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13 episodes with Frank Ferrante
4 episodes with Frank Ferrante
2 episodes with Frank Ferrante
3 episodes with Frank Ferrante
4 episodes with Frank Ferrante
2 episodes with Frank Ferrante
3 episodes with Frank Ferrante
3 episodes with Frank Ferrante
2 episodes with Frank Ferrante
WGN Radio's Dave Plier talks to actor, comedian and entertainer Frank Ferrante on the 40th anniversary playing Groucho Marx (1890-1977) on stage, whose irreverent legendary humor continues to influences audiences today. For tickets to see Frank as Groucho on Wednesday June 11, 2025 at 7pm, visit https://zinzanni.com/chicago/clubzinzanni-groucho/.
Actor Frank Ferrante joins Rick Kogan to talk about his 40th year playing Groucho Marx on stage and to discuss the Marx brothers’ Chicago history. Groucho’s grandson Andy Marx also chats with Frank and Rick about his grandfather and Frank’s impersonation of Groucho. Frank will appear as Groucho Marx on June 11th at Teatro ZinZanni […]
Transformation doesn't begin in a wellness plan—it starts with one honest moment of saying, “I want more for myself.” Frank Ferrante's raw and remarkable story is a powerful reminder that healing is rarely linear and never perfect. Through addiction, regret, radical self-awareness, and rediscovery, Frank reveals that the heart of wellness is not about fixing what's broken—it's about reconnecting to love, service, and soul-level authenticity. His journey invites us to slow down, stop chasing illusions, and start showing up for ourselves and others with compassion, courage, and a deep sense of gratitude. Key Takeaways: Healing is an emotional and spiritual process that requires honesty, not perfection. Connection—with yourself and with others—is the antidote to addiction, loneliness, and despair. Regret doesn't have to define you; it can become a teacher when met with grace and accountability. True wellness is simple: kindness, presence, and treating everyone (including yourself) like they matter. Gratitude grounds you in the present and softens even the hardest parts of the past. About Frank Ferrante: At 54 years old, Ferrante was the least likely candidate for a major personal transformation. He weighed close to 300 pounds and suffered from a slew of issues that were his unhappy legacy as an ex-junkie and ex-alcoholic: hepatitis C, chronic fatigue, joint pain, respiratory issues, depression, suicidal thoughts, and a libido that had gone into early retirement. He thought that "vegan" was a planet, "wellness" was not in his vocabulary, and he couldn't be bothered with self-help. He was for those very reasons the best candidate for a major personal transformation. One day, he stumbled into Café Gratitude—a vegan raw food restaurant run by three 20-something hipsters. Unbeknownst to him, they'd been thinking about finding someone to put on a raw food diet and making a documentary that would be the polar opposite of Super Size Me. Ferrante was looking for something, anything, to create a shift in his life. As he says, "Like zillions of people, I was hungry not so much for food, but for love." Never mind that he was old enough to be the boys' father or that he'd ridiculed the New Age herd for years—he accepted them pretty much on the spot as his new "transformational cheerleaders." With the young men's unexpected support and guidance, Ferrante began a redemptive odyssey that included a plant-based diet, yoga, and daily affirmations—but then faced a battle for his life when his underlying addictions rose up to claim him. May I Be Frank chronicles Ferrante's experience of being the subject of a physical, mental, and spiritual makeover and also describes what happened next, post-transformation: he learned to love again. Social media: https://www.facebook.com/mayibefrankmovie https://www.instagram.com/ferrantefrank https://www.youtube.com/@ferrantefrank ferrantefrank@gmail.com Connect with Dr. Michelle and Bayleigh at: https://smallchangesbigshifts.com hello@smallchangesbigshifts.com https://www.linkedin.com/company/smallchangesbigshifts https://www.facebook.com/SmallChangesBigShifts https://www.instagram.com/smallchangesbigshiftsco Thanks for listening! Thanks so much for listening to our podcast! If you enjoyed this episode and think that others could benefit from listening, please share it using the social media buttons on this page. Do you have some feedback or questions about this episode? Leave a comment in the section below! Subscribe to the podcast If you would like to get automatic updates of new podcast episodes, you can subscribe to the podcast on Apple Podcasts or Stitcher. You can also subscribe in your favorite podcast app. Leave us an Apple Podcasts review Ratings and reviews from our listeners are extremely valuable to us and greatly appreciated. They help our podcast rank higher on Apple Podcasts, which exposes our show to more awesome listeners like you. If you have a minute, please leave an honest review on Apple Podcasts.
Frank Ferrante will be Groucho Marx, appearing in his acclaimed one-man show on June 11th at Teatro Zinzanni (32 W. Randolph St.). What was one of the funniest men in history really like? Ferrante knows first-hand, and he knew Groucho's children very well. Any retrospective on Groucho now includes Ferrante, one of the busiest working […]
Amelia Eichler, previously seen on Episode 152, returns today to talk about her journey into cinema history and preservation. Specifically, she talks about her grandfather's love of movies and how he mindfully passed it on to her. She and I talk about how it helps to be guided by a mentor and how that can coincide with normal growth as a person, possibly making it easier. Amelia and I share a love of The Marx Brothers, which does call back to my talk with Frank Ferrante. — See Show Notes at www.AaronBossig.com Follow me on BlueSky, Twitter, or Instagram - @AaronBossig
This week (11/15 & 11/18) on ART ON THE AIR features the premier Groucho Marx impersonator, Frank Ferrante, discussing his long association with his one-man show and other performing pursuits. Next acrylic artist Zue Stevenson, whose paintings reflect the inner world of women and flowers. Our Spotlight is on Family Folklore Foundation's Meg Demakas discussing her new book, “Millennia of Progress 1933-2023 The Chicago World's Fair – if Houses Could Talk” now on sale at South Shore Arts gift shop and spotlight extra on Grant Fitch's one man show of Dickens' A Christmas Carol at 4th Street Theater, Tune in on Sunday at 7pm on Lakeshore Public Media 89.1FM for our hour long conversation with our special guests or listen at lakeshorepublicmedia.org/AOTA, and can also be heard Fridays at 11am and Mondays at 5pm on WVLP 103.1FM (WVLP.org) or listen live at Tune In. Listen to past ART ON THE AIR shows at lakeshorepublicmedia.org/AOTA or brech.com/aota. Please have your friends send show feedback to Lakeshore at: radiofeedback@lakeshorepublicmedia.org Send your questions about our show to AOTA@brech.com LIKE us on Facebook.com/artonthairwvlp to keep up to date about art issues in the Region. New and encore episodes also heard as podcasts on: NPR, Spotify Tune IN, Amazon Music, Apple and Google Podcasts, plus many other podcast platforms. Larry A Brechner & Ester Golden hosts of ART ON THE AIR. https://www.lakeshorepublicmedia.org/show/art-on-the-air/2024-10-30/art-on-the-air-november-24-2024
Dean, Dave, and Andy are all back together this week! Frank Ferrante, actor, comedian, and director, joins Dean to catch up and talk about his current show in Indiana. Dr. Jeremy Silver, MD, Medical Director of Emergency Medicine at Northwestern Medicine Kishwaukee Hospital, joins Dean for this week's health update. Dr. Silver begins by talking about […]
David and Katherine take a look at the friendship between Al Hirschfeld and satirist S.J. Perelman including their Broadway-bound flop Sweet Bye and Bye, and their subsequent adventures chronicled in the book Westward Ha! or Around the World in 80 Clichés. Thank you Frank Ferrante for recording Groucho Marx' farewell speech to Hirschfeld and Perelman. More on Frank Ferrante here: EveningWithGroucho.com Thank you Robert Bader for the transcript of Groucho Marx' farewell speech as featured in his book "Grouch Marx and Other Short Stories and Tall Tales: Selected Writings of Groucho Marx": Order Here Follow along with the show notes to view the works mentioned in this episode: S.J. Perelman Walk a Little Faster, 1932 One Touch of Venus, 1943 Dolly Haus Ogden Nash Sweet Bye and Bye 2011 Recording on Spotify Death in Philadelphia, the Creators of Sweet Bye and Bye, 1947 Drawings from Westward Ha!, 1947 Stanley Tucci in Execution of Justice (On the Right), 1986 Groucho Marx Frank Ferrante as Groucho, 1986 The King and I, 1951 Swiss Family Perelman, 1949 Please write in your questions to us at info@alhirschfeldfoundation.org for our 50th episode special coming in August! Write to us by August 9th with any question you have about the world of Hirschfeld! Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel Watch Hirschfeld Moments: Ep.4 - Hirschfeld Draws a Star! Follow us on Twitter Follow us on Instagram HirschfeldHomestyle.com The Hirschfeld Package at The Algonquin Hotel
Paul goes behind the curtain with an interview that will charm Marx Brothers fans in a big way. Joining in the conversation about the legendary comedic brothers and geniuses is Groucho's Grandson, Andy Marx who is an award-winning photographer, writer and musician in his own right. Not only was Groucho his grandfather, but his other grandfather was […]
As long as I have some love in my heart, it mitigates the sense of separation. - Frank Ferrante This week we are sharing Dr. Michelle's interview with Frank Ferrante from our 2020 Rhythm & Resilience series. Frank is a Sicilian from Brooklyn living in San Francisco. A lover of life, great food, and a good laugh, Frank was also a drug addict, morbidly obese, pre-diabetic, and fighting Hepatitis C. Estranged from his daughter, single, and struggling with depression, Frank knows that life can be better than this, and looked for a way out. Through Frank's story of love, redemption, and transformation, the viewers of the May I Be Frank documentary and readers of his book, May I Be Frank, documentary witness the power of change for themselves and the world. It's the essence of the human condition and what it truly means to fall in love again. Join Dr. Michelle and Frank as they talk about: Unpacking his life before the film including health, family, work, and education. How the May I Be Frank documentary completely changed his life and the obstacles he went through including imposter syndrome at the beginning. His COVID-19 lockdown experience and how it allowed him to self-reflect and positively impact his relationships. What guidance he has to share on cultivating long term relationships with the people we meet during our lifetimes. Taking a closer look at how our behavior affects the people in our lives. Why he believes a key part of why depression happens is because we're not aligned with our core beliefs. What steps you can take right now if you are feeling lonely. Learn new tools to add to your wellness toolbox including: The power of connecting with yourself and how to release thoughts and feelings that are no longer serving you anymore. What process he goes through to get rid of the different voices inside his head and instead just listen to one - his own. Why reaching out and helping someone else can be some of the best medicine for your own wellbeing. Unpacking why we're the happiest when we're not even thinking about ourselves but of other people. How we can show up as our authentic selves by focusing on what brings us joy. Do something nice for somebody and don't get caught. - Frank Ferrante Mentioned In This Episode SCBS Ep. 18: Raz Ingrasci and Frank Ferrante – Ready to Feng Shui Your Soul? May I Be Frank Trailer Stream May I Be Frank Documentary May I Be Frank Book: May I Be Frank DVD Day 8 - Rhythm and Resilience with Reverend Patricia T. Bass The Hoffman Process Day 6 - Rhythm and Resilience with Teri Griege Byron Katie
Interview with Frank Ferrante and Jerry Santoferrara, workplace violence coordinators
In this episode, we say goodbye to 2023 and I'm bringing along five amazing artists to help me do just that! Saloon Singer Christopher Collette is a fresh face on the New York cabaret and nightclub scene. His most recent show, “Come Fly with Me: Songs of Travel, Trips, Tours & Treks” was an acclaimed success at The Laurie Beechman Theater in November. A classical pianist by training, he stepped out from behind the keyboard and took center stage in 2018 with his debut performance “This Could be the Start of Something Big: A Saloon Singer is Born” at the Beechman. Subsequent shows took the old-school crooner to Palm Springs, California where he staged multiple productions that celebrated the enduring tunes from the extensive catalogue of the Great American Songbook and America musical theater. Previously, Collette headlined at the Beechman with his revue of Stephen Sondheim's works, “Old Friends: Merrily Rolling Along in the Meanwhile.” Additionally, this past summer he mounted a workshop reading of Kander & Ebb's songbook, “One Good Break” and has been a guest at Jim Caruso's “Cast Party” at Birdland. He studies voice with Neal Harrelson-Keyes and has participated in master classes with Marilyn Maye, Faith Prince, and Alex Rybeck Prince Fleet went on to appear in many musicals at the Goodyear Musical Theater. Prince Fleet was a ballet dancer in New York and studied at American Ballet Theater, Ballet Arts and master classes at Julliard. Fleet studied film and tv acting at the Huntington Acting School and with several acting coaches. Fleet has appeared in many film and television shows. Prince Fleet has toured nationally. On Dec 9th 2016 he received STAR 407 on the Palm Springs Walk of Stars. FRANK FERRANTE (Actor/Writer) iPlease visit his website: https://www.eveningwithgroucho.com/frank-ferrante Kimberly Hhttps://www.kimberlyhawkey.com/
Frank Ferrante, actor, comedian and Groucho Marx impersonator, joins Steve Dale, in for John Williams, to talk about his experience with getting to know Groucho’s kids, recreating the Marx Brothers’ humor that transcends time, and how Groucho might feel about today’s comedy.
Frank Ferrante, actor, comedian and Groucho Marx impersonator, joins Steve Dale, in for John Williams, to talk about his experience with getting to know Groucho’s kids, recreating the Marx Brothers’ humor that transcends time, and how Groucho might feel about today’s comedy.
Award-winning actor Frank Ferrante joins Paul Lisnek, in for Lisa Dent, to talk about Frank Ferrante’s Groucho coming back to Illinois for one night and one night only. Metropolis Performing Arts Centre located at 111 W Campbell Street, Arlington Heights, IL 60005 will host this performance on Saturday, January 13, at 7:30PM. For tickets call […]
Frank Ferrante, actor, comedian and Groucho Marx impersonator, joins Steve Dale, in for John Williams, to talk about his experience with getting to know Groucho’s kids, recreating the Marx Brothers’ humor that transcends time, and how Groucho might feel about today’s comedy.
Groucho's 1959's autobiography, “Groucho and Me” is delved into, featuring the world's most renowned impressionist of the man, Frank Ferrante. The guys question if the book is truly an autobiography or just a collection of entertaining half-truths. They note the moments of humility and surprising self-awareness by Groucho, while noting that what is left out is as telling as what is included. Frank details how he's mined the book over the years to keep his one-man show fresh, and talks about the joy of bringing Groucho to life as well as his plans for the future. Reading “Groucho and Me” is not a prerequisite for enjoying the discussion, as the guys examine the man as much as what's in the book.
Julius Henry Marx was born on October 2, 1890, in Manhattan. In honor of Groucho's birthday, please join us for a talk with the man who gives us Evenings with Groucho, Frank Ferrante (who was born much later).
GGACP celebrates the birthday of the legendary Groucho Marx (b. October 2) with this ENCORE presentation of a 2022 interview with actor, comedian and director Frank Ferrante. In this episode, Frank joins fellow "Marxists" Gilbert and Frank for a lively conversation about his affection for "A Day at the Races," his friendships with Arthur and Miriam Marx, his PBS special, "Frank Ferrante's Groucho" and portraying his comedy hero for 35 years and in over 500 cities. Also, Uncle Miltie offers spit take lessons, Elaine Stritch does a kid a solid, Gilbert breaks bread with Henny Youngman and Albert Finney makes a play for Frank's girlfriend. PLUS: Gabe Kaplan! Morrie Ryskind! Gallagher & Shean! "Horse Feathers" turns 90! Frank meets George Fenneman! And the boys pick their favorite Marx Brothers scene of all time! Learn more about your ad choices. Visit megaphone.fm/adchoices
At long last, our long-teased prints podcast episode is here! David & Katherine discuss Hirschfeld's long, exciting history with prints, and answer your burning print questions. Learn more about the Harlem, Rhythm, and Kabuki series, plus many more works! Follow along with the show notes to see the works mentioned in this episode! Lithograph Example: Bob Hope (1988) Etching Example: Barbra Streisand in Funny Girl (1975) The Hook Shop (1926) Fez Drawings (1926) Art Students League - Caricature Study (1926) Railway Station, Kharkov (1928) Art and Industry (1931) The Dizzy Club (1931) La Serviette Au Cou (1931) Harlem as seen by Hirschfeld (1941) - Apollo Chorine Rhythm Series (1970) Kabuki Series (1976) Chelsea Pub (1931) Elvis (1968) - (Print with Spotlight) Charlie Chaplin Back View (1981) Reba in Annie Get Your Gun (2001) What's My Line? TV Guide Cover (1957) Lindy Hop from the Harlem Series (1941) The Movies (1954) Conductors of the Philadelphia Orchestra (2002) The Summit (2002) Ringo Starr (2001) Audrey Hepburn in Breakfast at Tiffany's (1997) The Grateful Dead (1995) Jack Lemmon in Tribute (1979) The Sopranos (2001) Frank Ferrante as Groucho Marx (1986) Swing Quartet (1956) United Nations Postal Service (1991) Beverly Hills 90210 (1995) The Gershwins (1955) The Thin Man (1998) Jerry Garcia (1995) Visit our shop for available prints! Print sales support the activities of the Al Hirschfeld Foundation! Visit our website Visit our shop Like us on Facebook Subscribe to our Youtube Channel - Check out Episode 2 of the Hirschfeld Moments Series! Follow us on Twitter Follow us on Instagram
After over 200 performances, Cabaret ZaZou is coming to an end. Frank Ferrante and Steve Dale discuss what made the show so memorable to its audiences. Frank also talks about some of his favorite spectator interactions. Additionally, the two tease Frank’s upcoming return to Arlington Heights.
Frank Ferrante of Cabaret Zazou at Chicago's Cambria Theater talks to WGN Radio's Dave Plier about the long-running show and plans to end its run on July 2nd. It's a ‘must-see'! Visit cabaretzazou.com for tickets.
On the eve of Cabaret ZaZou's 200th performance in the Speigeltent on the 14th floor of Chicago's Cambria Hotel, we caught up with two of the shows stars, comic emcee Frank Ferrante and singer James Harkness, for a Conversation about the extraordinary cast and how the show continues to evolve over the course of a long run. Season 6 Episode 3 Originally posted June 1, 2023
Frank Ferrante, star of Cabaret ZaZou, joins Steve Dale to talk about the thrilling news for fans of the show. Cabaret ZaZou, playing at the Cambria Hotel, has been extended all the way into August. Listen below to hear some of Frank’s fun show stories and the type of fun you can have in the […]
Frank Ferrante, star of Cabaret Zazou, now playing at the Cambria Hotel, joins WGN Radio's Dave Plier to talk about the experience unlike any other, a whirlwind of international cirque, comedy and cabaret served with a multi-course feast, craft cocktails, world-class acrobats, musicians, illusionists, madmen, and aerialists. What a show! For tickets, visit cabaretzazou.com.
Frank Ferrante and James Harkness of Cabaret ZaZou join the show with Pete and Andrea to discuss their residency being extended at the Cambria Hotel. They are celebrating their 150th show, the show is in the round with a live band and different acts from all over the world in a venue that will make you feel like you've been transported to an old European theater.See omnystudio.com/listener for privacy information.
This is a fun two part interview with Frank Ferrante. The first half we talk about Frank's Italian Roots. In the second half we talk about his career in acting specifically his one man show, "An Evening With Groucho."FRANK FERRANTE (Actor/Writer) is the recipient of New York's Theatre World Award for 'Outstanding Debut,' a New York Outer Critics Circle nomination, London's Laurence Olivier Award nomination for 'Comedy Performance of the Year,' Washington D.C.'s Helen Hayes nomination and two Connecticut Critics Circle Awards. He was picked a 'top ten' theater performance by the Wall Street Journal in 2017 and in 2019 the Chicago Tribune picked him as a 'top ten' stage performance for his role in cirque's Teatro ZinZanni. His New York, London and PBS performances in the title role in Groucho: A Life in Revue received not only acclaim from critics and audiences but from the Marx family.Ferrante was discovered by Groucho Marx's son playwright Arthur Marx as a 22 year old drama student at USC performing An Evening With Groucho for a 1985 senior project. Arthur subsequently cast Frank to portray Groucho Marx for the heralded 1986-87 production of Arthur's Groucho: A Life in Revue that played Off-Broadway at the Lucille Lortel Theatre for 254 performances. Ferrante, who was 23 at the time, portrayed legendary Groucho from age 15 to 85. Morrie Ryskind who co-wrote the Marx Brothers classic films Animal Crackers and A Night at the Opera and attended Ferrante's USC show said, "Frank is the only actor aside from Groucho who delivered my lines as they were intended." An Evening With Groucho WebsiteAn Evening With Groucho On Demand Also, you can check you local PBS schedule for An Evening With GrouchoYou can see Frank live in Chicago in Cabaret Zazoumosaic: Exploring Jewish Issuesmosaic is Jewish Federation of Palm Beach County's news podcastListen on: Apple Podcasts SpotifyFarmers and Nobles traces the research path of blogger and podcast host Bob Sorrentino. Bob began researching his family roots in 2008 beginning with his great-grandfather's calling card brought from Italy by his paternal grandmother Maria Luigia Piromallo. https://www.italiangenealogy.blog/farmers-and-nobles/Support the showPurchase my book "Farmers and Nobles" here or at Amazon.
This week on the blog, a podcast interview with Noah Diamond and Jim Cunningham, talking about the pleasures and perils of playing Groucho Marx.LINKSA Free Film Book for You: https://dl.bookfunnel.com/cq23xyyt12Another Free Film Book: https://dl.bookfunnel.com/x3jn3emga6Fast, Cheap Film Website: https://www.fastcheapfilm.com/Noah Diamond website: https://www.noahdiamond.com/“Gimme a Thrill: The Story Of "I'll Say She Is," The Lost Marx Brothers Musical” -- https://tinyurl.com/28ftau5eEli Marks Website: https://www.elimarksmysteries.com/Albert's Bridge Books Website: https://www.albertsbridgebooks.com/YouTube Channel: https://www.youtube.com/c/BehindthePageTheEliMarksPodcast***Noah Diamond Transcript JOHNLet's go back to the beginning. We'll start with Noah and then go to Jim. What's your earliest memory of Groucho Marx or the Marx Brothers? NOAHWell, for me, it started in a kind of roundabout way, when I was a very little kid. Before I could even read, I was really interested in books. And I had my collection of Dr. Seuss, and all the books that would be read to me. But what I really liked to do was go downstairs where my parents had, in the living room, bookshelves lining the walls. And their books were really interesting to me. I just knew there were secrets there, you know? They had like big art books and books of poetry and maybe my first experiences with words were looking at the spines of the books in the living room. And one of the books they happen to have was then fairly recent book, Joe Adamson's Groucho, Harpo, Chico and Sometimes Zeppo, which is, I think most Marx Brothers fans would say it's the best loved book about them, certainly and I think the best written. That book came out in 1973. So, it's 50 years old this year and for some reason, as a tiny kid, that was a book that I took off the shelf. It was interesting that it had silver lettering on the spine and little icons, a harp, and what I would come later to recognize as a Chico hat. “Oh, look, this is interesting.” And I started looking through it, and I saw all these pictures. And the photographs of the Marx Brothers were just something to grapple with and it seemed a little familiar to me. My world was the Muppets and Dr. Seuss and Maurice Sendak. The Marx Brothers appeared in these photographs, like there was some continuity there and I also found them a little scary. Groucho in particular, that's quite a face for a child to reckon with. So, that was a book that I looked at a lot when I was just little more than a baby. I wouldn't really see the Marx Brothers in their movies until I was 12. Partly that's because, I'm just old enough to have had a childhood where it wasn't so easy to find old movies. And I sort of had to wait for home video to come along. And when it first came along, it's not like all 13 Marx brothers' movies were at the local Blockbuster.It was that that journey, that constant searching for things that characterized life in the analog world. So, it was very gradual in between those two times.Rather than blow your whole episode on this answer: in between the very little boy looking at pictures in Joe Adamson's book, and the 12-year-old finally, like seeing Duck Soup, and a Night at the Opera on video, there were many years where the Marx Brothers always seemed to be right around the corner. I would encounter them in Mad Magazine, or adults I knew might refer to them. And I sort of came to understand that the nose and moustache and glasses had something to do with Groucho. I was aware of them as a kind of vapor increasingly during those, I guess, nine or ten years between discovering the book and seeing the films. JOHNJim, how about you? Where did you first encounter them? JIM I was an enormous and still am a Laurel and Hardy fan. There was a local television show here in the Twin Cities where I live on Sunday mornings, hosted by a former television child's television host named John Gallos who played Clancy the Cop. And so I came to the Marx Brothers, kind of grudgingly because I was such an enormous and still am Laurel and Hardy fan, that I poo pooed the Marx Brothers for many, many years. I started watching Laurel and Hardy as a little kid. I mean, 7, 8, 9 years old. Every Sunday morning, I would rush home from church and plop down in front of the TV to watch Laurel and Hardy. They were sort of my comedic touchstones, if you will. And then the Marx Brothers were kind of off to the side for me. And I went to the Uptown Theater, John, here in the Minneapolis area … JOHN You crossed the river from St. Paul and came to Minneapolis, you must have really been interested. JIMOh, I only go across the river for work. This was a point where I was not working yet. And I saw a Night at the Opera and you know, was convulsed and then devoured everything I could get my hands on after that. The Marx Brothers were eye opening for me, just in terms of oh my gosh, this whole thing is so different. I was reading in your book that Frank Ferrante said “I was raised by Catholic nuns and I wanted to sort of do to the Catholic nuns would Groucho would do to Margaret Dumont.” And I was like, well, that's exactly right. Because I too was raised by Catholic nuns, and that sort of energy was really attractive to me as a sophomore in high school. And so I fell in love with them. And then, you know, anything I could get my hands on, I watched and read and loved them to this day. I still love Laurel and Hardy quite a bit too. JOHNOkay. Noah, this is just my own experience and I'm wondering if you guys have had the same thing: that entering the world of the Marx Brothers was actually a gateway to a whole bunch of other interesting stuff. I mean, you get into the Algonquin table, you get Benchley, and Perlman and into other plays of Kaufman. And you know, you're reading Moss Hart, and all sudden you look at the New Yorker, because, you know, he was there. I mean, did you find that it sort of was a spider web? NOAH No doubt about it. Yeah, that's very true. It's learning about them biographically and the times they lived in, the circles they traveled in; and partly it's in order to understand the references in their films. That's one of the great things about sophisticated verbal comedy: it's an education, and particularly if you're a kid. So, yes, through comedy and show business in general and the Marx Brothers in particular, I learned, I hesitate to say this, but probably just about everything else I know from following tributaries from the Marx Brothers. JOHNDo you remember the first time you performed as Groucho? NOAHThe first time I played Groucho in front of an audience was in a talent show, a school talent show in, I think seventh grade. I performed with my brother and sister as Harpo and Chico. They're both a little younger than me and by the time we became the Marx Brothers, they were so accustomed to involuntary service in my stock company. They were veterans by that time, they had done living room productions of Fiddler on the Roof where they had to play everyone but Tevya. And we did the contract routine from A Night at the Opera, with a little bit of Harpo stuff thrown in. JOHNOkay. Fantastic. Jim, how about you: first time as Groucho in front of an audience? JIM The first time in front of an audience as Groucho was really the first time I played Groucho. Just as I have a deep and abiding love and respect for the art of magic (and want to see it, want to read about it), I don't want to perform it. Because it is a thing in to its unto itself and if you do it poorly, it's horrible. So, I love to see it. I just don't love to perform it. And I felt the same way about Groucho. So, I went kind of kicking and screaming, to a staged reading of The Coconuts that Illusion Theater did. We really just carried our scripts because there was just a couple three rehearsals, but we read the whole thing and sang some of the stuff that was in it. And then that morphed from there into an actual production of The Coconuts and we did it both at the illusion theater in Minneapolis, and then it moved to the Fitzgerald Theater in St. Paul. When the Marx Brothers performed there, I think it was called The World theatre. So, I love that kind of thing. I love standing where Wyatt Earp stood or standing where William Shakespeare stood. And so, to be doing a play that Groucho did on a stage that Groucho did it. I should have gotten out of the business right then. I should have said it, I've done it. What's left? JOHNExcellent stories. Noah, have you ever done The Coconuts or Animal Crackers? NOAHI haven't done The Coconuts. I would love to. Animal Crackers … One of the subsequent childhood Groucho appearances was when I was 14 years old. I had a relationship with this community theater. At this point, I was living in South Florida. I spent the first part of my life in Connecticut, and then lived in South Florida when I was a teenager and New York since I grew up. And this was in the Florida years. There was a local theater in a town called Coral Springs, it's not there anymore, but it was called Opus Playhouse. And it was a great place that helped me a lot and gave me a chance to put on shows and learn how to do things. And I just wanted to do Animal Crackers. So, I did a bootleg production completely unauthorized. I didn't even have the script. I just wrote the movie down line by line to have a script of Animal Crackers. And so I've sort of done it. But you know, I really shouldn't put that on my resume as I was 14 and... JIMIt counts for me. Anybody who's willing, as a 14-year-old, to go line by line through a movie and write it down, you did the show in my book. NOAH That just shows the desperate measures we had to take in those days. There was no internet. Little kids writing down movies, you know? JIM Exactly. JOHNIt's charming. It's absolutely charming. So, what is it Noah that draws you to play Groucho? What is it about that guy? NOAH Yeah, what is it? I know, it's funny. ‘What is it about Groucho' is a question we can grapple with forever, even aside from the question of why try to be him? I think one thing that definitely true is that as soon as I saw the Marx Brothers and heard his voice and watched him moving around and interacting, the urge to be him, or at least to behave like him, was immediate. I mean, it was right there. Now, I was already a kid who was a little ham and a performer and would be inclined to find my role in anything, anyway. But nothing, no character other than myself, ever grabbed me the way Groucho did or ever has, really. And I think part of it is what you mentioned, Jim, that Frank Ferrante has said, part of it is the instinct to rebel against authority. And that's unquestionably part of the Marx Brothers act, and a big part of the Marx Brothers appeal I think to kids. But I think it's a little more like watching a great violin player and deciding you want to play the violin. It just seemed to me that, as far as embodying a character and getting laughs and singing songs, nobody ever did it like him. Nobody ever seemed to be speaking directly to my sense of humor and my sensibility. I just wanted to talk in that voice. I wanted to play that instrument. JOHNJIM, what about you? JIM Nothing. Really, truthfully, I did not want to do it. I still don't want to do it. But I would do it again tomorrow, if somebody asked.I think trying to find your way to entertain an audience through somebody else is tricky for me. I'm better at playing me than I am at playing anybody else. And so the desire to play Groucho, I have sort of put it inside me, and I have an eye on it all the time. I use Groucho's sensibility without the grease paint, and I'd like to believe that I do. I'm certainly not in Groucho's league. Laurence Olivier said it: steal from everybody, and no one will know. And so I have, but the desire to put on the grease paint and wear the frock coat is akin to me saying, I want to do a magic show. I just I love to go to a magic show. I love to watch a Marx Brothers movie. But I'm really kicking and screaming to play him again, because the mantle is so huge and heavy and I don't think that I'm particularly serviceable as GrouchoIt wasn't until we were halfway through the run of The Coconuts when a light bulb went off in the dressing room, while I was putting on the makeup: there's a difference between being faithful to the script of The Coconuts and what we learned, and being faithful to the Marx Brothers sensibilities, if that makes sense. There's the letter of the law versus the spirit of the law.About halfway through that run, I started doing things that I felt were more attune to the spirit of the Marx Brothers, then the letter of the script. So, I was calling other actors onto the stage. I was going out into the audience, I took a guy out and put him in a cab one night. That sort of anarchy that people talk about when you read about the Marx Brothers in their heyday, about Jerry Lewis and Dean Martin in their heyday: I don't know what's going to happen and I want to be there because of that.And for all I know, it was the exact same show night after night after night, and they just gave the impression that it was crazy. But that idea for me still percolates. This the idea of, am I creating a museum piece or am I trying to, in some way, channel that anarchy for an audience? The other show that I do that has some relevance here is we do a production of It's a Wonderful Life, at Christmas time, as a live radio play. And that too: what am I doing? Are we trying to capture the movie or are we creating something different? So, finding that sort of craziness is what I was most intrigued by and still am. NOAH There's not a lot of roles like that. If you're playing one of the Marx Brothers in Coconuts or Animal Crackers, or I'll Say She Is, it's not the same as playing Groucho Marx in a biographical piece about his life. Nor is it like playing Sherlock Holmes, a very familiar character, where there is room to make it your own. I suppose people have done that with Groucho, too. But generally, if you're in a production of one of the Marx Brothers shows, the assignment is to try to make the audience feel like, if they squint, maybe they're watching the Marx Brothers. JOHN Noah, when you tackled the formidable and important task of recreating, resurrecting, bringing back to life, I'll Say She Is, were you having that same sort of thing Jim was talking about? Balancing the reality of what may have happened against you don't really know for sure and the spirit of it? How did you approach it? But first, why did you pick that show? And then how did you bring it back to life? JIMCan I back up? Because the three of us at this table are enormous Marx Brothers fans. So, if you say I'll Say She Is, we have a frame of reference. But people listening to this may go, ‘what the hell is I'll Say She Is?' So, can you start with that? Can you start with what is I'll Say She Is and how did you come to it, because I think for the layman who's not a huge Marx Brothers fan, they don't even know what we're talking about. NOAH Yes, absolutely. In a nutshell, the Marx Brothers, although primarily remembered for their movies, were already halfway through their career by the time they ever made a film. Most of their lives were spent on stage. They had a long period in vaudeville, and then in the 20s, they became Broadway stars. And that was really the beginning of the Marx Brothers as phenomenon we would recognize. They did three Broadway musicals. The first was I'll Say She Is, a thinly plotted revue, and the second was The Coconuts, and the third was Animal Crackers. By the time they were making talkies, they had these two very prestigious vehicles, Coconuts, and Animal Crackers, written by George S. Kaufman and Morrie Riskin, with scores by accomplished composers, Irving Berlin and Kalmer and Ruby. And there was no question but that those would be the first two films.And as a result, I'll Say She Is just kind of faded into history. It was the show they'd never made it into a movie and no script survived or at least no complete, intact script survived. So, if you were a kid like all the Marx maniacs out there, reading every book you can get your hands on and learning everything you could about the Marx Brothers, I'll Say She Is just had a sort of intrigue about it. What was that show? Everyone knew from those books that the highlight of the show was the Napoleon scene in which Groucho played Napoleon and the other brothers played the various consorts of Josephine, who are always materializing every time he turns his back. And that scene was touted as like, that's really the arrival of the Marx Brothers. That was the essence of them, before they ever met George S. Kaufman. It's just such a tantalizing thing if you love them.I think—because I love the theater and I love musical theater—a lot of my other interests are also right in the bullseye of I'll Say She Is: Broadway, New York City history. I'm a big fan of the culture of the Jazz Age in the 1920s. And this was just so appealing to me. So, every time a new book about the Marx Brothers would fall into my hands, the first thing I would do is look up I'll Say She Is in the index and read all the associated stuff first. I just had a little obsession about it. In The Marx Brothers Scrapbook, which is a book I'm sure familiar to both of you and many of the fans, that book reprints the entire opening night program from I'll Say She Is on Broadway. When I was 12 years old, I took that book to the library and photocopied it, and cut out the pages, and made myself a little program so that I could pretend that I had seen I'll Say She Is. Fast forward many years, and I'm an adult doing theater in New York. My wife and collaborator, Amanda Sisk and I were doing political satires, writing these musicals that would be ripped from the headlines. And we did that for a long time before realizing that the time it takes to develop a musical is too long for topical material, so we could never really perfect our work. And we decided to stop doing those shows, which were a bit of a dead end for us creatively. And I found myself after many years of doing one thing trying to figure out, well, what's my thing going to be now?And I think it was probably inevitable that I would just sort of go home to the Marx Brothers. ‘Well, let's do a Marx Brothers show. I haven't done that in a while, you know?' I don't know, it seems a little bit silly to call something so unlikely, inevitable, but I just think I was hurtling toward it from the day I picked up Adamson's book when I was three or four years old. JIM It had to have been both a joyful and frustrating experiences as you tried to recreate something that doesn't exist. The Napoleon sketch: we did a version of that Napoleon sketch. The only line I can remember from that Napoleon sketch was, “I'll be in Paris tomorrow, don't wash.” That's the only line I can remember from the entire show. I think of that. Was it super fun or was it super frustrating? Or was there a combo? What was that like? NOAHIt was fun. I mean, writing is always a combination of both of those things. Stephen Sondheim once called it agonizing fun. That's kind of what almost any writing process is. This one, I wouldn't have taken on the idea of doing I'll Say She Is if enough of it didn't survive and how much of it seemed to have survived. Before my research, I think what I was really thinking is that I would maybe try to write a book about I'll Say She Is, and maybe figure out some way to do the Napoleon scene on stage. But realizing that it could be a show again, that happened kind of slowly as material started to accumulate. Yes, the Napoleon scene has survived and that's been known for a long time. Also, the first scene of I'll Say She Is is one that's familiar to Marx Brothers fans, because it was an old vaudeville piece that they filmed in 1931. The theatrical agency scene. [Audio from the Clip] NOAH So, those are two big pieces of material were a given. And then as for the rest of it, I became aware, by relying on the work of other researchers, that there was a type script I'll Say She Is at the Library of Congress. Also, another slightly different one at the American Musical Theatre Institute run by Miles Kruger. And I was able to get my hands on the type script. Now it is on one hand, it's the script of I'll Say She Is. That isn't quite that what it is, though. It's a 30-page document that they went into rehearsal with. And, you know, going into rehearsal with the Marx Brothers, it's an outline with dialogue. It's what we would now refer to as a treatment. and there is some dialogue in it, some of which is recognizable from later Marx Brothers projects. Some of it is very sketchy. Of course, almost everything Harpo does is merely indicated: stage directions like, Harpo business, or sometimes, business with hat. But this provided something like 20% of the dialogue and the continuity for I'll Say She Is. There were no lyrics in it, but it did specify where the songs would fall. So, my first attempt to write a script for this was a combination of material from that type script and things learned from the playbill, from reading every account of I'll Say She Is I could find in books and interviews. And then I started to search old newspaper archives, which was just getting easier to do at this time. I was embarking on this sort of major I'll Say She Is research period around 2010 and it was just starting to be possible to read decades worth of old newspapers on the internet. It's gotten much easier since then. So, by reading every review I could find FROM every city I'll Say She Is had played in 1923, and 1924, and 1925, I started to realize there's material here. There's reviews that quote dialogue or describe scenes that aren't in the type script and that I didn't know about before and maybe nobody did (unless they've read this copy of the New York Clipper from 1924). And some of the songs from the original I'll Say She Is were published in 1924 and it was fairly easy to get my hands on those. But that represented only about half the score, maybe a third of the score. A number of the original songs remain missing. And of those, I did manage to find a couple. And to fill in the gaps, I found other songs written by the same people. Will Johnstone was the lyricist (Marx Brothers fans will know him as a screenwriter on some of their later films) and his brother Tom Johnstone wrote the music. Well, the Johnstones also wrote six or seven other Broadway shows during the same period. So, I was able to find some of those songs and interpolate them and do a sort of general polish on the lyrics on the surviving lyrics.When I was bringing in other songs, sometimes I would write the lyrics. I know there was a song here, and I know what it was about. So, I'll write a lyric about that and whenever I had to do that kind of thing, where I would invent something to fill a gap, I would always try to do it very conscientiously, by relying on what I knew about the Marx Brothers act up to 1924. And also by immersing myself in Will Johnstone's writing. He's an interesting, very unsung artist too; he was a very prolific newspaper writer and cartoonist and did a little bit of everything. So, by reading everything I could get my hands on by Johnstone, it made it a little easier to write what he would have written for them. JOHNThat's just fascinating. JIM It really is. The whole thing to me is it's so titillating and so exciting that even though I say I never really want to do Groucho ever again, if you said, I'm gonna send you a copy of I'll Say She Is, I produced that. I'd be in that. I put that up right now. NOAHIt could happen, Jim. I think what you said earlier, Jim, about playing Groucho, you feel like there's this mantle of greatness that is, is impossible to live up to. I feel that way too. It is impossible. I mean, playing Groucho on stage, you're kind of making a deal with the audience, like, ‘Hey, we both know, I'm not him. I'm not. Nobody will ever be that good at doing that. But if you'll meet me in the middle, I think I can fool you for a minute.' It becomes a sense of responsibility. And it's the same thing with reviving, I'll Say She Is. If we're gonna put that title on a marquee, and charge people money to see it, boy, this better be the very best we can do. JOHNSo, once you started reconstructing I'll Say She Is, were you always planning on putting it on its feet? NOAH Well, probably, the answer is definitely yes. I think the question is, would I have admitted it to myself early on? I do remember nibbling around the edges of it for a while before looking at squarely in the face and saying, ‘We have to do this.' We have to do this on stage for that very reason: because it is so daunting. It's daunting to produce a big musical, even without all the baggage and the history and responsibility of the Marx Brothers and I'll Say She Is. JIM I looked at the pictures of your production and was flabbergasted at the cast and how big the cast is, and the costumes for the cast. It was like, this is a big deal. NOAH One thing that was very lucky—because of the nature of the project, and because it's so interesting and historical—it attracted a lot of really talented people, all of whom worked for much less than they deserved. We have done it twice at this point: the Fringe Festival production in 2014 was the first, full staging and the book Give Me a Thrill is current through that production. Then in 2016, we did an Off-Broadway production, which was larger and fuller and ran longer and was even more fully realized. There will be a new edition of a book covering that production. But even that is now some years ago.There is in the future, I think for an even bigger, even more 1924-faithful I'll Say She Is. And I also think there may be a lightweight version of I'll Say She Is. I think we may experiment with that, saying, ‘Oh, okay, it's a 1920s revue. It has a line of chorus girls. It's spectacular. But what if we did to it what Marx Brothers fans often want to do to the film's and just boiled it down to just the Marx Brothers gold and do an I'll Say She Is Redux?' There two licensable versions of Animal Crackers. There's a small cast multiple role kind of version, and then there's the big full musical. JOHNIt's like the Teeny Sweeney. The idea of you offering and creating a version that would be a little easier for most theaters to do. I think is really a smart idea. JIMKnowing the Marx Brothers, and knowing Coconuts and Animal Crackers, because of course, they're enshrined in celluloid and we can look at them whenever we want. There's a story to both of those things, loose as it may be. I wouldn't say either The Coconuts or Animal Crackers were a revue. Is the same true of I'll Say She Is? Is it a revue where we're just going from sketch to sketch to sketch or song to song to sketch, and they're not connected by a through line the way Coconuts or Animal Crackers are? NOAHIt's an interesting question and the answer is kind of both. One thing that has happened is I think the word revue is now understood more narrowly than it was in the Marx Brothers day. When we use the word revue now, we generally mean exactly what you're describing: a variety kind of evening, with a series of unrelated sketches or songs. But the truth is in the 1920s, particularly, revues tended to have either thin plots or themes that tied them together. And that's exactly what distinguished a Broadway review or what would have been called rather snootily, a legitimate revue. That's what distinguishes it from vaudeville, which really was one act after another and what the third on the bill does on stage has nothing to do with the content of what was second on the bill. A lot of these Broadway revues, including the Ziegfeld Follies, they would be built on themes or plots. An example would be As Thousands Cheer, Irving Berlin's famous revue. It doesn't have a plot that runs all the way through it, but each piece is based on a news story of the day. It's not just a collection of songs. In the case of I'll Say She Is, it was a thinly plotted revue. And the thin plot is: a bored heiress is looking for thrills. That's the plot. It makes Animal Crackers look very sophisticated. It begins with a breaking news that a society woman craves excitement, she has promised her hand, her heart, and her fortune to whoever can give her the biggest thrill. Very saucy stuff. So, each scene or musical number in the show is vaguely an attempt to give her a thrill. It's kind of like a clothesline. You can hang anything on it. So, the Napoleon's sketch—in the context that was provided for it in 1924—is a fantasy sequence where the ingenue fantasizes that she's in the court of Napoleon. That's the attempt of the hypnotist to give her a thrill. In order to make the show a little more compact and a little more accessible, in my adaptation I did nudge it a little closer to being a book show. I did I strengthen the plot a little bit. I just added some reinforcements, some undergirding to the plot. And some things in the show that weren't connected to the plot, but could have been, I made some little connections there. And also, some of the sequencing was a little perverse in terms of how the evening built. So I thought, with the help of many people who worked on the show with me, but I'll mention Travest-D and Amanda Sisk, who had a lot to do with the development of the script, we figured out that the Napoleon scene really should go at the end of Act One. And the courtroom scene should go at the end of Act Two. And other little concessions like that to make a contemporary audience feel some sense of satisfaction. JOHNYou both do such a nice job of Groucho—even though one of you has to be dragged into it kicking and screaming. What is, from your experience, what is the hardest part of being Groucho on stage? NOAH Well, for me, the most challenging part is the physical performance. That's the part I work on the most. When I see video of myself as Groucho, that's the part—if I notice things to improve on next time—they're usually physical things. I think that may have something to do with my particular skill set. I'm very comfortable vocally. I like my vocal version of Groucho and it sounds the way he sounds to me. I generally feel confident with that, although off nights do happen. But physically, being him physically, partly because he was so verbally overwhelming, we often overlook what an interesting and unusual and brilliant physical performer, Groucho Marx was. I can't think of anyone who moved the way he moved. Both his physical body was unusual, his shape, and the way he—especially in the early films—he like has no gravity. He's sort of weightless.There is a tendency to make him too manic and to try to match his impact by being loud and fast and very abrupt in your movements. Or overly precise. He wasn't that precise, actually. He was pretty sloppy in the way he moved. But there was a grace in all that sloppiness…The difficulty of putting it into words—that you're experiencing with me right now—is part of where the challenge is. There are times when I feel good about the physical performance, and I nail something, a move of his that I've been working on. But I think that's the part that's the most challenging. JOHNOkay, Jim, how about you? What did you find most challenging? JIM You know, what I found most challenging is dealing with the mantle of Groucho. Not just the audience's expectations of what that means, but more problematic, my own belief system, about what I'm capable of, and how far short of what the man was and did on stage my version of him is.So for me, I always had to really kind of get myself ramped up in order to believe that, okay, I'm going to go on, I'm going to do this. And it was a constant battle for me every night before I would go on. Am I capable of this? Is there anything about this that's even moderately entertaining for an audience? And I just couldn't get by that and I still can't, you know, I still can't get that out of my head. Now, I separate that for a second and set it aside with It's a Wonderful Life. I'm very happy with what I've achieved in It's a Wonderful Life. Very happy with, what I've done, me personally, and the show in general. But my performances, I'm very happy and satisfied with them and I'd love to do them and can't wait till December comes around so I can do it again. But the Marx Brothers thing is that there's a fear factor, I guess that I'm going to let him down in some way and I can't help but let him down. There's a certain love and respect I have for him, in the same way that I have love and respect for magic, that I just don't want to be a bad Elvis impersonator. You know what I mean? That's what I don't want to do. There's a big difference between Elvis and the best Elvis impersonator and you can have joy in both. But, you know, Groucho is so far—and nothing against Elvis, please. If you're listening to this podcast, and you think I'm about to diss Elvis, you're right. But I don't mean it that way. There's a vast difference between what Groucho was on screen and what Elvis was on screen. Elvis could sing. Groucho could do anything. And that's the difference, and I can't do anything. I can barely sing. I'm lucky enough to have done it and I'm happy to have done it and when people talk to me about it. ‘Oh, I saw you was Groucho. You were excellent.' And I want to say, ‘Apparently, you don't know the Marx brothers. I wasn't.' NOAH That's a very Groucho response, that hey, you are great in that show, and you have no taste, you know? JIM That's exactly right. JOHNWell, I could do this all night, but we're not going to do that. I want to just wrap up with a couple Speed Round questions, kind of general Marx Brothers questions. Noah, do you have a favorite of the movies? NOAH Animal Crackers, because I think it's the closest we can get to seeing them as a stage act at the peak of their powers. JOHNOkay, do you have a favorite scene? NOAHYes, I feel guilty because my favorite Marx Brothers scene only has one Marx Brothers in it and I I love Harpo and Chico and I even love Zeppo. I have to say that, but my favorite scene is the strange interlude scene in Animal Crackers. [Audio from the Clip] JOHNTo have been there live, to watch him do that, to see him step forward. I would rank that very high for my favorite scene. Jim, do you have a favorite movie and a favorite scene? JIMYeah, I think so. Largely because it was my first experience of the Marx Brothers, nothing for me compares to a Night at the Opera. If I am clicking around and Night at the Opera is on, we stopped clicking and that's what it is. And anybody who is in the house, my wife or the kids, I'm sorry, but you'll either have to find another TV or go out to play, because this is what we're going to be watching for a while And you know the line of Groucho's, what happened? [Audio from the Clip: “Oh, we had an argument, and he pulled a knife on me so I shot him.”]. JIM That right there. When I heard that the first time, I was afraid I'd have to leave the theater. I started laughing so hard, and I couldn't come back from it. It just kept coming to me. I kept thinking of that well past it and was giggling about it and so that whole ‘belly up, put your foot up here.' That whole thing to me is as good as it gets. JOHNOne other little alley, I want to go down. There's another great book and Noah, if I get the title wrong, please correct me. Is it Four of the Three Musketeers? NOAH Yes. JOHNWhich tracks in exhausting detail, every stage appearance of their stage career. As you look through it—we're all getting older, all three guys—you begin to realize the weird gap or you think something was a long time ago and it turns out it wasn't. I was born in 1958 and realized just recently that Abbott and Costello Meet Frankenstein was made a mere 10 years before I was born. The Marx Brothers on stage in the 20s, or late teens and 20s, they're traveling everywhere in the country. They came to Minneapolis a lot. They went to Duluth a lot. And, you know, a mere 40 years before I was born, I could have gone and seen them. So, my question to you guys is: you have a chance to see the Marx Brothers live on stage in that era. What is your pick? What do you go see? You have a time machine. You can go you can go see one thing or two. I'll give you two, because I have two. NOAHWell, I'm glad. I'm glad you're given me two, because the obvious answer is I'll Say She Is and.... JIM That would be my answer too. JOHN Bring your iPhone and hit record. Yeah. NOAH Yeah, right, bootleg it. Nobody knows what an iPhone is anyway. Exactly. JIM And then you just go right back to what you did as a 14-year-old line by line. JOHNOkay. So, your second choice after the obvious, I'll Say She Is? NOAH I guess it would be to see some of the even earlier stuff, satisfying the urge to see them at their best on Broadway. You know, there's a lot of curiosity about the act up really up to 1920. In 1920 or 21, there's a big change. That's when Groucho painted the moustache on and drops the German or sometimes Yiddish accent he had been using before. Harpo and Chico evolved more subtly, but in a sense, they were all playing somewhat different characters in the early vaudeville tabs. So I guess I would want to see Home Again, which was their vaudeville tabloid, that carried them through the World War One years and beyond. JOHNJim? JIMAnything vaudeville. The school sketches that they did. I'd see anything. It wouldn't matter to me. If I could get back there, I'd go every day. John, you and I were talking about Robin Williams and being the greatest improviser of all time, and the quote that you said was, somebody had said, “see the eight o'clock show, then see the 10 o'clock show, and we'll talk.” And to me, that's interesting. I would kill to, you know, follow them on the road, like Bruce Springsteen, and just see how much of it really is the same. In the same way that I'm tickled, when somebody says to me, ‘How much of that did you just make up on the spot?' None of it. Essentially, none of it did I make up on the spot. I'd like to see how much of what they did day to day was exactly the same and how much of it was, ‘today, I'm going to do this for no reason at all' and I'd like to see how much of that is different. JOHNYou know, my two choices kind of fall within that. One is the day that Chico's daughter didn't go to the show, and she came home, and Chico thought she'd gone to it and he said, ‘What did you think?' And she said, ‘What do you mean?' And he said, ‘Harpo and I switched roles.' And I know it's weird: if you had like one chance to go see the Marx Brothers, you're gonna go see them do the role they're supposed to do. But it's just fascinating when you think about it. The other one is when Groucho was sick and Zeppo stepped in and if I'm quoting Susan Marx's book correctly, the reaction was so strong towards what Zeppo did that Groucho got healthy really fast and came back. But Zeppo was really, really good. We do have the agent sketch, so you get a sense of what they were like on stage. You do get that. But the idea of seeing, I can easily see Zeppo doing Groucho. But Chico doing Harpo and vice versa? I realize that if I have a time machine, I should go back and do something more helpful for the world. But at that same time, I want to stop by and see that one show where they switched. JIM That you'll do that on your lunch break. While you're stopping World War Two, on the way home, swing by and see that show. You've earned it. NOAH That's a good answer. JOHNYeah. Noah, thank you so much for chatting with us. JIM Just a delight. Thank you so much. I had a great time talking to you. NOAHIt's been a pleasure, fellas. Thank you for having me on.
Today is Global Belly Laugh Day! According to the organizers on this day laughing and smiling are encouraged as "positive laughter fuels positive energy and creativity." Be ready to laugh as the Marx Brothers' "A Day at the Races" is today's WPMT premiere. Our special guest is star of the smash Chicago hit "Cabaret ZaZou presents Luminaire" and expert on all things Marx Brothers, actor, comedian and director Frank Ferrante! Tune in today on all major podcast platforms!
Stars of Cabaret ZaZou, Dreya Weber and Frank Ferrante, join Andrea Darlas to talk about this thrilling and crowd-pleasing production! Plus, Frank Ferrante talks about his show 'Frank Ferrante's Groucho' playing on PBS stations around the country.See omnystudio.com/listener for privacy information.
Actor, comedian, and director, Frank Ferrante joins Steve Dale, filling in for Bob Sirott, to talk about his performances as Groucho Marx and how he formed relationships with his family members. He also discusses his experiences portraying various famous figures and the “American Masters” special that will focus on Groucho Marx and Dick Cavett.
Actor, comedian, and director, Frank Ferrante joins Steve Dale, filling in for Bob Sirott, to talk about his performances as Groucho Marx and how he formed relationships with his family members. He also discusses his experiences portraying various famous figures and the “American Masters” special that will focus on Groucho Marx and Dick Cavett.
Cabaret ZaZou's “Luminaire,” an intimate, interactive cabaret/cirque production performed inside a European spiegeltent on the 14th floor of the Cambria Hotel in downtown Chicago, is one of Chicago's best-kept theatrical secrets. Frank Ferrante, the legendary actor and comedian who co-created the show and plays your host "Forte," discusses the origins of the piece; how one best describes this particular circus-music hall entertainment; not just playing but embodying Groucho Marx; the art of making audience “volunteers” look good; the mixed blessing of missing the glory days of vaudeville; receiving actual blessings from Groucho's son; admiring both the truth and range of Zero Mostel; celebrating the anarchy of the Marx Brothers; drawing on one's heritage for both comedy and truth; the ability to use all the skills in an actor's toolbag; and the power of an entire audience saying, as one, “All is forgiven.” (Length 20:27) (PICTURED: Frank Ferrante as Forte in Cabaret ZaZou's "Luminaire.")
Dean Richards is broadcasting live from Tree Time Christmas Creations and he’s joined by Award-winning actor Frank Ferrante. The two talk about Cabaret ZaZou, a variety extravaganza and four course meal at the Cambria Hotel. And Groucho is back for one night only for Tuesday, November 22nd. Dean asks Frank about maintaining energy during the […]
Dean Richards is live at Treetime for the annual Treetime Holiday Spectacular. Dean is joined by Frank Ferrante about Groucho and Cabaret ZaZou. Dean also interviews Santa about WGN Radio hosts that are on the naughty list. Plus, the Eddie Korosa Polka Band plays a special version of ’12 Days of Christmas’ featuring Dean and […]
Frank Ferrante is the star of Cabaret ZaZou’s Luminaire show as well as an upcoming show starring him as the one and only Groucho Marx! He also talks about how he met Groucho and eventually became very close with the family. Hold onto your eyebrows! Frank Ferrante’s Groucho is for one night only on November […]
Cabaret Zazou presents: Luminaire! Join award-winning actor Frank Ferrante and other remarkable acts from around the world on September 7th at Cambria Hotel Chicago to experience a one of a kind immersive variety dinner show! He and the Steve Cochran Show talk about what rehearsals look like, the amazing performances that are happening during dinner, and where you can get your tickets to join the magic. See omnystudio.com/listener for privacy information.
Entertaining audiences for decades with his terrific one-man show about Groucho Marx, Frank Ferrante joins the conversation to talk about his return to Chicago in September for LUMINAIRE at Cabaret ZaZou in the shimmering Spiegeltent on the 14th floor of the Cambria Hotel and a tour stop for Groucho coming up in South Haven. One of our great improvisational actors, comedians and entertainers, Ferrante talks about developing characters, the new show in Chicago and the PBS special that has brought Groucho to a new generation of fans. "An Evening with Groucho" at the South Haven Theatre Series 7:30 pm August 20, 2022.
This week we dive into Marvel's multiverse with Dr. Strange In The Multiverse Of Madness. We also discuss Moonfall, U.S. Marshals, Devil In A Blue Dress, and Frank Ferrante's Groucho (An Evening With Groucho). We wrap of Moon Knight and talk about some other shows.
Frank Ferrante: Groucho Marx Impersonator has been doing his show for 35 years. Frank says Groucho is so loved because he's real. Groucho never worked blue; he used his eyebrow wiggle to communicate his thoughts.
He's been Pseudolus, Max Prince, and the one, the only, Groucho! Frank Ferrante talks with Don and onetime Philadelphia Inquirer theater critic John about his life in the theater and his evening as Groucho, captured on film and playing on PBS this month. Check it out at eveningwithgroucho.com
Remember Groucho Marx? To the younger crowd, that may seem like a ridiculous question. The man was born in the 1800s. And yet, he managed to stay active until the 70s. His career was as long as the human lifespan at the time of his death. And that's despite all the cigar smoking and inhaling grease paint fumes. Well, good news: Groucho is alive again. Metaphorically, of course. Frank Ferrante has donned the costume and memorized the lines and you can witness this resurrection on DVD at www.eveningwithgroucho.com/thefilm. See omnystudio.com/listener for privacy information.
Frank Ferrante, Jeff Gomez, and JR Martinez have all had their own experiences rewriting their stories, and what they say will help you rewrite yours. JR Martinez says, “I think that's what drives me to this day, is I want to be that old man on the rocking chair and I'm on the front porch one day, and not asking "What if? What if? what if?" I want to be the guy that said, "I tried it. I didn't probably complete it, but at least I gave it a shot," you know? And that's what matters more than anything. You have to ask yourself, the question is, whatever you're unhappy about, is this what you want your life to become?” In this episode, you'll learn: - Find where you belong. Life is not linear - Don't let your past dictate who you're going to be - Acknowledge what is holding you back in life and confront it instead of ignoring it - First 2 chapters of your life are written for you, you get to write the rest If you want to watch the full episodes: Frank Ferrante, Overcoming addiction and obesity | Spartan Up - https://youtu.be/ShLTsl9KSRo 160: Jeff Gomez | Rewrite Your Story - https://youtu.be/UYCupGKzwr4 JR Martinez Look Beyond the Scars and Overcome Any Adversity - https://youtu.be/86IIt1jUfco SPONSOR This episode of Spartan Up is brought to you by DUROLANE, a single injection that may provide up to six months 1 of relief from osteoarthritis knee pain. Risks can include general knee pain and pain at the injection site. You can see full prescribing information at DUROLANE.com. SUBSCRIBE: Apple Podcasts: http://bit.ly/SpartanUpShow YouTube: http://bit.ly/SpartanUpYT Spotify: https://open.spotify.com/show/1pYBkk1T684YQg7CmoaAZt FOLLOW SPARTAN UP: Spartan Up on Instagram https://www.instagram.com/spartanuppodcast/ Spartan Up on Twitter https://twitter.com/SpartanUpPod CREDITS: Producer: Lake Watters Hosts: Johnny Waite, Joe De Sena Co-Hosts: Sefra Alexandra, Col. Nye Sr Producer: Marion Abrams © 2022 Spartan
Interview with Frank Ferrante --- Send in a voice message: https://anchor.fm/rat-salad-review/message
If you'd like to find the air times on your local PBS network for Frank's special, check here. (For reference, I'm in Season 8 now, but it doesn't hurt to go back and check out my older shows!) And, while watching his special, if you say the secret word, a duck will come down and give you 50 dollars! (Below are the original show notes. The referenced episodes already aired, but you can still hear them ,if you like, on your podcast app or sherpalution.com) _______________________________________________________________________________________________________________________________________ What a perfectly timed interview to wind up as my Season 6 finale, Rebels. And what a great guest Frank is,too. He really appreciated coming on this podcast to promote his show, "An Evening with Groucho". If you're not near anywhere that Frank is performing, fear not, The show will air on your local PBS station in the spring of 2022. And don't worry, this episode will be rebroadcast, to remind you. We all need reminders. Like "Don't bet your paycheck on mountain lion races." Especially when they're racing after me. But I digress. If you don't know much about Groucho Marx and would like to learn more about him, check out the websites listed below. They will really help ou appreciate the beauty of the tribute that Frank does in his show. Thanks so much for helping me wind down the season, Frank! Frank's info: eveningwithgroucho.com, grouchomarx.com Next week, the cleanup! Then, e launch Season 7 with an interview with Recruiter/Podcaster Jolie Downs of "Fresh Blood: Killing It After 40" Ace that interview and energize a career! Follow the show on Twitter, Facebook, and Instagram at @Sherpalution, and check out my website, sherpalution.com , for older episodes, Sherpa Sheets, and Spotify playlists. You'll also find the link to "The Tee Sherpa Shop". Podcast merchandise!! Email me at jimthepodcastsherpa@gmail.com. #VivaLaSherpalution! Publicist Extraordinaire: Steven Joiner Music Credits/Voiceovers: Bruce Goldberg ( aka Mr. Bruce) Other Voices: The Sherpalu Studio Players If you'd like to support the show with a donation, (You know, like with money?) feel free to click here. No pressure. I'll just hold my breath the entire next episode if you don't. But seriously, the free option is to leave a nice review on my website, Apple Podcasts, stitcher.com, or IHeartRadio.com. Thanks for listening! You can subscribe and listen to this show on vurbl.com , sherpalution.com . or any podcast app, like Goodpods, or website listed on sherpalution.com. --- Send in a voice message: https://anchor.fm/jim-the-podcast-sherpa/message --- Send in a voice message: https://anchor.fm/jim-the-podcast-sherpa/message
The brilliant, multi-talented Frank Ferrante, has enjoyed a 35-year career in the theater as an actor, director and producer.At age 23, he debuted Off-Broadway in the title role in Groucho: A Life in Revue written by Arthur Marx, son of the legendary comedian Groucho Marx. For that role, Frank won New York's Theatre World Award and a New York Outer Critics Circle nomination. He revived the role in London's West End, where he was nominated for the Laurence Olivier Award for ‘Comedy Performance of the Year.' Since then, he's reprised the role more than 3,000 times in over 500 cities throughout the world primarily in his touring solo show An Evening With Groucho, which was filmed at the Cincinnati Playhouse in the Park and re-titled Frank Ferrante's Groucho for broadcast on PBS.The Chicago Tribune named Frank a 2019 top ten theater performer for his work as comic host, The Caesar, in the cirque spectacular, Teatro ZinZanni – a role he's played for 20 years. At Philadelphia's Walnut Street Theatre, he directed and played the lead role of Pseudolus in A Funny Thing Happened on the Way to the Forum, which the Wall Street Journal called one of the country's top 10 performances of 2017.In 1995, he directed and developed the world premiere of the Pulitzer Prize finalist Old Wicked Songs.On television, he played a speaking mime on Rob Corddry's Emmy Award-winning comedy, Childrens Hospital, and his voice can be heard on the animated series SpongeBob SquarePants and Garfield. In October 2021, Frank received a 'star' on the Palm Springs Walk of Stars for his contributions to theater.
Actor, comedian and director Frank Ferrante joins fellow "Marxists" Gilbert and Frank for a lively conversation about his affection for "A Day at the Races," his decades-long friendships with Arthur and Miriam Marx, his upcoming PBS special, "Frank Ferrante's Groucho" and portraying his comedy hero for three decades and in over 500 cities. Also, Uncle Miltie offers spit take lessons, Elaine Stritch does a kid a solid, Gilbert breaks bread with Henny Youngman and Albert Finney makes a play for Frank's girlfriend. PLUS: Morrie Ryskind! Gallagher & Shean! "Horse Feathers" turns 90! Frank meets George Fenneman! Remembering Hal Holbrook! And the boys pick their favorite Marx Brothers scene of all time! Ship more in less time with ShipStation. Just go to ShipStation.com, click on the microphone at the top of the page, and type in GILBERT to get a 60-day free trial. That's 2 months FREE of no-hassle, stress-free shipping. Learn more about your ad choices. Visit megaphone.fm/adchoices
#frankferrante #grouchomarx #marxbrothers #groucho #musicislifepodcast #ratsaladreview #podcast #dreyaweber #pbs #thecoconuts #animalcrackers #monkeybusiness #horsefeathers #ducksoup #nightattheopera #dayattheraces #roomservice #atthecircus #gowest #thebigstore #nightincasablanca #lovehappy #chicomarx #harpomarx #comedy #theater I'm proud to have as my guest on this episode my first actor. Discovered at USC by Arthur Marx (the playwright son of Groucho Marx), Frank Ferrante has had the pleasure of performing as Groucho Marx in the productions of “Groucho: A Life In Revue” and “An Evening With Groucho.” He's performed on stages from all around the United States to the United Kingdom to Australia. He has also performed in the role of The Caesar in “Teatro Zinzanni,” a physically demanding character in a mostly improvisational production with dancers and aerialists. I had the pleasure of seeing Mr. Ferrante perform in Freeport, NY in the spring of 2014 with my family. He was both amazing and gracious. He is ready to roll out a filmed version of “An Evening With Groucho” (simply called “Frank Ferrante's Groucho)” for Public Television Stations in the United States. Directed by Dreya Weber (“The Gymnast,” “The Aerialist,” “A Marine Story,”), this is one of the most anticipated performances ever for PBS stations. Frank was kind enough to sit down for a chat with my self and James “JL” Lillquist (Rat Salad Review, Beyond Bushido) where we discussed his career, his plans, his relationships with members of the golden age of comedy, his friendships with Groucho's children, and more. For more on Frank Ferrante, check out his official website at https://eveningwithgroucho.com. Thank you, Mr. Frank Ferrante, for blessing the podcast with your presence. Cheers! “FRANK FERRANTE'S GROUCHO” PUBLIC TELEVISION BROADCAST SCHEDULE: APRIL 1 at 8PM LOS ANGELES: KLCS APRIL 1 at 9PM LOS ANGELES: KVCR APRIL 1 at 9PM GRAND RAPIDS, MI: WGVU PUBLIC MEDIA APRIL 1 at 8PM AUSTIN, TX: AUSTIN PBS, KRLU APRIL 1 at 1AM COLUMBUS, OH: WOUB PUBLIC MEDIA APRIL 2 at 9PM SAN FRANCISCO: KQED (KQED Plus) APRIL 2 at 3AM DENVER: Rocky Mountain PBS, KRMA APRIL 2 at 4AM COLUMBUS, OH: WOUB PUBLIC MEDIA APRIL 3 at 2PM MINNEAPOLIS: Pioneer PBS, KWCM APRIL 3 at 9:30PM SAN FRANCISCO: KRCB APRIL 3 at 3PM HARRISBURG-LANCASTER, PA: WITF APRIL 3 at 7PM GREENVILLE-SPARTANBURG: SOUTH CAROLINA ETV, SCC CHANNEL APRIL 5 at 9PM NEW YORK CITY: All Arts Channel (Thirteen) APRIL 7 at 9PM NEW JERSEY: NJ PBS APRIL 7 at 9PM INDIANAPOLIS: WFYI APRIL 8 at 10PM COLUMBUS, OH: WOUB PUBLIC MEDIA (Channels 20.5, 44.5) APRIL 8 at 11PM JACKSONVILLE, FL: JAX PBS, WJCT (Channel 7.1) APRIL 9 at 9PM JACKSONVILLE, FL: JAX PBS, WJCT (Channel 7.4) APRIL 10 at 11PM NEW YORK CITY: WNET APRIL 12 at 11PM SEATTLE: KBTC APRIL 14 at 10:30PM LOS ANGELES: KOCE (PBS SoCal) APRIL 14 at 8PM WEST PALM BEACH: SOUTH FLORIDA PBS, WXEL APRIL 15 at 7:30AM & 2:30PM LOS ANGELES: KOCE APRIL 16 at 9:30PM MILWAUKEE: MILWAUKEE PBS, WMVT APRIL 16 at 10:30PM MIAMI: SOUTH FLORIDA PBS, WPBT APRIL 20 at 8PM DENVER: PBS 12, KBDI APRIL 21 at 9PM BALTIMORE: MARYLAND PUBLIC TELEVISION, MPT2 APRIL 23 at 8PM GREENSBORO, NC: PBS NORTH CAROLINA, UNC-TV (NC CHANNEL) APRIL 24 at 2AM & 1PM GREENSBORO, NC: PBS NORTH CAROLINA, UNC-TV (NC CHANNEL) APRIL 25 at 2AM MIAMI: SOUTH FLORIDA PBS, WPBT APRIL 29 at 8:30PM GREENVILLE-SPARTANBURG: SOUTH CAROLINA, ETVHD MAY 6 at 3AM KENTUCKY: KET/Kentucky (KET 2 Channel) OCTOBER 1 at 9PM INDIANAPOLIS: WIPB Links to social media pages on respective websites. https://MusicIsLifePodcast.com https://linktr.ee/MusicIsLifePodcast https://RatSaladReview.com --- Support this podcast: https://anchor.fm/lou-mavs/support
Frank Ferrante's Transformation Journey. The host for this show is Wendy Loh. The guest is Frank Ferrante. Star of the life changing documentary “May I Be Frank”, Frank Ferrante shares his life from Darkness to Light. He is sharing with us his struggles with drugs and alcohol to Health and Wellness. This can happen IF you want it and are willing to work at it! The ThinkTech YouTube Playlist for this show is https://www.youtube.com/playlist?list=PLQpkwcNJny6lakTZanwCk6DV_aUgzKaMi Please visit our ThinkTech website at https://thinktechhawaii.com and see our Think Tech Advisories at https://thinktechadvisories.blogspot.com.
Episode SummaryIn this episode, Frank talks about his lifelong journey through addiction and what he's learned through the trials of recovery. He talks about his documentary “May I Be Frank?” and the impact that it has had on his life. “A commitment is a spiritual experience” Frank FerranteHighlightsFrank doesn't blame his addiction on anybody but himself, but he does believe that his tough childhood helped “clear the runway” and perhaps made him more susceptible to addiction.A problem for people staying on path is that they believe that there is one place of ultimate nirvana where everything is ok all the time. This is a false belief and causes stress and setbacks.Frank found the Alcoholics Anonymous group incredibly supportive. Frank doesn't believe that not drinking or using drugs is the hardest part of the process. Making amends and restitution are much more difficult.Drugs and alcohol are symptomatic of a deeper underlying condition.It is not about getting rid of the ego. It is about learning how to make peace with it.People must go through an interval of discomfort to have a transformative experience.For the documentary “May I Be Frank?”, Frank ate all vegan and raw food for 42 days.After the 42-day experiment, the help that Frank had all left him, and it was tough to continue.Frank was later treated for Hepatitis C and was given opiates. He started to fall back into his old patterns and went through a dark patch where he almost died and had to go to rehab.He then committed to a healthier diet and began to work out and lost 125 lbs.Frank has been sober for over 15 years.One of Frank's favorite things about having done the film is how open it makes others to speak with him openly and share their stories.Relevant LinksMay I Be Frank - Movie May I Be Frank - Book Outwitting The Devil - Napoleon Hill Gabor Mate - The Power of Addiction - Ted Talk
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