Podcast appearances and mentions of Jeff Whitty

Vanessa is starring as Danielle in the UK premiere of Bring It On The Musical by Lin-Manuel Miranda, Tom Kitt, Amanda Green and Jeff Whitty.The musical runs at the Southbank Centre over Christmas ahead of a UK tour in 2022.Vanessa's theatre credits include: Dynamite in Hairspray (UK Tour), Chiffon/Dance Captain in Little Shop Of Horrors (UK Tour), Martha Reeves in Motown (West End), Hansel & Gretel (Rose Theatre Kingston) and Sandra in An Officer and a Gentleman (Leicester Curve).Most recently, Vanessa starred as Young Stella in Follies and understudies the Narrator in the West End revival of Joseph and the Amazing Technicolor Dreamcoat at The London Palladium. Bring It On runs at the Southbank Centre 8th December - 22nd January and tours the UK until July 2022. Visit www.bringitonthemusicaluk.com for tour dates and tickets. Hosted by Andrew Tomlins. @Andrew_Tomlins Thanks for listening! Email: andrew@westendframe.co.ukVisit westendframe.co.uk for more info about our podcasts. 

Play On Podcasts' Senior Producer Miriam Laube sits down with Tony Award-winning and Academy Award-nominated Playwright, Actor and Screenwriter Jeff Whitty to discuss his life, his career, and his journey into A Midsummer Night's Dream. Guest: Jeff Whitty Host: Miriam Laube The Play On Podcasts Series A Midsummer Night's Dream is produced by Next Chapter Podcasts and is made possible by the generous support of The Hitz Foundation. New episodes go live every Friday. Please subscribe, rate & review on your app of choice. Visit ncpodcasts.com/playonpodcast for bonus content including interviews, images and bios of the full cast & creative team. Visit playonshakespeare.org for more about Play On Shakespeare.

A discussion with the cast and production team about Artform's production of Avenue Q performed at the Broadway Studios Theatre in SE London.Avenue Q is a musical comedy featuring puppets and human actors with music and lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty.Ever wondered what goes into putting on a show? Find out as we have a discussion with the cast and production team about Artform's theatre productions.www.Artform.org.uk

Judy Kaye first came to prominence playing Lily Garland in the original Broadway production of On The 20th Century opposite John Cullum and Imogene Coca. In a career spanning five decades, she has played theaters and concert halls across the globe, in roles as diverse as Lucy Van Pelt, Rizzo, Maria Von Trapp, Mrs. Lovett, and Grandma Kurnitz in Lost in Yonkers. Recent Broadway appearances include Cinderella, Wicked, Anastasia and Diana. She played Eurydice in Orpheus In The Underworld, Musetta in La Boheme, and Lucy Lockett in The Beggar’s Opera at The Santa Fe Opera. She has twice received the Tony Award; first in 1988 for the role of the tempestuous opera diva Carlotta Giudicelli in The Phantom of the Opera, then again in 2012 for her performance as the high-flying Duchess Estonia Dulworth in Nice Work If You Can Get It. She has also twice received the Theater LA Ovation Award; for her work as Emma Goldman in Ragtime, and as the melodically challenged Florence Foster Jenkins in Souvenir, two roles she originated on Broadway. She has sung with symphony orchestras throughout the US and Europe, and twice at the White House. She is also the voice of Kinsey Millhone in the Sue Grafton Alphabet Mystery Series for Random House Audio. (Bio courtesy of Broadway.com)Cocktails at Table 7- Inside New York’s Joe Allen is produced and hosted by Jason Woodruff, Dana Mierlak and Sean Kent, with music by James Rubio and logo and artwork design by Christina D’Angelo. The Producers would like to extend a special thank you to the owners of Joe Allen, Orso and Bar Centrale Restaurants.

Jeffrey Whitty has written the books for several stage musicals including Tales From the City, Bring It On:The Musical, and the smash hit Avenue Q for which he won the 2004 Tony Award. He is also co-author of the screenplay for Can You Ever Forgive Me?, for which he was nominated for an Academy Award. In addition to his writing, Jeffrey is an accomplished actor and appeared in the films Lisa Picard is Famous and Shortbus, written and directed by John Cameron Mitchell.

Ali discusses the hilarious musical, Avenue Q, music and lyrics by Robert Lopez and Jeff Marx and book by Jeff Whitty.

Jeff Whitty ‘93 won a Tony Award for writing the controversial, hit musical Avenue Q. Most recently, he wrote the screenplay for the movie Can You Ever Forgive Me?, which earned him an Academy Award nomination in 2019. Jeff is here to speak with us about his journey from Eugene to Broadway, and from Broadway to Hollywood. He'll also reveal a few rules of storytelling and give us a glimpse at what he's working on now. Keep in touch! Follow the team @uo_the_duck_stops_here on IG to stay up on the latest podcast and alumni news and events. Shoot us an email at engagement@uoregon.edu About the Podcast: The Duck Stops Here is brought to you by the Regional Engagement Team at the University of Oregon. We are specifically dedicated to building alumni networks in California. The show is hosted by Michelle Joyce-Fyffe, the Director of Regional Engagement with University Development. She's also the show's executive producer. Music credits: "Thinking Music" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/, "Funkorama" Kevin MacLeod (incompetech.com) Licensed under Creative Commons: By Attribution 4.0 License http://creativecommons.org/licenses/by/4.0/ --- Send in a voice message: https://anchor.fm/theduckstopshere/message

Can You Ever Forgive Me? is a 2018 American biographical film directed by Marielle Heller and with a screenplay by Nicole Holofcener and Jeff Whitty, based on the 2008 confessional memoir of the same name by Lee Israel. Melissa McCarthy stars as Israel, and the story follows her attempts to revitalize her failing writing career by forging letters from deceased authors and playwrights. The film also features Richard E. Grant, Dolly Wells, Jane Curtin, Anna Deavere Smith, Stephen Spinella, and Ben Falcone in supporting roles. Israel took the title from an apologetic line in a letter in which she posed as Dorothy Parker. - Wiki

Unlucky episode 13. Join Emily and Chelsea on a journey through Houston to record. Starting at our place of work and traveling to the Hobby Center, all the way to Chelsea's car. When juggling several jobs and tech week, W&D has to get creative! We begin in hushed tones so that the students don't hear. Chelsea whines (no wine involved) about bad audience members- don't text and theatre! W&D heads to Diana American Grill at the Hobby Center where our wonderful waiter, Brent, finally provides wine for the rest of the episode. Recording in a restaurant was a new experience- we were far less disruptive than the couple that found out there is a no intermission in Once on this Island. After experiencing one of the best productions to come through Houston, we complete our episode in the car. W&D delves into the story about adulthood, told in a way that will reach the inner child in every stressed adult. Avenue Q was created by Jeff Whitty, Robert Lopez, Jeff Marx, and Rick Lyons. W&D is learning a lot about podcasting and balancing jobs. We love what we do and want to continue providing quality content to our listeners as best we can. Playing now until Sunday, March 1st at 2pm is ONCE ON THIS ISLAND at the Hobby Center. Go see it before it sails out. Thursday February 27 is OUT @ TUTS: Once on this Island hosted by Regina Blake-Dubois. CORRECTION: Jeff Whitty wrote the book for Tale of the City, not Tale of Two Cities the Musical. Jason Moore directed Tale of the City Musical. . . . EPISODE DEDICATION: NOAH Support us on Patreon at patreon.com/winesanddolls for a cheers on the show and other perks for Patrons. CHEERS TO OUR PATRONS: Julia, Noah, and Andy REGINA SPECIAL- Regina is helping us reach our goals! She has made a pledge- if Wines and Dolls gets 5 $20 Patrons following this episode, she will do an exclusive death drop for W&D! Don't know what that is? In the words of Regina, "You better become a $20 patron to find out!" Join our PATREON now by clicking here. Follow us on Instagram, Facebook, and Twitter at winesanddolls Artwork by Sydney Caballero Music from Avenue Q (Original Broadway Cast Recording), 2003 on Spotify --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/winesanddolls/message

Elena Kats-Chernin and Justin Fleming have written a new work for Opera Australia about the life of the brilliant, troubled Australian artist Brett Whiteley, in the second instalment of The Cost of Art, Hannah Reich speaks to theatre-maker Declan Greene, dancer and choreographer Anna Seymour and Urban Theatre Projects' Jessica Olivieri, theatre critic Tim Byrne reviews Bell Shakespeare's new production of Much Ado About Nothing, and an Australian production of Bring It On: The Musical with music and lyrics co-written by Lin-Manuel Miranda is now on tour.

Elena Kats-Chernin and Justin Fleming have written a new work for Opera Australia about the life of the brilliant, troubled Australian artist Brett Whiteley, in the second instalment of The Cost of Art, Hannah Reich speaks to theatre-maker Declan Greene, dancer and choreographer Anna Seymour and Urban Theatre Projects' Jessica Olivieri, theatre critic Tim Byrne reviews Bell Shakespeare's new production of Much Ado About Nothing, and an Australian production of Bring It On: The Musical with music and lyrics co-written by Lin-Manuel Miranda is now on tour.

Avenue Q is one of our all-time favourite musicals! Zane and Miranda have both worked on the show and hope to in the future. So let’s flash back to relive the time we spoke with another Avenue Q alumni and fan - Jack Kelly!Find out more about Jack Kelly - YouTube, Facebook- FURTHER READING -Wiki - MusicaliTunes- CELEBRITY SHOUTOUTS -Robert Lopez, Jeff Marx, Jeff Whitty, Jason Moore, John Tartaglia, Stephanie D'Abruzzo, Rick Lyon, Natalie Venetia Belcon, Ann Harada, Jordan Gelber, Jennifer BarnhartLike us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanonproductions.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Find out more about him at www.benedictbraxtonsmith.com

Can You Ever Forgive Me? (Biography, Comedy, Crime)When Lee Israel falls out of step with current tastes, she turns her art form to deception. An adaptation of the memoir Can You Ever Forgive Me?, the true story of best-selling celebrity biographer Lee Israel.Director: Marielle HellerWriters: Nicole Holofcener (screenplay by), Jeff Whitty (screenplay by)Stars: Melissa McCarthy, Richard E. Grant, Dolly Wells - (IMDb) Movies First RSS feed:  https://feeds.megaphone.fm/BIT7197946000 Stream podcast episodes on demand from www.bitesz.com/moviesfirst  (mobile friendly).  Subscribe, rate and review Movies First at all good podcatcher apps, including Google Podcasts, Apple Podcasts (formerly iTunes), Stitcher, PocketCasts, CastBox.FM, Podbean, Acast, Spreaker etc.For more, follow Movies First on Facebook, Twitter and Google+:Facebook - @moviesfirsttwitter - @MoviesFirstGoogle+ -  https://plus.google.com/u/1/b/116201551232774363704/108207704769091029605  YouTube Channel: https://www.youtube.com/channel/UCatJQHaVabIvzCLqO16XvSQ  If you're enjoying Movies First, please share and tell your friends. Your support would be appreciated...thank you.#movies #cinema #entertainment #podcast #reviews #moviesfirst Learn more about your ad choices. Visit megaphone.fm/adchoices See acast.com/privacy for privacy and opt-out information.

Midday theater critic J. Wynn Rousuck joins Tom each week with a review of one of the region's many theatrical offerings. Today, she's spotlighting the new production of Avenue Q at the Community College of Baltimore County's Cockpit in Court Summer Theatre.Avenue Q is an American musical in two acts, featuring music and lyrics by Robert Lopez and Jeff Marx, and a book by Jeff Whitty. The coming-of-age satire tells the story of a hapless recent college grad named Princeton, who moves into a rundown New York City apartment located on the titular Avenue Q, in an edgy part of town. While drawing lessons from the realities of his new neighborhood -- and shedding the idealism of his youth -- he and his new-found friends face the challenges of finding work, love and a purpose in life.Originally conceived as a TV series, Avenue Q opened on Broadway in July 2003 and won three Tony Awards, including Best Musical. Since its 6-year Broadway run of more than 2500 performances, it has been picked up for two national tours and a variety of international productions.The Cockpit in Court production at CCBC in Essex is directed by Todd Starkey, and continues through Sunday, July 1. Ticket and location info here.

This week Julie, Miranda, and Zane will chat with Jack Kelly about which of life's truths can be gleaned from Avenue Q!Find out more about Jack Kelly - YouTube, Facebook- FURTHER READING -Wiki - MusicaliTunes - CELEBRITY SHOUTOUTS - Robert Lopez, Jeff Marx, Jeff Whitty, Jason Moore, John Tartaglia, Stephanie D'Abruzzo, Rick Lyon, Natalie Venetia Belcon, Ann Harada, Jordan Gelber, Jennifer Barnhart Like us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanonproductions.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Find out more about him at www.benedictbraxtonsmith.com

Piggy, Kermit et la bande des Muppets reviennent sur la chaîne américaine ABC, sous forme de documentaire moqueur signé Bill Prady et Bob Kushell. Quarante ans après sa création par Jim Henson et après un long passage à vide, la saga est-elle à la hauteur de ses promesses ? Animé par Thomas Rozec avec Daniel Andreyev (@kamuirobotics), Lelo Jimmy Batista (@LeloJBatista, Noisey) et Stéphane Moïssakis (Capture Mag)RÉFÉRENCES CITÉES DANS L'ÉMISSIONThe Muppets (série de Bill Prady et Bob Kushell, 2015), Le Muppet Show (The Muppet Show - Jim Henson, 1976), Oprah Winfrey, Rapper's Delight (The Sugarhill Gang, 1979), Nathan Fillion, Sylvester Stallone, Charles Aznavour, Vincent Price, Ed Helms, Very Bad Trip (The Hungover - Todd Phillips, 2009), Jennifer Lawrence, Laurence Fishburne, The Office (série de Ricky Gervais et Stephen Merchant, 2005), David Fincher, Mark Hamill, Noël Chez les Muppets (The Muppet Christmas Carol - Brian Henson, 1993), L'île au trésor des Muppets (Muppet Treasure Island - Brian Henson, 1993) , Les Muppets dans l'Espace (Muppets from Space - Tim Hill, 2000), Michelle Pfeiffer, Pierce Brosnan, Les Muppets, le retour (The Muppets - Jason Segel, 2011), Nicholas Stoller, Les Muppet Babies (série de 1984) , Les Muppets à Manhattan (The Muppets Take Manhattan - Frank Oz, 2000), Avenue Q (comédie musicale de Jeff Whitty, 2003), Sesame Street (série de Joan Ganz Cooney, 1969), The Book of Mormon (comédie musicale de Matt Stone, Robert Lopez et Trey Parker, 2011), Dark Crystal (Jim Henson et Frank Oz, 1983), Conan le Barbare (Conan the Barbarian - John Milius, 1982) RECOMMANDATIONS CINÉ DE LA SEMAINE :Jimmy Lelo Batista : Breakfast show, Shields & Yarnell https://www.youtube.com/watch?v=km1QRnzIKpI Daniel Andreyev : Avenue Q, comédie musicale de Jeff Whitty (2003) http://www.avenueq.com/ Stéphane Moïssakis : Dark Crystal, de Jim Henson et Frank Oz (1983) http://www.allocine.fr/film/fichefilm_gen_cfilm=3363.htmlRETROUVEZ NOCINÉ PARTOUT SUR LES INTERNETS :www.facebook.com/NoCinePodCast twitter.com/No_Cine www.dailymotion.com/nocine www.youtube.com/channel/UC38YBAhVBEDRmXSe1uCyNxg www.mixcloud.com/NoCine/ www.deezer.com/show/7806www.stitcher.com/podcast/nocineitunes.apple.com/fr/podcast/nocin…id993698002?mt=2www.vodkaster.com/nocineCRÉDITSEnregistré le 21 octobre 2015 au Tank à Paris (11ème). Moyens techniques : Le Tank. Production : Joël Ronez - Iris Ollivault / TempsMachine.NET. Réalisation : Jules Krot. Générique : "Soupir Articulé", Abstrackt Keal Agram (Tanguy Destable et Lionel Pierres). Image : The Muppets See acast.com/privacy for privacy and opt-out information.

欢迎来李想主义，我是四眼李想，李是木子李。今天我们继续来《Q“大道”》，上次我们“大道”了第一个点，毕业后留在大城市和租房，那么接下来一个点，是同性恋和隐私。整个《Q大道》音乐剧情中，有穿插了同性恋的话题，注意，是话题，不是同性恋的内容，这点我觉得剧本创作者Jeff Whitty是非常巧妙的。要知道即便在美国，虽然现在通过了同性恋婚姻法，但是仍然有很多人对于同性恋报以不认同的态度。要知道，这次民主党能够通过同性恋婚姻法，是靠的联邦法院的判例来强制推行到全美的，可见阻力还是很大的，更何况，这部《Q大道》音乐剧在百老汇上演的时间是2003年，我查了下，那时，在美国，通过同性恋婚姻法的州只有6个州。其实，直到今年美国联邦法院判列之前，美国也只有不到20个州将同性婚姻民事合法化，要知道，美国可是有50个州，这20个州，这个数字连半数都没过。可见这个话题还是处在风口浪尖。这样具有挑战性的话题，在Jeff Whitty的处理下，即不左也不右，刚刚好，即点到了问题，有没有太深入的阐述个人观点，而是从同性恋另外一个角度来描述现象，那就是从同性恋者，或者说潜在同性恋者的心理角度。谢天谢地，Jeff Whitty没有深入这个话题，要不然，我今天做这档节目真不知道该如何切入。 我本来就不擅长探讨这类社会性的问题。Jeff把同性恋和隐私问题结合在一起，他的这种处理，也让我今天觉得，我还是能稍微聊聊这个话题的。隐私这个问题在当今，几乎成为街头巷尾都在谈论的话题，这道不是说，今天的人才开始注意到隐私，或者到今天现在发展到多么文明的程度，而是，今天我们处于一个时代更迭的时期，信息的获得，变得如此简单，在前些年，我们要获得某个人的信息，还要谈及一个词，叫做人肉搜索，陈凯歌导演不就有部电影叫做《搜索》嘛？这部电音在当时，算是一个热点了，但是和今天的情况看来，简直是小巫见大巫了。我们的很多行为，都可以判断一个人的性格、喜好，而这种性格、喜好，再结合性别、年龄、受教育背景等因素，是可以有非常丰富的商业价值的，而这种都已经被商业价值了的个人行为信息算不算隐私？当然算。好，如果按照这种说法，那我告诉你，我们现在有很多隐私在不经意间，就会提供给了商家。我曾经和一个知名的新型小额融资公司的创始人兼CEO聊过一个事，他们在审核借贷申请人时，就是通过行为分析来做一部分的信用评价，而且权重还非常大。你比如说他们的在线申请单上会有类似的提问：最近一次大宗消费在哪里？消费金额多少？然后在这个问题旁边有一个括弧，括弧里会有类似消费金额越大，越容易审核通过的暗示，当然不能这样明着来，他们的用词是经过深思熟虑的，不过出于某种原因我不能透露给你这句原话。然而我想告诉你的是，当你把鼠标移动到这个问题附近开始，网页的后台就会启动一个计时器，来统计你隔多久开始填写这个问题，并且还会统计从开始填写，到填写完毕，花去多少时间。这些时间就会变成很重要的参数，导入到后台的模型中，来评估你的诚信指数。这个就叫做行为分析。当然，在这个例子里，你的行为仅对你自己的借贷结果起作用，但是有没有想过，这样一个问题，这样的分析，就可以不用去人肉你是一个怎样的人；平时爱不爱说谎；这笔钱对你的需求迫切度是多少，等等，而且更为精准。这就获得了你的隐私。我不知道大家听到现在是否觉得他是大数据的一种？如果你认为是，那么就错了。大数据是不针对个人的，而是同类型的数据，大规模收集，通过统计，获得一个大概率的分布比例。哎，我这一说到隐私，就说了一大堆，其实我说这一大堆，就是为了说明，为什么今天的隐私这么被人看重，成为当今社会的主要话题。那么说回Whitty对于这部《Q大道》方向的把控，他在《Q大道》里，安排了这样的一个段落，表面上是一个哥们儿相对他的铁哥们儿表达，即便你是同性恋，也不会影响我们间的感情，但细心体味，就会发现，那个哥们儿是有潜在的同性恋趋向，但是自己内心又非常不愿意面对这个问题，所以当他的好友和他反复说起：“即便你是同性恋，我们还是好哥们儿”时，心理反应是非常强烈的。这就是Whitty很自然地让观众去体会同性恋者的心理，特别是这个社会还不是光明正大地接受同性恋者时。但话说回来，即便这个社会能够接受同性恋，但是如果同性恋者自身不愿意表达，就不要将其公之于众。同样这点，Whitty也在《Q大道》的情节推进中穿插到了，并且也给出了一种可能性，就是同性恋者本身不愿意告诉身边的朋友，即便这些朋友是完全能够接受和理解同性恋的情况下，也不要当他们的面提及，这会让不愿意透露的同性恋者陷入孤立的自我心态中。这让我想起一个有趣的事，还是在美国，对于同性恋的话题还非常有争议的时候，美国军方在1993年12月开始采取一种叫“不要问，不要说”的方式允许同性恋者隐瞒他们的性取向来军队服役。这在我看来，是一件至少是向着好的方向发展的事件，但是这事在执行了18个年头后，在2011年9月被废止了，直接造成的后果就是有13000多人被开除了军籍。当然事物的发展总是有高有低，4年后，我开头讲到的，2015年，美国联邦法院通过判例，推动了全美的同性恋婚姻法。当然老实说，这件事并入那么让人愉快，因为是通过判例来强行向全美推行的。好了不说这沉重的话题，我们还是看回当今的中国社会，中国目前还没有专门为这种性取向立法，而且传统来说，社会对于同性恋的包容度还是相对低一些的，当然，我身边很多相对年轻一些的朋友中，对于同性恋都报以理解，和接受的态度，但是我希望，无论你是可接受者，还是属于尚未能接受的人群，“不要问，也不要说”，是我们至少对于人的隐私的基本尊重，也不去管对方是或否是同性恋，或者我们是否熟识的人。好了，今天的《Q大道》就聊这么多，这里是李想主义，我是四眼李想，木子李的李。

欢迎来李想主义，我是四眼李想，李是木子李。今天我们继续来《Q“大道”》，上次我们“大道”了第一个点，毕业后留在大城市和租房，那么接下来一个点，是同性恋和隐私。整个《Q大道》音乐剧情中，有穿插了同性恋的话题，注意，是话题，不是同性恋的内容，这点我觉得剧本创作者Jeff Whitty是非常巧妙的。要知道即便在美国，虽然现在通过了同性恋婚姻法，但是仍然有很多人对于同性恋报以不认同的态度。要知道，这次民主党能够通过同性恋婚姻法，是靠的联邦法院的判例来强制推行到全美的，可见阻力还是很大的，更何况，这部《Q大道》音乐剧在百老汇上演的时间是2003年，我查了下，那时，在美国，通过同性恋婚姻法的州只有6个州。其实，直到今年美国联邦法院判列之前，美国也只有不到20个州将同性婚姻民事合法化，要知道，美国可是有50个州，这20个州，这个数字连半数都没过。可见这个话题还是处在风口浪尖。这样具有挑战性的话题，在Jeff Whitty的处理下，即不左也不右，刚刚好，即点到了问题，有没有太深入的阐述个人观点，而是从同性恋另外一个角度来描述现象，那就是从同性恋者，或者说潜在同性恋者的心理角度。谢天谢地，Jeff Whitty没有深入这个话题，要不然，我今天做这档节目真不知道该如何切入。 我本来就不擅长探讨这类社会性的问题。Jeff把同性恋和隐私问题结合在一起，他的这种处理，也让我今天觉得，我还是能稍微聊聊这个话题的。隐私这个问题在当今，几乎成为街头巷尾都在谈论的话题，这道不是说，今天的人才开始注意到隐私，或者到今天现在发展到多么文明的程度，而是，今天我们处于一个时代更迭的时期，信息的获得，变得如此简单，在前些年，我们要获得某个人的信息，还要谈及一个词，叫做人肉搜索，陈凯歌导演不就有部电影叫做《搜索》嘛？这部电音在当时，算是一个热点了，但是和今天的情况看来，简直是小巫见大巫了。我们的很多行为，都可以判断一个人的性格、喜好，而这种性格、喜好，再结合性别、年龄、受教育背景等因素，是可以有非常丰富的商业价值的，而这种都已经被商业价值了的个人行为信息算不算隐私？当然算。好，如果按照这种说法，那我告诉你，我们现在有很多隐私在不经意间，就会提供给了商家。我曾经和一个知名的新型小额融资公司的创始人兼CEO聊过一个事，他们在审核借贷申请人时，就是通过行为分析来做一部分的信用评价，而且权重还非常大。你比如说他们的在线申请单上会有类似的提问：最近一次大宗消费在哪里？消费金额多少？然后在这个问题旁边有一个括弧，括弧里会有类似消费金额越大，越容易审核通过的暗示，当然不能这样明着来，他们的用词是经过深思熟虑的，不过出于某种原因我不能透露给你这句原话。然而我想告诉你的是，当你把鼠标移动到这个问题附近开始，网页的后台就会启动一个计时器，来统计你隔多久开始填写这个问题，并且还会统计从开始填写，到填写完毕，花去多少时间。这些时间就会变成很重要的参数，导入到后台的模型中，来评估你的诚信指数。这个就叫做行为分析。当然，在这个例子里，你的行为仅对你自己的借贷结果起作用，但是有没有想过，这样一个问题，这样的分析，就可以不用去人肉你是一个怎样的人；平时爱不爱说谎；这笔钱对你的需求迫切度是多少，等等，而且更为精准。这就获得了你的隐私。我不知道大家听到现在是否觉得他是大数据的一种？如果你认为是，那么就错了。大数据是不针对个人的，而是同类型的数据，大规模收集，通过统计，获得一个大概率的分布比例。哎，我这一说到隐私，就说了一大堆，其实我说这一大堆，就是为了说明，为什么今天的隐私这么被人看重，成为当今社会的主要话题。那么说回Whitty对于这部《Q大道》方向的把控，他在《Q大道》里，安排了这样的一个段落，表面上是一个哥们儿相对他的铁哥们儿表达，即便你是同性恋，也不会影响我们间的感情，但细心体味，就会发现，那个哥们儿是有潜在的同性恋趋向，但是自己内心又非常不愿意面对这个问题，所以当他的好友和他反复说起：“即便你是同性恋，我们还是好哥们儿”时，心理反应是非常强烈的。这就是Whitty很自然地让观众去体会同性恋者的心理，特别是这个社会还不是光明正大地接受同性恋者时。但话说回来，即便这个社会能够接受同性恋，但是如果同性恋者自身不愿意表达，就不要将其公之于众。同样这点，Whitty也在《Q大道》的情节推进中穿插到了，并且也给出了一种可能性，就是同性恋者本身不愿意告诉身边的朋友，即便这些朋友是完全能够接受和理解同性恋的情况下，也不要当他们的面提及，这会让不愿意透露的同性恋者陷入孤立的自我心态中。这让我想起一个有趣的事，还是在美国，对于同性恋的话题还非常有争议的时候，美国军方在1993年12月开始采取一种叫“不要问，不要说”的方式允许同性恋者隐瞒他们的性取向来军队服役。这在我看来，是一件至少是向着好的方向发展的事件，但是这事在执行了18个年头后，在2011年9月被废止了，直接造成的后果就是有13000多人被开除了军籍。当然事物的发展总是有高有低，4年后，我开头讲到的，2015年，美国联邦法院通过判例，推动了全美的同性恋婚姻法。当然老实说，这件事并入那么让人愉快，因为是通过判例来强行向全美推行的。好了不说这沉重的话题，我们还是看回当今的中国社会，中国目前还没有专门为这种性取向立法，而且传统来说，社会对于同性恋的包容度还是相对低一些的，当然，我身边很多相对年轻一些的朋友中，对于同性恋都报以理解，和接受的态度，但是我希望，无论你是可接受者，还是属于尚未能接受的人群，“不要问，也不要说”，是我们至少对于人的隐私的基本尊重，也不去管对方是或否是同性恋，或者我们是否熟识的人。好了，今天的《Q大道》就聊这么多，这里是李想主义，我是四眼李想，木子李的李。

Bob Wilcox and Gerry Kowarsky review: (1) DISNEY’S BEAUTY AND THE BEAST, by Alan Menken, Howard Ashman, Tim Rice, & Linda Woolverton, at The Muny, (2) RIGOLETTO, by Giuseppe Verdi, at Union Avenue Opera, (3) MOON OVER BUFFALO, by Ken Ludwig, at Insight Theatre Company, (4) ANYTHING GOES, by Cole Porter et al., at Stages St. Louis, (5) THE FURTHER ADVENTURES OF HEDDA GABLER, by Jeff Whitty, at St. Louis Shakespeare, (6) THIS IS N0T FUNNY, by the Cast, at Theatre Nuevo, (7) CAROUSEL, by Richard Rodgers and Oscar Hammerstein II, at Hawthorne Payers, (8) LEGALLY BLONDE THE MUSICAL, by Laurence O’Keefe, Nell Benjamin, & Heather Hach, at Take Two Productions, and (9) LABUTE NEW THEATRE FESTIVAL, PART TWO, by several, at St. Louis Actors’ Studio.

The good, the bad and the ugly. It’s not just the name of an old Clint Eastwood movie. It’s also a fitting way to think about this year’s Oregon Shakespeare Festival, currently running in Ashland on OSF’s three world-class stages. Yesterday I talked about the VERY GOOD "Head Over Heels," a new musical by Jeff Whitty of "Avenue Q" fame. With summer kicking into gear, there are several shows running on those three stages, and that’s one of the good ones. So let me tell you about the BAD and the UGLY, both of which could be used to describe OSF’s unsatisfying staging of Shakespeare’s "Antony and Cleopatra." Tony and Cleo has NEVER been an easy play to produce. Directors have to find clever ways to establish a coherent tone that’s not actually suggested in the script, which - sorry Mr. Shakespeare - is a bit of a mess. OSF’s Artistic Director Bill Rauch helms this production. Usually spot-on, Rauch appears to have decided to just follow Shakespeare’s unfocused lead, the result being a sometimes entertaining, frequently baffling mish-mash of tonal inconsistencies. By pushing the comedic moments to goofy excess, it diminishes, rather than enhances, the whole flow of the show. Consider the arrival of a bumbling snake seller who acts like an extra from T.V.s Hee-Haw show, a bit of outrageousness that comes just seconds before the tragic demise of a major character. And after watching the supposedly middle-aged Antony and Cleopatra act like lovesick puppies for thirty minutes, it’s hard to feel bad for them when their world starts to crumble under the weight of their irresponsible actions. That’s the point, of course, to show how great societies are often destroyed by the acts of selfish rulers, but it’s just inconceivable that the real Tony and Cleo would have run around squealing and clapping like toddlers at a birthday watching the clown tie balloon animals. Such choices leave the entire enterprise foundering in a kind of dramatic uncertainty. This is a tragedy, after all. In this production, that’s true in many ways. Let’s move back to the category of the GOOD, with the clever, emotionally rich "Secret Love in Peach Blossom Land," written and directed by Stan Lai. The American premiere is a translation of a Chinese play originally performed in in 1986, shortly after the 40-year ban on communication between China and Taiwan had been lifted and families long-separated were taking steps at reunion. In its first-ever English version, Lai takes the original script - a kind of site-specific experiment in which two theater companies attempt to rehearse on the same space - and tailors it to the Oregon Shakespeare Festival, which is referred to often by name, along with numerous suggestions that someone should call Bill Rauch - mentioned earlier - to come straighten out the mess. One of the plays, the deadly serious drama "Secret Love," is being directed by a Stan Lai stand- in known only as Director, putting his race-blind cast through the paces of a story clearly based on the loss of his one great love. When a group of Chinese-American comedians crash the theater, insisting Bill Rauch has given them the space for their rehearsal, a strange back-and-forth ensues. With an outrageously silly send-up of the ancient Chinese fable Peach Blossom Land - about an unhappily married man who finds a magical world where all his dreams come true, but pines for the wife who never really loved him - the newcomers agree to share the space, with some very funny, genuinely touching results. Oregon Shakespeare Festival runs through November 1. www.osfashland.org I’m David Templeton, Second Row Center, for KRCB.

Well, the recent Supreme Court ruling affirming marriage equality to all couldn’t be better timed, ‘cause the big celebration’s already started up in Ashland, Oregon, and this dance party’s got somethin’ special on the record player. It’s got the Go-Go’s. Well . . . it has a bunch of Go-Go songs, if not the actual 1980’s all-female punk-pop band, but either way, the music is so good even Shakespeare would be dancing. He, after all, was a big believer in love. And so is the Oregon Shakespeare Festival, where - two whole weeks before the historic ruling making same-sex marriage legal all over the country - the popular Ashland-based festival unveiled "Head Over Heels," a joyously love-affirming musical by Tony-winner Jeff Whitty, the guy behind the hit musical Avenue Q. Anyone wanting to celebrate a new engagement or legally-sanctioned wedding might want to hit the road to Oregon and snap up some tickets to this outrageously creative, gleefully uplifting world premiere show. Directed by Ed Silvanus Iskandar, "Head Over Heels" takes a bunch of the Go-Go’s greatest hits and spreads them throughout Whitty’s clever comic adaptation of the forgotten Elizabethan pastoral romance The Countess of Pembroke’s Arcadia. The original play was written in the 1600s by the poetry-penning soldier Phillip Sydney, a member of Queen Elizabeth’s court till he was banned for dueling - and for daring to propose marriage to the queen. In exile, he wrote his play, snappily reinterpreted as a big bright burlesque about forbidden love. Basilius is the King of Arcadia. When he gets a prophecy predicting the collapse of his kingdom and the disruption of his family, he does what any fictional ruler of the Elizabethan era would do - he packs up his court, his wife, and his two daughters, and heads out to the forest to wait for it all to blow over. There in the wide arms of mother nature, of course, a series of confusions and collisions ensue, most of them revolving around the character of Musidorus, a lovesick young shepherd boy pining for the king’s youngest daughter. Musidorus disguises himself as an amazon woman to be admitted to the King’s company in the forest. And almost immediately . . . everyone falls in love with him . . . uh, her. Anyway. All of this confuses some characters and leads others to a number of much-needed self-discoveries, the end result being that the King’s definition of love - and everyone’s ideas about the purpose of marriage - get a well-timed overhaul by the end of the play. The way Whitty and his musical arranger have integrated the songs into the story is nothing short of brilliant. Whether translated into English Madrigals, doo-wop quartets, or slinky rock-and-roll tangos, the song’s lyrics move the action along, nicely revealing the inner lives of the characters just as if the songs had been written with the show in mind. It’s all goofy, giddy fluff, yes - but its sweet, irresistible, ingenious fluff. And as the many happy Americans who finally get to meet their soul-mates at the altar will tell you, sometimes, nothing is better than a bit of fluffy sweetness - and a big old dance party - to celebrate the end of a long, hard journey. "Head Over Heels" runs through October 10 at the Oregon Shakespeare Festival. www.OSFAshland.org I’m David Templeton, Second Row Center, for KRCB

Who says the past is behind us? This week, creators are bringing new life to traditional forms.1:19 - We meet the dream team behind Cascade Record Pressing, Oregon's new vinyl record plant in Oregon City. 8:53 - We remember painter Shirley Gittelsohn with Oregon Art Beat, who died June 12. The celebration of her life will be held at Reed College on Aug. 1. 12:28 - OPB's All Things Considered Host Kate Davidson reports on Portland's no-pay phone, Futel Phones. 17:03 - We talk with New Orleans songwriting and producing legend Allen Toussaint. He's bringing his band to play the Safeway Waterfront Blues Festival on July 3 at 7 p.m. 29:52 - Oregon Shakespeare Festival mashes up the music of the Go-Go's with an Elizabethan comedy in a new play, "Head Over Heels," by Tony Award-winning playwright Jeff Whitty (he's a Coos Bay boy). 39:13 - Oregon Art Beat reprises a spellbinding story about painter John Simpkins, pursuing his practice in the Alvord Desert.42:33 - The high school jazz band to end all high school jazz bands: Thara Memory's prize-winning Pacific Crest Jazz Orchestra. You can listen to their full performance on Think Out Loud at noon on July 3.

Tony-winning playwright Jeff Whitty combines the the music of The Go-Gos with Sir Richard Sidney's 'Old Arcadia' for a deliciously over-the-top glam musical. (photo credit: Oregon Shakespeare Festival)

Bob Wilcox and Gerry Kowarsky review (1) MAPLE AND VINE, by Jordan Harrison, at HotCity Theatre, (2) A FUNNY THING HAPPENED ON THE WAY TO THE FORUM, by Stephen Sondheim, Burt Shevelove & Larry Gelbart, at KTK Productions, (3) STUPEFY! THE 90-MINUTE HARRY POTTER, adapted by Jason Cryer, at Magic Smoking Monkey Theatre, (4) ANNIE GET YOUR GUN, by Irving Berlin, Herbert & Dorothy Fields,& Peter Stone, at the Kirksood Theatre Guild, (5) AVENUE Q THE MUSICAL, by Robert Lopez, Jeff Marx, and Jeff Whitty, at Take Two Productions, (6) UTBU, by James Kirkwood, at the Theatre Guild of Webster Groves, and (7) BAD SEED, by Maxwell Anderson, at Clayton Community Theatre.

Bob Wilcox and Gerry Kowarsky review (1) FIDDLER ON THE ROOF, by Jerry Bock, Sheldon Harnick, & Joseph Stein, at the Peabody Opera House, (2) CRUEL TO BE KIND?, by Christopher Limber, & OTHELLO IN A BREATH, by Elizabeth Birkenmeier, at Shakespeare Festival St. Louis, (3) BRING IT ON: THE MUSICAL, by Jeff Whitty, Lin-Manuel Miranda, Tom Kitt, & Amanda Green, at the Fox Theatre, (4) YOU CAN'T TAKE IT WITH YOU, by Kaufman & Hart, at Alpha Players, (5) ALL IN THE TIMING, by David Ives, at the Theatre Guild of Webster Groves, (6) EDGAR ALLEN POE'S NEVERMORE, by Edgar Allen Poe, Grace Barnes, & Matt Conner, at Webster Univ. Conservatory, (7) CAMDEN & LILLY, by Carter W. Lewis, at Washington Univ., (8) 100 SAINTS YOU SHOULD KNOW, by Kate Fodor, at Webster Univ. Conservatory, and (9) DONNA WEINSTING AND LARA BUCK: BOLD. BAWDY. BLONDE., at The Presenters Dolan.

Bob Wilcox and Gerry Kowarsky review (1) A STEADY RAIN, by Keith Huff, at the Repertory Theatre of St. Louis, (2) DOUBT: A PARABLE, by John Patrick Shanley, at Kirkwood Theatre Guild, (3) OLEANNA, by David Mamet, at HotCity Theatre, (4) BATTLEDRUM, by Doug Cooney & Lee Ahlin, at Metro Theater Co., (5) AVENUE Q, by Robert Lopez, Jeff Marx, & Jeff Whitty,at [insert name here] theatre company, (6) BLACK COFFEE, by Agatha Christie, at Clayton Community Theatre, and (7) AN EVENING OF MYSTERIES, by Richard LaViolette, at First Run Theatre.

Members of the creative team of the Tony-winning musical "Avenue Q" -- Robert Lopez (Composer/Lyricist), Rick Lyon (Puppet Designer/Actor), Jeff Marx (Composer/Lyricist),and Jeff Whitty (Book Writer) -- along with producers Robyn Goodman and Jeffrey Seller explain how the pieces came together to create this unique puppet musical, the journey from its early days at the BMI Workshop and the O'Neill Theater Center to the Vineyard Theatre/New Group production to Broadway, including the challenge of expanding a show in scale when the central characters, namely the puppets, can't grow along with the size of the theatre.

Members of the Tony Award-winning creative team of the Tony-winning musical Avenue Q -- Robert Lopez (Tony Award as Composer/Lyricist), Rick Lyon (Puppet Designer/Actor), Jeff Marx (Tony Award as Composer/Lyricist), and Jeff Whitty (Tony Award as Book Writer) -- along with producers Robyn Goodman (Tony Award for the show) and Jeffrey Seller (Tony Award for the show as well as for Rent, In The Heights and Hair, to name a few) explain how the pieces came together to create this unique puppet musical, the journey from its early days at the BMI Workshop and the O'Neill Theater Center to the Vineyard Theatre/New Group production to Broadway, including the challenge of expanding a show in scale when the central characters, namely the puppets, can't grow along with the size of the theatre.