Podcasts about florenz ziegfeld

Welcome to Glenn Robison's Rapidly Rotating Records, bringing you vintage music to which you can't not tap your toes, from rapidly rotating 78 RPM records of the 1920s and '30s. Do you know who this fellow is? He's American impresario and producer Florenz Ziegfeld, Jr. and this week's is an “All Ziegfeld” edition of Rapidly […] The post A Florenz Ziegfeld Edition of RRR # 1,288 March 23, 2025 appeared first on Glenn Robison's Rapidly Rotating 78 RPM Records.

Welcome to the wonderful and opulent world of Florenz Ziegfeld...in a way. Sierra's back to discuss a movie that is a series of vignettes that stars almost every MGM big named actors.Sierra's Instagram: @sierrareinMarquee Five: @marqueefivePodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodTikTok: @butasongpodTwitter: @butasongpodNext episode: Roller Boogie!

True History: Stage Struck “The Life and Career of Florenz Ziegfeld” 3/21/54 CBS.

This week on Vintage Classic Radio's "Sunday Night Playhouse," we journey back to the golden era of radio with a special presentation of "Ziegfeld Follies of the Air 1936," originally broadcasted by Lux Radio Theatre on February 29, 1936. This radio play, an adaptation of the illustrious stage show created by Florenz Ziegfeld, captures the essence of 1930s entertainment and brings it to life for modern audiences. The Ziegfeld Follies, a hallmark of American entertainment, transitioned from the stage to the airwaves during the 1930s, thanks to CBS Radio. This adaptation, a blend of music, comedy, and drama, was part of a series that aired as a tribute to Florenz Ziegfeld after his passing in 1932. The radio adaptation, authored by the talented team at Lux Radio Theatre, keeps the spirit of Ziegfeld's vision alive, infusing each episode with the glamour and allure of the original stage shows. Hosted by Eddie Dowling and featuring the musical direction of Al Goodman, this episode showcases a stunning array of talent. Notable performances include Fanny Brice, bringing her comedic genius in the role of Baby Snooks; Helen Morgan, with her enchanting vocal performances; and Jack Pearl, who introduces the audience to the humorous character of "Baron Munchausen." The episode also stars Will Rogers, delivering his trademark wit, and a rare radio appearance by Ziegfeld himself. The cast list for this memorable broadcast includes: Eddie Dowling as the Host Al Goodman leading the Orchestra Fanny Brice as Baby Snooks Helen Morgan in various musical numbers Jack Pearl as Baron Munchausen Will Rogers in comedic monologues Florenz Ziegfeld in a special appearance Other notable guests include Patty Chapin, James Melton, and Benny Fields, each adding their unique flair to this historic broadcast. "Ziegfeld Follies of the Air 1936" is a rare gem, a glimpse into the past when radio reigned supreme. Few episodes of this series survive, making this broadcast a precious piece of entertainment history. Tune in to Vintage Classic Radio this Sunday for an unforgettable trip down memory lane, celebrating the legacy of one of America's greatest showmen, Florenz Ziegfeld.

A large public spectacle features an heiress at its center, but all that attention comes with other warnings. April 1932, Barbara Hutton serves the primary role in the Spirit of Adventure charity pageant at Madison Square Garden.  The whole event is a family affair, and many others participate over the night's activities. Other people and subjects include: Marjorie Merriweather Post Hutton, E.F. Hutton, Franklyn Hutton, Irene Hutton, James “Jimmy” H.R. Cromwell, Phil Plant, Evalyn Walsh McLean, Gaston Means, Charles Lindbergh, Charles Lindbergh, Jr., Sophia Brownell Hutton, Eleanor Van Alen – Mrs. James “Henry” Van Alen, “Birdie” Virginia Graham Fair Vanderbilt – Mrs. William K. Vanderbilt, Amelia Earhart, George Palmer Putnam, Eleanor Smith, Kermit Roosevelt, Vincent Astor, Captain Robert Bartlett, Walter Granger, Martin Johnson, Osa Johnson, George Eastman, bullfighter Sidney Franklin,  Aubrey Van Nostrand, Mrs. Tony Biddle, Jr., Earl of Gosford, Countess of Gosford Beatrice Claflin Acheson, Mrs. “Georgia” Lucius Boomer, Florenz Ziegfeld, Mrs. Florenz Ziegfeld – Billie Burke – Glinda the Good Witch The Wizard of Oz, Netflix The Diplomat, Joseph Urban, Fred Ward, June Blossom, Mrs. William Randolph Hearst, Lila Agnew Stewart, John Harkrider, Dean Jennings, socialites, exotic, adventure, explorers, historical explorers, retrospect, radium glowing costumes, bodyguards, arrest -- Extra Notes / Call to Action:New York Adventure Club www.nyadventureclub.comCheck out Gary Lawrance's webinars on the Gilded Age mansions & owners Share, like, subscribe                                                                                                                                       --Archival Music provided by Past Perfect Vintage Music, www.pastperfect.com.Opening Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance BandsSection 1 Music: Red Sails In The Sunset by Casani Club Orchestra, Album The Great Dance Bands Play Hits of the 30sSection 2 Music:On The Beach At Bali Bali by Billy Merrin & His Commanders, Albums The Great Dance Bands Play Hits of the 30s & Tea Dance 2Section 3 Music: Sing A Song of Sunbeams by Ronnie Munro & Orchestra, Albums Tea Dance 2 & The Great Bands Dance Bands Play Hits Of The 30sEnd Music: My Heart Belongs to Daddy by Billy Cotton, Album The Great British Dance Bands -- https://asthemoneyburns.com/TW / IG – @asthemoneyburns Facebook – https://www.facebook.com/asthemoneyburns/

 My guest again this week is Sunny Stalter-Pace whose fascinating new book is titled: Imitation Artist — Gertrude Hoffmann's Life in Vaudeville and Dance. Choreographer, producer, director, and dancing star, Gertrude Hoffmann was a close colleague and key collaborator with neatly all the legendary figures of early Broadway including Florenz Ziegfeld, Oscar Hammerstein I, the Shubert Brothers, and George M. Cohan. But, unfortunately Gertrude Hoffmann has been left out of most of the history books, at least until this book came out.   On the last episode Sunny shared the story of Hoffmann's journey from teenage dancing star in San Francisco, to her marriage to arranger and composer Max Hoffmann, and her early success in the roof garden theaters of New York where she become the first woman to receive billing for choreographing a Broadway musical.  As we left off, Gertrude's star was rising and she was capitalizing on her skill for mimicry by doing impressions the greatest stars of her day, both female and male, and sometimes impersonating them in the same show with those stars. But it was her next venture that makes her one of the most famous women in America when she takes on the role of “Salome” and performs her scandalous dance of the seven veils. That's where we pick up our conversation today.  As you will hear, following this “succès de scandale,” Gertrude Hoffman's amazing career will include introducing the dances of the famed Ballet Russe to America (without their permission!), becoming a headlining vaudeville star, creating her own troupe of dancers —The Gertrude Hoffmann Girls — who become an international sensation, as well as starring in and/or choreographing a string of hit 1920's Broadway musicals that include From Broadway to Paris, Artists & Models, A Night in Paris, and A Night In Spain. And as Sunny Stalter-Pace tells us her one of her legacies is to demonstrate that women were involved in the creation of the Broadway musical from the very beginning. Become A PATRON of Broadway Nation! 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

My guest this week is Sunny Stalter-Pace whose wonderful new book is titled: Imitation Artist — Gertrude Hoffmann's Life in Vaudeville and Dance.  And I am happy to say that this book covers her life on Broadway as well.  As you will hear Gertrude Hoffmann is another of those dynamic women who played key roles in the invention of the Broadway Musical but unfortunately have mostly fallen out of the history books, and are nearly forgotten today. Not only was she a scandalous and transgressive Broadway dancing star, she was also a producer, writer, director, and the first woman to choreograph a Broadway show — or at least the first to be credited for doing so. Her world-famous troop of Gertrude Hoffman Girls established a template for Broadway dance ensembles that is still very much with us today.  Beyond Broadway her influence and innovations extend into the worlds of Ballet, Night Clubs, Vaudeville, and Modern Dance. In this episode Sunny shares with us how Gertrude Hoffmann grew up in the vibrant theatrical world of late 19th Century San Francisco, and became a noted performer there while still in her teens. Soon after, she joined a traveling show that takes her to NYC and met her soon to be husband — music director and composer, Max Hoffman, who goes on to compose music for 12 Broadway shows.   Gertrude Hoffmann was a trusted colleague and key collaborator with almost all the legendary figures of early Broadway including Florenz Ziegfeld, Oscar Hammerstein I, the Shubert Brothers, and George M. Cohan. She also mentored, collaborated with and/or feuded with many of the biggest stars of the era including The Dolly Sisters, Charlotte Greenwood, Eva Tanguay, and Anna Held. Sunny Stalter-Pace is an Associate Professor of American Literature at Auburn University, and it is my great pleasure to join with her to give some long overdue recognition to this important figure in the development of early 20th century show business. Become A PATRON of Broadway Nation! 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

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Welcome to our first episode of the new year, which is also our first episode of Season 5. Thank you for continuing to join us on this amazing journey. On today's episode, we head back to Christmas of 1980, when pop music superstar Neil Diamond would be making his feature acting debut in a new version of The Jazz Singer. ----more---- EPISODE TRANSCRIPT From Los Angeles, California, the entertainment capital of the world, this is The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today.   It's 2023, which means we are starting our fifth season. And for our first episode of this new season, we're going back to the end of 1980, to take a look back at what was supposed to be the launch of a new phase in the career of one of music's biggest stars. That musical star was Neil Diamond, and this would end up becoming his one and only attempt to act in a motion picture.   We're talking about The Jazz Singer.   As I have said time and time again, I don't really have a plan for this show. I talk about the movies and subjects I talk about often on a whim. I'll hear about something and I'll be reminded of something, and a few days later, I've got an episode researched, written, recorded, edited and out there in the world. As I was working on the previous episode, about The War of the Roses just before my trip to Thailand, I saw a video of Neil Diamond singing Sweet Caroline on opening night of A Beautiful Noise, a new Broadway musical about the life and music of Mr. Diamond. I hadn't noticed Diamond had stopped performing live five years earlier due to a diagnosis of Parkinson's, and it was very touching to watch a thousand people joyously singing along with the man.   But as I was watching that video, I was reminded of The Jazz Singer, a movie we previously covered very lightly three years ago as part of our episode on the distribution company Associated Film Distribution. I was reminded that I haven't seen the movie in over forty years, even though I remember rather enjoying it when it opened in theatres in December 1980. I think I saw it four or five times over the course of a month, and I even went out and bought the soundtrack album, which I easily listened to a hundred times before the start of summer.   But we're getting ahead of ourselves yet again.   The Jazz Singer began its life in 1917, when Samson Raphaelson, a twenty-three year old undergraduate at the University of Illinois, attended a performance of Robinson Crusoe, Jr., in Champaign, IL. The star of that show was thirty-year-old Al Jolson, a Russian-born Jew who had been a popular performer on Broadway stages for fifteen years by this point, regularly performing in blackface. After graduation, Raphaelson would become an advertising executive in New York City, but on the side, he would write stories. One short story, called “The Day of Atonement,” would be a thinly fictionalized account of Al Jolson's life. It would be published in Everybody's Magazine in January 1922.   At the encouragement of his secretary at the advertising firm, Raphaelson would adapted his story into a play, which would be produced on Broadway in September 1925 with a new title…   The Jazz Singer.   Ironically, for a Broadway show based on the early life of Al Jolson, Jolson was not a part of the production. The part of Jake Rabinowitz, the son of a cantor who finds success on Broadway with the Anglicized named Jack Robin, would be played by George Jessel. The play would be a minor hit, running for 303 performances on Broadway before closing in June 1926, and Warner Brothers would buy the movie rights the same week the show closed. George Jessel would be signed to play his stage role in the movie version. The film was scheduled to go into production in May 1927.   There are a number of reasons why Jessel would not end up making the movie. After the success of two Warner movies in 1926 using Vitaphone, a sound-on-disc system that could play music synchronized to a motion picture, Warner Brothers reconcieved The Jazz Singer as a sound movie, but not just a movie with music synchronized to the images on screen, but a “talkie,” where, for the first time for a motion picture, actual dialogue and vocal songs would be synchronized to the pictures on screen. When he learned about this development, Jessel demanded more money.    The Warner Brothers refused.   Then Jessel had some concerns about the solvency of the studio. These would be valid concerns, as Harry Warner, the eldest of the four eponymous brothers who ran the studio, had sold nearly $4m worth of his personal stock to keep the company afloat just a few months earlier.   But what ended up driving Jessel away was a major change screenwriter Alfred A. Cohen made when adapting the original story and the play into the screenplay. Instead of leaving the theatre and becoming a cantor like his father, as it was written for the stage, the movie would end with Jack Robin performing on Broadway in blackface while his mom cheers him on from one of the box seats.   With Jessel off the project, Warner would naturally turn to… Eddie Cantor. Like Al Jolson, Eddie Cantor was a Jew of Russian descent, although, unlike Jolson, he had been born in New York City. Like Jolson, he had been a star on Broadway for years, regularly performing in and writing songs for Florenz Ziegfeld' annual Follies shows. And like Jolson, Cantor would regularly appear on stage in blackface. But Cantor, a friend of Jessel's, instead offered to help the studio get Jessel back on the movie. The studio instead went to their third choice…   Al Jolson.   You know. The guy whose life inspired the darn story to begin with.   Many years later, film historian Robert Carringer would note that, in 1927, George Jessel was a vaudeville comedian with one successful play and one modestly successful movie to his credit, while Jolson was one of the biggest stars in America. In fact, when The Vitaphone Company was trying to convince American studios to try their sound-on-disc system for movies, they would hire Jolson in the fall of 1926 for a ten minute test film. It would be the success of the short film, titled A Plantation Act and featuring Jolson in blackface singing three songs, that would convince Warners to take a chance with The Jazz Singer as the first quote unquote talkie film.   I'll have a link to A Plantation Act on our website, The80sMoviePodcast.com, if you're interested in seeing it.   Al Jolson signed on to play the character inspired by himself for $75,000 in May 1927, the equivalent to $1.28m today. Filming would be pushed back to June 1927, in part due to Jolson still being on tour with another show until the end of the month. Warners would begin production on the film in New York City in late June, starting with second unit shots of the Lower East Side and The Winter Garden Theatre on Broadway, shooting as much as they could until Jolson arrived on set on July 11th.   Now, while the film has been regularly touted for nearly a century now as the first talking motion picture, the truth is, there's very little verbal dialogue in the film. The vast majority of dialogue in the movie was still handled with the traditional silent movie use of caption cards, and the very few scenes featuring what would be synchronized dialogue were saved for the end of production, due to the complexity of how those scenes would be captured. But the film would finish shooting in mid-September.   The $422k movie would have its world premiere at the Warner Brothers theatre in New York City not three weeks later, on October 6th, 1927, where the film would become a sensation. Sadly, none of the Warner Brothers would attend the premiere, as Sam Warner, the strongest advocate for Vitaphone at the studio, had died of pneumonia the night before the premiere, and his remaining brothers stayed in Los Angeles for the funeral. The reviews were outstanding, and the film would bring more than $2.5m in rental fees back to the studio.   At the first Academy Awards, held in May 1929 to honor the films released between August 1927 and July 1928, The Jazz Singer was deemed ineligible for the two highest awards, Outstanding Production, now known as Best Picture, and Unique and Artistic Production, which would only be awarded this one time, on the grounds that it would have been unfair to a sound picture compete against all the other silent films. Ironically, by the time the second Academy Awards were handed out, in April 1930, silent films would practically be a thing of the past. The success of The Jazz Singer had been that much a tectonic shift in the industry. The film would receive one Oscar nomination, for Alfred Cohn's screenplay adaptation, while the Warner Brothers would be given a special award for producing The Jazz Singer, the “pioneer outstanding talking picture which has revolutionized the industry,” as the inscription on the award read.   There would be a remake of The Jazz Singer produced in 1952, starring Danny Thomas as Korean War veteran who, thankfully, leaves the blackface in the past, and a one-hour television adaptation of the story in 1959, starring Jerry Lewis. And if that sounds strange to you, Jerry Lewis, at the height of his post-Lewis and Martin success, playing a man torn between his desire to be a successful performer and his shattered relationship with his cantor father… well, you can see it for yourself, if you desire, on the page for this episode on our website. It is as strange as it sounds.   At this point, we're going to fast forward a number of years in our story.   In the 1970s, Neil Diamond became one of the biggest musical stars in America. While he wanted to be a singer, Diamond would get his first big success in music in the 1960s as a songwriter, including writing two songs that would become big hits for The Monkees: I'm a Believer and A Little Bit Me, A Little Bit You.   And really quickly, let me throw out a weird coincidence here… Bob Rafelson, the creator of The Monkees who would go on to produce and/or direct such films as Easy Rider and Five Easy Pieces, was the nephew of Samson Raphaelson, the man who wrote the original story on which The Jazz Singer is based.   Anyway, after finding success as a songwriter, Diamond would become a major singing star with hits like Girl, You'll Be a Woman Soon, Sweet Caroline, and Song Sung Blue. And in another weird coincidence, by 1972, Neil Diamond would become the first performer since Al Jolson to stage a one-man show at the Winter Garden Theatre on Broadway.   By 1976, Neil Diamond is hosting specials on television, and one person who would see one of Diamond's television specials was a guy named Jerry Leider, an executive at Warner Brothers in charge of foreign feature production. Leider sees something in Diamond that just night be suited for the movies, not unlike Elvis Presley or Barbra Streisand, who in 1976 just happens to be the star of a remake of A Star Is Born for Warner Brothers that is cleaning up at the box office and at records stores nationwide. Leider is so convinced Neil Diamond has that X Factor, that unquantifiable thing that turns mere mortals into superstars, that Leider quits his job at Warners to start his own movie production company, wrestling the story rights to The Jazz Singer from Warner Brothers and United Artists, both of whom claimed ownership of the story, so he can make his own version with Diamond as the star.   So, naturally, a former Warners Brothers executive wanting to remake one of the most iconic movies in the Warner Brothers library is going to set it up at Warner Brothers, right?   Nope!   In the fall of 1977, Leider makes a deal with MGM to make the movie. Diamond signs on to play the lead, even before a script is written, and screenwriter Stephen H. Foreman is brought in to update the vaudeville-based original story into the modern day while incorporating Diamond's strengths as a songwriter to inform the story. But just before the film was set to shoot in September 1978, MGM would drop the movie, as some executives were worried the film would be perceived as being, and I am quoting Mr. Foreman here, “too Jewish.”   American Film Distribution, the American distribution arm of British production companies ITC and EMI, would pick the film up in turnaround, and set a May 1979 production start date. Sidney J. Furie, the Canadian filmmaker who had directed Diana Ross in Lady Sings the Blues, would be hired to direct, and Jacqueline Bisset was pursued to play the lead female role, but her agent priced their client out of the running. Deborah Raffin would be cast instead. And to help bring the kids in, the producers would sign Sir Laurence Olivier to play Diamond's father, Cantor Rabinovitch. Sir Larry would get a cool million dollars for ten weeks of work.   There would, as always is with the case of making movies, be setbacks that would further delay the start of production. First, Diamond would hurt his back at the end of 1978, and needed to go in for surgery in early January 1979. Although Diamond had already written and recorded all the music that was going to be used in the movie, AFD considered replacing Diamond with Barry Manilow, who had also never starred in a movie before, but they would stick with their original star.   After nearly a year of rest, Diamond was ready to begin, and cameras would roll on the $10m production on January 7th, 1980. And, as always is with the case of making movies, there would be more setbacks as soon as production began. Diamond, uniquely aware of just how little training he had as an actor, struggled to find his place on set, especially when working with an actor of Sir Laurence Olivier's stature. Director Furie, who was never satisfied with the screenplay, ordered writer Foreman to come up with new scenes that would help lessen the burden Diamond was placing on himself and the production. The writer would balk at almost every single suggestion, and eventually walked off the film.   Herbert Baker, an old school screenwriter who had worked on several of the Dean Martin and Jerry Lewis movies, was brought in to punch up the script, but he would end up completely rewriting the film, even though the movie had been in production for a few weeks. Baker and Furie would spend every moment the director wasn't actively working on set reworking the story, changing the Deborah Raffin character so much she would leave the production. Her friend Lucie Arnaz, the daughter of Desi Arnaz and Lucille Ball, would take over the role, after Cher, Liza Minnelli and Donna Summer were considered.   Sensing an out of control production, Sir Lew Grade, the British media titan owner of AFD, decided a change was needed. He would shut the production down on March 3rd, 1980, and fire director Furie. While Baker continued to work on the script, Sir Grade would find a new director in Richard Fleischer, the journeyman filmmaker whose credits in the 1950s and 1960s included such films as 20,000 Leagues Under the Sea, Compulsion, Fantastic Voyage and Doctor Doolittle, but had fallen out of favor with most studios after a string of flops. In fact, this would be the second film in a year where Fleischer was hired to replace another director during the middle of production, having replaced Richard C. Sarafian on the action-adventure film Ashanti in 1979.   With Fleischer aboard, production on The Jazz Singer would resume in late March, and there was an immediate noticeable difference on set. Where Furie and many members of the crew would regularly defer to Diamond due to his stature as an entertainer, letting the singer spiral out of control if things weren't working right, Fleischer would calm the actor down and help work him back into the scene. Except for one scene, set in a recording studio, where Diamond's character needed to explode into anger. After a few takes that didn't go as well as he hoped, Diamond went into the recording booth where his movie band was stationed while Fleischer was resetting the shot, when the director noticed Diamond working himself into a rage. The director called “action,” and Diamond nailed the take as needed. When the director asked Diamond how he got to that moment, the singer said he was frustrated with himself that he wasn't hitting the scene right, and asked the band to play something that would make him angry. The band obliged.    What did they play?   A Barry Manilow song.   Despite the recasting of the leading female role, a change of director and a number of rewrites by two different writers during the production, the film was able to finish shooting at the end of April with only $3m added to the budget.   Associated Film would set a December 19th, 1980 release date for the film, while Capitol Records, owned at the time by EMI, would release the first single from the soundtrack, a soft-rock ballad called Love on the Rocks, in October, with the full soundtrack album arriving in stores a month later.   As expected for a new Neil Diamond song, Love on the Rocks was an immediate hit, climbing the charts all the way to #2 on the Billboard Hot 100.   Several days before the film opened in 241 theatres on December 19th, there was a huge, star-studded premiere at the Plitt Century Plaza Cinemas in Los Angeles. Peter Falk, Harvey Korman, Ed McMahon, Gregory Peck, Cesar Romero and Jon Voight were just a handful of the Hollywood community who came out to attend what was one of the biggest Hollywood premieres in years. That would seem to project a confidence in the movie from the distributor's standpoint.   Or so you'd think.   But as it turned out, The Jazz Singer was one of three movies Associated Film would release that day. Along with The Jazz Singer, they would release the British mystery film The Mirror Crack'd starring Angela Lansbury and Elizabeth Taylor, and the Richard Donner drama Inside Moves. Of the three movies, The Jazz Singer would gross the most that weekend, pulling in a modest $1.167m, versus The Mirror Crack'd's $608k from 340 screens, and Inside Moves's $201k from 67 screens.   But compared to Clint Eastwood's Any Which Way You Can, the Richard Pryor/Gene Wilder comedy Stir Crazy, and Dolly Parton/Lily Tomlin/Jane Fonda comedy 9 to 5, it wasn't the best opening they could hope for.   But the film would continue to play… well, if not exceptional, at least it would hold on to its intended audience for a while. Sensing the film needed some help, Capitol Records released a second single from the soundtrack, another power ballad called Hello Again, in January 1981, which would become yet another top ten hit for Diamond. A third single, the pro-immigration power-pop song America, would arrive in April 1981 and go to number eight on the charts, but by then, the film was out of theatres with a respectable $27.12m in tickets sold.   Contemporary reviews of the film were rather negative, especially towards Diamond as an actor. Roger Ebert noted in his review that there were so many things wrong in the film that the review was threatening to become a list of cinematic atrocities. His review buddy Gene Siskel did praise Lucie Arnaz's performance, while pointing out how out of touch the new story was with the immigrant story told by the original film. Many critics would also point out the cringe-worthy homage to the original film, where Diamond unnecessarily performs in blackface, as well as Olivier's overacting.   I recently watched the film for the first time since 1981, and it's not a great movie by any measurable metric. Diamond isn't as bad an actor as the reviews make him out to be, especially considering he's essentially playing an altered version of himself, a successful pop singer, and Lucie Arnaz is fairly good. The single best performance in the film comes from Caitlin Adams, playing Jess's wife Rivka, who, for me, is the emotional center of the film. And yes, Olivier really goes all-in on the scenery chewing. At times, it's truly painful to watch this great actor spin out of control.   There would be a few awards nominations for the film, including acting nominations for Diamond and Arnaz at the 1981 Golden Globes, and a Grammy nomination for Best Soundtrack Album, but most of its quote unquote awards would come from the atrocious Golden Raspberry organization, which would name Diamond the Worst Actor of the year and Olivier the Worst Supporting Actor during its first quote unquote ceremony, which was held in some guy's living room.   Ironically but not so surprisingly, while the film would be vaguely profitable for its producers, it would be the soundtrack to the movie that would bring in the lion's share of the profits. On top of three hit singles, the soundtrack album would sell more than five million copies just in the United States in 1980 and 1981, and would also go platinum in Canada, South Africa, and the United Kingdom. While he would earn less than half a million dollars from the film, Diamond's cut of the soundtrack would net him a dollar per unit sold, earning him more than ten times his salary as an actor.   And although I fancied myself a punk and new wave kid at the end of 1980, I bought the soundtrack to The Jazz Singer, ostensibly as a gift for my mom, who loved Neil Diamond, but I easily wore out the grooves of the album listening to it over and over again. Of the ten new songs he wrote for the soundtrack, there's a good two or three additional tracks that weren't released as singles, including a short little ragtime-inspired ditty called On the Robert E. Lee, but America is the one song from the soundtrack I am still drawn to today. It's a weirdly uplifting song with its rhythmic “today” chants that end the song that just makes me feel good despite its inherent cheesiness.   After The Jazz Singer, Neil Diamond would only appear as himself in a film. Lucie Arnaz would never quite have much of a career after the film, although she would work quote regularly in television during the 80s and 90s, including a short stint as the star of The Lucie Arnaz Show, which lasted six episodes in 1985 before being cancelled. Laurence Olivier would continue to play supporting roles in a series of not so great motion pictures and television movies and miniseries for several more years, until his passing in 1989. And director Richard Fleischer would make several bad movies, including Red Sonja and Million Dollar Mystery, until he retired from filmmaking in 1987.   As we noted in our February 2020 episode about AFD, the act of releasing three movies on the same day was a last, desperate move in order to pump some much needed capital into the company. And while The Jazz Singer would bring some money in, that wasn't enough to cover the losses from the other two movies released the same day, or several other underperforming films released earlier in the year such as the infamous Village People movie Can't Stop the Music and Raise the Titanic. Sir Lew Grade would close AFD down in early 1981, and sell several movies that were completed, in production or in pre-production to Universal Studios. Ironically, those movies might have saved the company had they been able to hang on a little longer, as they included such films as The Dark Crystal, Frances, On Golden Pond, Sophie's Choice and Tender Mercies.   Thank you for joining us. We'll talk again soon, when Episode 99 is released.   Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Neil Diamond and The Jazz Singer.   The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment.   Thank you again.   Good night.

Todo comenzó en Filadelfia. En esta entrega de Swing Time, en Canal Extremadura, repasamos en dos sesiones toda una serie dedicada al Teatro musical de Broadway. Con José Manuel Corrales.

Synopsis Today's date marks the anniversary of the first performance of Jerome Kern's Show Boat, produced in 1927 at the National Theater in Washington, D.C. by Florenz Ziegfeld. Show Boat's book and lyrics were by Oscar Hammerstein II, adapted from Edna Ferber's novel, which had been published only the year before. It was a most unusual story for a musical, and dealt frankly with alcoholism and interracial marriage. Mixing tragic and comic elements was something simply unheard of in American musical theater of that time. Ziegfeld's secretary recalled that before the Washington premiere, he fretted that audiences would be disappointed that the girls on stage were wearing much too much clothing for a typical Ziegfeld show. There was little or no applause following the November 15th premiere, and Ziegfeld assumed that “Show Boat” was a flop. But the Washington audiences were simply too stunned to react. When Ziegfeld's secretary told his boss that there were long lines waiting to buy tickets for subsequent performances, at first Ziegfeld didn't believe it. But by the time Show Boat opened on Broadway the following month, even the Great Ziegfeld knew he had a hit on his hands—and one based on great music and a powerful book, with nary a scantily-glad show girl in sight! Music Played in Today's Program Jerome Kern (1885-1945) selections from Showboat Royal Liverpool Philharmonic; Carl Davis, cond. EMI 4573

Bodybuilding is now a competitive sport, but its roots lie in show business. Strongmen have long been a staple of circus acts for their feats of strength but it was Prussian bodybuilder Eugen Sandow, who, under the management of Florenz Ziegfeld, went from lifting heavy objects onstage to capturing the world's imagination by posing and flexing his muscles for fun and entertainment.Over a hundred years later, there's a club night called FLEX in San Francisco's leather bar Powerhouse, which has bodybuilders come show off their muscles and invites the audience to join in on the fun with a best biceps contest.Today FLEX organizer, bodybuilder and performer Andrew Dombos joins us to talk about putting together his muscle worship quarterly events, inspired by classic live muscle worship videos made by JimmyZ where audiences marvel at muscular physiques.ANDREW DOMBO: instagram.com/musclepupbadgeFAUSTO FERNOS: instagram.com/faustofernosMARC FELION: instagram.com/marcfelionPlus--➤ The sadomasochistic nature of working with a bodybuilding coach.➤ Preacher Dumbbell Hammer Curls will make you love your biceps.➤ Adding pre-digested carbs like Highly Branched Cyclic Dextrin into your workout drink for a great pump➤ Why Watermelon is wonderful.Episode #3040

Bodybuilding is now a competitive sport, but its roots lie in show business. Strongmen have long been a staple of circus acts for their feats of strength but it was Prussian bodybuilder Eugen Sandow, who, under the management of Florenz Ziegfeld, went from lifting heavy objects onstage to capturing the world's imagination by posing and flexing his muscles for fun and entertainment.Over a hundred years later, there's a club night called FLEX in San Francisco's leather bar Powerhouse, which has bodybuilders come show off their muscles and invites the audience to join in on the fun with a best biceps contest.Today FLEX organizer, bodybuilder and performer Andrew Dombos joins us to talk about putting together his muscle worship quarterly events, inspired by classic live muscle worship videos made by JimmyZ where audiences marvel at muscular physiques.ANDREW DOMBO: instagram.com/musclepupbadgeFAUSTO FERNOS: instagram.com/faustofernosMARC FELION: instagram.com/marcfelionPlus--➤ The sadomasochistic nature of working with a bodybuilding coach.➤ Preacher Dumbbell Hammer Curls will make you love your biceps.➤ Adding pre-digested carbs like Highly Branched Cyclic Dextrin into your workout drink for a great pump➤ Why Watermelon is wonderful.Episode #3041

From the May/June 2022 edition of The Scottish Rite Journal. Any accompanying photographs or citations for this article can be found in the corresponding print edition.

1936 sees the first Great Man Biopic take Best Picture in a highly, HIGHLY sanitized biography of Broadway legend Florenz Ziegfeld. Clare and Erin get swept up in the showmanship of the musical numbers, while Dan can only see a grim portent of empty calorie actor showcase biopics to come. Meanwhile, audiences turn out to see Clark Gable attempt to survive the San Francisco earthquake of 1936. One's a disaster movie, but are the movies disasters? Listen and find out!Find all of our episodes and the rest of Writing Therapy Productions' various entertainments at www.writingtherapyproductions.com

SHOW BOAT COMPOSER: Jerome Kern LYRICIST: Oscar Hammerstein II BOOK: Oscar Hammerstein II SOURCE: Edna Ferber's novel Show Boat (1926) DIRECTOR: Zeke Colvan, Oscar Hammerstein II CHOREOGRAPHER: Sammy Lee PRINCIPLE CAST: Jules Bledsoe (Joe), Howard Marsh (Gaylord), Helen Morgan (Julie) OPENING DATE: Dec 27, 1927 CLOSING DATE: May 04, 1929 PERFORMANCES: 572 SYNOPSIS: Spanning fifty years, a show boat, The Cotton Blossom, goes up and down the Mississippi River, chronicling the lives of the boat's performers, owners, and stagehands. As American society changes, so do the ideologies of those on the Cotton Blossom. Show Boat departed from the standard fare of musical comedies, comic operetta, and vaudeville revues, definitively envisioning a style of musical theatre in which dances, song, and dialogue served a unified dramatic arch. The serious subject matter, dealing with racism and unrequited love, was also a departure from the frivolous subject matter on musical theatre stages, establishing a new genre of musical storytelling. Susan Stroman, the choreographer for the 1994 revival, delves into the impetus behind musicalizing Edna Ferber's novel, the collaboration between Jerome Kern and Oscar Hammerstein II, Florenz Ziegfeld's concern about the show's success, and the reaction to the story in the 21st Century. Susan Stroman is a five-time Tony Award-winning director and choreographer most known for Crazy For You, Contact, The Scottsboro Boys, and The Producers. Her work has been honored with Olivier, Drama Desk, Outer Critics Circle, Lucille Lortel and a record six Astaire Awards. She directed and choreographed The Producers, winner of a record-making 12 Tony Awards including Best Direction and Best Choreography. SOURCES Block, Geoffrey Holden. “Show Boat: In the Beginning.” Enchanted Evenings: The Broadway Musical from Show Boat to Sondheim, Oxford University Press, 2004. Stempel, Larry. Showtime: A History of the Broadway Musical Theater, W.W. Norton, 2010. Culwell-Block, Logan. “5 Musicals That Got Major Revisions When They Returned to Broadway.” Playbill, 20 Apr. 2017. Davis, F. James. “Mixed Race America - Who Is Black? One Nation's Definition.” PBS, Public Broadcasting Service. Decker, Todd. Show Boat: Performing Race in an American Musical, Oxford University Press, 2015. Decker, Todd. Who Should Sing ‘Ol Man River'? The Lives of an American Song by Todd Decker, Oxford University Press, 2014. Kantor, Michael, director. Broadway: The American Musical. PBS, Public Broadcasting Service, 12 Oct. 2004. Kruger, Miles. Show Boat: The Story of a Classic American Musical. New York: Oxford University Press, 1977. (Updated soft cover edition - New York: Da Capo, 1990)  Lunden, Jeff. “'Showboat'.” NPR, NPR, 17 Apr. 2000. Maslon, Laurence. American Musicals: The Complete Book and Lyrics of Eight Broadway Classics 1927-1949. Library of America, 2014. Rich, Frank. “A Musical Theater Breakthrough.” The New York Times, 21 Oct. 1984. Swardson, Anne. “Showdown Over 'Show Boat'.” The Washington Post, 17 May 1993. “Ziegfeld Follies | History Detectives.” PBS, Public Broadcasting Service. Show Boat, Studio Cast Recording, EMI (1988) Show Boat starring Irene Dunn and Paul Robeson, directed by James Whale, Universal Pictures (1936) Show Boat starring Kathryn Grayson and Howard Keel, directed by George Sidney, MGM Studios (1951) Learn more about your ad choices. Visit megaphone.fm/adchoices

Broadway News: Ariana DeBose was nominated for Best Supporting Actress for her role as Anita in West Side Story. DeBose's nomination follows Rita Moreno's historic 1961 Oscar win, playing the same role in the earlier film adaptation. Lin-Manuel Miranda received a Best Song nomination for his "Dos Oruguitas" from Encanto, a nod that could achieve EGOT status. Miranda's screen adaptation of Jonathan Larson's biomusical tick, tick...BOOM! was recognized, with Broadway alum Andrew Garfield getting a nomination for Best Actor for his performance as Larson.  Tony nominee Amber Gray will play her final performance as Persephone in Hadestown February 19. Casting for the role of Persephone will be announced shortly. A musical adaptation of “Smash” is setting its sights on Broadway! The musical, based on the NBC television show, will feature a book by Bob Martin and Rick Elice and a score from Marc Shaiman and Scott Wittman, who wrote original songs for the television show. Steven Spielberg, Robert Greenblatt and Neil Meron, all of whom worked on the television show, will produce the new musical. Production dates have not yet been announced. The Public Theater recently announced the line-up for the 60th Anniversary Season of Free Shakespeare in the Park at The Delacorte Theater. This summer, Free Shakespeare in the Park will begin with the drama Richard III, directed by Tony nominee Robert O'Hara and featuring Danai Gurira in the title role. The season will continue with the return of the free Public Works musical adaptation of As You Like It after it was originally scheduled for the 2020 season, but delayed due to the pandemic. Adapted by Public Theater Artist-in-Residence Shaina Taub and Director of Public Works Laurie Woolery, with music and lyrics by Shaina Taub. Casting: Color Purple movie musical casting including American Idol winner Fantasia Barrino has been cast as Celie. It's a reprise of a role she held on Broadway in 2009. Tony nominee Danielle Brooks will take on the role of Sofia. She also starred in a different revival of The Color Purple on Broadway. Fantasia and Brooks will join the previously reported Taraji P. Henson as Shug Avery, Corey Hawkins as Harpo, Oscar and Grammy winner H.E.R. as Squeak, Halle Bailey as Young Nettie, and stage and screen star Colman Domingo as Mister. Full casting has been announced for the Broadway revival of Neil Simon's Plaza Suite starring Sarah Jessica Parker and Matthew Broderick. Tony winner John Benjamin Hickey directs the production, which will now begin previews February 25 at the Hudson Theatre for a limited engagement through June 26. Opening night is set for March 28. Joining Parker and Broderick in Suite 719 of the Plaza Hotel will be Danny Bolero as The Waiter, Molly Ranson as Jean McCormick/Mimsey Hubley, and Eric Wiegand as The Bellhop/Borden Eisler. Tony winner Michael McGrath and Tony nominee Erin Dilly will standby for Broderick and Parker, respectively, with Laurie Veldheer and Cesar J. Rosado serving as understudies. The upcoming Broadway revival of Funny Girl has unveiled the complete company as they begin their official first day of rehearsals. The production, starring Beanie Feldstein as Fanny Brice and Tony and Olivier nominee Rameen Karimloo as Nick Arnstein, begins March 26 at the August Wilson Theatre ahead of an April 24 opening night. Additional previously announced cast members include Jared Grimes as Eddie Ryan, and Emmy winner Jane Lynch as Mrs. Rosie Brice. They will be joined by Peter Francis James as Florenz Ziegfeld, Ephie Aardema as Emma/Mrs. Nadler, Debra Cardona as Mrs. Meeker, Toni DiBuono as Mrs. Strakosh, Martin Moran as Tom Keeney, and Julie Benko as the standby for Fanny Brice.  Follow @BwayPodNetwork on Twitter. Find co-hosts on Twitter at @AyannaPrescod, @CLewisReviews, and @TheMartinAcuna. Subscribe To BPN's newsletter HERE. Learn more about your ad choices. Visit megaphone.fm/adchoices

There have been numerous reviews since the play's beginning. And, today the stunning play is being performed worldwide and upheld as one of America's greatest musical-theater achievements. “Show Boat” was a testament to the courage of composer Jerome Kern, lyricist and librettist Oscar Hammerstein II, and producer Florenz Ziegfeld. In an era of “willful nonsense,” they attempted a complicated musical narrative epic with challenging themes and many storylines. It was the first time that serious black and white characters held the stage together as equals. Cap'n Andy's show boat, the COTTON BLOSSOM, travels up and down the Mississippi for decades, folding in its wake his brittle wife and glowing daughter, Magnolia, and her doomed romance with a gambler husband, along with a troupe of complicated supporting characters. Among them is Julie, a performer on the boat whose mulatto roots are revealed; because marrying a white man is against the law, she is forced to leave the COTTON BLOSSOM and spirals downward in an alcoholic fog. Her story intertwines with the romance of Magnolia and her ne'er-do-well husband as they are separated and united over several decades. Yet the most important character of all wasn't even on stage. “Ol' Man River” was a serious song, about the destiny of the mighty Mississippi and the people it encompasses. When it docked at the stunning new Ziegfeld Theater, the show gave audiences the same values Ziegfeld had offered for two decades: a huge cast, comic songs and dances, black actors performing with white actors, breathtaking design, soaring music, overwhelming spectacle, all burnished to a golden sheen. But this time, it had a story, an American story, a story with heart. “Show Boat” was an out-and-out hit, running 572 performances and proved so beloved by audiences and so lucrative for Ziegfeld that he revived it as early as 1932. It has been revived half a dozen times since and filmed three times. PBS Image www.stageflaves.com https://youtu.be/v_rB9-CJTPs --- Support this podcast: https://anchor.fm/brewspoursandsipsdotcom/support

The final letter in my A to Z of Musicals - all things beginning with the Letter Z including Florenz Ziegfeld, David Zippel, Catherine Zeta-Jones, Zorba, Jerry Zaks, Karen Ziemba, Chip Zien, Zorro, Craig Zadan, Renee Zellweger and more.

In this episode we discuss the ninth Best Picture Winner, The Great Ziegfeld, the first and one of the best Hollywood biopic musicals, the career of Florenz Ziegfeld, and the death and funeral of legendary Hollywood producer Irving Thalberg! Other topics include: George Jessel, musician and songwriter Spike Jones, Walt Disney, William Powell, Billie Burke, William Wyler, Irving Thalberg, costumes by Adrian, A Pretty Girl is Like a Melody, Mr. Deeds Goes to Town, film history Instagram: https://www.instagram.com/thanktheacademypodcast Twitter: https://www.twitter.com/thankacademypod Email us your thoughts: thanktheacademypod@gmail.com --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/thank-the-academy/support

Welcome to episode 2, now with improved audio quality (thanks Ollie!). This episode covers the musical theatre landscape before Oklahoma! You'll meet Florenz Ziegfeld, along with a crazy number of Hammersteins

This episode of Yesteryear features the jaunty wit of Patty Ziegfeld, who recalls her 1920s childhood at Burkeley Crest estate, in Hastings on Hudson, New York.She was the only child of Florenz Ziegfeld, impresario of the world renown Ziegfeld Follies, and his second wife, Billie Burke, best known for her role as Glinda the Good Witch from The Wizard of Oz. Among the exotic pets, the dollhouse styled after Mount Vernon, and the 1,000-piece dinner service from the Russian Imperial Court, it was indeed "Xanadu on Hudson."Natalie Barry, board president of the Hastings Historical Society, provides context and Edie Magnus reads.

In this episode David Armstrong and special quest Albert Evans continue the amazing story of how Jewish, Irish and other immigrants invented the Broadway Musical -- including the immortal contributions of Irving Berlin, Jerome Kern, McCarthy & Tierney, Eddie Cantor, Fanny Brice,, and Florenz Ziegfeld. Learn more about your ad choices. Visit megaphone.fm/adchoices

On March 9th, 1971, Lucille Ball, Lucie Arnaz, and Carol Burnett were guests of Dick Cavett's on his ABC late-night show. During the course of the interview Lucille Ball discussed being "fired" by renowned Broadway producer Florenz Ziegfeld at the tender age of sixteen.

He has inspired countless generations with his observations on the world of musical theatre and his literary output is staggering. His name is Ethan Mordden and just a few of his books are: When Broadway Went To Hollywood, Anything Goes: A History of the American Musical, Make Believe: The Broadway Musical in the 1920s, Sing For Your Supper: The Broadway Musical in the 1930s, Beautiful Mornin: The Broadway Musical in the 1940s, Coming Up Roses: The Broadway Musical in the 1950s, Open A New Window: The Broadway Musical in the 1960s, One More Kiss: The Broadway Musical in the 1970s, The Happiest Corpse I Have Ever Seen: The Last 25 Years of the Broadway Musical, and biographies on Kurt Weill, Florenz Ziegfeld, Rodgers and Hammerstein, and many others. His most recent book, All That Jazz: The Life and Times of the Musical Chicago, is now available in stores and on kindle. Ethan pulls back the curtain on his career to discuss how he fell in love with musical theatre, what musicals are deserving of a second look, and why Bob Fosse is the most iconic choreographer in musical theatre history. Also, Ethan shines the spotlight on Gwen Verdon, Tony Randall, and Maurine Dallas Watkins! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4

On this episode, we are discussing the ninth Best Picture Winner: “The Great Ziegfeld.” "The Great Ziegfeld" is a biopic that follows the rise of Florenz Ziegfeld, a theater producer who became renowned during the 1920s for his lavish stage productions. Starting out by promoting individual performers, Ziegfeld established revues featuring dozens of women, shows that developed into his famous Ziegfeld Follies on Broadway. His appreciation of women is also apparent off-stage, leading to a love triangle involving actresses Anna Held and Billie Burke.  Directed by Robert Z. Leonard, the film stars William Powell as Florenz Ziegfeld Jr., Myrna Loy as Billie Burke, Luise Rainer as Anna Held, and Frank Morgan as Jack Billings. Here on The Envelope, we discuss & review every Best Picture Winner in the Academy Awards History. We are a Cinema Squad Production, presented on the Cinema Squad Podcast Channel. You can reach anyone here at TheCinemaSquad.com – Just go there to email us, check our bios, and keep up with the latest episode.

On this episode of Opera for Everyone, we listen to Showboat - which isn't - strictly speaking - an opera, but could be considered the first American exploration of the operatic genre and the birth of the modern musical. "The show follows the lives of the performers, stagehands and dock workers on the Cotton Blossom, a Mississippi River show boat, over 40 years from 1887 to 1927. Its themes include racial prejudice and tragic, enduring love. The musical contributed such classic songs as "Ol' Man River", "Make Believe", and "Can't Help Lovin' Dat Man". The musical was first produced in 1927 by Florenz Ziegfeld. The premiere of Show Boat on Broadway was an important event in the history of American musical theatre. It "was a radical departure in musical storytelling, marrying spectacle with seriousness", compared with the trivial and unrealistic operettas, light musical comedies and "Follies"-type musical revues that defined Broadway in the 1890s and early 20th century." Source - Wikipedia

Take a trip with us down the grittiest streets in Times Square -- the faded marquees of the grindhouses, the neon-lit prurient delights of Eighth Avenue at night. Times Square in the 1970s was all about fantasy -- from the second-run theaters of 42nd Street to the pornographic pleasures of the adult bookstores next door. And yet our ideas of this place and time are also caught in a bit of fantastic nostalgia. In memory it becomes an erotic theme park, a quaint corner of New York City history. Sometimes its stark everyday reality is forgotten. In this show we focus on a couple of Times Square's most notorious streets from the period -- 42nd Street and Eighth Avenue -- and provide historical context for the seediness they were known for in this era.  Those glowing marquees disguise a theatrical history that dates from the beginning of Times Square, once hosting productions by the likes of Florenz Ziegfeld and Oscar Hammerstein. And the sex industries themselves trace back to the early seedy days of the Tenderloin neighborhood. They coalesced around Port Authority Bus Terminal (aka "the cavern of squalor") to produce a gritty scene that was at once alluring, dangerous, and quintessentially New York. Support the show.

We begin our quest to discuss and review every important musical from Show Boat to today with Show Boat itself, music by Jerome Kern, book and lyrics by Oscar Hammerstein II, produced by Florenz Ziegfeld. This 1927 show is considered by some to be the first modern musical, or at least the single most important step on the way to Oklahoma!, considered by many more to be the first modern musical. Show Boat was a huge step forward for the American musical, considered by Hammerstein to be a musical play instead of the light musical comedies that were popular on Broadway at the time. In this episode, find out what came before Show Boat and why it was such a revolution for the form, and hear what we think of the faithful 1936 movie adaptation. You can enjoy the podcast without knowing the show, but watching some or all of the movie will certainly help. Note that racism is discussed, and Jeremy and Hannah, as two white people, are not the most qualified in the world to address the topic, but they try their best in this premiere episode. If you would like to see the 1936 movie version of Show Boat, finding a copy to rent is nearly impossible, so check this stream out. Trigger warning for blackface in one number midway through: 1936 Movie Part 1: http://www.dailymotion.com/video/x3miour 1936 Movie Part 2: http://www.dailymotion.com/video/x3mj7fq_show-boat-1936-2-2_shortfilms  To discuss this episode and more with other fans, check out the Broadway Bingers Facebook Discussion Group: https://www.facebook.com/groups/2034413620120525/ 

Nina Pierson was a Wisconsin schoolteacher who became a Ziegfeld girl. She lived the carefree life of an international beauty unaware of a deadly curse that shadowed the lives of Florenz Ziegfeld's former showgirls.

Cue the dancing girls, lower the props, raise the curtain -- it's the Bowery Boys and we're taking on Broadway's most famous producer, Florenz Ziegfeld! We give you a brief overview of the first days of Broadway, then sweep into Ziegfeld's life -- from his early successes (both professional and personal) to his famous Follies. And find out how the current Ziegfeld Theatre, a movie house, relates to the original Ziegfeld Theatre, home of Broadway's first 'real' musical, Show Boat.   PODCAST REWIND This was originally released on January 16, 2009 BONUS MATERIAL! Over eight minutes of newly recorded material, adding a couple more interesting details about a couple of Ziegfeld's stars.    Visit www.boweryboyshistory.com for other tales of New York City history

Cue the dancing girls, lower the props, raise the curtain -- it's the Bowery Boys and we're taking on Broadway's most famous producer, Florenz Ziegfeld! We give you a brief overview of the first days of Broadway, then sweep into Ziegfeld's life -- from his early successes (both professional and personal) to his famous Follies. And find out how the current Ziegfeld Theatre, a movie house, relates to the original Ziegfeld Theatre, home of Broadway's first 'real' musical, Show Boat. www.boweryboyspodcast.com Support the show.

Radio Journeys returns after a two-week break for a much-needed studio upgrade. And this week, we pay tribute to Florenz Ziegfeld, the master promoter who only tasted radio fame in the last few months of his life. In the first of two podcasts focusing on Ziegfeld, we take a long look at his career, and the enormous legacy he left to American entertainment in general, and to radio in particular. Then, after installments of Kay Kyser and the Family Doctor, we hear the very first episode of Ziegfeld Follies of the Air, which sadly had only a very brief run in 1932.