Podcasts about itadpr

Art Director Gail Anderson of advertising agency SpotCo brings her passion for graphic design to create visual identities for theatrical works. Anderson traces her career from the School of Visual Arts to the Boston Globe to Rolling Stone and now Broadway. She explains how many designs are created in the limited time leading up to a production, sometimes before the show is fully formed. Examples shown include "Come Fly Away", "A Behanding in Spokane", the revival of "Hair", and the new revival of "La Cage Aux Folles". A show's poster artwork is spun off into many mediums including print ads, marquees, billboards, bus ads, and television commercials.

Art Director Gail Anderson of advertising agency SpotCo brings her passion for graphic design to create visual identities for theatrical works. Anderson traces her career from the School of Visual Arts to the Boston Globe to Rolling Stone and now Broadway. She explains how many designs are created in the limited time leading up to a production, sometimes before the show is fully formed. Examples shown include "Come Fly Away", "A Behanding in Spokane", the revival of "Hair", and the new revival of "La Cage Aux Folles". A show's poster artwork is spun off into many mediums including print ads, marquees, billboards, bus ads, and television commercials.

Veteran Broadway press agent Harvey Sabinson talks about his book "Darling, You Were Wonderful", his insider account of working with over 500 Broadway performers such as Carol Channing in "Hello, Dolly!"; Broadway and Hollywood stars who got their start on stage include Robert Redford, Julie Andrews, and Barbra Streisand; and film actors who have returned to Broadway include George C. Scott, Al Pacino, and Liv Ullmann.

Veteran Broadway press agent Harvey Sabinson talks about his book "Darling, You Were Wonderful", his insider account of working with over 500 Broadway performers such as Carol Channing in "Hello, Dolly!"; Broadway and Hollywood stars who got their start on stage include Robert Redford, Julie Andrews, and Barbra Streisand; and film actors who have returned to Broadway include George C. Scott, Al Pacino, and Liv Ullmann.

The Fool Moon production team - producers Jeffrey Ash, Dori Berinstein (Tony winner for the 2001 revival of One Flew Over the Cuckoo’s Nest), and James Freydberg, actor/creator Bill Irwin (2005 Tony Award for Best Actor in Edward Albee’s Who’s Afraid of Virginia Woolf?), press representative Jackie Green, general manager Robert Kamlot, company manager Daniel Kearns, and actor/creator David Shiner - discuss bringing the two-man mime revue to Broadway, the responsibilities of each production member, the strategic marketing and publicity plans, ticket and production costs, and the wildly varied responses from audiences of all ages.

The "Fool Moon" production team - producers Jeffrey Ash, Dori Berinstein, and James Freydberg, actor/creator Bill Irwin, press representative Jackie Green, general manager Robert Kamlot, company manager Daniel Kearns, and actor/creator David Shiner - discuss bringing the two-man mime revue to Broadway, the responsibilities of each production member, the strategic marketing and publicity plans, ticket and production costs, and the wildly varied responses from audiences of all ages.

Veteran Broadway press agent Adrian Bryan-Brown ranges over his 30 year career as one of theatre's most successful "drumbeaters," from his first Broadway show, the 1979 "A Taste of Honey" through the 1985 "Big River" and 1992 "Guys and Dolls" to this season's most-discussed new musical "Spider-Man: Turn Off The Dark". He also discusses how the role of the press agent has changed as the media has evolved, how social networking has reestablished word of mouth as a key promotional tool, and why when Twittering he can be neither Perez Hilton nor Pollyanna; whether he invests emotionally in the shows he represents; what he has to say to critics after they've beaten up on one of his shows; if he's even been tempted to produce a show himself; how he works with actors facing the press and who he considers the real pros at that game; why he got a degree in zoology when he was planning to embark on a career in film -- and he reveals his special talent for making an iconic NYC-area ice cream cake character. Original air date - September 28, 2009.

Veteran Broadway press agent Adrian Bryan-Brown ranges over his 30 year career as one of theatre's most successful "drumbeaters," from his first Broadway show, the 1979 "A Taste of Honey" through the 1985 "Big River" and 1992 "Guys and Dolls" to this season's most-discussed new musical "Spider-Man: Turn Off The Dark". He also discusses how the role of the press agent has changed as the media has evolved, how social networking has reestablished word of mouth as a key promotional tool, and why when Twittering he can be neither Perez Hilton nor Pollyanna; whether he invests emotionally in the shows he represents; what he has to say to critics after they've beaten up on one of his shows; if he's even been tempted to produce a show himself; how he works with actors facing the press and who he considers the real pros at that game; why he got a degree in zoology when he was planning to embark on a career in film -- and he reveals his special talent for making an iconic NYC-area ice cream cake character. Original air date - September 28, 2009.

The Beauty and the Beast production team -- press representative Chris Boneau, producer Michael David (who’s plays have won 49 Tony Awards), associate producer Donald Frantz, production supervisor Jeremiah Harris, producer Robert W. McTyre, marketing consultant Margery Singer -- discuss creating a stage musical from an animated film, costume designs, production budget and ticket prices, marketing and publicity including a literacy program, and Disney's plans on Broadway

The "Beauty and the Beast" production team - press representative Chris Boneau, producer Michael David, associate producer Donald Frantz, production supervisor Jeremiah Harris, producer Robert W. McTyre, marketing consultant Margery Singer - discuss creating a stage musical from an animated film, costume designs, production budget and ticket prices, marketing and publicity including a literacy program, and Disney's plans on Broadway.

The "Damn Yankees" production team - legal counsel Robert Barandes, press representative Peter Cromarty, advertising representative Rick Elice, producers Mitchell Maxwell and Victoria Maxell, and general manager Charlotte Wilcox - discuss obtaining the rights, using a two-level structure of producing starting with an out-of-town production at the Old Globe, the finances of booking a Broadway theater, a new logo for an extensive ad campaign, and how the baseball theme provided many PR opportunities.

Our guests - John Barlow, Damian Bazadona, Nancy Coyne and Drew Hodges - discuss what is involved in marketing, advertising and publicizing a Broadway show; how they work one-on-one with producers and creative teams; the marketing obstacles they face; who their target audience is; how they handle a show that isn't a hit, or that they don't like; the internet's influence on sales; whether or not a known title helps sell a show; how to sustain the buzz after a show opens; and whether "Broadway" can be sold as a brand.

Goodspeed Opera House's team -- Tony Award-winning director and lyricist Martin Charnin (for Annie), press representative Max Eisen, associate producer Sue Frost, musical supervisor Michael O'Flaherty, director Charles Repole (Gentleman Prefer Blondes), and general manager Howard Sherman -- discuss Goodspeed's history and focus on the American musical, the business aspects of a regional theatre, being a part of the community, and the advantages of developing production at a distance from New York.

Goodspeed Opera House's team - director/lyricist Martin Charnin ("Annie"), press representative Max Eisen, associate producer Sue Frost, musical supervisor Michael O'Flaherty, director Charles Repole ("Gentleman Prefer Blondes"), and general manager Howard Sherman - discuss Goodspeed's history and focus on the American musical, the business aspects of a regional theatre, being a part of the community, and the advantages of developing production at a distance from New York.

The "Moon Over Buffalo" production team -- press representative Adrian Bryan-Brown, designer/producer Heidi Landesman, producer Elizabeth Williams, general managers Wendy Orshan and Jeffrey M. Wilson of 101 Productions, and Serino Coyne advertising representative Ruth Rosenberg -- discuss the process of bringing Ken Ludwig's play to Broadway, from the first reading, casting Carol Burnett, finding a director, creating the $2.4 million budget including an out-of-town tryout, to advertising, press coverage and opening night reviews.

The Moon Over Buffalo production team -- press representative Adrian Bryan-Brown, designer/producer Heidi Landesman (Tony winner for her scenic designs of Big River and The Secret Garden), producer Elizabeth Williams (three-time Tony winner for Crazy for You, The Real Thing and One Flew Over the Cuckoo’s Nest), general managers Wendy Orshan and Jeffrey M. Wilson of 101 Productions, and Serino Coyne advertising representative Ruth Rosenberg -- discuss the process of bringing Ken Ludwig's play to Broadway, from the first reading, casting Carol Burnett, finding a director, creating the $2.4 million budget including an out-of-town tryout, to advertising, press coverage and opening night reviews.

The production team of M. Butterfly -- advertising representative Jeffrey Ash, stage manager Bob Borod, general manager Steve Goldstein, producer Stuart Ostrow (winner of a Tony Award for 1776 and M. Butterfly), and press agent John Springer -- talk about the many components involved in bringing the groundbreaking play to Broadway, including the play's themes, casting, ad design, publicity campaign, costume design, budget and ticket prices.

The production team of "M. Butterfly" - advertising representative Jeffrey Ash, stage manager Bob Borod, general manager Steve Goldstein, producer Stuart Ostrow, and press agent John Springer - talk about the many components involved in bringing the groundbreaking play to Broadway, including the play's themes, casting, ad design, publicity campaign, costume design, budget and ticket prices.

The "Spoils Of War" production team - legal representative John Breglio, press representative Joshua Ellis, producer Robyn Goodman, producer David Mirvish, and general manager Peter Neufeld - discuss transferring the play from not-for-profit Second Stage Theatre off-Broadway to a $1.5 million commercial Broadway production.

The Spoils Of War production team -- legal representative John Breglio, press representative Joshua Ellis, producer Robyn Goodman (2004 Tony for Best Musical for Avenue Q), producer David Mirvish, and general manager Peter Neufeld (2005 Tony Honors for Excellence in the Theatre) -- discuss transferring the play from not-for-profit Second Stage Theatre off-Broadway to a $1.5 million commercial Broadway production.

Playwrights Horizons artistic director André Bishop, legal counsel Marsha Brooks, stage manager Roy Harris, advertising representative Mike Mones, and producer James Walsh (Tony Awards for I’m Not Rappaport and The Will Rogers Follies) discuss Wendy Wasserstein's Pulitzer Prize-winning play The Heidi Chronicles and its transfer to Broadway.

Playwrights Horizons artistic director Andre Bishop, legal counsel Marsha Brooks, stage manager Roy Harris, advertising representative Mike Mones, and producer James Walsh discuss Wendy Wasserstein's Pulitzer Prize-winning play "The Heidi Chronicles" and its transfer to Broadway.

The production team of Tennessee Williams' "Orpheus Descending" -- attorney John Breglio, advertising representative Nancy Coyne, general manager Barbara Darwall, press representative Joshua Ellis, and producer Elizabeth Ireland McCann -- talk about the steps taken in bringing Peter Hall's revival with actress Vanessa Redgrave to Broadway.

The production team of Tennessee Williams' Orpheus Descending -- attorney John Breglio, advertising representative Nancy Coyne, general manager Barbara Darwall, press representative Joshua Ellis, and producer Elizabeth Ireland McCann (numerous Tony Awards including Copenhagen, Morning’s at Seven and Amadeus) -- talk about the steps taken in bringing Peter Hall's revival with actress Vanessa Redgrave to Broadway.

The production team of Master Class -- three-time Tony Award-winning producer Lewis Allen (for Annie in 1977, I’m Not Rappaport in 1986 and Master Class in 1996), producing associate Doris Blum, actress Karen Day Cody, press agent Bill Evans, casting director Alan Filderman, stage manager Dianne Trulock, and advertising representative Jim Weiner -- traces the show from its Montana workshop, to stagings in Philadelphia, L.A., and D.C., to opening in New York; how the creators, designers, and operatic cast were put together; developing the publicity and advertising campaigns including the casting of Zoe Caldwell's replacement Patti LuPone; and producing under the Broadway Alliance contract.

The production team of "Master Class" -- producer Lewis Allen, producing associate Doris Blum, actress Karen Day Cody, press agent Bill Evans, casting director Alan Filderman, stage manager Dianne Trulock, and advertising representative Jim Weiner -- traces the show from its Montana workshop, to stagings in Philadelphia, L.A., and D.C., to opening in New York; how the creators, designers, and operatic cast were put together; developing the publicity and advertising campaigns including the casting of Zoe Caldwell's replacement Patti LuPone; and producing under the Broadway Alliance contract.

Playwrights Horizons' production team for "Fit To Be Tied" -- production manager Chris Boll, production stage manager Carol Clark, casting director Janet Foster, general manager Lynn Landis, managing director Leslie Marcus, Artistic Director of Playwrights Horizons Tim Sanford, playwright Nicky Silver and director David Warren -- talk about their individual jobs, their backgrounds, and the steps in bringing this play to the not-for-profit stage.

The production team of "Stanley" -- press representative Bill Evans, producers Gregory Mosher and Edgar Rosenblum, and marketing representative Evan Shapiro -- discuss the process of bringing the play from the Royal National Theatre in London to Broadway, working with director John Caird, extensive press coverage, and target marketing including a new $10 ticket program aimed at young people.

The production team of Stanley -- press representative Bill Evans, producers Gregory Mosher (Tony Award winner for his revivals of Anything Goes in 1988 and Our Town in 1989) and Edgar Rosenblum, and marketing representative Evan Shapiro -- discuss the process of bringing the play from the Royal National Theatre in London to Broadway, working with director John Caird, extensive press coverage, and target marketing including a new $10 ticket program aimed at young people.

The panelists -- Julianne Boyd (Society of Stage Directors and Choreographers); Dean Brown and Muriel Stockdale (United Scenic Artisis); Shirley Herz and Bernice Weiler (Assoc. of Theatrical Press Agents and Managers); Conard Fowkes (Actors' Equity Association); and Barry Moss (Casting Society of America) -- talk about how and why their organizations were formed, the importance of unions, the specific roles of company managers and general managers, and production costs and ticket prices.

The production team of Gypsy and Cat On A Hot Tin Roof -- publicist Shirley Herz, casting director Stuart Howard, playwright/director Arthur Laurents (Tony winner for Hallelujah, Baby! and La Cage aux Folles), general manager/associate producer Alecia Parker, and six-time Tony Award-winning producers Barry Weissler and Fran Weissler -- talk about many aspects of production from casting to advertising to corporate investors, booking pre-Broadway tour stops, and their other productions of Fiddler on the Roof, La Cage aux Folles, and My One and Only.

The production team of "Gypsy" and "Cat On A Hot Tin Roof" - publicist Shirley Herz, casting director Stuart Howard, playwright/director Arthur Laurents, general manager/associate producer Alecia Parker, and producers Barry Weissler and Fran Weissler - talk about many aspects of production from casting to advertising to corporate investors, booking pre-Broadway tour stops, and their other productions of "Fiddler on the Roof", "La Cage aux Folles", and "My One and Only".

The production team for the musical Side Show -- producer Emanuel Azenberg (with numerous Tony Awards including Children of a Lesser God, The Real Thing, Lost in Yonkers and many more), press representative Bill Evans, and general manager Abbie M. Strassler -- talk about the show's journey from presentation to workshop to Broadway; the role of producer, casting director, general manager, company manager, and press agent; casting principal and chorus members; and marketing a new show.

The production team for the musical "Side Show" -- producer Emanuel Azenberg, press representative Bill Evans, and general manager Abbie M. Strassler -- talk about the show's journey from presentation to workshop to Broadway; the role of producer, casting director, general manager, company manager, and press agent; casting principal and chorus members; and marketing a new show.

The "Side Man" production team -- general manager Roy Gabay, producer Jay S. Harris, advertising representative, Drew Hodges, producer Peter Manning, marketing representative Nancy Richards, and press representative Gary Springer -- discuss moving the Roundabout production to a commercial Broadway run, marketing tactics, ticket pricing, breakdown of the production budget, working on multiple shows simultaneously, and the differences between not-for-profit and commercial theatre.

The Side Man production team -- general manager Roy Gabay (Tony winner for the 1998 revival of A View From the Bridge), producer Jay S. Harris (Tony Winner for 1999’s Side Man), advertising representative, Drew Hodges, producer Peter Manning (Tony Winner for 1999’s Side Man), marketing representative Nancy Richards, and press representative Gary Springer -- discuss moving the Roundabout production to a commercial Broadway run, marketing tactics, ticket pricing, breakdown of the production budget, working on multiple shows simultaneously, and the differences between not-for-profit and commercial theatre.

"The Lion King" production team -- press representative Chris Boneau, composer Lebo M, advertising representative Rick Elice, producers Peter Schneider and Thomas Schumacher, and director, costume and mask designer Julie Taymor -- talk about the development of the animated film, the subsequent development of the theatrical show led by Taymor's vision, forming a creative design team, merging Western and African music into a unique collaborative sound, the publicity and advertising challenges, and marketing a nearly sold-out show for a long run.

The Lion King production team -- press representative Chris Boneau, composer Lebo M, advertising representative Rick Elice, producers Peter Schneider and Thomas Schumacher, and director, costume and mask designer Julie Taymor (Tony Award for the show) -- talk about the development of the animated film, the subsequent development of the theatrical show led by Taymor's vision, forming a creative design team, merging Western and African music into a unique collaborative sound, the publicity and advertising challenges, and marketing a nearly sold-out show for a long run

The production team for "The Civil War" -- producer Pierre Cossette, producers Gary Gunas and Scott Zieger of Pace Theatrical, lyricist Jack Murphy, composer Frank Wildhorn, and marketing representative Norman Zagier -- cover the musical's journey from inception at Houston's Alley Theatre, through two studio albums, readings and workshops, to the Broadway production.

The production team for The Civil War -- producer Pierre Cossette (Tony winner for The Will Rogers Follies), producers Gary Gunas and Scott Zieger of Pace Theatrical, lyricist Jack Murphy, composer Frank Wildhorn, and marketing representative Norman Zagier -- cover the musical's journey from inception at Houston's Alley Theatre, through two studio albums, readings and workshops, to the Broadway production.

Producer/Artistic Director of Lincoln Center Theater André Bishop, Marketing Director and Director of Special Projects for Lincoln Center Theater Thomas Cott, Executive Producer of Lincoln Center Theater Bernard Gersten, director/choreographer Susan Stroman and playwright John Weidman discuss the Tony Award winning "Contact"; from Lincoln Center Theater's invitation to Stroman and Weidman to develop their original ideas, how the individual stories are connected, multiple workshops, the casting process, using pre-existing recorded music versus live musicians, deciding on the show's name, as well as producing for non-commercial theatre with a longstanding member base.

Producer/Artistic Director André Bishop and Executive Producer Bernard Gersten of Lincoln Center Theater , Marketing Director and Director of Special Projects for Lincoln Center Theater (whose tenure as Executive Producer of Lincoln Center Theater has scored them numerous Tony Awards including the recent revival of South Pacific, Coast of Utopia and Contact), Thomas Cott, Executive Producer of Lincoln Center Theater Bernard Gersten, five-time Tony Award-winning director and choreographer Susan Stroman (for Crazy for You, Showboat, Contact, and 2 awards for The Producers) and playwright John Weidman discuss the Tony Award winning Contact; from Lincoln Center Theater's invitation to Stroman and Weidman to develop their original ideas, how the individual stories are connected, multiple workshops, the casting process, using pre-existing recorded music versus live musicians, deciding on the show's name, as well as producing for non-commercial theatre with a longstanding member base.

The creative and production team of the Broadway musical "The Full Monty" -- producer Thomas Hall, press representative Michael Hartman, producer Lindsay Law, director Jack O'Brien, general manager Charlotte Wilcox, and composer/lyricist David Yazbek -- follows the show from its inception as a work for the stage, adapted from the 1997 hit comedy film, through to the production on the Great White Way.

The creative and production team of the Broadway musical The Full Monty -- producer Thomas Hall, press representative Michael Hartman, producer Lindsay Law, director Jack O'Brien (Tony Winner for Hairspray, Henry IV in 2004 and The Coast of Utopia), general manager Charlotte Wilcox, and composer/lyricist David Yazbek -- follows the show from its inception as a work for the stage, adapted from the 1997 hit comedy film, through to the production on the Great White Way.

The production team of Elton John and Tim Rice's Aida -- musical director Paul Bogaev, press representative Chris Boneau, Tony-winning director Robert Falls (for Death of a Salesman), book writer David Henry Hwang (who won a Tony for his play M. Butterfly), vice president of creative affairs Stuart Oken, and producer Thomas Schumacher -- follows the show from its creative inception, through its early production at the Alliance Theatre in Atlanta, the Chicago tryout, to the Broadway opening.

The production team of Elton John and Tim Rice's "Aida" - musical director Paul Bogaev, press representative Chris Boneau, director Robert Falls, book writer David Henry Hwang, vice president of creative affairs "Stuart Oken", and producer "Thomas Schumacher" - follows the show from its creative inception, through its early production at the Alliance Theatre in Atlanta, the Chicago tryout, to the Broadway opening.

The creative team of worldwide hit musical "Mamma Mia!" - press representative Adrian Bryan-Brown, producer Judy Craymer, book writer Catherine Johnson, director Phyllida Lloyd, and composer/lyricist Björn Ulvaeus - discuss the multi-year journey that brought ABBA's songs to Broadway.

Musical director, orchestrator and arranger Jason Robert Brown (winner of a Tony for his musical Parade), book writer Aaron Latham, producer Chase Mishkin (winner of a Tony for 2010’s Best Musical, Memphis), director Lonny Price, press representative Pete Sanders and producer Leonard Soloway are the guests on this program which discusses the how this classic movie was musicalized, how it was shepherded to Broadway, and how just enough was changed so it would still maintain the movie's original flavor.

Musical director, orchestrator and arranger Jason Robert Brown, book writer Aaron Latham, producer Chase Mishkin, director Lonny Price, press representative Pete Sanders and producer Leonard Soloway are the guests on this program which discusses the how this classic movie was musicalized, how it was shepherded to Broadway, and how just enough was changed so it would still maintain the movie's original flavor.

The challenges and the rewards of producing new plays on Broadway are explored by press representative Michael Hartman (Sixteen Wounded), producers Robert LuPone (Frozen), Benjamin Mordecai (Sixteen Wounded and a Tony Award winner for Angles in America: Perestroika), Michael Parva (Prymate) and Daryl Roth (Tony winner for The Goat, or Who Is Sylvia?, Proof and August: Osage County).

The challenges and the rewards of producing new plays on Broadway are explored by press representative Michael Hartman ("Sixteen Wounded"), producers Robert LuPone ("Frozen"), Benjamin Mordecai ("Sixteen Wounded"), Michael Parva ("Prymate") and Daryl Roth ("The Goat, or Who Is Sylvia").

When theatre fans peruse the Sunday New York Times, the vast majority of Broadway ads they see are the work of the dominant theatre agencies: Serino Coyne and SpotCo. The CEOs of each company, Nancy Coyne and Drew Hodges, unite for a discussion of theatre marketing today, the work of the ad agency, setting audience expectations and how to find the essence of a show - often before the show is even complete. Original airdate - February 3, 2006.

When theatre fans peruse the Sunday New York Times, the vast majority of Broadway ads they see are the work of the dominant theatre agencies: Serino Coyne and SpotCo. The CEOs of each company, Nancy Coyne and Drew Hodges, unite for a discussion of theatre marketing today, the work of the ad agency, setting audience expectations and how to find the essence of a show - often before the show is even complete. Original airdate - February 3, 2006.