American writer and director
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Simeon Gholam speaks to three more players on this week's episode of The EFL Interviews on the Essential EFL podcast.First up is Harrogate Town's Jack Muldoon who speaks about having to prove people wrong, dealing with having Type 1 diabetes as a professional footballer and winning promotion during Covid.Then it's on to Notts County's on-loan Tottenham midfielder George Abbott who tells Sim how he's adapting to senior football and what it was like to come through the Spurs academy.And we finish with Bromley's Michael Cheek who's finally getting his chance in the EFL after a long career in non-league.Essential EFL is a Sky Sports podcast. Listen to every episode here: skysports.com/essential-eflYou can also listen to Essential EFL on your smart speaker by saying "ask Global Player to play Essential EFL".For more EFL news, head to skysports.com/footballFor advertising opportunities email: skysportspodcasts@sky.uk
rWotD Episode 2868: Room Service (play) Welcome to Random Wiki of the Day, your journey through Wikipedia’s vast and varied content, one random article at a time.The random article for Tuesday, 11 March 2025 is Room Service (play).Room Service is a farce written by Allen Boretz and John Murray. It was originally produced by George Abbott and debuted at the Cort Theatre in New York City on May 19, 1937. Its initial production ran for 500 performances, closing on July 16, 1938. The play, starring Jack Lemmon in the role of Leo Davis, was revived on Broadway for a short run of 16 performances in 1953.RKO Pictures purchased the film rights for a then-record $225,000 and used it as the basis for the film of the same title as a vehicle for the Marx Brothers. In 1944, RKO released a musical film adaptation entitled Step Lively starring Frank Sinatra.The original 1937 Broadway production starred Sam Levene as Gordon Miller, Eddie Albert as Leo Davis and Phillip Loeb as Harry Binion.This recording reflects the Wikipedia text as of 00:48 UTC on Tuesday, 11 March 2025.For the full current version of the article, see Room Service (play) on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm standard Kimberly.
George Abbott moved to Memphis to join the Memphis River Parks Partnership as its head of communications before the pandemic. Now he's involved in the Reimagining the Civic Commons initiative that's been funded in Memphis and nine other cities since 2016.
Another major backdown by the New Democrats on their drug policy. George Abbott finally makes it to the treaty commission. New Democrats appointed the former BC Liberal cabinet minister Wednesday. Learn more about your ad choices. Visit megaphone.fm/adchoices
Simeon Gholam is joined by Sky Sports experts Andy Hinchcliffe and David Stowell to pick out the best and brightest talents from across the EFL.In part one and two, Hinchliffe picks out 10 of the best players aged 21 and under from the Championship this season. Jobe Bellingham, Shea Charles, Ben Doak, Callum Doyle, Tom Fellows, Alfie Gilchrist, Willy Gnonto, Tyler Goodrham, Luca Koleosho and Chris Rigg.In parts three and four, Stowell takes over to assess the lower tiers. In League One it's Louie Barry, Richard Kone, Joe Whitworth, Miles Leaburn and Tyler Bindon.And in League Two it's Nathan Lowe, Joel Colwill, Jack Shorrock, George Abbott, Max Conway and Jamie Knight-Lebel.
Host Jeremy C. Park talks with George Abbott, Co-convener of Reimagining the Civic Commons, who highlights the collaboration of national foundations and civic leaders dedicated to revitalizing public spaces in ways that benefit communities and how the initiative has impacted Memphis locally. Reimagining the Civic Commons is an ambitious national initiative demonstrating that strategic investments in public spaces can connect people of all backgrounds. It is a collaboration of The JPB Foundation, the John S. and James L. Knight Foundation, The Kresge Foundation, William Penn Foundation, and local partners.During the interview, George shares how the initiative was launched in 2016 and how Memphis applied and was selected to participate, working with a network of leaders across the public, private, and nonprofit sectors to change how they design, manage, and program urban spaces. He shares some of the ways local projects and efforts have benefited from sharing ideas and best practices with other cities, and how data is being used to drive decision making and activations for the future. Local collaborators include Innovate Memphis, Memphis Parks, Public Libraries, and place-based organizations, including Bloom, The Heights CDC, Memphis River Parks Partnership, and Overton Park Conservancy. George wraps up talking about what makes him excited for 2025 and his encouragement for everyone to enjoy some of the many exciting things taking place this year in the public spaces across the Mid-South.Visit https://civiccommons.us/ to learn more about Reimagining the Civic Commons.
Paul Harvey - George Abbott
Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.
The "Reimagining the Civic Commons" initiative is embarking on a new round of work on what it means to improve public spaces. George Abbott joined Eric Barnes to discuss on this week's episode.
Author Thomas Hischak returns to the Broadway Nation this week to tell us about his captivating new book, Song Of The Season — Outstanding Broadway Songs Since 1891. For this book, Hischak analyzed every Broadway season since 1891 and selected one song as the most outstanding. In this episode, we discuss “Oh, Promise Me” from Robin Hood (1891), “In The Good Old Summertime” from The Defender (1902), “Defying Gravity” from Wicked (2003), “In Old New York” from The Red Mill, “They Didn't Believe Me” from The Girl From Utah, “Charleston” from Runnin' Wild, and “Begin The Beguine” from Jubilee (1935). Thomas Hischak retired from full-time teaching in New York State and now teaches theatre part-time at Flagler College in St. Augustine, Florida, USA. He is the author of more than 30 indispensable non-fiction books on theater, film, and popular music, and long-time listeners will remember him from episodes 104 and 105, where we discussed his previous book, The Abbott Touch — Pal Joey, Damn Yankees and the Theatre of George Abbott. Become a PATRON of Broadway Nation! This podcast is made possible in part by the generous support of our Patron Club Members, including our newest member, Alan Teasley. For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices
Spurs Chat: Discussing all Things Tottenham Hotspur: Hosted by Chris Cowlin: The Daily Tottenham/Spurs Podcast Hosted on Acast. See acast.com/privacy for more information.
The first part of Backstage Babble's 200th episode celebration is here, and it is an honor to be talking theater legend Jack O'Brien, who recently received the lifetime achievement award at the 2024 Tonys. Tune in to hear some of the stories of his expansive career, including the genesis of his newest show THE ROOMMATE, his advice for young directors, his friendship an collaboration with Stephen Sondheim, figuring out the sensitive timing of SHUCKED, learning from Ellis Rabb about how to give notes to actors, the show of his that launched more careers than any other, his unique relationship with the cast of PORGY AND BESS, how he decided to leave his position as artistic director of The Old Globe, the intriguing critical response to IMAGINARY FRIENDS and CAROUSEL, how his revival of ST. LOUIS WOMAN almost came to Broadway, revising DAMN YANKEES with George Abbott, his criteria for choosing shows to direct, how INTO THE WOODS changed the regional theater landscape, and so much more. This episode is a masterclass in directing from one of the greatest theatrical minds of all time. I can't think of a more perfect way to celebrate 200 episodes.
Paul Harvey - George Abbott
Music by John KanderLyrics by Fred Ebb Book by George Abbott & Robert RussellOpened on Broadway May 11, 1965
SHE LOVES ME Book by Joe Masteroff, Music by Jerry Bock, & Lyrics by Sheldon HarnickWorks Consulted & Reference :She Loves Me (Libretto) by Joe Masteroff & Sheldon HarnickSense of Occasion by Harold PrinceTo Broadway, To Life! The Musical Theatre of Bock & Harnick by Philip Lambert She Loves Me (2016 Live Capture ) Directed by Scott EllisMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Tonight at 8" from She Loves Me (Original Broadway Cast Recording) | Music by Jerry Bock, Lyrics by Sheldon Harnick | Performed by Jenn Colella and 'Come From Away' Company"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff
DAMN YANKEES Book by Douglass Wallop & George Abbott | Music & Lyrics by Jerry Ross & Richard Adler | Based on the novel The Year the Yankees Lost the Pennant by Douglass WallopWorks Consulted & Reference :Damn Yankees (Libretto) by Douglass Wallop & George AbbottDamn Yankees (Revised Libretto) by Joe DiPietroDamn Yankees (1958 Film) Directed by George AbbottFosse by Sam WassonSense of Occasion by Hal PrinceThe Secret Life of the American Musical by Jack ViertelMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Whatever Lola Wants" from Damn Yankees (Original Broadway Cast Recording) | Music & Lyrics by Jerry Ross & Richard Adler | Performed by Gwen Verdon"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff
Paul Harvey - George Abbott
Director of External Affairs for Memphis River Parks Partnership George Abbott joins the show to talk about all things parks in Memphis! George discusses the improvements being made to Tom Lee Park, while also detailing all of the fun events happening in parks all over downtown Memphis! For video options, click the link below! https://youtu.be/mRoW9iXQpXo For more Ask Alan! The Podcast, click right here! https://cronelawfirmplc.com/resources/ask-alan/
Today, I am beyond thrilled to announce the 150th episode of Backstage Babble with the iconic, legendary, Carol Burnett. Fresh off of her 90th birthday celebration, Ms. Burnett joins us to discuss her career, including; the advice she got from John Huston, why she dreamed of working with George Abbott, the celebrities who she Wordles with every day, the current progress of her campaign to rename a Broadway theater for Hal Prince, the unconventional audition process for Hollywood Arms, protesting outside of Once Upon A Mattress, why she can't tell a joke to save her life, the Broadway roles she wishes she could've played, and so much more. Thank you for tuning in for 150 episodes, and I hope you enjoy this conversation.
This is the second half of my conversation with Thomas Hischak whose new book is titled The Abbott Touch — Pal Joey, Damn Yankees and the Theatre of George Abbott. If you missed part one, you may want to catch up with the previous episode before listening to this one. George Abbott was a major force in the American Theater for more than 80 years. As an actor, director, playwright, and producer — and often several of those at the same time — he played a significant role in the creation of well over 100 Broadway plays and musicals including Jumbo, The Boys From Syracuse, On The Town, Where's Charlie, Call Me Madam, The Pajama Game, Once Upon A Mattress and Fiorello to name only a few. Thomas Hischak is the author of more than 30 books about Broadway, Hollywood and popular music including Musical Misfires — three decades of Broadway Musical heartbreak, The Mikado to Matilda — British Musicals on the New York Stage, and the Tin Pan Alley Encyclopedia. At the end of our previous episode Thomas Hischak and I were just beginning a discussion of the remarkable list of Broadway greatest writers, directors and choreographers who were all in essence trained and mentored by Mr. Abbott including Rodgers & Hart, Comden, Green & Bernstein, Adler & Ross, Bock & Harnick, Kander & Ebb, Jerome Robbins and most especially, Harold Prince. We also explore his reputation as a "show doctor." We will never now how many shows he advised and "fixed" on their way to Broadway. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of Patron Club members Kelly Allen, Roger Klorese, and Neil Hoyt. If you too would like to support the work of Broadway Nation I will have information at the end of this podcast about how you too can join the club. If you are a fan ofBroadway Nation, I invite you to become a PATRON! For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices
My guest this week is author Thomas Hischak whose new book is titled: The Abbott Touch — Pal Joey, Damn Yankees and the theatre of George Abbott. For more than 60 years — from 1913 to 1994 — George Abbott was a major force on Broadway. As an actor, director, playwright, bookwriter, play doctor, and producer he applied his famous "touch" to more than 100 plays and musicals from Rodgers & Hart's On Your Toes to Stephen Sondheim's A Funny Thing Happened On The Way To The Forum. Remarkably, this is the first book to take a deep dive into Abbott's work and career and to analyze what he did, how he worked, what he contributed, what innovations he brought to Broadway, and how he stayed at the top of his field for so long? And, of course, the most fundamental question of all: What exactly was that famous “Abbott Touch”? Thomas Hischak is the author of more than 30 books about Broadway, Hollywood, and popular music including The Oxford Companion To The American Musical, The Rodgers & Hammerstein Encyclopedia, and Broadway Decoded: Musical Theatre's Forgotten References. And as you will hear, he is a delight to talk to about Broadway! Become A PATRON of Broadway Nation! If you are a fan ofBroadway Nation, I invite you to become a PATRON! For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices
WHAT THE F**K WAS THAT ALL ABOUT?HOW NOW DOW JONES by The Original Cast (RCA, 1967)This is the second Broadway soundtrack that Captain Billy has covered, the first being Lerner and Loewe's Camelot, and even though as a small child I had memorized my parent's Oliver, The Sound of Music, and My Fair Lady albums, after Rock, Folk and Soul music entered my life, I lost interest in the musicals of the Great White Way completely. As I explained in previous episodes, many of the carts in my collection were not chosen by me; they arrived in big lots, and the experience of discovering some of these hidden treasures is akin to sticking one's hand into a bag of….. (fill in the blank). Despite its catchy title, this show was totally unknown to me, although it did run for 220 performances. It was produced and directed by Broadway titans David Merrick and George Abbott. It was film scorer Elmer Bernstein's only Broadway composition; the book was by Max Shulman, of Dobie Gillis fame, and the lyrics were by Carolyn Leigh — a totally respectable crew. The cast included Woody Allen's avatar, Tony Roberts, and the whiskey throated Brenda Vaccaro in the leads, and there was even a Tony awarded to featured actor Hiram Sherman for his turn as a crusty stock broker. Yet, somehow the collective memory of this musical was lost to the ozone pretty quickly. Maybe it's the complicated plot- (It was always part of the charm of these albums to try and imagine the story as I listened) - but here the labyrinthian plot and convoluted conjunction of characters - (tycoons, stock brokers, government officials, suicidal, mismatched lovers, tour guides, and “the voice of Wall Street”) - had my Pandemic-addled brain yearning for a YouTube training video.There was a hit that emerged from the chaos, “Step to the Rear”, which you might recognize: it was even used in a Lincoln-Mercury campaign, and there is a charming video of Tony Roberts with a stage full of investor ladies from the suburbs marching around the stage to the song.Give this recording a try, and see if you can figure it all out.
Welcome to the first touring episode for the podcast! George Abbott is the External Affairs Director for the Memphis River Parks Partnership and advocate for the new Tom Lee Park coming to Mississippi River. "After more than 1OO years of planning, Memphis stands poised to create the most spectacular riverfront in the country with a signature Tom Lee Park at its center. Memphis' next civic jewel will reunite the city with the river and be a place for community life to flourish by the water's edge. Tom Lee Park will be a new front door for Memphis and a spectacular symbol of what we can achieve, together." - https://www.tomleepark.org/ And who is Tom Lee? A black river worker who saved more than 30 white strangers from an overturned steamer on the Mississippi in 1925 during the Jim Crow Era. Watch his story here: https://vimeo.com/416364567 To support the park, visit https://www.tomleepark.org/support ********** EPISODE SPONSOR Eldorado Climbing provides handmade, easy to install, DIY climbing panels to fit your needs. With an extensive portfolio designing and installing for clients such as Notre Dame University, Google, Adobe, Vail Resorts, and many homeowners, Eldo is the company to trust with your climbing wall projects. Get your custom-built climbing products at https://eldowalls.com/jani ---------- This episode is produced in part by Keep It 100 Productions, a podcast and video production company that specializes in sharing stories of everyday people. Whether you're looking to start your show, or need assistance with the upkeep and editing, Keep It 100 Productions will provide a solution that is custom built for your needs. To learn more, visit https://keepit100prod.com --- Support this podcast: https://anchor.fm/woympodcast/support
Every December, Americans celebrate their memorable cultural icons when the Kennedy Center bestows its annual honors to those in the performing arts for their lifetime contributions. Since 1978, the Honors have been presented annually each December to five honorees followed by a gala celebration. The original strategy was that these unique individuals were people who have contributed to society, not someone who happens to have a pop record hit at the moment. The intention was not to do just another award show. Do you recall the first host? It was Leonard Bernstein in 1978. And the White House got involved by inviting the Honorees first to the White House for an initial presentation by the President. For 2022, who are the Honorees? Well, George Clooney, Amy Grant, Gladys Knight, Tania Leon and U2. In this podcast, we'll focus on two ceremonies held at the White House. The first, 40 years ago in 1982 honored George Abbott, Eugene Ormandy, Lillian Gish, Benny Goodman, and Gene Kelly. Then, in the second half of the podcast, the President honored in 1984, Lena Horne, Arthur Miller, Gian Carlo Menotti, Isaac Stern and Danny Kaye. And in the second half of the podcast, I'll share a bit about those who were offered the honor but declined.
Today, I am so happy to announce my interview with a Broadway legend I've been wanting to talk to since I started this podcast—Tony winner Hal Linden. Having recently completed a successful run in Two Jews Talking, Hal joins us today to tell many of the stories of his long career, including: the role that George Abbott let him pick, how he became a non-traditional Sid Sorokin in a non-traditional revival of The Pajama Game, the Alan Jay Lerner musical he turned down, why he's never played Tevye, the promise Lucille Ball made to him, a lesson from Judy Holliday about upstaging, why The Rothschilds is a problematic show, the dialogue he wrote for The Education of H*Y*M*A*N K*A*P*L*A*N, why Louis Jourdan was not right for On a Clear Day, plus stories about Michael Kidd, Sheldon Harnick, Sam Mendes, Ossie Davis, and more. You won't want to miss this inside view into a bygone era of Broadway.
Today, I am so happy to announce the release of my interview with star of stage and screen, Mrs. Anna herself, Constance Towers. Tune in today to hear some of the stories of her legendary career including: the sage advice that John Wayne gave, the scene that George Abbott wouldn't direct, why Yul Brynner insisted on brown dressing rooms, dealing with “The King” onstage and off, the song that was the hardest to memorize, the role that she turned down, the film director that would shoot off a gun to get attention, how she began her charitable organization Project Connie, why she didn't think she was right for her role in Showboat, her relationship with Richard Rodgers, the role that she performed the most times, working with Lillian Gish, the genius of John Ford, and so much more. 54 Below: https://54below.com/events/charles-kirschs-backstage-babble-live/
This week, the Johns try and swing for the fences with the 1950s hit, "Damn Yankees". The pair talk about their love of the score, the dawning of the age of Fosse and Verdon, and how this show ends up having a lot of heart for having the devil as a character. Music by Richard Adler Lyrics by Jerry Ross Book by George Abbott and Douglass Wallop Find the episode on your favorite podcast app or by going to https://anchor.fm/musicalminutes Intro and outro music ("BeBop 25") provided under Creative Commons Attribution 4.0 International License by Jason Shaw on Audionautix.com Have a question for John or John? Want to leave feedback or tell us how wrong we are? Email us at musicalminutespodcast@gmail.com For more info on our hosts - please visit https://norine62.wixsite.com/musicalminutes
For Video Edition, Please Click and Subscribe Here: https://youtu.be/Hu6UFQVMBwg BARBARA MINKUS began her show business career in NYC in Julius Monk's review, Bits and Pieces. She went on to receive rave reviews touring as Fanny Brice in Funny Girl throughout the United States. She played Lucy Van Pelt in the original NY recording cast of You're a Good Man Charlie Brown. On Broadway, Barbara starred in The Education of Hyman Kaplan, directed by the great George Abbott. On television, she was a regular for six seasons on Love, American Style, played Gittel the Witch in ABC's Curiosity Shop, and was the voice of Ms. Pac Man in the ABC cartoon series, Pacman. She had numerous television appearances over the years on The Danny Kaye Show, The Tonight Show, and made a record 20 appearances on The Merv Griffin Show. After taking time out to raise her family, Barbara returned to the stage at The Santa Monica playhouse to appear in Funny, You Don't Look Like A Grandmother. She then brought Picon Pie to the Playhouse, playing Molly Picon – a role she helped research – and later reprised the role Off-Broadway. In both LA and Florida, she starred as Jennie Grossinger in the musical Saturday Night at Grossinger's. Barbara presented From This Moment On – Minkus Sings Porter at the American Jewish University in Los Angeles, and returned to present The Songs of Irving Berlin. Other musical theatre performances include Miss Lynch in Grease at the Muni Theatre in St. Louis, as well as Yente in Fiddler on the Roof at both the Muni and the Starlight Theatre in Kansas City. She also starred in the LA and Off-Broadway musical, Don't Leave It All to Your Children. Along with frequent collaborator Susan Morgenstern.
June is always a busy time for New York City with two major events taking place: one is of course the month-long Gay Pride celebration and the other is the biggest day of the Broadway season -- the Tony Awards. And today's guest ticks off both of those boxes. Jerry Mitchell is a prolific Broadway Director and choreographer as well as a gay advocate with shows like Broadway Bares and Kinky Boots, just to name a few. He is also an eight-time Tony nominee, but he is quick to point out that he's lost out on the award six times. In our conversation, he discusses his creative career, full of fascinating anecdotes, and shares the importance of knowing our worth as artists, loving what we do on and off stage, and the value in saying "yes." Subscribe to WINMI and get bonus episodes with Jerry on Supercast Check out the podcast website and follow WINMI on Instagram or Twitter --------------- Why I'll Never Make It is a top 25 theater podcast hosted by Off-Broadway actor and singer Patrick Oliver Jones and is a production of WINMI Media, LLC. It is a part of Helium Radio Network and a member of the Broadway Makers Alliance. Background music in this episode is by John Bartmann (Public Domain) and Blue Dot Sessions (Creative Commons Attribution-NonCommercial 4.0 International License). Everybody Say Yeah! You've heard what Jerry has to say about Kinky Boots. Now listen as the musical force behind this Tony-winning show is interviewed by ABC News in Australia. Cyndi Lauper has been a source of celebration and inspiration for music lovers since the 1980s. Then she turned her talents to theater, writing the music for this international smash hit. This Month's Artist Spotlight: Broadway Bares Broadway Bares' 30th anniversary celebration, originally set for June 21, 2020, was postponed because of the COVID-19 pandemic. The in-person event is set to return this month and will more bodacious dancers, fierce queens, and sexy starlets. Broadway Bares was created in 1992 by Mitchell, then a Broadway dancer, as a way to raise awareness and money for those living with HIV/AIDS. In Broadway Bares‘ first year, Mitchell and six of his friends danced on a New York City bar and raised $8,000. Since then, Broadway Bares has raised more than $21 million for Broadway Cares. “Every dollar donated during Broadway Bares helps those across the country affected by HIV/AIDS, COVID-19 and other critical illnesses receive healthy meals, lifesaving medication and more,” Broadway Cares Executive Director Tom Viola said, referring to last year's online presentation. “As we look toward better and brighter days ahead for everyone, I'm so glad that everyone chose to twerk from home with us.” Final Five with Jerry Mitchell Nine years ago, Jerry Mitchell received the Abbott Award, a lifetime achievement award from the Stage Directors and Choreographers Foundation. The award is named in honor of renowned director George Abbott and is presented to a director or choreographer in recognition of lifetime achievement. That same year he was also nominated for two Tony Awards for choreography and direction in Kinky Boots. Since then he has lived another lifetime of experiences and shows like On Your Feet, Becoming Nancy, Pretty Woman, and the many subsequent incarnations of Kinky Boots. Read more insights and experiences from Mitchell on the WINMI Blog. Follow Jerry - IBDB | Instagram
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
The Aldrich Family, a popular radio teenage situation comedy (1939-1953), was also presented in films, television and comic books. In the radio series' well-remembered weekly opening exchange, awkward teen Henry's mother called, "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!", and he responded with a breaking adolescent voice, "Com-ing, Mother!". Henry Aldrich was an endearingly bumbling kid growing awkwardly into adolescence, and The Aldrich Family often revolved around Henry's misadventures with the girls and with his friends.Henry Aldrich was the creation of playwright Clifford Goldsmith. Aldrich began on Broadway as a minor character in Goldsmith's play What a Life. Produced and directed by George Abbott, The actor who brought Henry to life on stage was 20-year-old Ezra Stone, who was billed near the bottom as the 20th actor in the cast. Stone was also employed as the play's production assistant.When Rudy Vallee saw the play, he asked Goldsmith to adapt it into some sketches for his radio program, and this was followed in 1938 by a 39-week run of a sketch comedy series on The Kate Smith Hour with Stone continuing in the role of Henry. Kate Smith's director, Bob Welsh, is credited with the creation of the "Hen-reeeeeeeeeeeee! Hen-ree Al-drich!" opening, which eventually became one of the most famous signature sounds in radio.After finding an audience with Kate Smith's listeners, The Aldrich Family was launched in its own series as a summer replacement program for Jack Benny in 1939 on NBC. The Aldriches survived its replacement status and ran from 1939 to 1944. After a brief hiatus, the show moved to CBS, running on Fridays from 1944 until 1946 with sponsors Grape Nuts and Jell-O before moving back to NBC from 1946 to 1951 on Thursdays and, then, as a sustaining program in its final run of September 21, 1952 to April 19, 1953 on Sundays.
This episode is made possible in part through the generous support of Robert Braun who is a "Producer Level Member" of our Broadway Nation “Backstage Pass Club”. Information on how you can become a member of The Backstage Pass Club can be found here: https://broadwaynationpodcast.supercast.com. What you are about to hear is the second half of my recent conversation with Dominick McHugh author of: The Big Parade – Meredith Wilson's Musicals From The Music Man to 1491. In part one Dominic shared the amazing insights and discoveries that he made during his research into the development of Wilson's first and most famous musical, The Music Man. If you missed that episode you may want to catch up with that one before listening to this one. Today we discuss Willson's two follow up hits -- The Unsinkable Molly Brown and Here's Love -- and his heartbreaking failure, 1491. And, of course, there is even more discussion of The Music Man, more comparing and contrasting it with West Side Story, as well as comparing the careers and output of Meredith Willson and Leonard Bernstein, some of which may send some hardline Bernstein fans into a tizzy! Dominic and I even get into a bit of a disagreement about the when The Golden Age Of Broadway actually ended. I think you will enjoy it! Just one note before we begin: Meredith Wilson is one of the major exceptions to the central premise of this podcast. He was not Jewish, Queer, black or an immigrant or child of an immigrant. No, along with George Abbott, Bob Fosse and just a small handful of other key inventors of the Broadway musical, he is one of the exceptions that proves the rule. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices
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