Podcasts about jelly's last jam

Tonya Pinkins had a very complicated journey with the musical Jelly's Last Jam. From the very beginning she felt she was up against a cast that was not happy that she was replacing the original Anita in the show, she was away from home with her nine month old baby and in rehearsal she found herself holding back. But at night she would dream of what the role could be. She wanted to bring the power and vulnerability she remembered so well about her grandmother to the role but it wasn't until the final run thru that she was able to bring all her ideas and show the cast and creative team what she could really do. Tonya shares that she was almost fired multiple times- even when she was in rehearsal for the Broadway production- but somehow she persevered and she won a Tony Award for her portrayal of this raw, powerful and vulnerable woman. Welcome Tony Award winner Tonya Pinkins to the podcast. Hosted by Ilana Levine, Produced by Alan Seales, part of the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

New York native, playwright, actor and director Ruben Santiago-Hudson. Winning national awards for his work in all three categories, Santiago-Hudson returns to the theatre stage with his one-man play Lackawanna Blues - the same play he won an OBIE special citation Award for. Debuted off Broadway at the Papp Public Theatre in 2001, Lackawanna Blues was later adapted as a television movie that aired in 2005 on HBO. The play is a montage of reminiscences, memories, testimonials and roman a clefs of 'Miss Rachel' and his childhood in a small town on the banks of Lake Erie; portraying more than 20-colorful characters of would-be philosophers, petty hustlers, lost souls and abandoned lovers - in a celebration of the eccentric boarding house. Santiago-Hudson delivers anecdotes and testimonials accompanied throughout by live blues music with Grammy winning Blues guitarist, composer and actor, Chris Thomas King. Santiago-Hudson taught himself to play the harmonica during his broadway stay for August Wilson's Seven Guitars; Santiago-Hudson received a Tony Award for his performance in the August Wilson play. No stranger to the Broadway stage, Ruben appeared in Jelly's Last Jam written by George C. Wolfe, The Piano Lesson, The First Breeze of Summer and Cabin in the Sky. Appearing in film and television in Coming to America, Shaft, The Red Sneakers, Their Eyes Were Watching God, Selma, American Gangster, Honeydripper, The Immortal Life of Henrietta Lacks, BET's The Quad, ABC's Designated Survivor, Castle, and NBC's Law & Order. In addition to the play, Santiago-Hudson reoccurs on the OWN network's original series David Makes Man. This drama is the first television series from the Oscar Award winning Tarell Alvin McCraney about a young African American prodigy living in Florida looking for a way out of his poor neighbor. David Makes Man was inspired by events in McCraney's life, explores childhood trauma and the power of imagination.

She is as passionate offstage as she is on and her philosophy on life, art, and everything in between, makes Tonya Pinkins one of Broadway's fiercest artists. From her Broadway debut in Merrily We Roll Along, to appearances in Jelly's Last Jam (for which she won the Tony), The Wild Party, Play On, Caroline, Or Change, Radio Golf, and Holler If You Hear Me, plus her controversial associations with Mother Courage and Rasheeda Speaking, Tonya is one of the industry's most, no pun intended, courageous artists. Tonya pulls back the curtain on her career to discuss how she went from rejection to victory in Jelly's Last Jam, what it was like creating Caroline, and why principles must outweigh art. Also, Tonya shines the spotlight on George C Wolfe, Gregory Hines, and Eartha Kitt! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 To get tickets to Tonya's show, click here: https://web.ovationtix.com/trs/pe.c/10349371 To book a room at Shetler Studios, head on over to: https://www.shetlerstudios.com [audio src="https://behindthecurtainpodcast.blog/wp-content/uploads/2018/12/Tonya-Pinkins-Full-Episode.m4a"][/audio]

Tony nominated Broadway legend and entrepreneur Brenda Braxton has starred in such notable Broadway productions as Chicago, Smokey Joes Cafe, and Jelly's Last Jam with Gregory Hines and Savion Glover. After her Broadway career Ms. Braxton ventured into entrepreneurship and opened a successful gentleman's only parlor in Harlem named "BBraxton - Exceptional Grooming for Exceptional Men". After Early success, Ms. Braxton had to close her business and is now in the process of reinventing her brand and rebuilding her life. Join us on this remarkable entrepreneurial journey of perseverance and determination.

Brenda Braxton is a Broadway legend, Tony Award nominated actress, and entrepreneur. Ms. Braxton has starred on Broadway since 1976 performing in such notable shows as Chicago, Smokey Joe's Cafe, Guys and Dolls, and Jelly's Last Jam with Gregory Hines and Savion Glover. After Broadway, Ms. Braxton launched a gentleman only parlor in Harlem, NY named "BBraxton - Exceptional Grooming for Exceptional Men". After having to close BBraxton; Ms. Braxton is now in the process of reinventing herself and her brand. Join us as Ms. Braxton shares her entrepreneurial journey and plans her big comeback.

The Making of Jelly's Last Jam: In November 1992, SDC Foundation hosted a conversation with the creative team behind Jelly's Last Jam on Broadway: George C. Wolfe (book and direction), Hope Clarke (choreography), Susan Birkenhead (lyrics), Luther Henderson (music arrangement and additional music), Robin Wagman (set design) and Jules Fischer (lighting design) to discuss their creative process. They discuss the journey from workshops and a production at the Mark Taper Forum to the addition of Wagman, Fischer and Gregory Hines on its way to Broadway, and how each of the design elements and the addition of tap choreography helped to shape the show and discover the heart of the piece. George Wolfe and Luther Henderson talk about working with Jelly Roll Morton's music and manipulating it in order to create a piece that was about Jelly's personality and story as much as it was about what he created. Listen to this conversation for a fascinating discussion of the nature of collaboration at the heart of this production, and a sneak peek into the creation of an original Broadway show. Originally recorded - November 23, 1992. Running Time - 1:05:35 © 1992 SDCF

Richard Frankel talks to Broadway legend and Tony Award winner Ben Vereen about his journey from Brooklyn to Broadway, working with legend Bob Fosse, "Hair" in the 60s, and and his newest hit show, Steppin' Out with Ben Vereen, at 54 Below July 10 - 21. Vereen is known to most theatre audiences for his Tony and Drama Desk winning performance in Pippin, Vereen has also appeared on Broadway in Wicked, Chicago, Fosse and Jelly's Last Jam. Television audiences will remember him from his celebrated portrayal of Chicken George in Roots, along with recent appearances on How I Met Your Mother, Grey's Anatomy (Prism Award) and Law & Order: Criminal Intent. In January, 2012, Mr. Vereen was inducted into the Theatre Hall of Fame. More information at 54below.com

At its 2002 Musical Theatre Symposium, SDCF hosted a panel on the writer-director relationship featuring "Urinetown" composer/lyricist Greg Kotis, "The Wild Party" composer Andrew Lippa and director Gabriel Barre, "Violet" composer Jeanine Tesori, bookwriter/lyricist Brian Crawley and director Susan H. Schulman, "Side Show" director Robert Longbottom, "Jelly's Last Jam" lyricist Susan Birkenhead, and "tick, tick...BOOM!" and "Bat Boy" director Scott Schwartz, moderated by Manhattan Theatre Club Musical Theatre Program director Clifford Lee Johnson. The panelists discuss the formation of their writer-director relationship on each of these shows: how the initial connection and trust happened, the barriers they had to overcome, and working on an unfinished show with a living writer vs one who has already passed. The conversation is followed by a lively Q&A session about new musical development programs, the director's role in the development of a musical and how to know when a relationship doesn't work. Filled with many humorous stories, this panel offers great insight into this vital relationship as told by some of today's top Broadway talent.

Playwright/director Geroge C. Wolfe discusses the seven year development of John Guare's "A Free Man of Color", from approaching Guare with the idea of merging Restoration comedies and life in New Orleans leading up to the Louisiana Purchase, to receiving a script that would have run some five hours, to the just-finished production at Lincoln Center Theater. He also recalls his earliest directing urges as a child in Frankfort KY; provides the details of the first play he ever wrote, "Up for Grabs", while a student at Pomona College; recounts the "horror" of his first professional productions, his musical "Paradise!" in both Cincinnati and New York; describes the sudden success of "The Colored Museum" and the subsequent development of "Spunk", the latter being the first time he directed his own work; explains who he sees as his collaborators when he's both writing and directing; recounts his combative but ultimately fruitful work with Gregory Hines on "Jelly's Last Jam"; lays out the whirlwind of work that surrounded the Broadway production of "Angels in America" and his concurrent hiring as artistic director of New York's The Public Theater; acknowledges that his role as The Public's producer forced the artist in him to take a back seat; considers his ongoing artistic relationship with actor Jeffrey Wright; reveals the conceptual work that animated the household objects that were so integral to the story of "Caroline, or Change"; and answers the question of whether he will ever write another play. Original air date - January 19, 2011.

Playwright/director George C. Wolfe (1993 Tony Award winner for Best Direction of a Play for “Angels in America”; 1996 Tony Award winner for Best Direction of a Musical for “Bring in ‘da Noise/Bring in ‘da Funk”) discusses the seven year development of John Guare's “A Free Man of Color”, from approaching Guare with the idea of merging Restoration comedies and life in New Orleans leading up to the Louisiana Purchase, to receiving a script that would have run some five hours, to the just-finished production at Lincoln Center Theater. He also recalls his earliest directing urges as a child in Frankfort KY; provides the details of the first play he ever wrote, “Up for Grabs”, while a student at Pomona College; recounts the "horror" of his first professional productions, his musical “Paradise!” in both Cincinnati and New York; describes the sudden success of “The Colored Museum” and the subsequent development of “Spunk”, the latter being the first time he directed his own work; explains who he sees as his collaborators when he's both writing and directing; recounts his combative but ultimately fruitful work with Gregory Hines on “Jelly's Last Jam”; lays out the whirlwind of work that surrounded the Broadway production of “Angels in America” and his concurrent hiring as artistic director of New York's The Public Theater; acknowledges that his role as The Public's producer forced the artist in him to take a back seat; considers his ongoing artistic relationship with actor Jeffrey Wright; reveals the conceptual work that animated the household objects that were so integral to the story of “Caroline, or Change”; and answers the question of whether he will ever write another play.

Playwright/director Geroge C. Wolfe discusses the seven year development of John Guare's "A Free Man of Color", from approaching Guare with the idea of merging Restoration comedies and life in New Orleans leading up to the Louisiana Purchase, to receiving a script that would have run some five hours, to the just-finished production at Lincoln Center Theater. He also recalls his earliest directing urges as a child in Frankfort KY; provides the details of the first play he ever wrote, "Up for Grabs", while a student at Pomona College; recounts the "horror" of his first professional productions, his musical "Paradise!" in both Cincinnati and New York; describes the sudden success of "The Colored Museum" and the subsequent development of "Spunk", the latter being the first time he directed his own work; explains who he sees as his collaborators when he's both writing and directing; recounts his combative but ultimately fruitful work with Gregory Hines on "Jelly's Last Jam"; lays out the whirlwind of work that surrounded the Broadway production of "Angels in America" and his concurrent hiring as artistic director of New York's The Public Theater; acknowledges that his role as The Public's producer forced the artist in him to take a back seat; considers his ongoing artistic relationship with actor Jeffrey Wright; reveals the conceptual work that animated the household objects that were so integral to the story of "Caroline, or Change"; and answers the question of whether he will ever write another play. Original air date - January 19, 2011.

In November 1992, SDC Foundation hosted a conversation with the creative team behind "Jelly's Last Jam" on Broadway: George C. Wolfe (book and direction), Hope Clarke (choreography), Susan Birkenhead (lyrics), Luther Henderson (music arrangement and additional music), Robin Wagman (set design) and Jules Fischer (lighting design) to discuss their creative process. They discuss the journey from workshops and a production at the Mark Taper Forum to the addition of Wagman, Fischer and Gregory Hines on its way to Broadway, and how each of the design elements and the addition of tap choreography helped to shape the show and discover the heart of the piece. George Wolfe and Luther Henderson talk about working with Jelly Roll Morton's music and manipulating it in order to create a piece that was about Jelly's personality and story as much as it was about what he created. Listen to this conversation for a fascinating discussion of the nature of collaboration at the heart of this production, and a sneak peak into the creation of an original Broadway show.

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 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 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 "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 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.

Actors Jennifer Ehle (Tom Stoppard's "The Real Thing"), Cherry Jones ("Moon for the Misbegotten", "The Heiress"), Adam Pascal ("Aida", "Rent"), Tonya Pinkins ("The Wild Party", "Jelly's Last Jam"), John Shea ("The Director"), and Patrick Stewart ("A Christmas Carol", "The Ride Down Mt. Morgan") discuss how and why they chose to be performers, their education and training, their work ethic, how one embodies a character, the craft of acting, and why they work in the theatre.

Oscar, Emmy and five-time American Theatre Wing Tony Award winner, Peter Stone moderates this discussion with lyricist Susan Birkenhead ("Triumph of Love", "Jelly's Last Jam"), composers/lyricists John Kander and Fred Ebb ("Cabaret", "Chicago", "Woman of the Year", "Steel Pier", "The Act"), composer Marvin Hamlisch ("A Chorus Line", "They're Playing Our Song", "The Sweet Smell of Success"), and award-winning country songwriter/composer Don Schlitz ("The Adventures of Tom Sawyer"). The panel talks about the process of musical songwriting, collaboration with other writers, writing songs in conjunction with the book, learning from influential composers, through-composed shows compared to book musicals, pros and cons of workshops, their backgrounds, and their first shows.

Oscar, Emmy and five-time American Theatre Wing Tony Award winner, Peter Stone (Tony Awards for 1776, Woman of the Year and Titanic) moderates this discussion with lyricist Susan Birkenhead (Triumph of Love, Jelly's Last Jam), composers/lyricists John Kander and Fred Ebb (Tony Award winner for Best Original Score in 1967 for Cabaret, 1981 for Woman of the Year and 1993 for Kiss of the Spider-Woman), composer Marvin Hamlisch (A Chorus Line, for which he won a Tony, They're Playing Our Song, Sweet Smell of Success), and award-winning country songwriter/composer Don Schlitz (The Adventures of Tom Sawyer). The panel talks about the process of musical songwriting, collaboration with other writers, writing songs in conjunction with the book, learning from influential composers, through-composed shows compared to book musicals, pros and cons of workshops, their backgrounds, and their first shows.

Tonya Pinkins takes listeners from the triumph of "Jelly's Last Jam" to the extraordinary personal challenges that faced her on her return to Broadway as the title character in Tony Kushner and Jeanine Tesori's musical "Caroline, or Change". Original air date - May 28, 2004.

Tonya Pinkins takes listeners from the triumph of "Jelly's Last Jam" to the extraordinary personal challenges that faced her on her return to Broadway as the title character in Tony Kushner and Jeanine Tesori's musical "Caroline, or Change". Original air date - May 28, 2004.

Tonya Pinkins takes listeners from the triumph of "Jelly's Last Jam" to the extraordinary personal challenges that faced her on her return to Broadway as the title character in Tony Kushner and Jeanine Tesori's musical "Caroline, or Change". Original air date - May 28, 2004.