Podcasts about itprod

On December 15, 1986, director Tony Giordano, designers Hugh Landwehr and Dennis Parichy and actors Michael Fischetti, Jennifer Van Dyck and Diane Martella spoke with moderator Amy Saltz at New Dramatists about their work on a traveling co-production of "A View From The Bridge", produced by theatres in Rochester, Buffalo, Syracuse and Albany. Having taken place after two of the four runs, this conversation is a rare opportunity to hear artists from various disciplines talk about a play that is still in progress. Fischetti and Giordano discuss the inception of the play at Syracuse Stage after doing "Glengarry Glen Ross", and how it turned into a touring co-production. Giordano speaks of the opportunity to go back into rehearsal and continue to find the life of the play between Buffalo and Syracuse, and his excitement to implement their new discoveries in a smaller theater when they head to Albany. The designers discuss the difficulty of designing one set to work in four different spaces, with three proscenium and one thrust theatre, and the actors talk about committing to one show in small towns for an extended period of time. At the heart of this discussion is a group of people who are passionate about the work they have been doing and are continuing to do, and the idea that a play is not finished once it's in front of an audience.

The business team for the play "Dancing In The End Zone" - literary agent Mitch Douglas, producers Dasha Epstein and Morton Gottlieb, publicist Milly Schoenbaum, and general manager Richard Seader - talk about the responsibilities of the producer, the benefits of a workshop versus going out-of-town, the role of a press agent, comparing large off-Broadway houses to Broadway, and the evolution of opening night events including critics now attending previews.

The business team for the play Dancing In The End Zone -- literary agent Mitch Douglas, producers Dasha Epstein and Morton Gottlieb, publicist Milly Schoenbaum, and general manager Richard Seader -- talk about the responsibilities of the producer, the benefits of a workshop versus going out-of-town, the role of a press agent, comparing large off-Broadway houses to Broadway, and the evolution of opening night events including critics now attending previews.

The production team behind "Hurlyburly" - advertising representative Rick Elice, agent Milton Goldman, legal counsel Jay S. Harris, stage manager Peter Lawrence, press representative Sandra Manley, and producer Frederick Zollo - discuss how David Rabe's play found a producer, director, and high profile cast for its debut at Chicago's Goodman Theatre, its successful off-Broadway run prior to Broadway, producing with a profit pool plan, production costs including the advertising budget, and the present state of the American play.

The business team behind Hurlyburly -- advertising representative Rick Elice, agent Milton Goldman, legal counsel Jay S. Harris (Tony Winner for 1999’s Side Man), stage manager Peter Lawrence, press representative Sandra Manley, and producer Frederick Zollo (Tony Awards for Part One and Two of Angels in America and the 2002 revival of Private Lives) -- discuss how David Rabe's play found a producer, director, and high profile cast for its debut at Chicago's Goodman Theatre, its successful off-Broadway run prior to Broadway, producing with a profit pool plan, production costs including the advertising budget, and the present state of the American play.

The producing team of the 1985 Broadway musical "Grind" - advertising representative Jeffrey Ash, group sales executive Ronald S. Lee, executive producer Ruth Mitchell, and producers Michael Frazier, Kenneth Greenblatt, Mary Lea Johnson, and John Pomerantz - talks about bringing the nearly $5 million production to Broadway after a tryout in Baltimore, working with director Hal Prince, the importance of advertising and group ticket sales in light of mixed critical reviews, comparisons to their previously produced hits "La Cage Aux Folles" and "Nine", and budgetting a new American musical with a controversial royalty structure that doesn't pay the creative team until the production turns a profit.

The producing team of the 1985 Broadway musical Grind -- advertising representative Jeffrey Ash, group sales executive Ronald S. Lee, executive producer Ruth Mitchell (Tony Awards for Cabaret and Candide), and producers Michael Frazier, Kenneth Greenblatt (three-time Tony winner in 1982 for Nine, in 1984 for La Cage aux Folles and in 2005 for the revival of La Cage aux Folles), Mary Lea Johnson (Tony winner for Sweeney Todd), and John Pomerantz -- talks about bringing the nearly $5 million production to Broadway after a tryout in Baltimore, working with director Hal Prince, the importance of advertising and group ticket sales in light of mixed critical reviews, comparisons to their previously produced hits La Cage Aux Folles and Nine, and budgeting a new American musical with a controversial royalty structure that doesn't pay the creative team until the production turns a profit.

The development and production of musical theatre was the focus of the discussion with our panel of producers -- Sue Frost (2010 Tony winner for Memphis), Robyn Goodman (2004 Tony for Best Musical for Avenue Q), Paulette Haupt and Scott Sanders. They talk about what attracts them to a project; if playing on Broadway is the ultimate success for a show; whether going out of town is helpful, or necessary, for a new show; the impact of audiences on the show; dealing with critical reviews that remain on line when trying to get a show launched; the difficulty of closing a show or halting a show in development; and advice for young producers who want to develop musicals.

The development and production of musical theatre was the focus of the discussion with our panel of producers - Sue Frost, Robyn Goodman, Paulette Haupt and Scott Sanders. They talk about what attracts them to a project; if playing on Broadway is the ultimate success for a show; whether going out of town is helpful, or necessary, for a new show; the impact of audiences on the show; dealing with critical reviews that remain on line when trying to get a show launched; the difficulty of closing a show or halting a show in development; and advice for young producers who want to develop musicals.

The Precious Sons production team -- producers Marty Bell and Tony Award winner Roger Berlind (2005 Best Play for Doubt and 2006 Best Play for The History Boys), legal respresentative Patricia Crown, press representative Joshua Ellis, advertising representative Peter LeDonne, and general manager Peter Neufeld (2005 Tony Honors for Excellence in the Theatre) -- discuss the steps taken to bring the show to Broadway such as obtaining rights, building a creative team, the casting process, Broadway versus off-Broadway, the risks in mounting a production, marketing planning and costs, varying advertising, and experimental ticket pricing.

The "Precious Sons" production team - producers Marty Bell and Roger Berlind, legal respresentative Patricia Crown, press representative Joshua Ellis, advertising representative Peter LeDonne, and general manager Peter Neufeld - discuss the steps taken to bring the show to Broadway such as obtaining rights, building a creative team, the casting process, Broadway versus off-Broadway, the risks in mounting a production, marketing planning and costs, varying advertising, and experimental ticket pricing.

The producing team of the 1986 Tony-nominated play The House of Blue Leaves -- press representative Merle Debuskey, executive producer Bernard Gersten (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), playwright John Guare (Sweet Smell of Success and Tony Winner for the 1972 musical version of Two Gentlemen of Verona), advertising representative James Russek, and director Jerry Zaks (Tony Award winner for Best Direction in 1986 for The House of Blue Leaves, 1989 for Lend Me a Tenor, 1991 for Six Degrees of Separation and 1992 for Guys and Dolls) -- discuss how they came to work on this mid-1960's domestic comedy at Lincoln Center Theatre, first in the off-Broadway Mitzi E. Newhouse Theater, then transferring to the much larger Vivian Beaumont Theatre which presented its own challenges, eventually moving to the Plymouth Theatre on Broadway; the economics of producing, subscriber base, and ticket prices at a not-for-profit theater; finding key designers; casting sessions, working with strong actors, and maintaining quality performances in an extended run.

The producing team of the 1986 Tony-nominated play "The House of Blue Leaves" - press representative Merle Debuskey, executive producer Bernard Gersten, playwright John Guare, advertising representative James Russek, and director Jerry Zaks - discuss how they came to work on this mid-1960's domestic comedy at Lincoln Center Theatre, first in the off-Broadway Mitzi E. Newhouse Theater, then transferring to the much larger Vivian Beaumont Theatre which presented its own challenges, eventually moving to the Plymouth Theatre on Broadway; the economics of producing, subscriber base, and ticket prices at a not-for-profit theater; finding key designers; casting sessions, working with strong actors, and maintaining quality performances in an extended run.

The production team of "Sweet Sue" - advertising representative Fred Golden, general manager Larry Goossen, playwright A.R. Gurney, casting director Donna Isaacson, and producer Arthur Whitelaw - discuss the path the play took to Broadway, each panelist's individual involvement, the challenges of casting, production costs, ticket prices, and how box office grosses effect the advertising campaign.

The production team for "A Few Good Men" - producer David Brown; president of the Shubert Organization, Bernard Jacobs; Serino Coyne advertising representative Linda Lehman; and general manager Stuart Thompson - talk about selecting a script by unknown playwright Aaron Sorkin; the details of general management including budget, advertising, ticket sales, government taxes; rising costs in the current economics of Broadway; film rights to plays and the effect of a film release; and what it takes to produce a Broadway show.

The production team for A Few Good Men -- producer David Brown; president of the Shubert Organization, Bernard Jacobs; Serino Coyne advertising representative Linda Lehman; and two-time Tony Award-winning producer and general manager Stuart Thompson (in 2001 for Proof and in 2009 for God of Carnage) -- talk about selecting a script by unknown playwright Aaron Sorkin; the details of general management including budget, advertising, ticket sales, government taxes; rising costs in the current economics of Broadway; film rights to plays and the effect of a film release; and what it takes to produce a Broadway show.

The production team of "Crazy For You" - advertising representative Nancy Coyne, press representative Bill Evans, general manager Tyler Gatchell, casting director Julie Hughes, and producer Elizabeth Williams - discuss how the show was adapted from the 1930's Gershwin musical "Girl Crazy", advertising as a new musical - not a revival, producing a television commercial, the financial cost of the large production, the role of the casting director, and the effect of positive critical reviews.

The production team of Crazy For You -- advertising representative Nancy Coyne, press representative Bill Evans, general manager Tyler Gatchell, casting director Julie Hughes, and producer Elizabeth Williams (three-time Tony winner for Crazy for You, The Real Thing and One Flew Over the Cuckoo’s Nest) -- discuss how the show was adapted from the 1930's Gershwin musical Girl Crazy, advertising as a new musical - not a revival, producing a television commercial, the financial cost of the large production, the role of the casting director, and the effect of positive critical reviews.

The panel consisting of casting director Jay Binder ("Lost In Yonkers"), and actors Lucie Arnaz ("Lost In Yonkers"), Hallie Foote ("The Roads to Rome"), Gregory Hines ("Jelly's Last Jam"), Tonya Pinkins ("Jelly's Last Jam"), and John Schneider ("Grand Hotel") discuss how they started their careers, what casting directors look for, auditioning established actors, rehearsing and replacing in a role, and the panelists provide advice to people beginning in theatre.

The panel consisting of casting director Jay Binder (Lost In Yonkers), and actors Lucie Arnaz (Lost In Yonkers), Hallie Foote (The Roads to Rome), Gregory Hines (Tony winner for Jelly's Last Jam), Tonya Pinkins (Tony winner for Jelly’s Last Jam), and John Schneider (Grand Hotel) discuss how they started their careers, what casting directors look for, auditioning established actors, rehearsing and replacing in a role, and the panelists provide advice to people beginning in theatre.

The creative team behind the hit musical Next To Normal -- Director Michael Greif, Producer David Stone and Tony Award winners Tom Kitt and Brian Yorkey (2009 for Best Score for Next to Normal) -- discuss the unique road the show took to Broadway beginning with its start at the BMI Workshop; the origin of the show's subject matter and the challenges of getting acceptance for it; the reasons behind a title change and what that represented for the creative process; why they took the unusual step of going from off-Broadway to out of town before Broadway; what influences the press and audiences had after the off-Broadway opening in their decision process; why some songs were dropped, others changed and the reasons behind the addition of new material; and 4 songs are performed in studio that illustrate the changes in the various stages of the production.

The creative team behind the hit musical "Next To Normal" - Director Michael Greif, Composer Tom Kitt, Producer David Stone and Book Writer/Lyricist Brian Yorkey - discuss the unique road the show took to Broadway beginning with its start at the BMI Workshop; the origin of the show's subject matter and the challenges of getting acceptance for it; the reasons behind a title change and what that represented for the creative process; why they took the unusual step of going from off-Broadway to out of town before Broadway; what influences the press and audiences had after the off-Broadway opening in their decision process; why some songs were dropped, others changed and the reasons behind the addition of new material; and 4 songs are performed in studio that illustrate the changes in the various stages of the production.

The panel -- playwright/director P.J. Barry (A Distance From Calcutta), lyricist Susan Birkenhead (Jelly's Last Jam), playwright/director Horton Foote (The Roads To Home), agent Wiley Hausam (International Creative Management), musical adaptor Luther Henderson (Jelly's Last Jam), playwright/director George C. Wolfe (Tony Award winner for Best Direction for 1993’s Angels in America and 1996’s Bring in ‘da Noise/Bring in ‘da Funk) -- discuss how and why they got started in theatre, collaboration between authors and directors, whether playwrights should direct their own work, advice for young writers including how a play gets produced, finding a suitable director, and the advantages and disadvantages of readings.

The panel - playwright/director P.J. Barry ("A Distance From Calcutta"), lyricist Susan Birkenhead ("Jelly's Last Jam"), playwright/director Horton Foote ("The Roads To Home"), agent Wiley Hausam (International Creative Management), musical adaptor Luther Henderson ("Jelly's Last Jam"), playwright/director George C. Wolfe ("Jelly's Last Jam") - discuss how and why they got started in theatre, collaboration between authors and directors, whether playwrights should direct their own work, advice for young writers including how a play gets produced, finding a suitable director, and the advantages and disadvantages of readings.

The Jelly's Last Jam production team -- general manager Michael David (who’s plays have won 49 Tony Awards), advertising representative Rick Elice of Serino Coyne, press agent Richard Kornberg, producers Pamela Koslow and Margo Lion (Tony Awards for Hairspray in 2003 and Elian Stritch at Liberty in 2002), and legal counsel Jean Ward -- discuss developing the musical for Music-Theater Group, working with director/performer Gregory Hines, creating a standout ad campaign, and fundraising with multiple workshops and finding corporate investors for the resulting $5 million production budget.

The "Jelly's Last Jam" production team - general manager Michael David, advertising representative Rick Elice of Serino Coyne, press agent Richard Kornberg, producers Pamela Koslow and Margo Lion, and legal counsel Jean Ward - discuss developing the musical for Music-Theater Group, working with director/performer Gregory Hines, creating a standout ad campaign, and fundraising with multiple workshops and finding corporate investors for the resulting $5 million production budget.

The "Anna Christie" production team - scenic designer John Lee Beatty, O'Neill biographer Barbara Gelb, Artistic Director of Roundabout Theatre Todd Haimes, actors Anne Meara, Liam Neeson, Natasha Richardson, and Rip Torn, and lighting designer Marc B. Weiss -- discuss in-depth the 1993 Tony Award-winning revival, including the scenic and lighting design, how the characters relate to contemporary lives, the actors' differing acting styles, and Eugene O'Neill's early career.

The Anna Christie production team -- scenic designer John Lee Beatty (1980 Tony Award winner for Best Scenic Design for Talley’s Folley), O'Neill biographer Barbara Gelb, Artistic Director of Roundabout Theatre Todd Haimes (who has scored multiple Tonys while serving as Artistic Director for Roundabout Theatre Company), actors Anne Meara, Liam Neeson, Natasha Richardson (winner of Tony Award in the 1998 revival of Cabaret), and Rip Torn, and lighting designer Marc B. Weiss -- discuss in-depth the 1993 Tony Award-winning revival, including the scenic and lighting design, how the characters relate to contemporary lives, the actors' differing acting styles, and Eugene O'Neill's early career.

The panelists -- theatrical agent Joanne Nici, playwright Frank Pugliese (Aven'U Boys), director/writer Geraldine Fitzgerald (Sharon), Tony Award-winning choreographer Wayne Cilento (for The Who’s Tommy), and producer Frederick Zollo (Tony Awards for Part One and Two of Angels in America and the 2002 revival of Private Lives) -- discuss the expanse of their careers and their backgrounds, the role of an agent, and developing plays from the page through casting and rehearsals to production.

The panelists - theatrical agent Joanne Nici, playwright Frank Pugliese ("Aven'U Boys"), director/writer Geraldine Fitzgerald ("Sharon"), choreographer Wayne Cilento ("Tommy"), and producer Frederick Zollo ("Aven'U Boys") - discuss the expanse of their careers and their backgrounds, the role of an agent, and developing plays from the page through casting and rehearsals to production.

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.

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 panelists -- theatre critic Howard Kissel, Artistic Director of Manhattan Theatre Club Lynn Meadow (who steered the organization to Tony wins for Love! Valour! Compassion!, Proof and Doubt), actor/director Zakes Mokae (Tony winner for Mastor Harold… and the Boys), producer/general manager Dorothy Olim, producer/general manager Albert Poland, general manager Ben Sprecher, and playwright Wendy Wasserstein (The Sisters Rosensweig and Tony winner for The Heidi Chronicles) -- discuss how not-for-profit and regional theaters differ from commercial productions, developing plays out of town, escalating production costs, and viable stage careers compared to television and film.

The panelists - theatre critic Howard Kissel, Artistic Director of Manhattan Theatre Club Lynn Meadow, actor/director Zakes Mokae ("The Song Of Jacob Zulu"), producer/general manager Dorothy Olim, producer/general manager Albert Poland, general manager Ben Sprecher, and playwright Wendy Wasserstein ("The Sisters Rosensweig") - discuss how not-for-profit and regional theaters differ from commercial productions, developing plays out of town, escalating production costs, and viable stage careers compared to television and film.

The Kiss of the Spider Woman production team -- producer Garth Drabinsky (Tony Award winner for Kiss of the Spider Woman), lyricist Fred Ebb and composer John Kander (Tony Award winners for Best Original Score in 1967 for Cabaret, 1981 for Woman of the Year and 1993 for Kiss of the Spider-Woman) playwright Terrence McNally (four-time Tony Award winner for Kiss of the Spider Woman, Love! Valour! Compassion!, Master Class and Ragtime), director Harold Prince (who has won 21 Tony Awards), and actor Chita Rivera (Tony Award winner for The Rink and Kiss of the Spider Woman) -- discuss adapting the novel and film, starting as a ""New Musicals"" development at SUNY Purchase through productions in Toronto and London before reaching Broadway, how the script has changed over the years, the budget required for the long creative process, and the business of producing and marketing a new Broadway musical.

"The Kiss of the Spider Woman" production team - producer Garth Drabinsky, lyricist Fred Ebb, composer John Kander, playwright Terrence McNally, director Harold Prince, and actor Chita Rivera - discuss adapting the novel and film, starting as a "New Musicals" development at SUNY Purchase through productions in Toronto and London before reaching Broadway, how the script has changed over the years, the budget required for the long creative process, and the business of producing and marketing a new Broadway musical.

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 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 "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.

The production team of "Love! Valour! Compassion!" - general manager Victoria Bailey, press representative Helene Davis, managing director Barry Grove, director Joe Mantello, playwright Terrence McNally, and artistic director Lynne Meadow - discuss giving playwrights a home at Manhattan Theatre Club, director and playwright working together for the first time, transferring to a Broadway production, ticket pricing, and participating in the Broadway Alliance.

The production team of Love! Valour! Compassion! -- general manager Victoria Bailey, press representative Helene Davis, Manhattan Theatre Club’s Executive Producer Barry Grove (Tony Award winner for Best Play in 2005 for Doubt, 2001 for Proof, and 1995 for Love! Valour! Compassion!), director Joe Mantello (2003 for Best Direction for Take Me Out and 2004 for Assassins), playwright Terrence McNally (four-time Tony Award winner for Kiss of the Spider Woman, Love! Valour! Compassion!, Master Class and Ragtime), and artistic director Lynne Meadow (who steered the organization to Tony wins for Love! Valour! Compassion!, Proof and Doubt) -- discuss giving playwrights a home at Manhattan Theatre Club, director and playwright working together for the first time, transferring to a Broadway production, ticket pricing, and participating in the Broadway Alliance.

Off-Off Broadway pioneer Ellen Stewart gave a candid interview to SDCF Executive Director David Diamond for a packed audience of theatre artists at ArtsConnection on June 13, 1994. The central focus of the interview is her founding and continued artistic leadership of La MaMa Experimental Theatre Club. She begins at the beginning, explaining the origins of the institution and the impetus behind its creation. Ms. Stewart reminisces on her early funding efforts for the company - by selling her fashion designs on Fifth Avenue as the first African American designer to work for Saks. She covers the struggle to produce the work of marginalized artists in the early 60's, her confrontations with city officials and landlords and the emergence of her organization as a "Theatre Club". Ellen then guides the audience through the inspiring history of LaMaMa's international experience, both working abroad and supporting international artists' work in the U.S. She confides that LaMaMa's first international expeditions were to services the careers of American playwrights; to expose their work to a more willing European audience who might positively review the productions. LaMaMa continues to work internationally as a result of the "give and take" mentality developed by the institution's commitment to producing work that is "more universal in their appeal". This fascinating interview concludes with Ms. Stewart looking ahead, expounding on what she sees for the future of LaMaMa and its cadre artists and resident companies.

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.

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.

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 "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.

In April of 1986, the day after their play "The Petition", staring Hume Cronyn and Jessica Tandy, began its short lived run on Broadway, writer/producer Brian Clark and producer/director Robert Whitehead sat down with colleague Robert Pesola to discuss bringing serious work to Broadway. The two frame the discussion somewhat ominously; beginning by acknowledging that in the 80's bringing a serious play to Broadway is somewhat of a "deadly" prospect. They cover the state of the theatre in America and the dearth of talented professional playwrights due to the draw of film and television. They candidly discuss the relevance of critics from the New York Times and their influence on the success of a show. Whitehead talks about theatre as a dicey investment and his methods for securing funds to produce shows. The pair concludes by demystifying the concept of a "Golden Age" of American theatre, explaining that in this industry there is always hardship. But, they resolutely maintain that even (and especially) in times of distress the theatre will and must go on.

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 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 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.

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.