Podcasts about flying over sunset

In this special Pride episode, Mark-Eugene and Dylan team up with DPS/Broadway Licensing for an author roundtable celebrating queer voices in the theatre. Moderated by Emmy-winning journalist Patrick Pacheco, the conversation features an all-star panel: Charles Busch (The Tale of the Allergist's Wife, Vampire Lesbians of Sodom), C.A. Johnson (All the Natalie Portmans), Michael Korie (Grey Gardens, Flying Over Sunset), and Lisa Kron (Fun Home, 2.5 Minute Ride). Together, they reflect on the power of queer storytelling, the evolution of representation onstage, and what it means to write with pride. It's a dynamic, heartfelt discussion with some of the most influential and exciting voices in American theatre today. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are joined by the hilarious and delightful Nehal Joshi who is currently starring in the new farcical comedy The Comedy, at the Helen Hayes Theatre on Broadway. Nehal is a veteran of the Broadway stage, having performed in both plays and musicals, dramas and comedies, from classics like The Phantom of the Opera and Arthur Miller's All My Sons to new musicals Flying Over Sunset and School of Rock. Nehal talks with us about his experience so far in The Cottage and how every night feels like a fresh performance, especially when the incredibly prop-heavy show has things go wrong. He also talks about how the once standard type-casting becomes less and less common, and the importance of collaboration and creating your own work when others don't give you the chance to do so.

Kate Marilley is a musical theatre actress who has starred in multiple shows on Broadway and national tours. Marilley has starred on Broadway in shows such as My Fair Lady, The Prom, and Flying Over Sunset. She also starred in a production of Billy Elliot that was supposed to go on tour, but ended up staying in one place because of the success. During that contract, Marilley got to work with the shows composer, Elton John and witnessed him work his magic while in rehearsals. Marilley 's latest project is currently touring the country as Delia Deetz on the national tour of Beetlejuice. She brings that famous "DAY-O" to audiences eight times a week to cities all over the country. --- Support this podcast: https://podcasters.spotify.com/pod/show/jayme-starr/support

Beowulf Boritt is currently represented on Broadway by the Tony Award® winning set for Susan Stroman's production of New York, New York. He designed the Tony Award® winning set for James Lapine's Act One. He has received four additional Tony Award® nominations for his designs of The Scottsboro Boys, POTUS, Therese Raquin, and Flying Over Sunset, for which he won a Drama Desk award. His book about set design, Transforming Space Over Time, is available on Amazon. He is the founder and manager of The 1/52 Project which provides financial support to encourage early career designers from historically excluded groups, with the aim of diversifying and strengthening the Broadway design community. Beowulf designed Harold Prince's final Broadway shows: Prince of Broadway and LoveMusik. In addition, he designed the sets for Sondheim on Sondheim, The Twenty-Fifth Annual Putnam County Spelling Bee, Steve Martin's Meteor Shower, A Bronx Tale, August Wilson's The Piano Lesson, Come From Away. Freestyle Love Supreme, Ohio State Murders, Mike Birbiglia's The New One and The Old Man and The Pool. Other highlights include the New York and Russian productions of Chaplin, the revival of On The Town, Rob Askins' Hand To God and the long running hit Rock of Ages. Off-Broadway, he has designed over one hundred shows, including Much Ado About Nothing, Merry Wives, and Coriolanus for Shakespeare in the Park, Fiddler on The Roof (in Yiddish), The Last Five Years, Mike Birbiglia's The New One, Sleepwalk With Me, My Girlfriend's Boyfriend, Thank God For Jokes and Strindberg's Miss Julie. His designs are in the permanent collections of The Smithsonian Museum of American History and the New York Public Library for the Performing Arts as well as several private collections. In addition to a Tony Award he has been honored with an 2007 OBIE Award for Sustained Excellence in Set Design, an Audelco Award, a Barrymore award, a Live Design Award for Innovation in Scenic Design, a Broadway Beacon Award, and a St. Louis Theater Circle Award. He has been nominated for four Drama Desk Awards, three Lucille Lortel Awards, four NY Outer Critic's Circle Awards, an LA Ovation Award, an LA NAACP Award, a San Francisco Critic's Circle Award and six Henry Hewes Awards. 

[REBROADCAST FROM September 23, 2022] If you love theater, you've likely seen a set designed by Tony Award-winner Beowulf Boritt, from "Come From Away" to "Flying Over Sunset" to "Merry Wives" to "POTUS." Now he's drawn back the curtain on his process, and the importance of set design, in his new book, Transforming Space Over Time: Set Design and Visual Storytelling with Broadway's Legendary Directors. Boritt joins to reflect on his career, and his collaboration with directors like James Lapine, Kenny Leon, Hal Prince, Susan Stroman, Jerry Zaks, and Stephen Sondheim. You can currently see Boritt's work onstage in "The Piano Lesson" (through January 29), "Mike Birbiglia: The Old Man & The Pool" (through January 15), and "Ohio State Murders" (through late February).   Mecca: A Conversation with Stephen Sondheim Setting: Stephen Sondheim's Turtle Bay town house: the holiest of holies for several generations of theater artists. We're in a ground-floor living room, sprawling and cluttered, spreading from a small front entrance foyer through the main chamber to a back conservatory that opens into a community garden. The room's salient visual feature is Steve's collection of antique puzzles, displayed in frames and vitrines and arrayed on tables. Beowulf Boritt: I'm sure you hear this from a lot of people, but your shows, more than any others, are what convinced me to pursue theater. I grew up thinking musicals were frilly and silly, but when I started being exposed to your shows—first Sunday, then Into the Woods and Sweeney Todd—I thought, This is what I want to do. Stephen Sondheim: So you're blaming me? BB: Just placing blame where it's due, Steve! I asked various directors, “What productions made a strong impression on you when you were young?” Both James [Lapine] and Susan Stroman credited Sweeney Todd and its design as the show that made them think, This is what theater can be. Of course, Hal directed it, and the set was famously a real, and enormous, Victorian factory reassembled onstage by Eugene Lee. But that set isn't inherent in the writing; in fact, the action is never literally in a factory. When you were developing the show with Hugh Wheeler, it wasn't with a factory setting in mind, was it? SS: No, no. That came afterward. That was Hal's idea. I don't know how he came to it. For me, Sweeney Todd is not really a story of how the Industrial Revolution manufactured vengeful Sweeney Todds. That had nothing to do with what I wrote at all—though I did ultimately put one line in the lyrics about machines, to make Hal happy. I wanted to do it as a small, scary show. I told Hal that if we were going to do it at a big theater, I'd like to drape the entire place in black, have gaslit lampposts all around, and have the cast all around,too: on top of you, beside you, in the aisles, and so on. I wanted the whole theater to look like the inside of a coffin. I wanted an organ and an organist onstage for that opening prelude—a loud organsound to start the show. BB: You said you have no part in designing the show, but that's a very clear visual image you just described—your initial thoughts about it. SS: I have no visual imagination to say, “The costumes should be red.” But of course I have some ideas about staging the numbers. The director can throw them out, but I do go on record with what I am thinking. BB: I'm going to rewind to early in your career, to one of my favorite musicals and one I have not yet hada chance to design. Did you have any visuals in mind as you wrote West Side Story with Arthur Laurents and Leonard Bernstein? SS: Where is Puerto Rico? No, I don't think I had anything in mind, but I'll tell you an anecdote, one of those things that one never forgets. Oliver Smith, who designed it, wanted to show us the model of the setso we went out to his house in Brooklyn. He showed it to us and there was concern over the scene with the highway bridge, for the rumble at the end of the first act. Jerry Robbins—or maybe it was Lenny or Arthur—turned to me and said, “What do you think?” I was twenty-five years old! “I agree,” I said. “It just doesn't seem quite right.” Oliver turned on me and said, “Who cares what you think? You don't know anything about the theater!” He was really ugly. He was upset that they didn't like it, but he couldn't lash out at Jerry, Lenny, or Arthur, so— BB: And you were the new guy. SS: Yes. You know , I understand why he did it. BB: Did you ever work with him again? SS: No. BB: When you're the new kid, and an old hand lashes out at you, it's amazing how much it stings. You remember it forever. On my first Broadway show, Spelling Bee, that happened to me. Someone involved in the show, not James, really went after me because I was the new kid. To be honest, I had probably donesomething stupid—but it was unpleasant, and I will never forget it. BB: Last question, and it isn't really a question. I'm going to shorten the quote, but you've said, “Lyric writing has to exist in time. You have to lay the sentences out so there's enough air for the ear to take them in. There's music, there's costumes, there's lighting. There's a lot of things to listen to and look at. And therefore, the lyric must be in that sense simple.” SS: The experience of a musical is so rich that it's like you're getting two kinds of dessert. You're getting the pecan cake and the caramel ice cream, so you don't want to overdo it with either one. SS: All art is about economy of means. It's about finding the part that is necessary and getting rid of the unnecessary. That's the hard part, but once you know it, if you're ruthless, you'll get rid of the extra and keep the great. In general, in art, less is more. Although you must remember, there is also Tolstoy!

If you love theater, you've likely seen a set designed by Tony Award-winner Beowulf Boritt, from "Come From Away" to "Flying Over Sunset" to "Merry Wives" to "POTUS." Now he's drawn back the curtain on his process, and the importance of set design, in his new book, Transforming Space Over Time: Set Design and Visual Storytelling with Broadway's Legendary Directors. Boritt joins to reflect on his career, and his collaboration with directors like James Lapine, Kenny Leon, Hal Prince, Susan Stroman, Jerry Zaks, and Stephen Sondheim. Mecca: A Conversation with Stephen Sondheim Setting: Stephen Sondheim's Turtle Bay town house: the holiest of holies for several generations of theater artists. We're in a ground-floor living room, sprawling and cluttered, spreading from a small front entrance foyer through the main chamber to a back conservatory that opens into a community garden. The room's salient visual feature is Steve's collection of antique puzzles, displayed in frames and vitrines and arrayed on tables. Beowulf Boritt: I'm sure you hear this from a lot of people, but your shows, more than any others, are what convinced me to pursue theater. I grew up thinking musicals were frilly and silly, but when I started being exposed to your shows—first Sunday, then Into the Woods and Sweeney Todd—I thought, This is what I want to do. Stephen Sondheim: So you're blaming me? BB: Just placing blame where it's due, Steve! I asked various directors, “What productions made a strong impression on you when you were young?” Both James [Lapine] and Susan Stroman credited Sweeney Todd and its design as the show that made them think, This is what theater can be. Of course, Hal directed it, and the set was famously a real, and enormous, Victorian factory reassembled onstage by Eugene Lee. But that set isn't inherent in the writing; in fact, the action is never literally in a factory. When you were developing the show with Hugh Wheeler, it wasn't with a factory setting in mind, was it? SS: No, no. That came afterward. That was Hal's idea. I don't know how he came to it. For me, Sweeney Todd is not really a story of how the Industrial Revolution manufactured vengeful Sweeney Todds. That had nothing to do with what I wrote at all—though I did ultimately put one line in the lyrics about machines, to make Hal happy. I wanted to do it as a small, scary show. I told Hal that if we were going to do it at a big theater, I'd like to drape the entire place in black, have gaslit lampposts all around, and have the cast all around,too: on top of you, beside you, in the aisles, and so on. I wanted the whole theater to look like the inside of a coffin. I wanted an organ and an organist onstage for that opening prelude—a loud organsound to start the show. BB: You said you have no part in designing the show, but that's a very clear visual image you just described—your initial thoughts about it. SS: I have no visual imagination to say, “The costumes should be red.” But of course I have some ideas about staging the numbers. The director can throw them out, but I do go on record with what I am thinking. BB: I'm going to rewind to early in your career, to one of my favorite musicals and one I have not yet hada chance to design. Did you have any visuals in mind as you wrote West Side Story with Arthur Laurents and Leonard Bernstein? SS: Where is Puerto Rico? No, I don't think I had anything in mind, but I'll tell you an anecdote, one of those things that one never forgets. Oliver Smith, who designed it, wanted to show us the model of the setso we went out to his house in Brooklyn. He showed it to us and there was concern over the scene with the highway bridge, for the rumble at the end of the first act. Jerry Robbins—or maybe it was Lenny or Arthur—turned to me and said, “What do you think?” I was twenty-five years old! “I agree,” I said. “It just doesn't seem quite right.” Oliver turned on me and said, “Who cares what you think? You don't know anything about the theater!” He was really ugly. He was upset that they didn't like it, but he couldn't lash out at Jerry, Lenny, or Arthur, so— BB: And you were the new guy. SS: Yes. You know , I understand why he did it. BB: Did you ever work with him again? SS: No. BB: When you're the new kid, and an old hand lashes out at you, it's amazing how much it stings. You remember it forever. On my first Broadway show, Spelling Bee, that happened to me. Someone involved in the show, not James, really went after me because I was the new kid. To be honest, I had probably donesomething stupid—but it was unpleasant, and I will never forget it. BB: Last question, and it isn't really a question. I'm going to shorten the quote, but you've said, “Lyric writing has to exist in time. You have to lay the sentences out so there's enough air for the ear to take them in. There's music, there's costumes, there's lighting. There's a lot of things to listen to and look at. And therefore, the lyric must be in that sense simple.” SS: The experience of a musical is so rich that it's like you're getting two kinds of dessert. You're getting the pecan cake and the caramel ice cream, so you don't want to overdo it with either one. SS: All art is about economy of means. It's about finding the part that is necessary and getting rid of the unnecessary. That's the hard part, but once you know it, if you're ruthless, you'll get rid of the extra and keep the great. In general, in art, less is more. Although you must remember, there is also Tolstoy!

As noted in the previous episode, auditions are the backbone of this industry. It is the fundamental job of every actor to do as many jobs as we can and do each one to the best of our ability. But there is an important gatekeeper when it comes to submitting our self tapes or actually getting in the audition room, and that is the casting Director. You've heard from Actors and their experiences in front of the audition table. Well, now it's time to hear from the other side of that proverbial table and what goes in to casting, and the vital role they play in the production for the stage or screen. Daryl Eisenberg, along with fellow casting director Ally Beans, works to create a comfortable space for actors, so they can take risks and really show their full potential as artists. You'll hear Daryl's thoughts on how actors can make their mark in the audition room or on a self-tape, and then you'll get an in-depth, behind-the-scenes look at how she uses her position and expertise to make the audition process enjoyable and inclusive for artists on both sides of the table. Learn more about WINMI Podcast at whyillnevermakeit.com  Subscribe to WINMI and get access to Bonus Episodes on Supercast  Donate to the production efforts that make this podcast possible Follow Why I'll Never Make It on Instagram or Twitter Watch interviews on WINMI's YouTube channel Read the Final Five with Daryl Eisenberg on the WINMI Blog ---------- Why I'll Never Make It is an award-winning, top 25 theater podcast and is hosted by Off-Broadway actor and singer Patrick Oliver Jones. It is a production of WINMI Media, LLC. and is also a part of Helium Radio Network and a member of the Broadway Makers Alliance.  Background music in the episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License).     Audition Stories of Diversity and Inclusion Covid certainly has changed the way we now audition, with self-tapes and Zoom auditions becoming the norm. But the summer of 2020 also changed the way we think about who is coming to the auditions and what that creative team looks like. In this week's bonus episode, Daryl shares a few of her own experiences as she advocates for more diversity on both sides of the table. You'll also hear how she works with fellow casting director Ally Beans, who is both partner and collaborator in the casting process. Bonus episodes like these are only available to monthly supporters of Why I'll Never Make It. So if you'd like to help this podcast as well, then please consider a monthly subscription and get access to bonus episodes like the Audition Stories.     CASTING OFFICES IN NYC Some of the biggest casting offices for stage and screen (like Eisenberg/Beans) reside in New York City, and at the top of the list is... The Telsey Office Formerly known as Telsey + Company, The Telsey Office is perhaps the best known casting office for commercials, film, television, and course, theatre. The company has bases in both New York City and Los Angeles. Recent Broadway: Waitress, MJ the Musical, Flying Over Sunset, Mrs. Doubtfire, Diana, West Side Story, Tina, The Sound Inside, Beetlejuice, Gary, Oklahoma!, Be More Chill, To Kill a Mockingbird, Network, The Cher Show, The Prom. Website: www.thetelseyoffice.com Contact: info@thetelseyoffice.com | 917-277-7520 Tara Rubin Casting Rubin began her company in 2001 after working for 15 years as a Casting Director at Johnson-Liff Associates. She is a graduate of Boston University and serves on the board of the Casting Society of America. Recent Broadway: Six, Ain't Too Proud, Summer, The Band's Visit, Prince of Broadway, Bandstand, Indecent, Miss Saigon, Dear Evan Hansen, A Bronx Tale, Cats, Disaster! Website: www.tararubincasting.com Contact: tararubincasting.info@gmail.com | 212-302-3011 Binder Casting Binder Casting was founded nearly 40 years ago by Jay Binder, who passed away in April 2022, and has been a part of RWS Entertainment Group since 2016. The office has cast 150+ Broadway, Off-Broadway, and National Touring productions, in addition to countless national and international projects spanning both stage and screen. Recent Broadway: The Lion King, In Transit, Dames at Sea, It Shoulda Been You, A Gentleman's Guide to Love and Murder, Nice Work if You Can Get It, Born Yesterday, White Christmas, Finian's Rainbow. Website: bindercasting.com Contact: info@bindercasting.com | 212-586-6777 Stewart/Whitley An award-winning office in New York City that delivers excellence and innovation in casting. Respect for the creative process: the artistic teams, actors and all who collaborate in it is paramount. Connecting creativity is at the cornerstone of what they do. Recent Broadway: Hadestown, The Lightning Thief, Natasha, Pierre and the Great Comet of 1812, Pippin, Chicago Website: www.stewartwhitley.com Contact: info@stewartwhitley.com | 212-635-2153 Wojcik Casting Team Wojcik/Seay Casting opened its doors in January of 2009 with the national non-union tour of Joseph and the Amazing Technicolor Dreamcoat and has also been featured in Season 2 of the podcast. But Gayle Seay has since gone to become Artistic Director of Stages St. Louis, while Scott Wojcik continues to cast shows in and out of New York. Recent Broadway: Jesus Christ Superstar, Motown Website: wscasting.com Contact: info@wscasting.com Jim Carnahan, CSA Recent Broadway: Moulin Rouge!, Kiss Me, Kate, Tootsie, Burn This, The Ferryman, Head Over Heels, Travesties, Harry Potter and the Cursed Child, Angels in America, Farinelli and the King, Time and the Conways, 1984, Groundhog Day, The Price, The Cherry Orchard, Long Day's Journey Into Night, She Loves Me, Noises Off, Fun Home. Stephen Kopel, CSA Recent Broadway: Moulin Rouge!, Jagged Little Pill; Kiss Me, Kate; The Play That Goes Wrong; Beautiful; Sunday in the Park with George; Amélie; She Loves Me; Noises Off; Violet; The Glass Menagerie; Harvey; Once; Anything Goes Caparelliotis Casting Recent Broadway: The Minutes, Who's Afraid of Virginia Woolf, In the Height of the Storm, Ink, Hillary and Clinton, King Lear, The Waverly Gallery, The Nap, The Boys in the Band, Saint Joan. Daniel Swee, CSA Recent Broadway: Pass Over, The Great Society, To Kill a Mockingbird, Six Degrees of Separation, Oslo, The Present, The Heidi Chronicles, The Audience Cindy Tolan, CSA Recent Broadway: Company, The Curious Incident of the Dog in the Night-Time, Betrayal, Macbeth, Rodgers + Hammerstein's Cinderella. Other standouts on the theatre scene: Bass/Valle Casting Bob Cline Casting Franck Casting HBD Casting Jamibeth Margolis Casting Klapper Casting Laura Stanczyk Casting Michael Cassara Casting  

In this episode of LIGHT TALK, The Lumen Brothers (and SISTAH) interview Tony and Drama Desk award winning lighting designer, Bradley King.   Join Bradley, Ellen, and David, as they pontificate about: Audience Blinders; Transitioning from directing to lighting design; The importance of working on small shows; Flying Over Sunset; Natasha, Pierre & the Great Comet of 1812, and Hadestown; Early professional mentors; Moving smaller shows to Broadway; Dealing with Monsters in the theatre; Important grad school considerations; Developing artistic teams; Working with programmers; Lempica at La Jolla; Discovering new artists; Exciting changes at USA 829; and The right to have a personal and professional life.   Nothing is Taboo, Nothing is Sacred, and Very Little Makes Sense.

Broadwaysted's own Kimberly Cooper Schmidt returns to talk about Sunday's TONY AWARDS! Topics include: Caroline, or Change, Company, Diana, Flying Over Sunset, for colored girls who have considered suicide/when the rainbow is enuf, Funny Girl, Girl from the North Country, MJ, Mr. Saturday Night, Mrs. Doubtfire, The Music Man, Paradise Square, SIX, and A Strange Loop Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where this year we're talking musical sequels and musical biopics! Patreon • Twitter • Facebook • Email

One of the main themes and messages of this podcast has always been that success can mean different things to different people, and how someone gets there, if they get there, seems to take a different path each time. Today's episode is with someone that I had the privilege of working with in the musical adaptation of First Wives Club back in 2015 in Chicago (with Faith Prince and Christine Sherrill). We were gearing up for a hopeful Broadway transfer that unfortunately never happened. But Carmen Cusack gave a memorable performance in that show and a few years later went on to star in her Broadway debut of Bright Star and most recently Flying Over Sunset. Her journey to Broadway has been a very unique one – from Denver and Texas to London and Shanghai. But as you'll hear in her stories, the bumpy road to success is as much a personal journey as it is a professional one... Jazz lounges not Broadway theaters are her true musical home Her tumultuous relationship with Sunday in the Park with George James Lapine and Flying Over Sunset Through the loss of theater during Covid, she finds her musical voice Find this and more episodes at whyillnevermakeit.com. Podcast hosted and produced by Off-Broadway actor and singer Patrick Oliver Jones - https://www.pojones.com    This Wednesday the 27th Joshua Morgan from Ain't Too Proud joins Patrick Oliver Jones onstage for an evening of conversation and song at The Green Room 42 at 7pm. This live show will be filled with intimate discussions and musical memories which have had a significant impact on Morgan's life and career. But this isn't the first time Morgan and Jones have shared the stage. They performed together back in 2016 in Houston for Theatre Under the Stars' production of How To Succeed in Business Without Really Trying, directed by Tony-nominated Dan Knechtges. Tickets are available for both in-person seating and online livestream.     The Backstory of Carmen Cusack and the Final Five Questions Learn more of the details of her journey from Denver to Broadway, as she chronicles her various roles and milestones. It highlights both the struggle and the joy of her time onstage, and finding the freedom to explore her own voice and artistry. Find it on the WINMI Blog. Follow Carmen - Website | Twitter | Instagram Support WINMI through donations or subscriptions - https://winmi.supercast.com  

Today, I am so happy to announce the release of my episode with one of Broadway's best living directors, the great James Lapine. Tune in today to hear him share some of the stories and wisdom of his legendary career, including what he wanted to fix about the original Into the Woods, why he chose to dramatize Act One, his influences in avant-garde theater, his collaboration with William Finn, what it's been like to return with Flying Over Sunset, the unique take he had on Annie, collaborating with the late, great Stephen Sondheim, his advice to young directors, and more. You won't want to miss this interview with a true master of the theatrical art form.

We took a trip to "An Interesting Place", as we went to see Flying Over Sunset (twice!) and we're here to take you through the show with us, no flying necessary. So come take a listen as "The Music Plays On". Note: While we use snippets of the cast album in this episode, the album wasn't yet released when we recorded, so apologies for any inaccuracies, as we were working purely off of memory (without any enhancements). -- The entire saga of how Flying Over Sunset came to be is a pretty interesting story and you can read all about it in The New York Times. The set was one of the biggest aspects of the show (both literally and metaphorically), and you can check out pictures and read commentary from set designer Beowulf Boritt. In case you missed the joke about Greg in Crazy Ex-Girlfriend, this video (starring Tony winner Santino Fontana) should give you some context. Want to learn more about modern applications of LSD or other psychedelics? Check out The Prof G Pod episode with neuroscientist Sam Harris or Michael Pollan's book, How to Change Your Mind. Or why not go straight to the source with The Doors of Perception by Aldous Huxley. -- Music featured in this episode: Flying Over Sunset (Original Broadway Cast Recording) Apple Music / Spotify / Amazon Music — Follow us on Twitter and Instagram @BottomlessBway, our blog at https://bottomlessbway.home.blog/, or email us at bottomlessbway@gmail.com! You can also leave feedback in this 30-second survey.

Broadway News: MJ The Musical is now open on Broadway and to celebrate their opening and Black History Month, the team and Playbill have collaborated to release four collectable Playbill covers, for the first time in Playbill's 138-year history. The Playbills will be distributed to ticket holders throughout the month of February at the Neil Simon Theatre. These collectable Playbills, each featuring a different illustration of an iconic Michael Jackson pose by world-renowned illustrator, Nate Giorgio, mark the musical's opening and celebrate Black History Month. The original Broadway cast album of the Lincoln Center Theater production of Flying Over Sunset will now be released digitally February 18, 2022 and on CD April 1, 2022. The Broadway premiere of the Olivier Award-winning production of Martin McDonagh's new comedy Hangmen will open at Broadway's Golden Theatre for a limited 10-week engagement. The play will begin performances on Friday, April 8, 2022, with an opening on Thursday, April 21, 2022, Directed by Matthew Dunster, Martin McDonagh's Hangmen features “Game of Thrones'” Alfie Allen (Mooney) in his Broadway debut opposite David Threlfall (Harry) and is returning to Broadway for the first time in 25 years.   Two-time Tony winner, Chita Rivera is recapping her Broadway career for HarperOne, an imprint of HarperCollins Publishers, which announced her memoir today. The book, publication release date set for early 2023 and title to be determined, will also be published simultaneously by Harper Español. Rivera will be writing with Emmy-winning TV commentator and arts journalist Patrick Pacheco. According to a new casting notice, auditions are currently underway for a Broadway transfer of Andrew Lloyd Webber's Cinderella. The production is currently aiming to begin its New York run in Fall 2022 at a yet-to-be-named theatre. Broadway's longest running show made history on the anniversary of its opening in New York City. Last Wednesday night marked 34 years since "The Phantom of the Opera" first opened back in 1988. And for the first time, a Black actor, Emilie Kouatchou took over the female leading role of Christine. Special Interview with the fabulous Kelli O'Hara, currently starring in The Gilded Age. 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

I welcome aboard a wonderful human, artist and friend, composer Tom Kitt. It's a first for this podcast in inviting a guest back for a second appearance. As a Pulitzer, Tony and Emmy winning composer Tom and I discuss his recent album release, Reflect with its many collaborations. We also discuss his recent two shows running in NY, The Visitor at the Public Theater which just closed last month and currently at Lincoln Center, Flying Over Sunset.   Thanks for listening! Tune in next week and don't forget to take a minute to review the podcast. In this incredibly competitive podcasting world, every piece of feedback helps. Follow our social media channels for last-minute announcements and guest reveals @theradicalpod on Instagram and Facebook. Find out more about today's guest, Tom Kitt Find out more about your host, Nick Terzo

Ready to fly? Learn your dosage (or err on the side of exploration) and sit back as you and your guides (co-hosts) take you on a journey that'll send you Flying Over Sunset. The world-premiere musical is discussed on what might likely be the most thorough discussion of the show for some time to come, as our hosts' trips lead them down such psychedelic topics as Dan's Yazbeck attendance odds, Lapine's holistic approach to theatre, and the state of theatrical criticism. Tune in to our next episode when we discuss Caroline, or Change; specifically, Roundabout's recent Broadway revival! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Hey, pal! Feeling blue? Slept in 90 seconds and missed the chance to purchase a ticket to the Off-Broadway revival of Assassins? You're in luck, cuz we're here to tell you what those rascals were up to! Step right up and redeem your prize: a hearty discussion by Sondheim's personal balladeers that delves into foundational myths, the notion of "relevancy", and how Assassins upturns musical structure as we know it. Tune in to our next episode when we discuss the Broadway production of Flying Over Sunset! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Join us for two exciting shows! The Radio City Christmas Spectacular and Flying Over Sunset.

A new musical follows the stories of three real historical figures--- author Aldous Huxley, actor Cary Grant, and politician Clare Boothe Luce--- as they experiment with LSD. Writer and director James Lapine joins us to discuss his new show "Flying Over Sunset," along with Tom Kitt, who composed the music for the show, and Michael Korie, who wrote the lyrics. "Flying Over Sunset" is playing at Lincoln Center Theater through January 16.

This holiday podcast has not one but two special guest stars! Join us as we heap praise on “Clyde's,” “Flying Over Sunset,” “Nightmare Alley,” “Licorice Pizza,” and “Succession.”

Peter Filichia, Jena Tesse Fox, James Marino, and Michael Portantiere talk about Flying Over Sunset, Company, West Side Story (Movie), NY Pops Holiday Concert with Kelli O’Hara, and Becoming Dr. Ruth @ Edmond J. Safra Hall, Museum of Jewish Heritage This Week on Broadway has been coming to you every read more The post This Week on Broadway for December 19, 2021: Flying Over Sunset appeared first on BroadwayRadio.

Covid didn't manage to kill the new Broadway musical Flying Over Sunset, about fancy folk taking LSD in the 50s, but would we all have been better off if it had? The jury is still out, but we have...thoughts on the matter. At the very least, it gives Documenta Barbrism and Dingle Mary a chance to explore the life and work of the first in our ongoing "Biconic" series: Cary Grant! From a poor, f*cked-up childhood in Bristol, England to the top of the world in Hollywood, Grant oozed sex, charisma, and effortless charm. We love him; you love him. Everyone loves him! Yet you would be hard-pressed to find information about his bisexuality in books or Broadway musicals about his life (cough cough *Flying Over Sunset*). We don't care; we hereby claim this star and all his riches in the name of Bisexuality!Twitter: @DocumentaB Instagram: @DocumentaBarbrismWebsite: DocumentaBarbrism.comEmail: buttstuff@documentabarbrism.com

Tune in every Friday for more WOW Report. 10) On Broadway: Company @01:22 9) Hot Stream: The Great Season 2 @05:54 8) On Broadway 2: Six @11:22 7) On Broadway 3: Lehman Trilogy, Temptations & Flying Over Sunset @18:46 6) Rita Moreno is Having a Moment @23:32 5) On Broadway 4: Dana H @28:35 4) Off Broadway: Nutcracker Rouge @36:19 3) Attack of the Xenobots! @40:21 2) Hot Flick?: Spencer @43:01 1) Rest in Perfection: Stephen Sondheim @47:32

This week the guys talk about Tony's trip to NYC and Eric's long weekend in L.A . Tony reviews the broadway shows he saw, Waitress the musical, Hadestown, Mrs. Doubtfire the musical and the Flying Over Sunset. How much has WeHo changed over the last few years? What old Tv show is Tony binge watching now? We talk about Trans Day of Remembrance, Free Brittney and Tick Tick... Boom!You can watch the video version of the show at:https://www.youtube.com/channel/UCcz0J6QXHLm6Vqe07p8cB3QDon't forget to vote for us! For a Strut Awardhttps://www.strutawards.com

Katie checks in with star of Mean Girls (Cady) on Broadway, Les Miserables (Fantine) on Broadway, and Girls5Eva on Peacock, Erika Henningsen.

The musical Sunday in the Park with George has been the subject of speculation ever since it opened in 1984. Some say its story reflects the life and struggles of its composer-lyricist Stephen Sondheim, and others celebrate how the unknown writer and director James Lapine steered Sondheim's work towards new vitality. James Lapine has now written a detailed and candid account of the show's fabled journey. It's called Putting It Together: How Stephen Sondheim and I Made Sunday in the Park with George (Pan Macmillan).

The musical Sunday in the Park with George has been the subject of speculation ever since it opened in 1984. Some say its story reflects the life and struggles of its composer-lyricist Stephen Sondheim, and others celebrate how the unknown writer and director James Lapine steered Sondheim's work towards new vitality. James Lapine has now written a detailed and candid account of the show's fabled journey. It's called Putting It Together: How Stephen Sondheim and I Made Sunday in the Park with George (Pan Macmillan).

The musical Sunday in the Park with George has been the subject of speculation ever since it opened in 1984. Some say its story reflects the life and struggles of its composer-lyricist Stephen Sondheim, and others celebrate how the unknown writer and director James Lapine steered Sondheim's work towards new vitality. James Lapine has now written a detailed and candid account of the show's fabled journey. It's called Putting It Together: How Stephen Sondheim and I Made Sunday in the Park with George (Pan Macmillan).

Dylan and Connor are joined by Tony Award nominee Carmen Cusack (Bright Star, Wicked, Flying Over Sunset). Listen in as they discuss post-Tonys thoughts, Slave Play returning to Broadway, Designing Women, playing Elphaba in a snowstorm, honoring Marin Mazzie, Carmen's illustrious resume, her hot husband Paul, originating Alice Murphy in Bright Star, being nominated for a Tony, Doris Day, Idina and Kristin healing onstage singing “For Good,” personal trainers, Grace & Frankie, and MORE. See Carmen this fall in her solo show “Baring All” at Feinstein's/54 Below and on Broadway in Flying Over Sunset.Follow Carmen on Twitter & InstagramGet tickets to Carmen's new concert at Feinstein's/54 Below on 10/22 & 10/24 here! Follow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanHERE is where you find official DRAMA. merch!SUBSCRIBE TO OUR PATREON HERE! Be the first to get our new merch, hear bonus episodes, and more!Please subscribe on Apple Podcasts, rate us 5 stars, and leave a kind review!

Triple threat Tony Award® nominee Tony Yazbeck joins the club's Assistant Programming Director, Kevin Ferguson, for a chat about his upcoming Feinstein's/54 Below show. Tony and Kevin talk about dancing with prima ballerina Megan Fairchild, life on and the future of Broadway, and why Tony's solo show at 54 Below will make you smile. Tony Award® nominee Tony Yazbeck has starred in ten Broadway shows, including On The Town, Gypsy, and Prince of Broadway, among may others. Next up, Tony stars as Cary Grant in the highly anticipated new Broadway musical from James Lapine and Tom Kitt, Flying Over Sunset, opening this fall at Lincoln Center Theatre's Vivian Beaumont Theatre. For tickets to Tony's show at Feinstein's/54 Below, visit https://54below.com/events/tony-yazbeck-3/ Watch Tony's sensational performance from On The Town to open the 2015 Tony Awards: https://youtu.be/ljo9h5f5Bl8 The Feinstein's/54 Below podcast is hosted by Nella Vera and Kevin Ferguson, and produced by Bailey Everett and Michael Allan Galvez, with support from the Feinstein's/54 Below marketing staff. Original artwork design by Philip Romano. Learn more about your ad choices. Visit megaphone.fm/adchoices

Connor and Dylan are joined by Erika Henningsen (Mean Girls, Girls5Eva). Another ladies lunch y'all! Listen as they dive into Erika's fantastic career, using your platform for good, Bachelor in Paradise, the final dress rehearsal before Wicked's Broadway return, Erika's love story with her fiancé Kyle Selig, working with Sara Bareilles and Tina Fey, her future with Flying Over Sunset, coming out as a Ted Lasso stan, making her Broadway debut as Fantine in Les Mis, advice from Kerry Butler, eyebrow threading, having a sixth sense, her life changing experience as Cady Heron in Mean Girls, and her new solo show at Chelsea Table + Stage on 9/19.Follow Erika on InstagramGet tickets to Erika's new concert at Chelsea Table + Stage THIS Sunday, Sep 19! Follow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanHERE is where you find official DRAMA. merch!SUBSCRIBE TO OUR PATREON HERE! Be the first to get our new merch, hear bonus episodes, and more!Please subscribe on Apple Podcasts, rate us 5 stars, and leave a kind review!

Tony Yazbeck (tonyyazbeckonline.com)(IG:@tonyyazbeckofficial)(TW:@tonyyazbeck) is an American actor, singer, and dancer, best known for his work on the Broadway stage including the 2014 revival of On the Town for which he received 2015 Tony Award and Outer Critics Circle Award nominations for lead actor in a musical. He will be appearing in "Flying Over Sunset" this fall as Cary Grant (flying-over-sunset.com). Yazbeck is also known for his principal roles on Broadway including J.M. Barrie in the Broadway production of Finding Neverland, Tulsa in Gypsy starring Patti LuPone, Billy Flynn in Chicago, Phil Davis in White Christmas, Al Deluca in A Chorus Line and the original casts of Broadway’s Never Gonna Dance and Oklahoma (2002 revival). Yazbeck made his Broadway debut at the age of eleven playing a newsboy in the revival of Gypsy starring Tyne Daly. On television he was featured on NBC’s Smash, and he appeared in the feature documentary Every Little Step about the casting process for the 2006 revival of A Chorus Line on Broadway. Yazbeck is on the board of the YOUNG/ARTS program of the National Foundation for Advancement in the Arts.

Tony Yazbeck (tonyyazbeckonline.com)(IG:@tonyyazbeckofficial)(TW:@tonyyazbeck) is an American actor, singer, and dancer, best known for his work on the Broadway stage including the 2014 revival of On the Town for which he received 2015 Tony Award and Outer Critics Circle Award nominations for lead actor in a musical. He will be appearing in "Flying Over Sunset" this fall as Cary Grant (flying-over-sunset.com). Yazbeck is also known for his principal roles on Broadway including J.M. Barrie in the Broadway production of Finding Neverland, Tulsa in Gypsy starring Patti LuPone, Billy Flynn in Chicago, Phil Davis in White Christmas, Al Deluca in A Chorus Line and the original casts of Broadway’s Never Gonna Dance and Oklahoma (2002 revival). Yazbeck made his Broadway debut at the age of eleven playing a newsboy in the revival of Gypsy starring Tyne Daly. On television he was featured on NBC’s Smash, and he appeared in the feature documentary Every Little Step about the casting process for the 2006 revival of A Chorus Line on Broadway. Yazbeck is on the board of the YOUNG/ARTS program of the National Foundation for Advancement in the Arts.

1) More Broadway Shows Announce Return Dates ‘Moulin Rouge,’ ‘Flying Over Sunset,’ ‘DEH,’ Announce Reopening Dates, ‘Hamilton’ to Require Staff Vaccinations, Krysta Sings ‘Liza’ “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated:  Ashley Steves read more

On this episode I talked with Kate about how having parents who were involved in theatre and growing up around theatre world instilled her love for theatre, how she worked to become a well-rounded and triple talented theatre performer, getting to play Mary Lennox in The Secret Garden, why she ended up choosing to go to Carnegie Mellon to study theatre, making her Broadway debut in the My Fair Lady revival at Lincoln Center, getting cast in The Prom, getting to be part of a show during it's beginning stages and watching it grow, the many roles she understudied/covered in The Prom, how she as an actress perfected each of those roles, working on Flying Over Sunset pre-pandemic, the future for Flying Over Sunset, and MUCH MORE! --- Support this podcast: https://anchor.fm/backstagewithbeccab/support

Erika Henningsen is a U of M grad who has made quite the name for herself in the broadway community. She made her broadway debut playing Fantine in Les Miserables on Broadway, and her breakthrough most iconic role is playing the OG Cady Heron in Mean Girls. Before the pandemic, Erika was was going to begin a brand new chapter in her broadway career in a new show called Flying Over Sunset. Chatting with Erika was awesome! Enjoy the episode! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/jayme-starr/support

On this week's episode, while Jennifer begins previews with the revival of “Company”, Jamie and Rob settle in to discuss that show and the twenty other shows opening up on Broadway this spring season. Plus we learn that Jamie's listening skills aren't great. This week's music: “Shy” from “Once Upon A Mattress”, “The Ladies Who Lunch” and “Exit Music” from “Company the 2018 London Revival”, “Lot's Wife”, from “Caroline or Change”, from the Olivier Awards, “Drive It Like You Stole It”, from “Sing Street”, “Dance at the Gym”, from the 2020 revival of “West Side Story”, “Six” from “Six”, and “Flying Over Sunset” from “Flying Over Sunset”. 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

I got chIIILLLLS they're multiplying and I'm loOOOOSING CONTROOOOL --- but actually I think I said the phrase "I have chills/goosebumps" at least 10 -15 times in this episode. On today's To a T, you can find me recapping the best and most memorable auditions from Sunday night's Season 18 premiere of American Idol, as well as fawning over everything about Flying Over Sunset and Robyn Hurder's Roxanne video with Playbill/her performance in Chicago/her performance as Cassie.