Podcasts about Harold Prince

My guest is author Ron Fassler, whose latest book is titled The Show Goes On — Broadway Hirings, Firings, and Replacements, a fascinating collection of insider theater stories that range from as far back as the 1930s and go right up to today. The performers and creatives referenced in this episode include Andrea McArdle, Ann Miller, Anne Bancroft, Barbra Streisand, Cameron MacIntosh, Carol Burnett, David Merrick, Dorothy Louden, Hal Lindon, Harold Prince, Helen Gallagher, Jerry Zaks, John Cullum, Lauren Bacall, Lea Michelle, Louis Jordan, Mary Martin, Michelle Lee, Mimi Hines, Pearl Bailey, Shirley Maclaine, Sutton Foster and more! Ron Fassler is a historian, theater critic, and former actor whose previous book was Up in the Cheap Seats — A Theatrical Memoir of Broadway. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members, such as Alan Teasley. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can 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. 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

Music by Charles StrouseLyrics by Lee AdamsBook by David Newman & Robert BentonDirected & Produced by Harold PrinceStarring Jack Cassidy, Linda Lavin, Bob Holiday, Patricia Marand & Michael O'SullivanOpened on Broadway March 29, 1966

This is a special encore episode of my 2022 interview with Tony-award-winning lighting designer Ken Billington. This past week, Ken received rave reviews for his lighting design of the new Broadway musical SMASH, which amazingly is his 108th Broadway production. So, I thought it was an ideal time to revisit this fascinating conversation about the history of lighting design on Broadway and Ken's own tremendous contribution to it. This is a two-part conversation and I will be rereleasing both parts this week. Original Description: My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way, he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical have been handed down directly – firsthand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Learn more about your ad choices. Visit megaphone.fm/adchoices

Kikau and Matty chat with Aaron Galligan-Stierle, who is an Assistant Professor and Head of Musical Theatre at Slippery Rock University. This episode has some great gems! Hear about this up and coming program and how Aaron goes above and beyond! Aaron has a request from YOU: He is looking for recommendations on two topics: How do I become a better fund raiser? and Can we find a better way to recruit? Aaron's recommendation is an app called Things 3. ----Aaron Galligan-Stierle, Assistant Professor and Head of Musical Theatre, is an accomplished actor, director and producer with critically acclaimed work that ranges from Broadway musicals to Shakespeare. He is also a highly sought after audition coach providing exclusive workshops and one-on-one training for professionals in the Broadway community and at top universities across the country.Aaron performed on Broadway as Papa Who in Dr. Seuss' How the Grinch Stole Christmas, Henry Ford in the Tony-nominated revival of Ragtime, and was selected by Harold Prince to replace the longest-running actor in a Broadway show, taking over the role of Monsieur Andre in The Phantom of the Opera. Aaron's touring credits include Mike Nulty in the national tour of White Christmas and Hark the Herald in the international tour of Cinderella, starring Lea Salonga.

U Guys, a true triple threat, and Seussical's original Gertrude McFuzz, Janine LaManna is here! This week's BroadwayWorld Recap is a short and sweet little roundup of Bway news. Then I am joined by a true Bway legend, Janine LaManna! From standing by for Chita Rivera in Kiss of the Spider Woman, to originating the role of Gertrude McFuzz in Broadway's Seussical, Janine has truly done it all. She made her Broadway debut as Evelyn Nesbit in Ragtime alongside the original company, and eventually went on to work with such legends as Anne Reinking and Harold Prince. She shares about her experience of being the wife of a military officer and traveling the country with her family living in new places, simultaneously being a mother and continuing to work as a performer. We talk about her time playing Nickie in the Broadway revival of Sweet Charity with Christina Applegate, as well as replacing Bway star Sutton Foster as Janet Van De Graaff in the original Broadway production of The Drowsy Chaperone. Her other Bway credits include Swing!, Kiss Me, Kate, and The Look of Love. A true triple threat, Janine's talent is only matched by her grace, humility, and humor. U don't wanna miss this episode! Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

Every Broadway season, one of the most heated discussions about the Tony Awards centers the snubs—those notable shows that didn't get any nominations. This year they include musicals like The Wiz, Harmony, and The Heart of Rock and Roll. Another one of those shows that was left out made history as being the first Broadway musical to cast autistic actors in autistic roles, and it was called How to Dance in Ohio, based on a Peabody Award-winning documentary of the same name. And today's guest is one of the stars of the musical, Conor Tague. The musical dates back to early 2018 when the legendary Harold Prince announced he was working on a musical adaptation of the film. But after Prince died the following year, it was Sammi Cannold, a former guest of this podcast, who took over as the show's director. How to Dance is the real-life story of a group of young autistic adults and their families as they prepare for their first-ever formal dance. They face challenges and changes to their routines, and they experience all the things you go through when it comes to formal dances and asking someone out on a date—the love and stress and excitement of it all. The musical began previews on November of 2023, officially opening the following month, and played through February of this year.  Though completely shut out of the Tony Awards, How to Dance did receive Drama Desk nominations for Outstanding Book of a Musical (Rebekah Greer Melocik) and Outstanding Lead Performance (Liam Pearce). Conor and I talk about his experience with the show, but we also dig into his background and how his autism may be a unique and important part of him, but it's also just one facet of who he is as person and performer. ---------- Subscribe to get early and ad-free access to the full conversation with each guest, which includes the auditions stories that are only available to subscribers. You can also donate to WINMI and help further podcast production with a one-time or ongoing contribution. If you'd like to support WINMI but have limited funds to do so, then contact me directly for reduced-price or even free access to the bonus content. Follow WINMI: Website | Instagram | Twitter | YouTube Why I'll Never Make It is an award-winning, Top Theater Podcast with actor and singer Patrick Oliver Jones and is a production of WINMI Media. Background music is by John Bartmann and Blue Dot Sessions and is used under a Creative Commons Attribution-NonCommercial 4.0 International License. Learn more about your ad choices. Visit megaphone.fm/adchoices

Ann Morrison was Mary Flynn in the original 1981 production of Stephen Sondheim and George Furth's Merrily We Roll Along, directed by Harold Prince, for which she won the 1982 Theatre World Award.  More than 40 years later she remains remembered for that role, but she has done so much more since then, including her one-person show she is currently revising, to take on the road.

We're opening doors on our 4th season with MERRILY WE ROLL ALONG! Michael and Anika explore how this show went from biggest flop of all-time to the hottest ticket on Broadway!

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

In this episode, Penny Orloff and I will discuss her life journey as a performing artist who at a young age had been told that if she followed her dreams, she would be alone and penniless. At the age of 60 she found herself homeless and living on her friend's couch when she was asked a pivotal question… What's wrong with money? Penny now has a portfolio worth over 7 figures!   Penny Orloff is a professional Life Coach and Fairy Godmother. A Tarot reader for over 50 years, Penny has used the cards in her counseling practice for decades. For ten years she was the Art Therapist at a residential drug and alcohol rehab facility in Malibu. She is the author of "Art as Lifework, Life as Artwork," a creativity seminar and workbook that has been offered nation-wide since 1991; and is currently at work on her new book, "Who Would You Be If You Had Nothing to Bitch About?" Her personal development system, "Wishful Thinking," synthesizes the human proclivity for magic and symbol with practical steps to the manifestation of your highest good and greatest happiness. Penny was a working actor and dancer in Los Angeles when a Juilliard scholarship took her to New York. She sang more than 20 Principal Soprano roles for New York City Opera, and played featured roles on Broadway under such directors as Harold Prince and Joseph Papp. Theater, concert, and opera engagements took her all over the US, Europe, and the former Soviet Union. Her first solo show, “JEWISH THIGHS ON BROADWAY" (based on her best-selling novel of the same name, available at Amazon.com), toured the US for a decade, including a successful run off-Broadway in 2005. She is currently touring in her latest show, “SONGS AND STORIES FROM A NOT-QUITE-KOSHER LIFE.” She is a regular contributor of stories to the Chicken Soup for the Soul series of books and has worked for more than a decade as an arts journalist for various online and print outlets. Having outlived most of her early competition for film roles, since 2011 she has enjoyed acting in a range of interesting shorts, Indie, and feature films - silver-white hair and a Botox-free face being in short supply in LA.       I am your host, Marci Nettles. I have had a lifetime of opportunities where I had the choice to Breakdown or Breakthrough. It is my hope this Podcast may become your light in the darkness, as you listen to the stories of people I consider “heroes.” Each one had a point where they too had to choose to either Breakdown or Breakthrough! Working from home, with my husband/business partner, helping people around the world find new levels of success in their health and wellness, is part of what makes me tick! If you are open to opportunity, let's connect!    Thank you for listening! Please connect with Terry: pennyorloff.com Find Marci at marcinettles(.)com Don't forget to claim your FREEBIE from Penny by going to       marcinettles(.)com/freebies Purchase Penny's book here: marcinettles.com/books  

Stephen Sondheim is the composer and lyricist of some of the most well-regarded musical theatre ever made. We delve into his life, work and impact on the form.We hear archival interviews with Sondheim himself and are joined by performer Philip Quast, author Joanne Gordon (Art Isn't Easy: The Theatre of Stephen Sondheim), director of several Sondheim productions, Dean Bryant, and Sonya Suares, founding artistic director of the Sondheim repertory company Watch This.

DescriptionWith the passing of Dame Angela Lansbury in 2022, it reminded me of one of my favourite Sondeim musicals, Sweeney Todd. She played the first Mrs Lovett in 1979. Take a minute to get the scoop!Dame Angela Lansbury singing The Worst Pies in London.Fun FactThe original production of Sweeney Todd opened on Broadway March 1, 1979, at the Uris Theatre (now the Gershwin). The show, featuring music and lyrics by Sondheim and a book by Wheeler, was directed by Harold Prince and starred Len Cariou and Angela Lansbury. The production received eight Tony Awards in 1979—including Best Musical, Best Book of a Musical, and Best Original Score—as well as 11 Drama Desk Awards and the Drama Critics' Circle Award for Best Musical. It went on to be revived twice on Broadway and adapted into a 2007 film, in addition to the recent Off-Broadway production.__________________________________________________________________About Steven, HostSteven is a Canadian composer & actor living in Toronto. Through his music, he creates a range of works, with an emphasis on the short-form genre—his muse being to offer the listener both the darker and more satiric shades of human existence. If you're interested, please check out his music website for more. Member of the Canadian League Of Composers.__________________________________________________________________You can FOLLOW ME on Instagram.

This is the second part of my conversation with author Ben Francis regarding his very compelling new book: Careful the Spell You Cast — How Stephen Sondheim Extended the Range of the American Musical. This week Ben and I focus on three of Sondheim's key collaborators — Harold Prince, Burt Shevelove, and James Goldman. If you missed last weeks episode you may want to catch up with that one before listening to this. Sondheim is without a doubt one of the most studied, examined, and analyzed Broadway creators of all time. In fact, we have done quite a bit of that right here on Broadway Nation. However, as you will hear, Ben Francis contends that in spite of all of that investigation, Sondheim continues to be very misunderstood. He is often labeled as being cynical and pessimistic, but Francis instead argues that Sondheim firmly belongs to the “Broadway aspirational tradition” — a tradition that celebrates dreams of a better life — and he suggests that Sondheim's shows are to a great extent are a continuation of the work of his mentor Oscar Hammerstein II. Ben Francis' other works include contributions to the Oxford Handbook Of Sondheim Studies, the Oxford Handbook of British Musicals, and the Oxford Handbook of Shakespeare and Music, as well as Christopher Hampton: Dramatic Ironist Become A PATRON of Broadway Nation! This episode is made possible in part by the generous support of our Producer Level Patrons: Paula and Steve Reynolds. If you would like to help support the work of Broadway Nation I will information at the end of the podcast about how you too can become a Patron. If you are a fan ofBroadway Nation, I invite you too to become a PATRON! For a 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 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

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

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

Jamie deRoy discsses her father backing "The Pajama Game" and "Damn Yankees"; her dad being a big fan of Broadway; getting advice from Harold Prince her senior year of high school to stay in Pittsburgh; her leaving for NY fter one year in college; working with Larry Keith and Margot Moser; Sidney Simon; Margot Moser wants her to stay in NY and take voice lessons with her teacher; getting cast in The Drunkard; becoming friends with its musical coordinator, Barry Manilow; getting hired in the mountains and having Barry write the charts; not writing patter; opening for Irving C. Watson; being a popular opening act with comedic songs; opening for Joan Rivers; performing in the Monkey Bar with Crandall & Charles and Mel Martin; Norman Steinberg; Jeffrey Richards has Jamie watch The Complete Works of William Shakespeare Abridged; she becomes co-producer; revival of show is paused by 9/11; producing Mr. Saturday Night; it was supposed to follow The Lehman Trilogy but COVID hit; Jamie performs a duet with Tyne Daly at a benefit for Primary Stages; COVID closed Broadway; many people quit acting; a British cast gets stranded in NY; Jamie gets COVID in October 2022; producing Beetlejuice, Tina, Fiddler on the Roof, Angels in America and The Inheritance; two most emotional theatre events - the end of The Inheritance and the first "Jamie deRoy and Friends" which paid tribute to cabaret critic Bob Harrington in 1992; producing The Lion, The Two of Us (with Jay Johnson) and Say Goodnight Gracie (with Frank Gorshin); seeing understudies; co-starring with Rene Auberjonois in Threepenny Opera; how sitting next to Martin Scorcese got her cast in Goodfellas and how leaving to go to Cannes got her a bigger part that wasn't cut; appearing in See No Evil, Here No Evil; recording nine albums; her TV show of over thirty years, Jamie deRoy and Friends; what shows she has currently out and about to come out; working with Judy Gold; and making sure to tape everything.

THE PHANTOM OF THE OPERA  Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Book by Richard Stilgoe & Andrew Lloyd Webber | Based on the novel Le Fantome de  l'Opera by Gaston Leroux | Originally Directed by Harold Prince | Orchestrations by David Cullen & Andrew Lloyd Webber | Original Production by Cameron Mackintosh Ltd. and The Really Useful Group Ltd. Works Consulted & Reference :The Phantom of the Opera (Original Libretto) by Andrew Lloyd Webber, Charles Hart, and Richard StilgoeSense of Occasion by Harold PrinceUnmasked by Andrew Lloyd WebberRazzle Dazzle by Michael ReidelThe Complete Phantom of the Opera by George PerryMusic 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"The Music of the Night” from  The Phantom of the Opera (Original London Cast Recording) | Music by Andrew Lloyd Webber | Lyrics by Charles Hart | Additional Lyrics by Richard Stilgoe | Performed by Andrew Lloyd Webber, Phantom of the Opera Original London Cast, Michael Crawford"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

In this episode we are joined by Padraic Moyles, talking all things dance. Born in Dublin, Padraic emigrated to New York when he was nine years old. At the age of twelve he starred as the principal actor in the Off-Broadway production of Grandchild of Kings, directed by Harold Prince. Dancing under the tutelage of Donny Golden, he joined Riverdance in 1997, going on to become Dance Captain and Principal Dancer. He was nominated for an Ovation Award for his leading role in the show. In 2006 he joined the Broadway production of The Pirate Queen as Dance Captain before returning to Riverdance in 2008. He has had the privilege to perform for a number of heads of state and notable individuals from around the world, including Michelle Obama and Queen Elizabeth II. Padraic is also proud to be the Executive Producer/ Director for the international show Heartbeat of Home which has toured China, North America and played for a six-week run in London's West End. He was Dance Director and a choreographer on Riverdance: The Animated Adventure. Padraic would like to give special thanks to his wife Niamh and children Juliette-May and Harrison Rhys, his father, brothers and sister for their continued support. He dedicates all his work to his late mother Christine Moyles. We want to hear from YOU and provide a forum where you can put in requests for future episodes. What are you interested in listening to? Please fill out the form for future guest suggestions here and if you have suggestions or requests for future themes and topics, let us know here! @theatreartlife Thank you to our sponsor @clear-com

For Video Edition, Please Click and Subscribe Here: https://youtu.be/zmdvvH30EIo I, however, will be celebrating National Book Blitz Month with some surprise guests to discuss books with quite a few surprises! Let's see how cheesy we all will be... CREATE! How Extraordinary People Live to Create and Create to Live by RONALD RAND Create Sharing their insights on the process of creativity and the importance of the arts for humankind CREATE! features over 100 rare Interviews — actors, artists, choreographers, composers, dancers, designers, directors, musicians, composers, mime artists, playwrights, poets musicians, and writers — including Edward Albee, Alec Baldwin, Carol Burnett, Ellen Burstyn, Martha Carpenter, Carol Channing, Brian Cox, Jacques d'Amboise, Ossie Davis, Ruby Dee, Katherine Dunham, Eve Ensler, Kelsey Grammer, Joel Grey, Al Hirschfeld, Julie Harris, Sheldon Harnick, Bill T. Jones, Everett Raymond Kinstler, Chaka Khan, Stephen Lang, Robert Lepage, Arthur Laurents, Mario van Peebles, Christopher Plummer, Harold Prince, Bill Pullman, Tony Randall, Luise Rainer, Phylicia Rashad, Chita Rivera, Roy Scheider, Tim Stevenson, Charles Strause, Tadashi Suzuki, Tommy Tune, Ben Vereen, Sir Derek Walcott, Elie Wiesel, Robert Wilson, and Eugenia Zukerman. CREATE! features over 150 iconic photographs, paintings, and illustrations including Al Hirschfeld, Everett Raymond Kinstler, Tim Stevenson, Jim Warren, Martha Carpenter, Michael Shane Neal, Thomas V. Nash, Tommy Tune, Stephen Lang, Joel Grey, Tara Sabharwal, Carolyn D Palmer, Ming Cho Lee, Jean-Claude van Itallie, Fred Hatt, Gregg Goldston, David Pena, Parish Kohanim, Andre Gregory, Lucie Arnaz, Allan Warren, Stan Barouh, Jacques d'Amboise, Jimmy Turrell, Jillian Edelstein, James McMullan, Mary Gearhart, Alvin Colt, Sir Derek Walcott and Ronald Rand

Michael Kunze nació en Praga. Desde joven despuntó como letrista de canciones y en 1970 muchas de sus canciones fueron éxitos de ventas en Alemania, Austria y Suiza. Tras conocer al compositor Sylvester Levay produjo las canciones que escribieron juntos para un grupo de tres jóvenes al que llamaron Silver Convention, con el que ganaron el Grammy en 1975. Michael Kunze tras abandonar Silver Convention escribió las letras para cantantes como Charles Aznavour, Julio Iglesias, Gilbert Becaud o Nana Moskouri y para compositores como Vangelis, Giorgio Moroder o Leonard Cohen, pero el giro importante en su carrera le llegó cuando Andrew Lloyd Webber le pidió que adaptase su musical “Evita” al alemán. Kunze se convirtió en el adaptador indispensable para cualquier musical inglés y suyas son casi todas las adaptaciones al alemán de los grandes musicales en los años 80, 90 y 2000. Fue su amistad con Harold Prince, a raíz de su trabajo en “Evita”, quien le animó a escribir sus propios musicales. Kunze volvió a colaborar con su amigo Sylvester Levay con el que escribió los musicales “Hexen, Hexen”, “Elisabeth” basado en la emperatriz Sissi, “Mozart”, “Marie Antoinette”, “Rebecca” o “Lady Bess”. Su primer musical escrito en inglés fue “TANZ DER VAMPIRE”, basado en la película “El baile de los vampiros” de Roman Polanski, que también dirigió la versión del musical, con gran éxito en Europa, pero un fracaso en Broadway, donde se estrenó una versión no autorizada por Kunze. Te dejamos con una selección de temas de los musicales “Elisabeth”, “Mozart”, “Rebecca” y “Marie Antoinette” escritos por Kunze con Sylvester Levay y terminaremos con temas de “El baile de los vampiros” aunque aquí fue con música de Jim Steinman. Espero te guste la selección que hemos preparado. 00h 00’00” Presentación 00h 02’50” Cabecera 00h 03’26” ELISABETH 00h 03’26” Prolog 00h 07’09” Der letzte Tanz 00h 10’37” Ich gehör mir 00h 14’32” Elisabeth, mach auf mein Engel 00h 18’35” Die Schatten warden langer 00h 23’01” Boote in der Nacht 00h 27’42” Der Schleier fällt 00h 30’11” MOZART! 00h 30’11” Schliess dein herz in eisen sin 00h 33’33” Gold falls from Heaven 00h 37’11” Ich bleibe in Wien! 00h 40’21” My shadow always follows me 00h 44’19” Dich kennen heist dich lieben 00h 48’11” Somewhere there’s always a ball 00h 52’16” How can it be 00h 54’59” Mozart, Mozart! 00h 58’07” REBECCA 00h 58’07” Last night 01h 01’17” She’s invincible 01h 04’17” I’ll never forget her smile 01h 10’07” Free now 01h 12’54” Rebecca 01h 16’28” Manderley’s on fire 01h 18’51” MARIA ANTOINETTE 01h 18’51” Illusionen 01h 22’06” Turn, turn 01h 24’01” Blind vom licht der vielen Ker 01h 27’46” Wenn (Maskenspiel) 01h 31’22” A voice in my heart 01h 35’18” Gefühl und Verstand 01h 38’48” Gott sieht uns zu 01h 41’48” Das einzige, was richtig ist 01h 45’39” Warum muss ich sein, was ich nicht bin? 01h 48’33” TANZ DER VAMPIRE 01h 48’33” Nie geseh’n 01h 54’12” Gott ist tot 01h 58’12” Einladung zum ball 02h 02’39” Totale finsterenis 02h 10’54” Wenn liebe in dir ist 02h 16’13” Die unstillbre gier 02h 23’14” Der tanz der vampire

My guest on this episode is Tony Award winning lighting designer Ken Billington who created the lighting for an incredible 105 Broadway plays and musicals, including 21 productions that were directed by Harold Prince.  Ken's career spans from his very first Broadway show in 1967 when he was the assistant to legendary lighting designer Tharon Musser, to his most recent Broadway show, the hit musical, Waitress.  Along the way he designed the original productions of Sweeney Todd, On The 20th Century, The Drowsy Chaperone, The Scottsboro Boys, The Search For Signs Of Intelligent Life In the Universe starring Lily Tomlin, three revivals of Fiddler On The Roof, two revivals of Sunday In The Park with George, and the still running 1996 revival of Chicago for which he received the Tony Award. I have had the great pleasure of knowing and working with Ken for more than 40 years, and it is always fascinating, and always a delight to speak with him. Theatrical lighting design is a very young art form. Its history begins primarily in the early 20th Century -- just as the Broadway musical was being invented. Lighting design's earliest innovators include the American actress Maude Adams – most famous today for her performance as Peter Pan – and producer, director, playwright, and theater owner David Belasco.  One of the recurring themes of this podcast, and one of my obsessions, is how the art and craft of the Broadway Musical has been handed down directly – first hand – from artists to artists, from craftsperson to craftsperson.  Ken Billington's long career and especially his early experiences as the assistant to the pioneering designers Peggy Clark, Pat Collins, Tom Skelton, William Rittman, and Tharon Musser make him the ideal guest for this episode. And of course, after Ken stopped being an assistant, he eventually became one of Broadway's most acclaimed and most prolific lighting designers. And we'll hear the story of how that came about on the next episode of Broadway Nation! You can learn more about Jean Rosenthal, Tharon Musser and other great women lighting designers on Episode 8 of Broadway Nation, which is titled, “Agnes DeMille & The Women That Invented Broadway”. It's a fascinating episode and I encourage you to check it out. Broadway Nation is written and produced by me, David Armstrong. Special thanks to Pauls Macs for his help with editing this episode, to KVSH 101.9 The Voice of Vashon, and to the entire team at the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

It's considered one of the best overtures in all of musical theatre. Eric Matthew Richardson returns to the show to discuss how the overture sets the tone for the show and the backstory of how this musical came to be. Eric's website: http://www.ericmatthewrichardson.comTwitter: https://twitter.com/TheEMRMusicYou can purchase Stephen Sondheim's first book of lyrics, Finishing the Hat, by going here: https://amzn.to/2LB9ZJoWe are using three productions to frame our discussion of Merrily We Roll Along.The Original Broadway Cast (1981) starring Jim Walton, Ann Morrison, and Lonny Price.You can listen to it on Apple Music: https://music.apple.com/ca/album/merrily-we-roll-along-original-broadway-cast-recording/738703005Or listen to it on Spotify: https://open.spotify.com/album/3KZq3isCTbYMzGvnXkTfNr?si=u2vq6PhGTCeyOW9W8mTnhwOr buy it on Amazon: https://www.amazon.ca/Merrily-Roll-Along-Original-Broadway/dp/B01KB0V58O/The Off-Broadway Revival cast (1994) starring Malcolm Gets, Amy Ryder, and Adam Heller.You can listen to it on Apple Music: https://music.apple.com/ca/album/merrily-we-roll-along-the-new-cast-recording-1994-off/1440771486Or listen to it on Spotify: https://open.spotify.com/album/51xg0INwgGytnQTHm2N0Tc?si=Vv_WetrCQ9OaTmgtpBTpZQOr buy it on Amazon: https://www.amazon.ca/Merrily-Roll-Along-Cast-Recording/dp/B000026G4K/The Encores! revival (2012) starring Colin Donnell, Celia Keenan-Bolger, and Lin-Manuel Miranda.You can listen to it on Apple Music: https://music.apple.com/ca/album/merrily-we-roll-along-2012-new-york-cast-recording/542006479Or listen to it on Spotify: https://open.spotify.com/album/2ouySS4WHFplUHtwduvPKx?si=SLaweV0XRomMEvIPXqlpDAOr buy it on Amazon: https://www.amazon.ca/Merrily-Roll-Along-Encores-Recording/dp/B007Q1IT1I/Our sponsors this week are: Alberta Blue Cross - https://www.ab.bluecross.ca - Alberta Blue Cross group benefit plans are easy to manage, anywhere, anytime and on any device, making it easy for you and your employees to access. Pod Power - With Pod Power, our sponsors are making it possible for us to amplify the voices of Albertans and Alberta podcasters. This episode, Edmonton Community Foundation is helping us give a Pod Power shout out to Book Women - https://bookwomenpodcast.ca - A podcast where three Métis aunties figure out how to publish, edit, and write Indigenous stories. Send feedback to puttingittogetherpodcast@gmail.comPutting It Together is a proud member of The Alberta Podcast Network: Locally grown. Community supported. Here's their link again: https://www.albertapodcastnetwork.comRecorded by Media Lab YYC. Media Lab is a production company. They help you tell your story. They do this by assisting in the creation of videos and podcasts. Find more information at: http://medialabyyc.comKeep up to date with Putting It Together by following its social media channels.Patreon: https://www.patreon.com/puttingittogetherpodcastTwitter: https://twitter.com/sondheimpodcastInstagram: https://www.instagram.com/sondheimpodcast ★ Support this podcast on Patreon ★

Our next season is all about the flop known as Merrily We Roll Along. But should it actually be considered a failure? Joins us over the next few months as we dig into each song and attempt to answer that question.  ★ Support this podcast on Patreon ★

Steven Bell returns to deconstruct what Sondheim is doing in the score of Merrily We Roll Along. There are themes that are reused throughout, sometimes they're slowed down or sped up, and there are motifs that follow each character. You can email Steve here: steve@slbway.comYou can purchase Stephen Sondheim's first book of lyrics, Finishing the Hat, by going here: https://amzn.to/2LB9ZJoWe are using three productions to frame our discussion of Merrily We Roll Along.The Original Broadway Cast (1981) starring Jim Walton, Ann Morrison, and Lonny Price.You can listen to it on Apple Music: https://music.apple.com/ca/album/merrily-we-roll-along-original-broadway-cast-recording/738703005Or listen to it on Spotify: https://open.spotify.com/album/3KZq3isCTbYMzGvnXkTfNr?si=u2vq6PhGTCeyOW9W8mTnhwOr buy it on Amazon: https://www.amazon.ca/Merrily-Roll-Along-Original-Broadway/dp/B01KB0V58O/The Off-Broadway Revival cast (1994) starring Malcolm Gets, Amy Ryder, and Adam Heller.You can listen to it on Apple Music: https://music.apple.com/ca/album/merrily-we-roll-along-the-new-cast-recording-1994-off/1440771486Or listen to it on Spotify: https://open.spotify.com/album/51xg0INwgGytnQTHm2N0Tc?si=Vv_WetrCQ9OaTmgtpBTpZQOr buy it on Amazon: https://www.amazon.ca/Merrily-Roll-Along-Cast-Recording/dp/B000026G4K/The Encores! revival (2012) starring Colin Donnell, Celia Keenan-Bolger, and Lin-Manuel Miranda.You can listen to it on Apple Music: https://music.apple.com/ca/album/merrily-we-roll-along-2012-new-york-cast-recording/542006479Or listen to it on Spotify: https://open.spotify.com/album/2ouySS4WHFplUHtwduvPKx?si=SLaweV0XRomMEvIPXqlpDAOr buy it on Amazon: https://www.amazon.ca/Merrily-Roll-Along-Encores-Recording/dp/B007Q1IT1I/Send feedback to puttingittogetherpodcast@gmail.comPutting It Together is a proud member of The Alberta Podcast Network: Locally grown. Community supported. Here's their link again: https://www.albertapodcastnetwork.comRecorded by Media Lab YYC. Media Lab is a production company. They help you tell your story. They do this by assisting in the creation of videos and podcasts. Find more information at: http://medialabyyc.comKeep up to date with Putting It Together by following its social media channels.Patreon: https://www.patreon.com/puttingittogetherpodcastTwitter: https://twitter.com/sondheimpodcastInstagram: https://www.instagram.com/sondheimpodcast ★ Support this podcast on Patreon ★

This is the second part of my recent conversation with author Margaret Hall, the remarkable young theater historian whose new book is titled Gemignani – Life And Lessons From Broadway And Beyond. If you missed part one, you may want to catch up on that episode before listening to this one. Margaret spent much of the pandemic interviewing Paul Gemignani who is without a doubt one of the most significant figures in the history of modern Broadway musical. Beginning as a replacement with the original production of Follies in 1971 Gemignani served as the Music Director for more than 40 Broadway musicals including Sweeney Todd, Evita, Sunday In The Park With George, On The 20th Century, and Into The Woods to name only a few.  Margaret's book takes us behind the scenes of those acclaimed productions and illuminates the crucial role that music directors play in the creation, development, and success of a musical. Paul Gemignani's incredible talent and theatrical know how made him the first-choice music director, and indispensable collaborator of both Stephen Sondheim and Harold Prince. As you will hear, after Sondheim and Prince ended their creative partnership and went their separate ways, Paul Gemignani was often pulled back and forth and caught in the middle between these two great artists and their various projects. As we ended the previous episode the legendary Music Director Hal Hasting's had unexpectedly died and Paul Gemignani has suddenly been drafted to replace him as the Music Director of A Little Night Music the new Prince and Sondheim musical that has just opened.   Learn more about your ad choices. Visit megaphone.fm/adchoices

SHOWS: Merrily We Roll Along, She Loves Me, Curtains David Loud occupies a unique place in Broadway history: in addition to his distinguished body of work as a music director and vocal arranger, he has also originated three roles as an actor. He most recently served as Music Director for the Broadway premiere of The Visit, starring Chita Rivera and Roger Rees. Other credits include the original Broadway productions of The Scottsboro Boys, Sondheim on Sondheim, Curtains, Ragtime, A Class Act, Steel Pier, and revivals of Porgy and Bess, She Loves Me, Company, and Sweeney Todd. He originated the role of Manny in Terrence McNally's Master Class (starring Zoe Caldwell), played Sasha (the conductor) in Curtains, and made his Broadway debut in Harold Prince's original 1981 production of Stephen Sondheim's Merrily We Roll Along. Off-Broadway, David created the vocal and dance arrangements for Kander & Ebb's And the World Goes ‘Round. He has created arrangements for Marin Mazzie, Jason Danieley, Audra MacDonald, Victoria Clark, Paulo Szot, Liz Callaway, Betty Buckley, and Barbara Cook. He conducted the incidental music for Mike Nichols's revival of Death of a Salesman and collaborated with Wynton Marsalis and John Doyle on A Bed and a Chair, a jazz interpretation of Sondheim's music. Other recent projects include The Land Where the Good Songs Go, a concert of Jerome Kern songs at Merkin Concert Hall; First You Dream, a concert of Kander & Ebb songs that was broadcast on PBS; and three programs in the 92nd Street Y's Lyrics and Lyricists series: On A Clear Day: The Musical Vision of Burton Lane, Taking a Chance on Love: The Music of Vernon Duke, and A Good Thing Going: The Stephen Sondheim and Harold Prince Collaboration. He is a graduate of Yale University and has been on the faculty of the Yale School of Drama and Fordham University. Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is Margaret Hall, a remarkable young theater historian who is the author of the celebrated new book Gemignani – Life And Lessons From Broadway And Beyond. As you will hear, Margaret spent much of the pandemic interviewing Paul Gemignani who is without a doubt one of the most significant, and at the same time most under-appreciated, figures in the history of modern musical. Since 1971 Paul Gemignani has served as the Music Director for more than 40 Broadway productions including Follies, A Little Night Music, Sweeney Todd, Evita, Sunday In The Park With George, Into The Woods, and Crazy for You, to name only a few. His incredible talent and theatrical know-how made him the first-choice music director, and indispensable collaborator of Kander & Ebb, Stephen Sondheim, Andrew Lloyd Webber and Harold Prince. Margaret's book not only takes us behind the scenes and into the orchestra pit of many of the most significant and acclaimed productions in Broadway history, it also illuminates the crucial role that music directors play in the creation, development, and performance of a musical. Learn more about your ad choices. Visit megaphone.fm/adchoices

En este programa hablamos de "CABARET" y de dos de los creadores emblemáticos que más hicieron por este y tanto otros títulos del musical americano: Harold Prince y Bob Fosse. Dentro del homenaje que estamos haciendo a Stephen Sondheim, esta vez hablamos de "INTO THE WOODS" otro título imprescindible de este gran autor. Estuvimos Angel de Quinta, Iñaki Torre, Miguel Angel Parra, Paco Dolz, Sabina Farrés, con Unai Aizpurua como siempre a los mandos de nuestra nave.

About David: DAVID CADY is currently a professor of commercial and musical theatre performance at AMDA, NYU, and Pace University. Prior, he was a casting director for Donna DeSeta Casting for close to 30 years. In addition to countless commercials, his casting credits include the original Dirty Dancing, Disney's Enchanted, Michael John LaChiusa's The Petrified Prince for the Public Theater, and the world premiere of Andrew Lloyd Webber and Jim Steinman's Whistle Down the      Wind, directed by Harold Prince.   He was an original cast member of Stephen Sondheim and George Furth's Merrily We Roll Along, and can be seen in Lonny Price's film about the experience, The Best Worst Thing That Ever Could Have Happened. Actors don't think like the rest of us. They have a very, very particular way of doing things, and that can lead to actors getting stuck. You need accountability. It's important for actors to engage with that other part of their brain and realize that it is a business.  It's important that you do something for your career that makes you want to vomit in your mouth just a little bit every day. In order to be successful, you need to do things that push you out of your comfort zone. You need to do things that get you to that next bit, to that next level of success. It's such a competitive business, and every single actor is competing, and you are competing with yourself. It isn't just about your talent. Your agent is probably not going to do much more than submit you for work. The misconception is that agents are going to mold your career. Actors are sensitive people, but, in David's experience, agents, managers, and casting directors are not sensitive people. The first job is being the best actor that you can be and continuing to study and be in class and get better at what people are ultimately going to hire you to do. And then the second job is to learn how the business works. Understanding yourself is going to make you just a better craftsman, but it's also going to help you as a person get out of your way. If you don't understand what's holding you back, then it's just going to keep holding you back.  I think the people who are going to get furthest are the people who love it, love the work, who love writing letters, sending out pictures and resumes, and doing the mailings. They're jazzed by it. They're excited by it.  It's about having the confidence to meet yourself before anybody else tells you that you're good.

GGACP celebrates the 40th anniversary of the release of "E.T. the Extra-Terrestrial" (June 11, 1982) with veteran actress Dee Wallace. In this episode, Dee joins Gilbert and Frank for an informative (and inspiring!) conversation about the power of intuition, the challenges of sudden fame, the generosity of Harold Prince and the precision of Steven Spielberg. Also, John Carradine soldiers on, Dudley Moore replaces George Segal, Harrison Ford ends up on the cutting room floor and Dee embraces the term "scream queen." PLUS: "The Frighteners"! The cinema of Blake Edwards! Dee praises Cloris Leachman! Slim Pickens holds court! And Gilbert and Larry David go to the movies!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Harold Prince es una pieza fundamental en la evolución del musical teatral en Broadway. Dio su apoyo a músicos y letristas, hoy autores consagrados, permitiendo que subieran a escena temáticas poco habituales dentro del género musical. Prince ostenta el récord de haber ganado el mayor número de Tony de la historia, nada menos que 21, incluyendo 8 como productor al mejor musical, 8 como director, 2 como productor y 3 Premios especiales. También dirigió obras de texto, operas, operetas y hasta alguna película. Te invitamos a hacer un repaso por algunos de los musicales más famosos que llevan su firma y que a buen seguro conocerás la mayoría. 00h 00’00” Prince of Broadway Overture 00h 03’55” Presentación 00h 04’48” Cabecera 00h 05’40” INICIOS 00h 06’45” THE PAJAMA GAME (1954) – Hey there 00h 10’43” DAMN YANKEES (1955) – Whatever Lola wants 00h 13’52” WEST SIDE STORY (1958) – Tonight Quintet 00h 17’29” JERRY BOCK & SHELDON HARNICK 00h 18’29” FIORELLO (1959) – On the side of the angels 00h 21’44” TENDERLOIN (1960) – Little Old New York 00h 24’42” SHE LOVES ME (1964) – Good morning, good day 00h 28’01” FIDDLER ON THE ROOF (1965) - Tradition 00h 35’00” JOHN KANDER & FRED EBB 00h 36’04” FLORA, THE RED MENACE (1965) – Sing happy 00h 39’31” CABARET (1967) – Don’t tell mama 00h 43’37” ZORBA (1968) – Life is 00h 48’38” KISS OF THE SPIDER WOMAN (1993) – Gimme love 00h 52’38” STEPHEN SONDHEIM 00h 53’24” A FUNNY THING HAPPENED ON THE WAY TO THE FORUM (1963) – Comedy tonight 00h 58’21” COMPANY (1971) – The ladies who lunch 01h 02’27” FOLLIES (1972) – I’m still here 01h 07’55” A LITTLE NIGHT MUSIC (1973) – Send in the clowns 01h 13’53” PACIFIC OVERTURES (1976) – Someone in a tree 01h 21’09” SWEENEY TODD (1979) – A little priest 01h 28’38” MERRILY WE ROLL ALONG (1981) – Our time 01h 35’22” BOUNCE (2003) – A little house for mama 01h 38’53” ANDREW LLOYD WEBBER 01h 39’40” EVITA (1980) – Oh, what a circus 01h 46’36” THE PHANTOM OF THE OPERA (1986) – The Phantom of the Opera 01h 51’50” WHISTLE DOWN THE WIND (1996) – A kiss is a terrible thing to waste 01h 59’22” FINALE 02h 00’04” CANDIDE (1973) – Make our garden grow 02h 05’38” ON THE TWENTY CENTURY (1978) - Veronique 02h 11’23” SHOW BOAT (1993) – Old man river 02h 17’10” PARADE (1998) – All the wasted time

As I  was thinking about my upcoming conversation with David Loud, author of "Facing the Music", a  quote from piano man, Billy Joel, struck a chord with me. Joel said “I think music in itself is healing. It's an explosive expression of humanity. It's something we are all touched by. No matter what culture we're from, everyone loves music.   It seemed to me that the healing power of David Loud's lifelong passion for music helped him to triumph over the ravages of Parkinson's disease that could have  destroyed his career as a Broadway music director, arranger and actor.  I seldom have time to read memoirs or biographies. Reading is one of the two main ways I have to temporarily disconnect from the chaos around me, and I preferentially read fiction with powerfully drawn characters, and fast moving storylines. But I was captivated by David Loud's memoir which I read straight through, on a rainy Vancouver weekend. As a long-time devotee of the performing arts and an on-line theatre reviewer, I loved the chance to vicariously experience the backstage activity that audience members rarely see. And as I reflected ironically, my book, Growing Older Living Younger, the account of my recovery from spinal stenosis and back surgery, is as much memoir as it is science. David Loud (NYC) occupies a unique place in Broadway history. In addition to his distinguished career as one of Broadway's most respected music directors and arrangers, he originated three Broadway roles as an actor, including his appearance in the original cast of Stephen Sondheim's legendary failure (and cult classic) Merrily We Roll Along, directed by Harold Prince. In a career spanning several decades, he served as music director for the original Broadway productions of Ragtime, Curtains, Sondheim on Sondheim, The Visit, The Scottsboro Boys, A Class Act, The Look of Love, and Steel Pier, as well as revivals of She Loves Me, Company, and Sweeney Todd. He also appeared alongside Zoe Caldwell and Audra McDonald in Terrence McNally's Tony-winning play, Master Class.    The link to "Facing the Music" is below https://www.amazon.com/Facing-Music-Broadway-David-Loud-ebook/dp/B09BNZNV79  To learn more about Growing Older Living Younger: Schedule a Living Younger Discovery call with me at https://calendly.com/askdrgill/discovery-phone-chat   Order your copy of Growing Older Living Younger: The Science of Aging Gracefully and The Art of Retiring  Comfortably at https://www.gillianlockitch.com/ 

While a student studying for his BFA at NYU, David was cast in the original Broadcast production of Stephen Sondheim's "Merrily We Roll Along", directed by Harold Prince, then appeared as Peter Van Daan in the Off-Broadway chamber musical, "Yours, Anne", followed by touring as Motel the Tailor in "Fiddler On The Roof" opposite Herschel Bernardi, after which he returned to gain his degree. David later interned at the Playwrights Horizons where he became interested in casting. After a brief stint in a theatrical agency, he joined the casting department at Grey Advertising, where he began learning the commercial industry and subsequently worked for casting director, Bonnie Timmerman on "Dirty Dancing", Roman Polanski's "Frantic" starring Harrison Ford, "Ironweed", Disney's "Enchanted" starring Meryl Streep and Jack Nicholson and the third season of "Miami Vice", the world premieres of Michael John La Chuisa's "The Petrified Prince" for the Public Theater and Andrew Lloyd Webber's "Whistle Down the Wind", both directed by Mr. Prince. This led to 30 years as a casting director at Donna DeSeta Casting, one of New York's busiest offices, personally casting over 2000 TV commercials, and developed techniques for teaching commercial acting, which he brings to his classes at Manhattan School of Music, NYU, Pace University, Actors Connection, other private studios around the city, as well as to his musical theater performance and auditioning classes at AMDA (American Musical and Dramatic Academy) Testimonials about David include statements such as: "Your class to this day has been one of the most valuable classes I've ever taken"; "This truly is an undergraduate degree in commercial acting! The added benefit is how incredibly kind you are and that you want every actor in your class to succeed". Check David out as one who helps to make the most of your auditions, and – more importantly – grow as artists, in both skills and confidence at: https://www.davidcady.com --- Support this podcast: https://anchor.fm/ozzie-stewart/support

SWEENEY TODD: THE DEMON BARBER OF FLEET STREET COMPOSER: Stephen Sondheim LYRICIST: Stephen Sondheim BOOK: Hugh Wheeler SOURCE: Sweeney Todd by Christopher Bond DIRECTOR: Harold Prince CHOREOGRAPHER: Larry Fuller PRINCIPLE CAST: Len Cariou (Sweeney), Victor Garber (Anthony), Angela Lansbury (Mrs. Lovett) OPENING DATE: March 01, 1979 CLOSING DATE: June 29, 1980 PERFORMANCES: 557 SYNOPSIS: Sweeney Todd, a wrongfully convicted man, returns to London to reclaim his wife and daughter only to discover that his wife has killed herself and that his daughter is now the ward, and prospective bride, of the Judge who sentenced him. Vowing to take revenge by murdering the Judge, Todd begins to practice execution on his neighbors whose bodies are then baked into pies and sold to unsuspecting consumers by Mrs. Lovett.  The inspiration for Stephen Sondheim's Sweeney Todd is examined by Alison Morooney. Fusing the passion for mystery and horror from composer/ lyricist Sondheim and the desire to comment on the oppressive political structures of the Industrial Revolution from director Harold Prince, librettist Hugh Wheeler humanizes the characters from a British urban legend. Though critics lauded the score upon its opening, the musical's mix of styles and genre-defying designs earned it mixed reviews. This episode argues for Sweeney Todd's significance as a piece of theatre which, despite its socio-political message, allows an audience to engage emotionally with the characters, contrasting it to the Epic theatre of Bertolt Brecht, which sought to distance its audience. Alison Morooney is a stage director and choreographer currently pursuing an MFA in directing at The Pennsylvania State University. She has directed most frequently at The College Light Opera Company in Massachusetts and has served as a choreographer at Priscilla Beach Theatre and for Penn State Centre Stage. She has also been on stage regionally and with national tours American Idiot and Nice Work if You Can Get It. SOURCES Sweeney Todd: The Demon Barber of Fleet Street, Original Broadway Cast Recording. RCA (1979) Sweeney Todd: The Demon Babrer of Fleet Street, starring George Hearn and Angela Lansbury, directed by Terry Hughes. RKO Pictures (1982) Sweeney Todd: The Demon Barber of Fleet Street by Hugh Wheeler and Stephen Sondheim, published by Applause Libretto Library (2000) Sense of Occasion by Hal Prince, published by Applause (2017) Finishing The Hat by Stephen Sondheim, published by Knopf (2010) Learn more about your ad choices. Visit megaphone.fm/adchoices

About the Guest Randy Redd made his Broadway debut in PARADE at Lincoln Center directed by Harold Prince. Broadway and Off-Broadway credits include MAY WE ALL, Max Vernon's THE VIEW UPSTAIRS, ALLEGRO at Classic Stage Company directed by John Doyle, Alain Boublil's MANHATTAN PARISIENNE directed by Graciela Daniele, and PUMP BOYS & DINETTES at City Center Encores. Other credits include MILLION DOLLAR QUARTET, RING OF FIRE directed by Richard Maltby, Jr., Randy Newman's FAUST, THE BURNT PART BOYS, Terrence McNally's SOME MEN, the American premiere of Andrew Lloyd Webber's BY JEEVES directed by Alan Ayckbourn, David Greig's MIDSUMMER, LUCKY STIFF, ONE MAN BAND with James Lecesne, and SMOKE ON THE MOUNTAIN. Film and TV credits include https://www.youtube.com/watch?v=L1HQ5OP9E8c (“Beautiful Creatures”) and “The Last 5 Years” directed by Richard LaGravenese, https://www.youtube.com/watch?v=iJjmpO8k9m0 (“After The Storm”) directed by Hilla Medalia, "Kinsey" directed by Bill Condon, “From Broadway With Love” (PBS), “All-American New Years” (FOX), "The Wright Verdicts", Good Morning America, the Today Show, the Tony Awards, the Macy's Thanksgiving Day Parade with Wynonna Judd, and Show Biz After Hours with Frank DiLella, a monthly variety show at Birdland. He has worked as an actor, writer, musician, and director at Manhattan Theater Club, Lincoln Center Theater, Classic Stage Company, Tectonic Theater, Atlantic Theater Company, Naked Angels, Second Stage, New York Musical Theater Festival, The Kennedy Center, Goodspeed, Geffen Playhouse, Primary Stages, York Theater, Emelin Theater, City Theatre, Cincinnati Playhouse In The Park, New Stage Theatre, Pittsburgh CLO, Charlotte Repertory Theater, the Flat Rock Playhouse, the Coconut Grove Playhouse, Stamford Center For The Arts, the Arden Theater, New World Stages, the Cape Playhouse, the Actor's Playhouse, and more. Recordings: https://itunes.apple.com/us/album/showfolk/id305047066 (SHOWFOLK) with Tony Award-winner Rachel Bay Jones, Robin Skye's https://itunes.apple.com/us/artist/robin-skye/id383949971 (HOUSE OF LOVE), LUCKY STIFF, NEO, Jason Robert Brown's WEARING SOMEONE ELSE'S CLOTHES and the Original Cast Recordings of PARADE, RING OF FIRE, THE BURNT PART BOYS and THE VIEW UPSTAIRS. In concert: Carnegie Hall, Jazz at Lincoln Center, Town Hall, Symphony Space, Cooper Union, St. John the Divine, Feinstein's, Ars Nova, Birdland and Joe's Pub. Links North Carolina Theatre http://www.randy-redd.com/ (Randy Redd's Website) Connect with Us Facebook @beltlinetbroadway Twitter @beltlinetobway Instagram @beltlinetobroadway

CABARET COMPOSER: John Kander LYRICIST: Fred Ebb BOOK: Joe Masteroff SOURCE: Christopher Isherwood's The Berlin Stories (1945) DIRECTOR: Hal Prince CHOREOGRAPHER: Ron Field PRINCIPLE CAST: Bert Convy (Cliff), Joel Grey (Emcee), Jill Hayworth (Sally). Lotte Lenya (Schneider) OPENING DATE: Nov 20, 1966 CLOSING DATE: Sep 06, 1969 PERFORMANCES: 1,165 SYNOPSIS: American Clifford Bradshaw takes up residence in pre-war Berlin. While there he becomes enamored with cabaret singer Sally Bowles, and her divine decadence. As the Nazi's rise to power, Cliff wonders if he must flee Germany or take a stand against the Third Reich. Harold Prince's staging of Cabaret took audiences by surprise as it tossed aside all manner of theatrical conventions, reflecting the audience back at itself through a large mirror and challenging them with diegetic and nondiegetic song and dance routines. Taboo subject matter including queerness, sex, antisemitism, abortion, and the Holocaust came to the forefront of a Broadway musical for the first time. Bruce Kimmel explores the impact of the various elements that made Cabaret a seismic event. From the authentic performances of Lotte Lenya and Jill Haworth to the Weimar infused score of John Kander and Fred Ebb, as well as the star-making turn of Joel Grey, each element of this groundbreaking musical is explored to underline its collective power. Bruce Kimmel is a legendary Grammy-nominated producer of theatre music on CD, having produced over 180 albums, including Broadway and off-Broadway cast albums, singers, and concept recordings. He is also an award-winning songwriter and the author of twenty-one books. He wrote, directed, and starred in the cult movie hit, The First Nudie Musical, and co-created the story for the hit film, The Faculty, directed by Robert Rodriguez. As an actor, Mr. Kimmel guest-starred on most of the long-running television shows of the 1970s. SOURCES Cabaret: The Illustrated Book and Lyrics by Joe Masteroff, published by Newmarket Press (1999) Cabaret, Original Broadway Cast Recording. Columbia Masterworks (1966) Cabaret, starring Joel Grey and Liza Minnelli, directed by Bob Fosse. Allied Artists Pictures (1972) The Making Of Cabaret by Keith Garebian, published by Oxford University Press (2011) Learn more about your ad choices. Visit megaphone.fm/adchoices

We are joined by Lauren Flans (Wild 'n Out, Another Period) of the Coming Out With Lauren & Nicole podcast to discuss her favorite musical, Stephen Sondheim's A Little Night Music, but will the film adaptation hold up? The 1977 Academy Award-winning film brought along Broadway director Harold Prince and a couple original cast members, as well as the star power of Elizabeth Taylor and Diana Rigg, but was it enough? We'll discuss all of it, including what changed from stage to screen, why Madame Armfeldt rules, Marc's first experience seeing STAR WARS, what carom billiards even is, how Ryan is 1 degree away from Lesley-Anne Down, and why you should never trust a little girl with your personal secrets! Plus, who is Team Liz or Team Diana?  Also, isn't it rich?  Are we a pair?

Nos hemos juntado Angel de Quinta, Fernando Alcalde, Iñaki Torre, Miguel Angel Parra, Miguel Casares y Paco Dolz con Unai Aizpurua a los mandos, para hablar de A LITTLE NIGHT MUSIC en nuestro homenaje mensual a Stephen Sondheim y de EL VIOLINISTA EN EL TEJADO, musical que hemos incluido este mes en Cuéntame un musical. También hablamos de John Williams, Harold Prince, Jerome Robbins y de las últimas novedades en las carteleras.

About the Guest David Loud (NYC) occupies a unique place in Broadway history. In addition to his distinguished career as one of Broadway's most respected music directors and arrangers, he originated three Broadway roles as an actor, including his appearance in the original cast of Stephen Sondheim's legendary failure (and cult classic) Merrily We Roll Along, directed by Harold Prince. In a career spanning several decades, he served as music director for the original Broadway productions of Ragtime, Curtains, Sondheim on Sondheim, The Visit, The Scottsboro Boys, A Class Act, The Look of Love, and Steel Pier, as well as revivals of She Loves Me, Company, and Swehttps://www.parkinson.org/rence McNally's Tony-winning play, Master Class.  The extraordinary cast of characters in his life also includes John Kander, Fred Ebb, Angela Lansbury, Chita Rivera, Roger Rees, Marin Mazzie, Scott Ellis, Jerry Bock, Sheldon Harnick, Garth Drabinsky, and Barbara Cook, among others.  Links https://www.simonandschuster.com/books/Facing-the-Music/David-Loud/9781682451915 (Facing the Music Publisher Page) https://www.parkinson.org/ (Parkinson's Foundation) Music Credit Opening written and performed by Huck Borden. Instagram @huck_borden. Connect with Us Facebook @beltlinetbroadway Twitter @beltlinetobway Instagram @beltlinetobroadway

“To see your heroes fail,” continues Loud, “is to learn something really important at the beginning of someone's career. Anybody can have a bomb. Anybody can flop. And to start out your career with a monumental flop, the way I did, boy do I appreciate a show that goes well and hits now!” We're speaking with a multi-hyphenate legend, here.  “That need to be in the theatre, that yearning to be in a musical or to work on a musical and have that be your life is so powerful,” says Loud. “And it bites us at different times in our lives. I knew for six years old what I wanted to do with my life and I never waivered.” While Mr. Loud knew what he wanted, he still had to figure out how and where he belonged in the industry – which took him a few tried to make sure he was going down the right road. After his first Broadway musical, the legendary Merrily We Roll Along, flopped – he had to pivot. And now, in 2022, Mr. Loud continues to work with Parkinson's disease, still figuring out ways to pivot and continue to tell his stories.  David Loud, famed Broadway music director, arranger, performer, and teacher continues the multi-hyphenate theatre artist legacy by adding author to his hyphens. His new book, Facing the Music, is now available for purchase.  “I have always been a multi-hyphenate, I think,” says Loud. “I always found this niche for myself of the pianist who can say a few lines on stage. I've never quite fit into only one category. I love doing lots of different things in the theatre. I've always wanted to do everything in the theatre.” And now, theatre lovers everywhere can read about Mr. Loud's fantastic journey in show business. One can begin to understand what a multi-hyphenate's life was life before the word multi-hyphenate grew in popularity.  “When we moved to New York to go into showbusiness – we were not graduates of musical theatre academies,” continues Loud. “We learned by doing and we learned from our friends and we learned by imitating and we went to auditions and we figured out what worked and what didn't work. We had to be self-starters in that way.” In this episode, we speak about our love for musical theatre, what it was really like to work with Stephen Sondheim, how multi-hyphenating stems out of need to be a part of any aspect of the theatre, his experience working on Merrily We Roll Along, casting choices that have excited us throughout the years, and the importance of failure.  David Loud occupies a unique place in Broadway history. In addition to his distinguished career as one of Broadway's most respected music directors and arrangers, he originated three Broadway roles as an actor, including his appearance in the original cast of Stephen Sondheim's legendary failure (and cult classic) Merrily We Roll Along, directed by Harold Prince. In a career spanning several decades, he served as music director for the original Broadway productions of Ragtime, Curtains, Sondheim on Sondheim, The Visit, The Scottsboro Boys, A Class Act, The Look of Love, and Steel Pier, as well as revivals of She Loves Me, Company, and Sweeney Todd. He also appeared alongside Zoe Caldwell and Audra McDonald in Terrence McNally's Tony-winning play, Master Class. About Facing the Music – Musical Director and arranger David Loud, a legendary Broadway talent, recounts his wildly entertaining and deeply poignant trek through the wilderness of his childhood and the edge-of-your-seat drama of a career on, in, under, and around Broadway for decades. He reveals his struggle against the ravages of Parkinson's and triumphs repeatedly. This memoir is also a remarkable love letter to music. Loud is the 'Ted Lasso' of the theater business, ever the optimist. An inspiration to all! Learn more about your ad choices. Visit megaphone.fm/adchoices

David, who began his career onstage in Merrily We Roll Along, quickly became one of Broadway's most notable music directors working closely with Sondheim, Ahrens & Flaherty, and Kander & Ebb to name a few. Thank you for taking the time to listen to our chat with David Loud! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! About David Loud: David Loud (NYC) occupies a unique place in Broadway history. In addition to his distinguished career as one of Broadway's most respected music directors and arrangers, he originated three Broadway roles as an actor, including his appearance in the original cast of Stephen Sondheim's legendary failure (and cult classic) Merrily We Roll Along, directed by Harold Prince. In a career spanning several decades, he served as music director for the original Broadway productions of Ragtime, Curtains, Sondheim on Sondheim, The Visit, The Scottsboro Boys, A Class Act, The Look of Love, and Steel Pier, as well as revivals of She Loves Me, Company, and Sweeney Todd. He also appeared alongside Zoe Caldwell and Audra McDonald in Terrence McNally's Tony-winning play, Master Class. Resources from this episode: Facing the Music by David Loud --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork Youtube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

Musical, ik vind hier iets van wordt gemaakt door: Benno Hoogveld & Annemiek LelyDe hosting is in handen van popuppodcast.studioSpeciaal voor jou maken we een Spotify playlist met de muziek die we bespreken!Als regisseur/ex-musicalacteur en theaterwetenschapper delen wij - Benno Hoogveld en Annemiek Lely - onze liefde voor musicals met als doel een audio musicalencyclopedie met een kritische noot te maken. Luister je graag naar onze podcast? Heb je iets opgestoken van onze visie(s) op een musical? Of wil je ons naar West End sturen om nieuwe input voor een aflevering op te doen? Kies dan voor een applaus of staande ovatie: https://petje.af/musicalikvindhierietsvan

durée : 00:58:13 - Il était une fois Stephen Sondheim (2/3) : L'audace avant tout, de Sweeney Todd à Follies - par : Laurent Valière - A partir de 1970, le parolier et compositeur Stephen Sondheim crée une comédie musicale audacieuse tous les deux ans, mise en scène et produite par son compère Harold Prince. Sanglante comme « Sweeney Todd » ou mélancolique comme « Follies ». - réalisé par : Céline Parfenoff

ANDRÉA BURNS received an Outer Critics Circle Award Nomination for her portrayal of Gloria Fajardo in Broadway's On Your Feet! She is a winner of a Drama Desk Award for her creation of the role of Daniela, the saucy hairdresser in the Tony Award-winning musical In The Heights.  Ms. Burns began her career touring the opera houses of Europe as Maria in West Side Story when she was 18 years old. She has appeared on Broadway as Belle in Disney's Beauty and the Beast, as Vicki Nichols in The Full Monty, as Googie Gomez in The Ritz and has sung concerts at Carnegie Hall. She starred opposite Nathan Lane on Broadway in the Lincoln Center production of The Nance which subsequently broadcast on PBS' "Great Performances". Ms. Burns was in the original company of Jason Robert Brown's critically acclaimed Songs for a New World and has since become one of the foremost interpreters of his work. Burns portrayed Lucille Frank in the national tour of Jason Robert Brown's Parade, directed by Harold Prince, for which she received a Touring Broadway Awards nomination for Best Actress. She was also selected by Stephen Sondheim to create the role of Celeste in his musical Saturday Night in its New York premiere.  Ms. Burns' debut solo album A Deeper Shade Of Red was described by Playbill as "superb on all counts”. “100 Stories," a single she co-wrote with her brother, music producer Mike Burns, rose to the #2 spot on the 2006 Billboard Hot Dance Club Play charts. A favorite at 54 Below Broadway Supper Club, Andréa performs her one woman show all of over the world, which has been hailed by the New York Times as “ uproarious, ebullient and playful”. Television credits include Mad About You (Reboot), Jessica Jones, Kevin Can Wait, Blue Bloods, Law & Order: SVU, Rescue Me, The Electric Company (2009 TV series), and Wonder Pets. She can also be heard on the original cast recordings of On Your Feet!, In The Heights, Songs for a New World, This Ordinary Thursday - The Songs of Georgia Stitt, Saturday Night, It's Only Life, Dear Edwina, Shine, Broadway Bound, and Broadway Musicals of 1953. Ms. Burns can be heard as the voice of Elaine Stritch in Alexandra Jacob's new biography, “Still Here - The Madcap, Nervy, Singular Life of Elaine Stritch.”  Learn more about your ad choices. Visit podcastchoices.com/adchoices

This week's episode is a little different.  I recorded this just five days after it was announced that Stephen Sondheim had died and as it happened my friend, colleague and frequent co-host and contributor to Broadway Nation, Albert Evans, was spending the Thanksgiving weekend with me, and so we were together when this news began to break and during the incredible reaction and response this loss over the days that followed. The coverage of Sondheim's life and legacy in both traditional and social media has been phenomenal including four full pages in the NY Times, extended tributes on TV, radio and other newspapers, trending on Twitter and a near total domination of all theater related social media -- all richly deserved of course – but still somewhat unexpected for someone who was primarily a theater artist.  I think this reflects the hidden importance and impact of the Broadway musical on American and world culture. Most of the time the media simply ignores Broadway but once in a while it breaks through and reveals how ingrained it is in the fabric of our lives.    Of course, Sondheim has been mentioned countless times over the 47 episodes of this podcast and 16 of those episodes have focused in a major way on his life and his work. I point you toward a few of those below and at the end of this episode.   But for this episode, rather than talk about Sondheim's one of a kind place in the history of the Broadway musical and his impact on the form – as we have done on so many other episodes – Albert and I took our inspiration from the many personal memories that people have been posting and sharing about their own interactions with Sondheim, and especially how his shows and songs have impacted and affected their lives.   So, before the weekend was over Albert and I decided to switch on the microphone and look back to the very first times that the work of Stephen Sondheim entered our lives. We would love to hear about your first time experiencing of the artistry of Stephen Sondheim and feature those memories on an upcoming episode. And we have made it extremely easy for you to share them. Just go the Broadway nation website at www.Broadway-nation.com and on the bottom right corner of the home page you will find a microphone icon. Simply click on that and share with us you're first Sondheim experiences! Broadway Nation is written and produced by me David Armstrong.   For more on the life and work of Stephen Sondheim I recommend that you listen to Episodes 11 and 12 in which we explore the legacy that was handed down directly from Otto Harbach to Oscar Hammerstien to Sondheim to Lin-Manuel Miranda.   You may also want to check out Episodes 19 and 20 which deal with West Side Story and Gypsy, Episode 26: titled Harold Prince and the Concept Musical and covers Prince and Sondheim's collaboration's on Company and Follies, and Episode 28 which is subtitled Sondheim vs the Poperetta. And his works figure prominently in all three episodes dedicated to the major themes of the Broadway musical.   Learn more about your ad choices. Visit megaphone.fm/adchoices

A lot of us never saw the source material for the excellent Documentary Now parody "Co-Op" - we finally get a chance to ingest this vision of Broadway in the 1970s.Twitter: @freshmoviepod || Instagram: @abreathoffreshmovieEmail: abreathoffreshmovie@gmail.comTheme Music, "A Movie I'd Like to See" by Al Harley.

Book Vs Movie: “Cabaret” The Backstory Behind One of the Most Popular Musicals of All Time “Musicals in March” The Margos are adhering to the motto “life is a cabaret!” this week with our deep dive into a musical that is based on a book about Berlin's underground night scene in the 1930s by Christopher Isherwood (Goodbye to Berlin.)  From there it became a Broadway play by John van Druten--I Am a Camera in the early 1950s with a movie starring Julie Harris that gives new meaning to the word dull!  In the mid-1960s Broadway legends, John Kander and Fred Ebb (Chicago) created the book and music for Cabaret with a book by Joe Masteroff which was set in 1929-1930 Berlin when the Nazis were gaining power and the bon vivant lifestyle was being ostracized. (And Jewish people were basically deemed “illegal” and lost their right to own property or their own businesses.)  Sally Bowles is one of the theater's most interesting creations. Based on a friend of Isherwood's, Jean Ross, Sally is a terrible singer who somehow makes a living at the “Kit Kat Club” in Berlin. Perpetually broke, she lives with American writer Cliff Bradshaw.  They have something of a romance (in between them both having affairs with men.) When Sally becomes pregnant and Hitler is rising in power--she realizes that the party is over and she needs to flee.  Throughout the musical, there are several memorable tunes and (depending on the choreographer) sexy “jazz babies” who backup Sally on stage.  The Harold Prince-directed show premiered in November 1966 and swept the Tonys the following year. There have been several revivals on Broadway and on the London stage throughout the years with an array of Sally's including Judi Dench, Michelle Williams, Jane Horrocks, Natasha Richardson, and Emma Stone.  The part of the emcee was originally played by Joel Grey as an asexual character with rouged cheeks. Later, Alan Cumming would create a highly sexual version in a production directed by Sam Mendes and still plays the character to this day! In this episode, we will focus on the 1972 film directed by Bob Fosse (with uncredited assistance by Gwen Verdon) and stars Liza Minelli. It is the basis for all of the sexier versions that have been produced since. It would go on to win several Academy Awards including Best Director and Actress.  So between the original book/play and the film--which did we prefer? Have a listen and find out!  In this ep the Margos discuss: The story of Christopher Isherwood and Jean Ross The Broadway play which won a few Tonys and was the basis of the very tepid film adaptation Bob Fosse & Gwen Verdon--how they changed musicals forever The cast: Liza Minelli (Sally Bowles,) Michel York (Brian Roberts,) Helmut Griem (Maxmillian von Huene,) Joel Grey (Emcee,) Fritz Weppe (Fritz Wendel,) Marissa Berenson (Natalia Landauer,) Elisabeth Neumann-Vietel (Fraulin Schneider,) and Helen Vita (Fraulein Mayr.)  Clips used: Brain and Sally meet for the first time I Am a Camera trailer Cabaret trailer  “Mein Herr” (Sally) Jill Holloway as Sally Bowles 1967 Grammy Awards Liza sings Cabaret in the 1972 film Jane Horrocks as Sally Bowles (Sam Mendes production in 1993) Natasha Richardson (1998 Broadway revival) “Willkommen” (Emcee) Outro Music: “Wilkommen”Alan Cumming Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie  Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/ Twitter @bookversusmovie www.bookversusmovie.com Email us at bookversusmoviepodcast@gmail.com Brought to you by Audible.com You can sign up for a FREE 30-day trial here http://www.audible.com/?source_code=PDTGBPD060314004R Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.com Margo P. @ShesNachoMama https://coloniabook.weebly.com/  Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine 

Happy new year from the Al Hirschfeld Foundation! In this first episode of 2020, David Leopold and Katherine Eastman relive the magic that is the career of Hal Prince. Don't forget to follow along in the show notes, where you can see all of the drawings that are talked about in real time! --------------------------------------- In the Company of Harold Prince exhibition at the NYPLPA Say, Darling Pajama Game (1973 revival) Tickets Please Call Me Madam Wonderful Town Celebrating Wonderful Town Damn Yankees New Girl in Town West Side Story (original production) West Side Story (all other drawings) A Family Affair Doily Drawings: Bloomer Girl, Meet Me in St Louis, Louisiana Purchase, 1928 Laurel and Hardy Funny Thing Happened on the Way to the Forum Fiddler on the Roof She Loves Me It's a Bird, It's a Plane, It's Superman Zorba Cabaret Boris Aronson Company Follies A Little Night Music Pacific Overtures Side by Side by Sondheim On the Twentieth Century Sweeney Todd Evita Merrily We Roll Along A Doll's Life Grind Cabaret (1987) Joel Grey in Cabaret The Phantom of the Opera Michael Crawford Colm Wilkinson Kiss of the Spider Woman Show Boat Candide Hollywood Arms Hal Prince Prince Theater Mural (part 2) ------------------------- Visit our website Like us on Facebook Follow us on Twitter Follow us on Instagram

On this week's show, Jamie, Rob, and Jennifer are joined by Tony and Academy Award nominated star of stage and screen, Barbara Barrie, who originated the role of Sarah in Stephen Sondheim and George Furth's landmark musical “Company” in 1970. We discuss that iconic show, including her experience working with Harold Prince and Elaine Stritch, and the legendary eighteen hour recording session of the original cast album. Later on, Rob gives more background on the famous documentary about that recording session.  This week's music: “The Little Things You Do Together”, “Barcelona”, “Getting Married Today”, “Poor Baby”, “Company”, “Side By Side”, “Finale”, all from “Company”. Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: info@fabulousinvalid.com  Jamie Du Mont Twitter: @jamiedumont  Instagram: @troutinnyc  Rob Russo Twitter/Instagram: @StageLeft_NYC  Jennifer Simard Twitter: @SimardJennifer  Instagram: @thejennifersimard Learn more about your ad choices. Visit megaphone.fm/adchoices

Catch up with the latest goings on in theatreland with West End Frame Editor, Andrew Tomlins!In this week's episode, Andrew discusses his trip to Newbury to see Kiss Me, Kate at the Watermill Theatre as well as the National Theatre's production of Peter Pan which has opened at the Troubadour White City Theatre.There's lots of news about Six, Stephanie J. Block and 9 to 5 PLUS find out which Broadway hits are eyeing up West End transfers…Make sure you subscribe and visit www.westendframe.co.uk to stay up-to-date with all things West End Frame. Thanks for listening!