29:25 I could go on for hours. Anyway, I grew up in Cleveland. I grew up in Canton, Ohio. This is a little background because you just talked about the film, grew up in Canton, Ohio, on Friday nights. In the late 50s. Early 60s There was a guy that did the horror movies. His name was Ghoulardi his name, Ernie Anderson. His son is Paul Thomas Anderson. If you see Paul Thomas Anderson's films called Ghoulardi films. And he showed horror movies. One of our favourites, we would have like sleepovers with you know, 12 year old boys and we'd stay up late and watch. And one of our favourites was always Little Shop of Horrors, the original Little Shop of Horrors. So, I grew up knowing it, loving it, being, just thinking it was amazing. Didn't know when I was a kid that it was shot in three days, but it was primitive. You know, it was great. It's crazy. It's one of those movies. It's so bad that it's great. It's brilliant. It's not bad movie. It's just production values when you look at it now, of course, two days, you know, the scene with Jack Nicholson, this that fell over and they stopped shooting this. So anyway, okay, I was familiar with it. I did a play in New York. The play with Maury Chaykin and I met our stage manager, who had a girlfriend who was a casting director. And I knew them personally. I moved to California a few years after doing that first play in New York, and I was pursuing my Hollywood, that pursuit, working sporadically and playing nerds on TV. And I got a call from this woman. The woman who was the girlfriend of my stage manager. We're doing a musical written by Alan Menken and Howard Ashman, and I knew Alan Menken from a revue I did in in New York before I moved to California. And it's called Little Shop of Horrors. I said, I know this, I know Little Shop of Horrors. I grew up watching it, somebody's turned it in to a musical. That's amazing. So, I was very excited. I flew myself into New York. And I was auditioning for the role of the dentist for some reason or another and I , in those days, when I was in California, I was I was I was wearing I was trying to get jobs with wearing a toupee. I was bald when I was 17. And I walked into the audition. And Alan Menken knew me from this revue that I did as bald and he started laughing, and I got so embarrassed, I tore off my toupee. And Howard Ashman said, You are not a dentist, you're Seymour, you're you know, you're a potential Seymour. So, I auditioned for the role. And it, I got a call back the next day. And it was between me—this is a story I've heard years later—but the story was it came down to me and another actor. Nathan Lane, between me and Nathan and Howard Ashman had an assistant, a young woman who suggested to him that I was probably a better fit, for one reason or another. And she is my wife. I married her, I met her on the show, and married her. Her name Connie Grappo. She subsequently directed it all over the world. And so, I played Seymour. We opened it in New York, it was this tiny little show, I would take the flyers for it to people. And they would like, you know, look at me, like what the hell was this. And then, a month later, they were begging me for tickets, because it was such a huge hit. It was the hottest ticket in New York. And it was in a little 99 seat theatre, and then it moved off Broadway ran for five years, but I didn't do it for five years. I did it for like six months, and then six months in Los Angeles, where it didn't do so well. And then I fille in over the years for different Seymour's that would go on vacations. So that was that. My wife directed it all over the world. And then there was a production in Florida that was Broadway bound about 12 or 15 years ago, and I played Mr. Mushnik in that. So I have played Mr. Mushnik. But I did not come. It came to Broadway but I did not come in with it for all sorts of different reasons. But I would like to play this. I'm certainly old enough. JOHN GASPARD 34:38 Yes. It's finally time. LEE WILKOF 34:44 It was 35 years ago, it was just about now. We were in rehearsal. 35 years ago, we opened the end of April or the beginning of May in 1982. And it was you know very, it was very profound for my career. Because it was a huge hit. And it got me. You know, people came to see it. And I met my wife on it. So it was it was very significant. You know, people say to me, what's your favourite thing you've ever done? And they all think I'm going to say Little Shop of Horrors. And it's Assassins. Assassins is, is the greatest experience I ever had. It was not a huge smash hit. But I was, you know, I was in A Sondheim musical, which is a gift that I got. And the cast. I loved the cast. And for me a lot of doing it any show is who I'm doing it with. Of course, you know, the material is really important, but I, it was just a great cast. And the part was really challenging. I think that was a show like the director didn't know what the hell to help me do and I was kind of on my own and I kind of, thank God, found my way.I don't have a lot of stories except we did the album. Nowadays you do a cast album, you do it in like, you get one take. On Assassins, we had three days. And the first number up was the number that I had the most singing. My character really did monologues and didn't sing. I played this guy Sam Bick, who tried to kill Richard Nixon by crashing an airplane into the White House. He was shot in the cockpit. But anyhow, he did these like rants. He did these taped rants. But I had the song that I had to sing and it was the first number up and I was nervous and I was tight. And Steve Sondheim had a broken ankle so he couldn't come in like to the studio. He was in the in the control room. And I was I was just struggling with it. I came in during a break to hear it and Steve Sondheim said to me, yeah, it's tough for you guys that can't sing. And, you know, I wanted to disappear. But we finally got it. They told me to try to sound like Jack Nicholson. And I think it's who I tried to sound like.And then years later I did another thing with Steve Sondheim, this workshop of thing called The Frogs. And I did have a number and I sang. And he forgot that he told me I couldn't sing and he was very complimentary. So, in the presence of him was just like, the most intimidating, the most. It was, it was thrilling, but he's very intense. It was just a great experience. My greatest joy and the thing that I cherish the most. [SOUND CLIP FROM LITTLE SHOP] JOHN GASPARD 38:20 Thanks to Lee Wilkof—heard here performing my favourite song from Little Shop of Horrors, Mushnik and Son—for taking the time to talk to me about his movie, “No Pay Nudity,” which is available now for home viewing. I recommend that you track it down. If you liked this interview, you can find lots more just like it on the Fast Cheap Movie Thoughts blog. Plus more interviews can be found in my books, Fast, Cheap And Under Control:Lessons Learned From The Greatest Low Budget Movies Of All Time, and its companion book of interviews with screenwriters, called Fast, Cheap And Written That Way. Both books can be found on Amazon, Barnes and Noble, Kobo, Google, and Apple books. And while you're there, check out my mystery series of novels about magician Eli Marks and the scrapes he gets into. The entire series starting with The Ambitious Card can be found in paperback hardcover eBook and audiobook formats. Well, that's it for episode 103 of the occasional film podcast. Produced at Grass Lake Studios. Original Music by Andy Morantz. Thanks for tuning in, and we'll see you occasionally.

Topics Discussed:How the unborn are viewed by our societyDo people treat mothers and fathers differently when it comes to miscarriage?Parental rights to bury miscarried and stillborn childrenThe impact of legalized abortion on the our culture and the loss of a baby“Angel-versaries” and Due DatesThe impact on families Links Mentioned:Heaven's Gain MinistriesHeaven's Gain Ministry Podcast: Let's Talk Miscarriage and StillbirthPro-Life America Podcast Episode 96: The Importance of MenRate & Review Our Podcast Have a topic you want to see discussed on the show? [Submit it here.]To learn more about what Life Dynamics does, visit: https://lifedynamics.com/about-us/Support Our Work Be Sure To Follow Life Dynamics:Our WebsiteFacebookTwitterInstagramYouTube

Jam Fam, this episode is incredible.  Thank you to our guest, Lainie Sakakura, for lending your knowledge, humor and memories to this episode.  We were honored to have you as our guest.  LAINIE SAKAKURA is a NYC based writer, director, choreographer, educator.Most recently directed the new musical, Corner of Bitter and Sweet adapted from New York Times Best Seller, Hotel on the Corner of Bitter and Sweet by Jamie Ford. Book by Lainie Sakakura, Music and Lyrics by Paul Fujimoto. NYC 29 hour Equity reading co-produced by the 5th Avenue Theatre, Abingdon Theatre Company. Writers, Sakakura and Fujimoto attended the 2020 Goodspeed Musicals Johnny Mercer Writers Grove following the reading. Award winning choreographer - 2015 Joe A. Callaway Award Outstanding Choreography for the Off Broadway show, Red Eye of Love in collaboration with Alex Sanchez. 2002 Joseph Jefferson Award Best Choreography for Damn Yankees, Marriott Theatre in collaboration with David H. Bell. 2003 Joseph Jefferson Nomination Best Choreography for Hot Mikado. Currently a Choreography Advisory Board Member for New York Theatre Barn.Fosse Reconstruction - worked on approximately 70 Bob Fosse numbers from 1994-1999 with Gwen Verdon and Chet Walker. The original onstage Dance Captain starting with the 1996 workshop through Broadway. Dance Reconstruction and onstage Dance Captain for Ann Reinking in the 1999 Tony Award Winning Best Musical. Other Fosse reconstruction work includes Big Spender starring Chita Rivera and Ann Reinking for Cy Coleman's Memorial, Majestic Theatre (ASCAP). Mexican Shuffle, Gwen Verdon memorial tribute at BCEFA Gypsy of the Year, Palace Theatre. Currently, Verdon Fosse Legacy instructor.Broadway - Ms Sakakura was offered original casts of 8 Broadway shows, but ultimately accepted 6 including: Fosse (dance reconstruction and onstage dance captain); Chita Rivera The Dancer's Life; Flower Drum Song (2002 revival); Tommy Tune's The Best Little Whorehouse Goes Public; The King And I (1996 Lou Diamond Phillips, Donna Murphy revival), The King And I  (2015 Ken Watanabe, Kelli O-Hare revival). Recorded on 4 Broadway cast albums including 2015 Grammy Nominated, The King And I.​Diversity and inclusion - Co-founder/Co-chair Rockettes of Color Alumnae. In 1994 Sakakura became the second AAPI RCMH Rockette hired following Setsuko Maruhashi, who was not only the first AAPI Rockette but also the first Rockette of color. Previously 7-year Co-chair of PS 87 Culture & Community Committee, producing and directing almost 30 multicultural performance events for a NYC public school of nearly a thousand students.  Educator - 32 years teaching experience. Guest teacher and/or choreographer in countless programs across the country including: New York University Tisch - New Studio on Broadway (Adjunct Professor), Carnegie Mellon, Chapman Univ, Sam Houston State, American Ballet Theatre, Jacob's Pillow, Joffrey Ballet, LINES Dance Center, Pace University (Adjunct Professor). Private program, Sakachez™Please like and subscribe wherever you stream your podcasts from!  Don't forget to leave us a commentFollow us:Instagram: jam_dance_podcastFacebook: JAM Joe and Michelle's Dance Podcast

We are saddled up with the great Linda Emond. You Might Know Her From The Gilded Age, Lodge 49, Julie & Julia, Succession, North Country, Jenny's Wedding, and the Broadway productions of Cabaret, Life x 3, and Death of a Salesman. Linda talked to us about her collaborating with iconic visionaries like Tony Kushner and Mike Nichols, doing double duty as Clara Barton on The Gilded Age while also recording voiceover for her role on Succession, and feeling the support from the fervent fanbase of Lodge 49. All that plus her years-long tenure as a lesbian on various Law & Order shows, the infamous “white dog” on the North Country set, and the absence or presence of actual sexual chemistry between the female leads of Jenny's Wedding. This one was just mm mm good. Enjoy!  Follow us on social media @damianbellino || @rodemanne  Discussed this week Chili's > Ruby “Bloody” Tuesday Double homicide at Ruby Tuesday in Columbia, Missouri WAS solved. And of course Missouri executed the man who apparently committed the crime. Starred in the 2012 Broadway revival of Death of a Salesman starring Phillip Seymour Hoffman and directed by Mike Nichols Starred in Homebody/Kabul (2004) and A Bright Room Called Day (2019) Tony Kushner and Mark Harris were Linda Emond's [od Pandemic projects: Sandra Bullock movie, The Unforgivable, The Bite, Succession Lodge 49 brilliant but canceled Played Simone Beck in the 2009 Nora Ephron movie,  Julie and Julia Has worked with all of Meryl Streep's kids except Henry Mamie Gummer was in the Kimberly Peirce film, Stop-Loss Starred in the musicals, 1776 and 2014 revival of Cabaret (did Sunday in the Park with George in Chicago) Played Susan Sarandon in the 2015 drama, 3 Generations (Elle Fanning as a trans character) Linda was “The Law & Order Lesbian” (at least once opposite Olivia d'Abo) Headmistress Queller in OG Gossip Girl, but in the reboot, Donna Murphy is new headmistress Was replaced in OG series with Jan Maxwell when Linda had another project Slut shamed Charlize Theron in North Country (Woody needs a wrangler) Voice of Lifetime Intimate Portraits Kathy Ireland's net worth is $500million Isabel Sanford's autobio You Can Call Me Weezy Played Katie Heigl's mom in the lesbian dramedy Jenny's Wedding (check the chemistry) Anne and Hayley Mills were at this after party for Homebody/Kabul with Linda Emond “Let's Get Together” hands on head dance

TESS SOLTAU graduated from The King's Academy in 2005 where she played numerous lead roles in the TKA Theatre Company. Tess is a graduate of Carnegie Mellon University, with a BFA in Acting and Musical Theatre. Tess's Broadway credits include, Far From Heaven (Playwrights Horizons), alongside Kelly O'Hara, The Addams Family, where she played the role of Wednesday, Into the Woods, where she starred as Rapunzel opposite Donna Murphy and Amy Adams, and most recently in Wicked, where she stunned audiences as the fabulous Glinda. Her television credits include True Detective, NCIS: New Orleans, The Good Fight, White Collar, Law and Order SVU. Tess was also featured in the film Paterno (HBO, dir. Barry Levinson), Love and Other Drugs (dir. Edward Zwick). Tess is also the co-founder and co-owner of New York City's puppy boutique, Hound and Tail. Learn more about your ad choices. Visit megaphone.fm/adchoices

Donna Murphy is an Emmy and Tony Award-winning Actress who has built an illustrious career on stage and screen. She won a Tony Award for her performances in PASSION and THE KING AND I and has lit up the Broadway stage in WONDERFUL TOWN, LOVE/MUSIK, THE PEOPLE IN THE PICTURE, HELLO, DOLLY!, and many more.  Her voice is famously known as "Mother Gothel" in Disney's "Tangled," and she can currently be seen in HBO's "Gossip Girl" and "The Gilded Age." In this episode, Donna breaks down the art of preparation, discovering identity in storytelling, and becoming a mother through step-parenthood and adoption.  The Road Less Traveled The Gilded Age Donna Murphy

In this special episode, Katie attempts to honor the late, great Stephen Sondheim by discussing his work, and what it's meant to her personally, with Comparative Literature PhD candidate, Evan Strouss.

There's never been a musical theatre game show… until now. In “The Great Broadway Game Show Competition”, teams of Broadway stars face off against each other, and the audience, to “Name That Show Tune”, and win money for charity, while sharing intimate stories and memories from their lives and careers.   Created and hosted by Todd Graff, and joined by co-host Andrew Lippa (Tony nominated composer/lyricist of The Addams Family, Big Fish and The Wild Party), guest players include Annaleigh Ashford, Andy Karl, Orfeh, Liz Callaway, Robin de Jesus, Tamara Tunie, Angela Grovey, Krysta Rodriguez, Jeremy Jordan, Ashley Spencer, Jason Alexander, Ken Page, Katie Finneran, J.K. Simmons, Howard McGillin, Jason Tam, Jackie Hoffman, Ann Harada, Bruce Vilanch, Capathia Jenkins, Beth Leavel, Andrew Keenan-Bolger, Donna Murphy, Tracee Beazer, and many, many more. Plus, the home audience not only provides game questions, but can actually come onto the podcast and play. Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week's 100th and final regular episode of the series, Jamie and Rob cap off their season-long theme of “our favorite things” by recounting and celebrating some of the great performances by great performers that they've been fortunate enough to see over a lifetime of theatergoing. Joining them in sharing their personal remembrances for this special milestone episode is a roster of former guests including Joel Grey, Donna Murphy, Betty Buckley, and more! Tune in for one final episode as live theatre begins again in New York and we celebrate theatre itself: the fabulous invalid. This week's music: “Dream Ballet”, from “Oklahoma! 2019 Broadway Cast Recording”, “Today”, and “Writing A Gospel Play”, from “A Strange Loop”. “Star and Slave”, from “Here Lies Love: Original Cast Recording”, “Audition”, from “42nd Street: 2001 Broadway Cast". “Too Much Exposition”, and “I See A River”, both from “Urinetown”, “Back to Before”, from “Ragtime, Original Broadway Cast”, “Party, Party”, from “Dreamgirls: In Concert”, “I Do Miracles”, from “Kiss of the Spiderwoman 1994 Cast Recording,”. “Parade In Town”, from “Anyone Can Whistle”, “Rose's Turn”, from “Betty Buckley An Evening At Carnegie Hall”, “Rose's Turn” from “Gypsy, 2008 Broadway Cast Recording”, “Betrayed”, from “The Producers”, “Together”, from “Gypsy, Broadway Cast Recording" (Tyne Daly), “Lot's Wife” from “Caroline or Change”, “Hard to Say Goodbye”, from “Dreamgirls Original Cast Recording”. Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: office@fabulousinvalid.com  Jamie DuMont Twitter: @jamiedumont  Instagram: @troutinnyc Rob Russo Twitter/Instagram: @StageLeft_NYC Learn more about your ad choices. Visit megaphone.fm/adchoices

Hi Divas! This week we have the amazingly talented Eleri Ward on the pod! Be sure to give her amazing album A Perfect Little Death a listen, you MT queers won't regret it. This week we're talking about the queen of Broadway and the silver screen, two time Tony Award winner and star the cinematic event of the year 2000, Center Stage, the one, the only: Donna Murphy! We gush over her amazing performance as Fosca in Passion all the way to her turn in the Bourne Legacy. Of course we go into the Red Dress Sondheim Concert of it all. She has this amazing grace, beauty, and strength in everything she does. Dare we say, goddess like poise, a la the Greek deity, Athena????? Also, Eleri is the first guest who has a tried and true "follow for follow" with their diva! Donna, if you're listening, we'd love to have you on! Come worship with us!

On this week's episode, Rob and Jamie chat with Rob's high school friend, actor, author, activist, podcaster, and producer Jenna Ushkowitz. Together, they talk about Jenna's diverse career, from making her Broadway debut at age nine in “The King and I” to her recent Tony Award-winning foray into producing, including her star turn on the hit TV series “glee”. Jenna participates in another round of “quarantine edition” quick questions with Rob and Jamie, and, of course, the three share their love for all things Donna Murphy.  This week's music: “Everything Taboo” from “Taboo: Original Broadway Cast”, “ABC” from “Glee: The Music, Volume 7”, “March of the Siamese Children” and “Getting To Know You”, from “The King and I (New Broadway Cast Recording)”, “There's A Fine, Fine Line” from “Avenue Q”, “True Colors” from “Glee: The Music Volume 2”, “Waiting For Life” from “Once On This Island: New Broadway Cast”, “Micheal in the Bathroom” from “Be More Chill: Original Broadway Cast”, and “Hung Up” from “Glee: The Music, The Complete Season Four" Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: info@fabulousinvalid.com    Jamie Du Mont Twitter: @jamiedumont  Instagram: @troutinnyc  Rob Russo Twitter/Instagram: @StageLeft_NYC  Jennifer Simard Twitter: @SimardJennifer  Instagram: @thejennifersimard Learn more about your ad choices. Visit megaphone.fm/adchoices

So many women suffer from the loss of their child due to miscarriage, stillbirth or early infant death, and yet, many never talk about it, let alone get support with their grief. Today on the Grief Anonymous Podcast, host and Inspirationista, Sherrie Dunlevy talks with a woman who's mission it is to change that for these women and families and to give those babies a dignified way to leave this world. Donna Murphy, the founder of Heaven's Gain Ministries. Donna has a very personal reason for helping these mothers. Her story will move you. To get more information on the Heaven's Gain Ministries go to www.heavensgain.org. Or you can call Donna Murphy at 513-607-6083. ******* For more information on Grief Anonymous: www.griefanonymous.com For more information on the Grief Resource Network: www.griefresourcenetwork.com To order a copy of her best selling book “How Can I Help?” go to www.SherrieDunlevy.com/author. To invite Sherrie to speak at your next event, conference or to book a How Can I Help?- Workshop at your business, hospital or school, contact Sherrie at SherrieDunlevy@gmail.com