Podcast appearances and mentions of Jerome Robbins

This is Part Two of our episode with Bart Cook. If you missed Part One, please check back in our feed.On today's episode of "Conversations On Dance", we are joined by legendary New York City Ballet dancer and repetiteur for the Balanchine Trust Bart Cook. Bart was a favorite of both George Balanchine and Jerome Robbins, prized for his versatility and chameleon like ability to inhabit the inner worlds of the ballets he danced. Bart goes into detail with us about these experiences, both onstage as a dancer and offstage, ensuring that the care and beauty he imbued these works with as a dancer continues in the artists of today. Tickets to Conversations on Dance at the 2025 Vail Dance Festival on sale now! https://vaildance.org/conversations-on-dance/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

On today's episode of "Conversations On Dance", we are joined by legendary New York City Ballet dancer and repetiteur for the Balanchine Trust Bart Cook. Bart was a favorite of both George Balanchine and Jerome Robbins, prized for his versatility and chameleon like ability to inhabit the inner worlds of the ballets he danced. Bart goes into detail with us about these experiences, both onstage as a dancer and offstage, ensuring that the care and beauty he imbued these works with as a dancer continues in the artists of today. Tickets to Conversations on Dance at the 2025 Vail Dance Festival on sale now! https://vaildance.org/conversations-on-dance/LINKS:Website: conversationsondancepod.comInstagram: @conversationsondanceMerch: https://bit.ly/cod-merchYouTube: https://bit.ly/youtube-CODJoin our email list: https://bit.ly/COD-email Hosted on Acast. See acast.com/privacy for more information.

Russia's brightest ballet star, Rudolf Nureyev, evaded his KGB minders and defected from the USSR on 16th June, 1961. According to feverish newspaper reports, the dancer dashed towards the barrier, proclaiming in English, "I want to be free," and was swiftly escorted to the airport police station, marking the start of his life in the West. His defection, while fraught with personal sacrifice - including a potential permanent separation from his family and homeland - became a major propaganda victory in the Cold War, highlighting the repressive nature of the Soviet regime. In this episode, The Retrospectors reveal how Nureyev's uncompromising dedication to artistic freedom clashed with Soviet norms; discover what his groupies used to chant outside the Stage Door in Covent Garden; and uncover Jerome Robbins' succinct description of his awesome talents… Further Reading: • ‘How Rudolf Nureyev danced to freedom' (The Guardian, 2014): https://www.theguardian.com/stage/dance-blog/2015/dec/14/rudolf-nureyev-dance-to-freedom-bbc-documentary-film • 'Rudolf Nureyev: from small steps to one giant leap' (Financial Times, 2015): https://www.ft.com/content/9fab8b22-9ce2-11e5-8ce1-f6219b685d74 • ‘Margot Fonteyn & Rudolf Nureyev Pas de Deux in LE CORSAIRE' (1962): https://www.youtube.com/watch?v=79IYUS63agQ Love the show? Support us!  Join 

On se penche aujourd'hui sur un classique de Broadway : Gypsy, créée en 1959 par des grands noms de la comédie msuciake : Arthur Laurents, Jule Styne, Stephen Sondheim, Jerome Robbins. On analyse les thématiques de l'œuvre, entre maternité toxique et chronique d'une époque révolue du divertissement étasunien. Et on passe en revue les stars qui ont incarné successivement le fascinant personnage de Rose, d'Ethel Merman à... Natalie Dessay. Plus d'info : https://allthatjazzpodcast.wordpress.com/2025/06/06/gros-plan-gypsy/

Achoo! We're falling in love with the one and only Faith Prince. You Might Know Her From Modern Family, Emily in Paris, Melissa & Joey, Spin City, My Father the Hero, The Last Dragon, and Broadway productions of Guys & Dolls, A Catered Affair, Bells Are Ringing, and BOOP!  Faith talked to us about grounding her character, Valentina, in the cartoonish plot of BOOP!, coping with fame during her star-making turn in Guys & Dolls, and leaning on her co-star Gerard Depardieu in one of her first leading roles on camera in My Father the Hero.  Faith also shared stories from working as a Broadway replacement in the cumbersome costume of Ursula in The Little Mermaid and the notoriously “realistic” production of Anne as Miss Hannigan. All that, plus working with theatre legends like Jerome Robbins, Abe Burrows, Betty Comden & Adolph Green, doing dialect work at Joey Lawrence and Lily Collins, doing her best Cyndi Lauper in cult fave The Last Dragon (and making pals with Berry Gordy, and working with Jean Smart and Mary McDonnell in the short-lived High Society.   This one was a HOOT.  Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Evergreen topics for Anne and Damian: Tyne Daly in Gypsy, Grease, Spice Girls track listings, we look like cats in Heathcliff, the cast of Mannequin 2 aka is it Jonathan Silverman, no it's William Ragsdale in Herman's Head, Sex and the City/AJLT Cynthia Nixon's kitchen tour Tom and Lorenzo and their SJP adventure Plays Valentina in Boop on Broadway We love Dancer/Choreographer Rachelle Rak Coughing as Adelaide was tougher than talking and singing in character voice Bob Saget used his stand-up to differentiate himself from Danny Tanner  Nathan & Adelaide are famously the SOUBRETTES in Guys & Dolls so Jerry Zaks put them forward instead of Sky and Sarah (this changed how future productions positioned the 2 couples)  Jerry Mitchell says it's important to pass the baton down to the next generation of musical theatre stars Arthur Laurents aka “the meanest man in show-business”, Jerry Gutierrez, Abe Burrows, Comden & Green, Sondheim, Barishnykov, Howard Ashman, Jack Plotnick, Tina Landau,  My Father the Hero w/ Gerard Depardieu “Dirty Books” from The Last Dragon / Suzanne de Passe and Berry Gordy produced the soundtrack. Berry Gordy took her OUT and called her “baby” “One More Time” in First Wives Club “How do you know if someone has lived through trauma — by the way they get someone who doesn't like them, to like them.” Cole Escola of Oh, Mary! on CBS Sunday Morning Was in first 6 episodes of High Society with Jean Smart and Mary McDonnell (based on AbFab and Faith played the Saffy character) Faith Prince's “Men” from Nick & Nora. The show was a notorious flop. Arthur told Faith she was making a big mistake by leaving show to do Guys & Dolls. Mary Rodgers told her she could find a way into Anna through Gertrude Lawrence, who was a comedienne.  Was offered the role of Audrey in the original Off-Broadway production of Little Shop of Horrors Went to CCM with Jim Walton Had taken the revue, Scrambled Feet and was doing an IBM industrial so couldn't' take LSOH Lance Roberts is currently in Just in Time Ellen Greene did Adelaide at The Hollywood Bowl  Studied Donna Murphy who she replaced in The King & I and then did Wonderful Town (at LA Opera) Katie Finneran talked with us about James Lapine's realistic interpretation of Annie and Miss Hannigan in the 2012 revival. Said it was a challenge in the NYT. Re the 2012 revival of Annie: Andrea McArdle said “I didn't know we were doing Secret Garden” Associate Director Wes Grantham LOVES HUMOR, unlike Lapine Martin Charnin & Charles Strouse KISSED HER FEET when they visited her backstage John Doyle who directed A Catered Affair also backs away from the humor We love Bells are Ringing - Faith starred in the 2001 Broadway revival. Difficult because of Mitchell Maxwell who produced Had to ride an actor in Grey's Anatomy because character's IUD got stuck on her ex-husband's Prince Albert penis piercing Does some great character work in the indie film Our Very Own (got gig from doing reading of The Women with Allison Janney) IMDB lists her on an ep of Mad Men. INCORRECT. Martin Short was in Dennis Quaid movie, Innerspace My Favorite Broadway: The Leading Ladies was an incredible, formative concert Managing Ursula costume in The Little Mermaid was worse than managing the wig in her Lifetime movie with Kathleen Turner, Friends at Last Vicki Lewis told us she held Dixie Carter's spit cup in a production of Mame she was in with Faith Christopher Walken kept pickled things in the pockets of his costume during James Joyce's The Dead (Marni Nixon was also in the show) We interviewed Annaleigh Ashford who is maybe made  in the mold of Faith Prince Damian is seeing an Italian production of Cats / Anne is seeing her nephew do Grease Jr.  in Sicily DUCK ASS HAIR for Danny Zuko

Diane and Sean discuss the Steven Spielberg adaptation of Jerome Robbins', West Side Story. Episode music is, "I Feel Pretty", by Stephen Sondheim and Leonard Bernstein, performed by Rachel Zegler from the OST.-  Our theme song is by Brushy One String-  Artwork by Marlaine LePage-  Why Do We Own This DVD?  Merch available at Teepublic-  Follow the show on social media:-  BlueSky: WhyDoWeOwnThisDVD-  IG: @whydoweownthisdvd- Tumblr: WhyDoWeOwnThisDVD-  Follow Sean's Plants on IG: @lookitmahplants- Watch Sean be bad at video games on TwitchSupport the show

This week, Hear the Dance host Silas Farley leads us on a wide-ranging exploration of Jerome Robbins' 1994 ballet A Suite of Dances. First, he's joined by Repertory Director Jean-Pierre Frohlich, who coaches the work; Principal Dancer Daniel Ulbricht, who initially learned the tour-de-force role in 2019; and former Principal Dancer Peter Boal, who worked with Robbins on the development of the ballet. They walk through the creation and performance of the four movements, highlighting the ways in which A Suite of Dances teaches the performer about themselves—particularly as they grow with and age alongside the piece. (1:05:11) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky 6 Suites for Solo Cello: Prelude & Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012 by Johann Sebastian Bach All music performed by the New York City Ballet Orchestra Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, By Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Misha: The Mikhail Baryshnikov Story by Barbara Aria Illusions of Camelot: A Memoir by Peter Boal Bach: Music in the Castle of Heaven by John Eliot Gardiner

In this second part of our Hear the Dance journey into Jerome Robbins' A Suite of Dances, Cellist Hannah Holman joins host Silas Farley to provide a deep-dive introduction to the Bach Cello Suites that provide the ballet's exquisite score. As Holman explains, the music is a seminal work for every cellist, with complex challenges and varied delights throughout—all of which are complicated and enriched when performed onstage with the work's solo dancer. (42:48) Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky 6 Suites for Solo Cello: Prelude & Gigue from Suite 1 in G major, BMV 1007 Sarabande from Suite V in C minor, BMV 1011 Prelude from VI in D major, BMV 1012 by Johann Sebastian Bach Symphony No.4 in E Minor, op.98 (I. Allegro non troppo, II.Andante moderato, III. Allegro giocoso, IV. Allegro energico e passionato) by Johann Sebastian Bach All music performed by the New York City Ballet Orchestra, Yo-Yo Ma and Herbert von Karajan Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, By Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir Edited and with Commentary by Amanda Vaill Misha: The Mikhail Baryshnikov Story by Barbara Aria Illusions of Camelot: A Memoir by Peter Boal Bach: Music in the Castle of Heaven by John Eliot Gardiner

Susan Jaffe is a former ballerina who performed for 22 years as a principal dancer with the American Ballet Theater. She is known for iconic roles such as Swan Lake’s Odette and Odile, Kitri in Don Quixote, and Juliet in Romeo and Juliet. Jaffe has performed internationally and her repertoire includes the works of iconic choreographers such as George Balanchine, Jerome Robbins, Twyla Tharp, and Merce Cunningham. After retiring from the stage, Jaffe previously served as the dean for the School of Dance at the University of North Carolina School of the Arts and as the artistic director of Pittsburgh Ballet Theatre. In our conversation, Jaffe shares how she got her start as a ballerina, the impact legendary dancer Mikhail Baryshnikov had on her career, and what it was like reviving ABT after the Covid-19 pandemic.See omnystudio.com/listener for privacy information.

It is our deepest pleasure to bring you this episode on Norman Jewison's masterpiece of non-auteurism: Fiddler on the Roof. Both of the hosts have a long and complex relationship to both this film and its source material and could wax for hours on its rich humanism and craft. The tale of Tevye the Dairyman and his daughters remains as fascinating and exciting today as ever! We promise! This movie is not boring at all (except for maybe a couple scenes with Perchik). Topics include: changes from the original stories, Jerome Robbins' opening numbers, and a major change in Alana's life.

Born and raised in New York City, Porfirio Figueroa is a former triple threat who was fortunate to have danced for the legendary Jerome Robbins, and the great Michael Bennett in shows such as “West Side Story” (having played both Chino and Bernardo) and “A Chorus Line” (having played both Mark Anthony and Paul). He has also worked in TV, film and theater in various capacities as a director, playwright, lyricist, and producer. Locally, he is an active member of Fort Washington Collegiate Church where he conceived, developed, and executed “The Salon Hang,” an art showcase for the Upper Manhattan community featuring over 44 local artists. Porfirio has advised numerous not-for-profit organizations and notable clientele on development, execution, and community outreach. Furthermore, he has advised the Washington Heights Chamber Orchestra, served as a Board Member of the Dance Project of Washington Heights, and AYUDA for the Arts. He is a Cum Laude Graduate of the State University of New York at Binghamton, and currently serves as the Deputy Director of Community Affairs for the Office of the Manhattan Borough President, Mark Levine.

Today, I'm thrilled to announce my interview with Lane Bradbury, who played the role of Dainty June in the original Broadway cast of GYPSY. Tune in to hear some of the stories of her legendary career, including why Ethel Merman wasn't a good co-star, joining the Actor's Studio, method acting with Elia Kazan for J.B., why Bette Davis was suspicious of her during THE NIGHT OF THE IGUANA, watching Patrick O'Neill and Bette Davis in rehearsal, the moment in GYPSY that caused a rift between her and Jerome Robbins, Lee Strasberg's favorite acting exercises, why she didn't audition for FIDDLER ON THE ROOF, working with June Havoc herself on MARATHON '33, how an audition for GREENWILLOW led her to move to California, putting together her cabaret act, why Audra McDonald is Broadway's best Mama Rose, why she doesn't own the OBC of GYPSY, and so much more. You won't want to miss this episode with a true theater veteran.

For our "Two Shot" episode of Best Supporting Acting Winners, Madeline, Julian and Emilio keep things local, and with the help of actor/teacher/fight director Ron Piretti, they dive into both film adaptations of the beloved musical 'West Side Story'.  Both the Jerome Robbins original and the Steven Spielberg remake have the distinction of earning the Best Supporting Actress Oscar in their respective years for their portrayals of the same character, Anita, by Rita Moreno in 1961 and Ariana DeBose in 2021.  In addition to exploring what makes Anita such an indelible and celebrated character, the group explores the ways in which the remake expands the world its characters inhabit, discuss which character portrayals they enjoyed the most, how the climactic "Rumble" is depicted on stage vs on film, the effect that differences in the order of musical numbers has on the greater narrative, and much more! Ron Piretti is a teaching artist for The Barrow Group in NYC, and you can find him and his work at ronpiretti.netIf you enjoy our podcast, please rate and review us on your podcast platform of choice.  This really helps us find new listeners and grow!Follow us on IG and TikTok: @sleeplesscinematicpodSend us an email at sleeplesscinematicpod@gmail.comOn Letterboxd? Follow Julian at julian_barthold and Madeline at patronessofcats       

GGACP bids a fond farewell to late Broadway, TV and film actor Tony Roberts with this ENCORE of an interview from 2017. In this episode, Tony stops by the studio to weigh in on a wide range of topics, including the intensity of Al Pacino, the minimalism of Robert Mitchum, the eccentricities of Jerome Robbins and the professionalism of Sidney Lumet. Also: Tony runs lines with Edward G. Robinson, takes flight with Mary Poppins, plays the ponies with Mickey Rooney and treads the boards with Abe Vigoda. PLUS: Everett Sloane! “Amityville 3-D”! Woody Allen hits the beach! Tony's mom dates Uncle Miltie! And Sydney Greenstreet meets…Sydney Greenstreet! Learn more about your ad choices. Visit megaphone.fm/adchoices

Lynn & Carl speak with the legendary Austin Pendleton - who is in Saint Louis to direct stlas.org's Long Day's Journey into Night. Their in-depth discussion touches on Eugene O'Neill, his family life, Steppenwolf Theatre Company, Otto Preminger, Skidoo, Groucho Marx, Christmas with the Kranks, The Muppet Movie, Jerome Robbins, Tennessee Williams - and after this interview we learned he is sticking around town for twsf.org!

Hear the Dance host Silas Farley is joined by Associate Artistic Director Wendy Whelan and former Soloists Repertory Director Jean-Pierre Frohlich and Repetiteur Diana White for a conversation about Jerome Robbins' The Cage. From its "empowering" choreography to the manners in which the relationship between the Mother and the Novice mimic that of senior and newer members of the company, they describe the unique qualities of this ballet beloved by dancers and audiences alike. (59:01 Written by Silas Farley  Edited by Emilie Silvestri Music: Concerto in D for String Orchestra, "Basler" (1946) by Igor Stravinsky Performed by New York City Ballet Orchestra Reading List: 1. Somewhere: The Life of Jerome Robbins by Amanda Vaill 2. Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir by Jerome Robbins, Edited by Amanda Vaill 3. Jerome Robbins: A Life in Dance by Wendy Lesser 4. Stravinsky: A Creative Spring: Russia and France, 1882-1934 by Stephen Walsh 5. Stravinsky: The Second Exile, France and America, 1934-1971 by Stephen Walsh 6. The Stravinsky Festival of the New York City Ballet by Nancy Goldner

Salut l'équipe ✌, Dans ce vingtième épisode, on va plonger dans l'univers nocturne et impitoyable de Warriors, les guerriers de la nuit, signé Walter Hill. On reviendra sur l'atmosphère qui imprègne chaque ruelle du New York menaçant des années 70. L'esthétique de Walter Hill, qui mêle bande dessinée, western urbain et tension palpable à chaque plan. On évoquera les coulisses du tournage, entre rumeurs de tensions réelles entre gangs et défis techniques. Les personnages inoubliables, du charismatique Swan à l'inquiétant Luther avec sa réplique devenue culte : "Warriors, la partie va commencer !" Sans oublier la bande originale où synthés et guitares électriques rythment la course effrénée des Warriors pour regagner leur territoire. Un film qui a inspiré le style de jeux vidéo « beat hem all » dont l'influence sur la pop culture (rap et streetwear) est toujours prégnante quarante ans plus tard. La sélection : The Warriors (les guerriers de la nuit) – Walter Hill (1979)  Invités : Guillaume Meral (l'heure magique) Oliver KrauQ (écrivain) Films et séries mentionnés : West Side Story - Robert Wise et Jerome Robbins (1961) Orange mécanique (A Clockwork Orange) - Stanley Kubrick (1971) Hard Times (Le Bagarreur) - Walter Hill (1975) Carrie - Brian De Palma (1976) Assaut (Assault on Precinct 13) - John Carpenter (1976) Sans retour (Southern Comfort) - Walter Hill (1981) Escape from New York (New York 1997) - John Carpenter (1981) Class of 1984 - Mark L. Lester (1982) Conan le Barbare - John Milius (1982) Fog - John Carpenter (1980) Les Princes de la ville (Mi Vida Loca) - Allison Anders (1993) La Haine - Mathieu Kassovitz (1995) 187 Code Meurtre - Kevin Reynolds (1997) Un seul deviendra invincible (Undisputed) - Walter Hill (2002) Collateral - Michael Mann (2004) Miami Vice - Michael Mann (2006) Pour nous joindre : instagram.com/le_spectrum__ le.spectrum.podcast@gmail.com Un podcast cinéma produit et réalisé par le Spectrum Intro: Hazebeatzs | Outro: Jeremz Pou | Design Logo: Sebcha

As a standout New York City Ballet dancer from the 1980s through the early 2000s, Damian Woetzel featured in acclaimed productions ranging from Jerome Robbins’s "West Side Story Suite" to George Balanchine’s "Swan Lake." But which ballet was his favorite? Find out on this week’s bonus episode of Table for Two, in which the current Juilliard School president joins host Bruce Bozzi to discuss his biggest pet peeve, the best advice he’s ever received, and his favorite New York City activity.See omnystudio.com/listener for privacy information.

Today, I'm thrilled to announce my interview with theater veteran Michael Berresse. Tune in to hear some of the stories of his legendary career, including his brief moment being directed by Jerome Robbins during FIDDLER ON THE ROOF, the process of bringing TITLE OF SHOW to Broadway, creating his version of “Bianca” in KISS ME, KATE, understudying the lead role in DAMN YANKEES, bringing Bob Mackie to the stage in THE CHER SHOW, how he became artistic director of The Weston Playhouse, staging a revival of THE GOLDEN APPLE at Encores!, his onstage accident during BUSKER ALLEY, the isolation of playing Zach in A CHORUS LINE, auditioning for Ann Reinking for CHICAGO, and so much more. You won't want to miss this in-depth conversation with one of Broadway's best actors and directors.

LEGENDARY TV ACTRESS STEFANI POWERS STEFANI POWERS BIO Biography Stefanie Powers began her career as a teenager dancing for the Michele Paniaff Ballet Company and Jerome Robbins. At 16 she was put under contract to Columbia Pictures in the twilight of the Hollywood Studio System where she made 15 motion pictures and was loaned to United Artists for the John Wayne production of [error]. MGM Television bought her contract from Columbia to present her as The Girl from U.N.C.L.E. (1966). Her television credits include over 200 guest appearances, 18 mini-series and 2 more weekly series, The Feather and Father Gang (1976) and the long-running Hart to Hart (1979). Her long career has included appearances on the stage beginning in 1964 with "Under the Yum Yum Tree" in San Francisco which ran for 12 years after its initial opening. She has appeared on and off Broadway in musical shows and tributes; in the West End in the musical, "Matador" and "Love Letters". Appearances on the British stage included "The King and I", "The Adjustment" and "84 Charing Cross Road." Her stage appearances in the United States include "Annie Get Your Gun", "Oliver", "Applause" (the revival), "Sunset Boulevard" and "Gotta Dance" directed by Jerry Mitchell. In 2018 she appeared in the film The Artist's Wife (2019) with Lena Olin and Bruce Dern and a revival in London of "84 Charing Cross Road." She has an active life in wildlife conservation and is the creator of the William Holden Wildlife Foundation, formed after the death of her long-time life partner William Holden. In that vein she has received numerous fellowships and awards for her tireless field work in conservation and is a faculty member of the Oxford Literary Festival at Christ Church College at Oxford where she heads forums with authors of outstanding books dealing with the crucial environmental issues of our day. She's been on the boards of four zoos in North America and is an independent board member of a cluster of 3 mutual funds which are a part of the American Funds, one of the largest mutual funds families in the world. She presented the PBS 13 part series, "Funding Your Dreams" as a road map for women contemplating investment options. As a member of the Writers' Guild of America she was nominated for her script of "Family Secrets", received five Emmy nominations for acting roles and a People's Choice Award. She resides in Los Angeles, London and Kenya. - IMDb Mini Biography By: Stefanie Powers  

durée : 00:23:41 - "West Side Story", le film de 1961 - L'étoile du jour : le film "West Side Story" de 1961, réalisé par Robert Wise et Jerome Robbins, avec bien sûr la musique de Leonard Bernstein et ses interprètes quasi-légendaires comme Natalie Wood et Rita Moreno.

Send us a textJoin former child star Moosie Drier, and author Jonathan Rosen, as they chat with legendary actor H.M. Wynant and author Steven Peros!H.M. Wynant discusses working with such legends as Jerome Robbins, Laurence Olivier, Katherine Hepburn, and Charlton Heston, how hewas indirectly responsible for the casting of The Honeymooners, working on such classic shows as Batman,  Get Smart, and The Rockford Files, while Steven Peros discusses working with Dolly Parton, his H.M. Wynant biography H.M. Wynant: You Must Believe, & much more!Support the show

Send us a textJoin former child star Moosie Drier, and author Jonathan Rosen, as they chat with legendary actor H.M. Wynant and author Steven Peros!H.M. Wynant discusses working with such legends as Jerome Robbins, Laurence Olivier, Katherine Hepburn, and Charlton Heston, how hewas indirectly responsible for the casting of The Honeymooners, working on such classic shows as Batman,  Get Smart, and The Rockford Files, while Steven Peros discusses working with Dolly Parton, his H.M. Wynant biography H.M. Wynant: You Must Believe, & much more!Support the show

Stefanie Powers began her career at age 15, dancing for famed Broadway choreographer, Jerome Robbins. She was put under contract to Columbia Pictures in the final years of the Hollywood star system. While under contract, she appeared in 15 of the 31 motion pictures she has made, co-starring with screen legends such as; John Wayne, Maureen O'Hara, Lana Turner, Ava Gardner, Cliff Robertson, Elliot Gould, Roger Moore, Donald Sutherland, Bing Crosby, Glenn Ford, Lee Remick, James Caan and Sammy Davis. She recently co-starred with Richard Chamberlin in the critically acclaimed independent film, THREE DAYS OF HAMLET. Her first television series, "The Girl From U.N.C.L.E.," marked a milestone in U.S. television's history as the first hour long series featuring a female in the leading role. Her television career includes over 25 mini-series, over 200 episodic guest starring appearances, 35 movies for television and two more television series, "Feather and Father" and the long running "Hart to Hart," starring opposite Robert Wagner, now celebrating its 45th anniversary. She became a member of the Screen Writers' Guild of America in the 1980s and has produced several of the screenplays she has written, one of which, "Family Secrets," was not only a stepping stone for the careers of James Spader and Gary Sinise but it garnered her a nomination for the best screenplay of the year by her peers in the Writers' Guild. Her writing has extended itself to a memoir called, One From The Hart, published by The Robson Press. Throughout her career she has never neglected her theatrical roots, appearing in productions of; How the Other Half Loves, Under the Yum Yum Tree, Sabrina Faire, A View From the Bridge, Oliver, Annie Get Your Gun, the West End debut of Matador, off-Broadway in The Vagina Monologues, back to the West End with Robert Wagner in Love Letters, which they also toured the United States with, becoming the cast most associated with the play after over 500 performances. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

Curtain up on the 50th deep dive of KNOW THE SHOW as Anika and Michael delve into GYPSY, widely considered to be the greatest musical of all time.

The original production of Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky on the Rite of Spring.  No Broadway show had ever been so gritty, so tragic, and so raw.  The first performances of Westside Story were done against the backdrop of a rise in gang violence in New York City.  The socio-economic aspects of the show were evident to everyone who watched it, and I always like to remind people that the location where Bernstein, Arthur Laurents, who adapted Shakespeare's Romeo and Juliet for this show, and Sondheim imagined the story taking place is where Lincoln Center now sits, a seat of opulence and extravagance. Simply put, this was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  Today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story, an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

Dance Talk” ® with Joanne Carey and special guest, Artistic Director & CEO, Christine Cox, Ballet X In this episode of “Dance Talk” ® with Joanne Carey, join host Joanne Carey as she chats with Special Guest, Christine Cox,  Artistic and Executive Director of Ballet X. Together they discuss Christine's journey in the dance world, the founding of Ballet X, and its mission. Christine also shares about her love of music and how it plays an integral role in her artistry. The conversation also touches on the outreach and education programs Ballet X is known for within the community and the dance world. Together they also discuss the life skills that dance instills in individuals. Christine emphasizes the importance of supporting artists and the community and its the value of dance in society.  Check out this episode, it wont disappoint and neither will the company's upcoming season! Christine Cox Cox was a full-time company member with Pennsylvania Ballet from 1993 until her retirement from the stage in 2006. She trained in classical ballet at the Pennsylvania Ballet School and continued at the Performing Arts School of Philadelphia, spending summer sessions at the Joffrey and San Francisco Ballet schools. Some of her featured roles included Rum and Coca Cola in Paul Taylor's Company B, Eve in Margo Sappington's Rodin, Mis En Vie the Cowgirl in Agnes DeMille's Rodeo, and principal female roles in Jerome Robbins' Fancy Free and The Concert. During this time, Cox served for ten years as the rehearsal assistant of the children's corp for Pennsylvania Ballet's annual production of Balanchine's The Nutcracker. Prior to joining the Pennsylvania Ballet, she danced with BalletMet (Columbus, OH), as a guest artist with Ballet Hispanico (New York, NY), and with the American Repertory Ballet (Princeton, NJ). Cox is the proud mother of two young boys, Warren and Wesley. For Information on Ballet X https://www.balletx.org/about-us/staff/christine-cox/ YOUTUBE ⁠https://youtu.be/ABCFzZ83Voc And follow “Dance Talk” ® with Joanne Carey wherever you listen to your podcasts.  https://dancetalkwithjoannecarey.com/ Tune in. Follow. Like us. And Share.  Please leave us review about our podcast!  “Dance Talk” ® with Joanne Carey  "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

Carol Ziske is an accomplished theatre director, choreographer, and actor with over five decades of professional experience in the industry. They have numerous acting credits on Broadway, Off-Broadway, regional theatre and national tours. She has starred alongside the likes of John Lithgow, Jerry Zaks, Bob Gunton, Beth Fowler, Robert Morse, Rudy Valee, Rita Rudner, Chip Zien, Ron Holgate, and F. Murray Abraham. Additionally, I have worked with notable directors including Jerome Robbins, Joseph Hardy, Patricia Birch, and John Bowab. Carol is a recipient of the Colgate Palmolive Achievement Award and the New Jersey Drama Critics Award. They are directing a production of One Touch of Ava this summer at Ivoryton Playhouse as well as a series of workshops for the musical, Hurricane Jimmy later in 2023. William Linster is a Connecticut native and New York-based pianist, composer, music director, and arranger. Having been playing since the age of two and performing professionally since the age of seven, William has an extensive background in classical training, as well as in jazz and other contemporary styles. A graduate of the world-renowned New School For Jazz And Contemporary Music, William has studied and worked with some of the greatest musicians in the world, including Grammy® nominees Bobby Sanabria, Dave Douglas, Charles Tolliver, Cecil Bridgewater, and Andy Mckee, as well as Grammy® winners Bill Kirchner, Robert Sadin, and Hank Schocklee (Rock and Roll Hall Of Fame Inductee, Public Enemy). As an accompanist and session musician, he has worked with artists such as Katie Stevens (American Idol, The Bold Type), Coyle Girelli (Your Vegas, The Chevin), Ron McClure (Blood, Sweat & Tears), R&B hitmaker James "D-Train" Williams, and numerous other Broadway stars and opera singers. Upon first working with William, the late acclaimed librettist Roger O. Hirson (Tony Award®-nominee, Pippin) simply said, "He's a genius." He made his Carnegie Hall debut at age 16, and was featured on NBC Nightly News at 17 while at the Havana International Jazz Festival in Cuba. William is also a trained vocalist, in addition to having received training on violin, trumpet, clarinet, mallet percussion, concert percussion, drums and handbells. He recently served as the Music Director for the Off-Broadway production of Fringe Deaths (2019). William is currently in the process of developing four full-length musicals he wrote with late Hollywood screenwriter, Lawrence Alexander (Charlie's Angels, CHiPs, Barnaby Jones). He was recently named a 2022 Jonathan Larson Grant Finalist by American Theatre Wing. The musical centers around Quentin Roosevelt, the youngest son of Theodore Roosevelt, who embarks on a forbidden romance with Flora Payne Whitney, a wealthy heiress from a different social sphere. The Roosevelts, renowned for their political activism and their role in trust-busting (which significantly impacted the Whitney family's wealth), stand in stark contrast to the reserved Whitneys, who are determined to avoid scandal of any kind. The story follows Quentin as he navigates the pressures of familial expectations, personal ambition, and the looming shadow of war. Through a mix of historical events and artistic interpretation, the musical delves into themes of heroism, love, and the impact of war on individuals and their families. Quentin weaves together dramatic scenes, emotional soliloquies, and powerful musical numbers to create a moving portrait of a young man caught between personal desire and duty, love and loss, and the enduring question of how to make one's mark in the shadow of a powerful legacy.

We're joined this week by Chloe Angyal, author of the widely regarded ballet book, Turning Pointe. Chloe addresses such issues as the "ballet brain" and how if affects dancers' willingness to accept problematic practices in the ballet world. We also discuss why she thinks ballet is in crisis, including how we tend to gloss over the authoritarian parts of the art, why claiming traditionalism is actually antithetical to the history of ballet and why she's cautiously optimistic about ballet's future.   Learn more about Chloe: Website Books Instagram: @Chloe.Angyal.writes Links: Ballet Help Desk Support Ballet Help Desk Instagram: @BalletHelpDesk Facebook: BalletHelpDesk Music from #Uppbeat: https://uppbeat.io/t/ian-aisling/new-future License code: MGAW5PAHYEYDQZCI

The Swans of Harlem: Five Black Ballerinas, Fifty Years of Sisterhood, and the Reclamation of Their Groundbreaking History   By:  Karen ValbyThe forgotten story of a pioneering group of five Black ballerinas, the first principals in the Dance Theatre of Harlem, who traveled the world as highly celebrated stars in their field and whose legacy was erased from history until now.At the height of the Civil Rights movement, Lydia Abarça was a Black prima ballerina with a major international dance company—the Dance Theatre of Harlem. She was the first Black ballerina on the cover of Dance magazine, an Essence cover star, cast in The Wiz  and on Broadway with Bob Fosse. She performed in some of ballet's most iconic works with her closest friends—founding members of the company, the Swans of Harlem, Gayle McKinney, Sheila Rohan, Marcia Sells, and Karlya Shelton—for the Queen of England and Mick Jagger, with Josephine Baker, at the White House, and beyond.Some forty years later, when Lydia's granddaughter wanted to show her own ballet class evidence of her grandmother's success, she found almost none, but for some yellowing photographs and programs in the family basement. Lydia had struggled for years to reckon with the erasure of her success, as all the Swans had. Still united as sisters in the present, they decided it was time to share their story themselves.Captivating, rich in vivid detail and character, and steeped in the glamor and grit of professional ballet, The Swans of Harlem  is a riveting account of five extraordinarily accomplished women, a celebration of their historic careers, and a window into the robust history of Black ballet, hidden for too long. During Covid, five ballerinas met weekly on Zoom and formed the 152nd Street Black Ballet Legacy Council. Karen Valby joined them and wrote their story “Karen Valby's The Swans of Harlem brings to life the stories of Black dancers whose contributions to the world of ballet were silenced, marginalized, and otherwise erased. Karen introduces readers to important figures of our past, while inspiring us to courageously chase our dreams.”Misty Copeland“These five original Dance Theatre of Harlem ballerinas fell in love with an art form that most of America believed was white and should remain so. Upon Arthur Mitchell's founding of an all-Black company in 1969, they eagerly took their places at the barre and challenged themselves to the utmost. They triumphed. They showed that Blacks could not only excel at classical ballet but could also shape the art in their own vibrant image. Karen Valby weaves their stories together as a choreographer would: the women form an ensemble, yet each gets her own riveting solo. It's thrilling to watch as they join forces at last and claim their unique place in American ballet's past, present and future.”—Margo Jefferson152nd Street Black Ballet Legacy FoundationThe 152nd St. Black Ballet Legacy is an independent non-profit organization created by five trailblazing Black ballerinas.  Their professional careers began at the founding of Dance Theatre of Harlem, where their sisterhood was born.  They have enjoyed and nurtured their sisterhood for over 50 years and continue to thrive for the sake of preserving our their rich history.Lydia Abarca Mitchell is a founding member of the Dance Theatre of Harlem and their first prima ballerina. She danced leading roles in George Balanchine's Agon, Bugaku, Concerto Barocco, Allegro Brillante, Tchaikovsky Pas de Deux, and Swan Lake, Jerome Robbins' Afternoon of a Faun, Ruth Page's Carmen and Jose, William Dollar's Le Combat, and Arthur Mitchell's Ode to Otis, Holberg Suite, and Biosfera. She was featured on the cover of DanceMagazine, in the movie The Wiz, and on Broadway in Bob Fosse's Dancin'.  It was a stunning career on the world stage.Karen Valby Author of Welcome to Utopia, and contributor to The New York Times; O, The Oprah Magazine; Glamour; Fast Company; and Entertainment WeeklyDance Theater of HarlemThe Dance Theater of Harlem was founded in 1969, during the Civil Rights movement by Arthur Mitchell and Karel Shook.Harlem School of the ArtsElizabeth Howard, Producer and Host of the Short Fuse Podcast Elizabeth Howard is the producer and host of the Short Fuse Podcast, conversations with artists, writers, musicians, and others whose art reveals our communities through their lens and stirs us to seek change. Her articles related to communication and marketing have appeared in European Communications, Investor Relations, Law Firm Marketing & Profit Report, Communication World, The Strategist, and the New York Law Journal, among others.  Her books include Queen Anne's Lace and Wild Blackberry Pie, (Thornwillow Press, 2011), A Day with Bonefish Joe (David Godine, 2015) and Ned O'Gorman:  A Glance Back (Easton Studio Press, 2016). She leads reading groups at the Center for Fiction in Brooklyn, New York.  @elizh24 on Instagram     

THE KING AND I  Music by Richard Rodgers | Book & Lyrics by Oscar Hammerstein II | Based on Anna and the King of Siam by Margaret Landon | Original Choreography by Jerome RobbinsWorks Consulted & Reference :The King and I (Original Libretto)Something Wonderful: Rodgers and Hammerstein's Broadway Revolution by Todd S. PurdumMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Hello, Young Lovers" from  The King and I (The 2015  Broadway Cast Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Kelli O'Hara, Ted Sperling, Orchestra"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff

West Side Story's origins as a Tony award-winning stage musical based on Romeo and Juliet meant it was ripe for a film adaptation. Stage director and choreographer Jerome Robbins was set to co-direct with Oscar-winning director Robert Wise; it would be written for the screen by Ernest Lehman, retaining the beautiful score, songs and lyrics by Leonard Bernstein and Stephen Sondheim.Wise would direct the dramatic scenes, and Robbins the musical sequences, in a lavish, expensive adaptation, shot on 70mm film. Robbins was a notorious perfectionist, often making the dancers vomit due to exhaustion and dehydration, injuries on set were rife, and his repeat takes meant the production ended up almost a month behind schedule. Those weren't the only issues, though; the actors playing Puerto Ricans were forced to wear brownface, and Natalie Wood, who played Maria, despised her co-star Richard Beymer, who played Tony. Robbins was unceremoniously fired from the production, but his contribution would lead to him receiving a co-director credit, and an Oscar win. West Side Story would win 10 out of the 11 Oscars it was nominated for, including Best Supporting Actress for Rita Moreno, the first Latina to win an Academy Award.Moreno would return to West Side Story sixty years later, as an executive producer on Steven Spielberg's new lavish adaptation of the original stage musical, as well as starring in a new role as Valentina. Gone were the brownface and white actors playing Puerto Ricans. A contemporary story from the early 60s about bigotry and xenophobia, patriotism and cultural divides would become a period piece about bigotry and xenophobia, patriotism and cultural divides, and a long-time passion project for Spielberg.Its release would be postponed by the Covid-19 pandemic, but while it would lead to a box office disappointment, it would also lead to the first Afro-Latina, and first queer woman of colour, to win an Academy Award; for the same role that Rita Moreno played sixty years prior... I would love to hear your thoughts on West Side Story (1961) & West Side Story (2021) !CONTACT.... Twitter @verbaldiorama Instagram @verbaldiorama Facebook @verbaldiorama Letterboxd @verbaldiorama Email verbaldiorama [at] gmail [dot] com Website verbaldiorama.comSUPPORT VERBAL DIORAMA....Give this podcast a five-star Rate & Review Join the Patreon | Send a Tip | Buy Merch ABOUT VERBAL DIORAMAVerbal Diorama is hosted, produced, edited, researched, recorded and marketed by me, Em | This podcast is hosted by Captivate, try it yourself for free. Theme Music: Verbal Diorama Theme Song. Music by Chloe Enticott - Compositions by Chloe. Lyrics by Chloe Enticott (and me!) Production by Ellis Powell-Bevan of Ewenique StudioPatrons: Simon E, Sade, Claudia, Simon B, Laurel, Derek, Vern,...

Today, I'm thrilled to announce my interview with Tony-winning director/choreographer Jerry Mitchell. Tune in for a conversation about his three current projects, Boop!, The Devil Wears Prada, and Becoming Nancy, as well as some fantastic stories and insights from his legendary career, including how Broadway Bares led to his Broadway debut, what it was like being fought over by Lauren Bacall and Ann Miller, why Michael Bennett's musical Scandal never came to fruition, the inspiration for the conga line in On Your Feet!, how he cast Jasmine Amy Rogers in Boop! and Laura Bell Bundy in Legally Blonde, the direct line from Jack O'Brien to him to Sergio Trujillo, his earliest musical Aesop's Fallibles, using treadmills onstage in Kinky Boots, why he doesn't like doing revivals, creating dances for non-dancers in The Full Monty, the ins and outs of the 2-year rehearsal process for Jerome Robbins' Broadway, and so much more. You won't want to miss this in-depth interview with one of the most influential figures in theater today.

This is part of a series about movies from 1971. ***Referenced media:“The Big Doll House” (Jack Hill, 1971)“Jurassic Park” (Steven Spielberg, 1993)“The X-Files” (Chris Carter, 1993-2002, 2016-2018)“Dr. Strangelove or: How I Learned to Stop Worrying and Love the Bomb” (Stanley Kubrick, 1964)“Wag the Dog” (Barry Levinson, 1997)“Natural Born Killers” (Oliver Stone, 1994)“Citizen Kane” (Orson Welles, 1941)“Magnificent Ambersons” (Orson Welles, 1942)“It's All True” (Orson Welles, 1941-1942)“The Sound of Music” (Robert Wise, 1965)“West Side Story” (Robert Wise and Jerome Robbins, 1961)“The Day the Earth Stood Still” (Robert Wise, 1951)“Airport” (George Seaton, 1970)“Stunt Rock” (Brian Trenchard-Smith, 1978)“Star Wars: Episode IV – A New Hope” (George Lucas, 1977)“Plato's Stepchildren” (David Alexander, 1968), November 22, 1968, Episode 10 of Season three of “Star Trek” (Gene Roddenberry, 1966-1969)“The Thing from Another World” (Christian Nyby, 1951)“Wanda” (Barbara Loden, 1971)“Get Carter” (Mike Hodges, 1971)“THX 1138” (George Lucas, 1971)“Summer of '42” (Robert Mulligan, 1971)“Sweet Sweetback's Baadasssss Song” (Melvin Van Peebles, 1971)Audio quotation:“The Andromeda Strain” (Robert Wise, 1971)Theme from “The X-Files” (Chris Carter, 1993-2002, 2016-2018), written by Mark Snow, https://www.youtube.com/watch?v=v4-GcS1UQyg“RUMSFELD / KNOWNS” https://www.youtube.com/watch?v=REWeBzGuzCc

This week I chat with Patrick Pacheco who helped the late Chita Rivera write her autobiography - Chita: A Memoir. Dolores Conchita Figueroa del Rivero – Chita – created some of Broadway's most iconic roles, including Anita in West Side Story‚ Rosie in Bye Bye Birdie, Velma in Chicago, Aurora in Kiss of the Spider Woman, and Claire in The Visit. Patrick and I talk about these shows and such luminaries as John Kander, Fred Ebb, Bob Fosse, Jerome Robbins, Hal Prince, Judy Garland, Liza Minnelli, Sammy Davis Jr., Gwen Verdon, and more.

Ticket Link for Backstage Babble Celebrates Joe Allen Restaurant: https://54below.org/events/backstage-babble-celebrates-joe-allen-restaurant/ Today, I'm thrilled to announce my episode with legendary theater critic Frank Rich, who served as the chief theater critic of the New York Times from 1980-1993. Tune in today to hear some of the stories of his great career, including championing August Wilson, making up with Robert Brustein, watching Jerome Robbins stage the second act of FIDDLER ON THE ROOF, the changes made to the second act of THE ODD COUPLE out of town, his thoughts on the decreasing power of theater criticism in affecting the success of a show, working with Boris Aronson on a book about his work, why he tried not to think about the influence he had on shows, what he learned from Walter Kerr and Kenneth Tynan, what musicals he chooses to see today, working with theater actors on SUCCESSION, the giveaway that a critic didn't personally like a show, and so much more. You won't want to miss this conversation with a greatly influential figure in so many fields. 

George Chakiris' reclusive reputation has made him highly sought for interviews. Now, as he prepare to release his memoirs, entitled "MY WEST SIDE STORY," he opens up about life in and out of the spotlight.Natalie Wood and “lovely” Richard Beymer, to the mercurial Jerome Robbins and “passionate” Rita Moreno, with whom Chakiris remains friends. “I know exactly where my gratitude belongs,” Chakiris writes, “and I still marvel at how, unbeknownst to me at the time, the joyful path of my life was paved one night in 1949 when Jerome Robbins sat Leonard Bernstein and Arthur Laurents down in his apartment and announced, 'I have an idea.'"Academy Award & Golden Globe winner, George Chakiris, is perhaps best known internationally for his role of Bernardo in West Side Story. In Nov of 2012, Chakiris received what many refer to as the highest honor in Hollywood - His Hand & Foot Prints were placed in cement for all history in connection with the 50th anniversary of classic film West Side Story which premiered at Grauman's over 50 years ago. George Chakiris was born in Norwood, Ohio. He is the son of Steven and Zoe Chakiris. They were immigrants from Greece. A graduate of the American School of Dance, Chakiris recalls the early days of passing the Grauman's Chinese Theatre, “where the worlds most glamorous people were seen,” never thinking that one day he would be attending his own premiere for “Westside Story” (For which he received a Golden Globe and an Academy AwardBecome a supporter of this podcast: https://www.spreaker.com/podcast/night-dreams-talk-radio--2788432/support.

GGACP celebrates the birthday (b. January 30) of a friend of the podcast, veteran character actor Gino Conforti ("Three's Company," "That Girl," "Man of La Mancha") with this ENCORE of an entertaining interview from 2018. In this episode, Gino talks about the life of a "journeyman" actor and looks back on his working relationships with Lucille Ball, Sammy Davis Jr., Zero Mostel, Debbie Reynolds and Orson Welles. Also, Sophia Loren takes a spill, Jerome Robbins takes a powder, Jonathan Winters comes to dinner and Gilbert and Gino remember the late, great John Ritter. PLUS: "Bungle Abbey"! Uncle Carl Laemmle! In praise of Tom Hanks! Gino "befriends" Sally Field! And the Golden Helmet of Mambrino!  Learn more about your ad choices. Visit megaphone.fm/adchoices

GGACP celebrates the birthday (b. January 30) of a friend of the podcast, veteran character actor Gino Conforti ("Three's Company," "That Girl," "Man of La Mancha") with this ENCORE of an entertaining interview from 2018. In this episode, Gino talks about the life of a "journeyman" actor and looks back on his working relationships with Lucille Ball, Sammy Davis Jr., Zero Mostel, Debbie Reynolds and Orson Welles. Also, Sophia Loren takes a spill, Jerome Robbins takes a powder, Jonathan Winters comes to dinner and Gilbert and Gino remember the late, great John Ritter. PLUS: "Bungle Abbey"! Uncle Carl Laemmle! In praise of Tom Hanks! Gino "befriends" Sally Field! And the Golden Helmet of Mambrino!   Learn more about your ad choices. Visit megaphone.fm/adchoices

West Side Story is a 1961 American musical romantic drama film directed by Robert Wise and Jerome Robbins. The film is an adaptation of the 1957 Broadway musical of the same title. The music was composed by Leonard Bernstein, with lyrics by Stephen Sondheim.

In which the Musical Man pays for Mr. Monotony's high button shoes on a Sunday by the sea in New York, New York. Donate today via Patreon: patreon.com/musicalmanpod / Podbean: musicalmanpod.podbean.com / Email: musicalmanpod@gmail.com

This is the second half of my conversation with author Liza Gennaro, whose fascinating book is titled: Making Broadway Dance.  If you missed part one you may want to catch up on that episode before listening to this one. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and she also has had a very active and successful career as a dancer and choreographer. Interestingly, she is closely related to this subject matter of her book because her father was the Tony Award winning choreographer and star dancer, Peter Gennaro. He is profiled in the book as well as in this episode. By the end of Part 1, we had made it to the late 1940s when Agnes de Mille was dominating the field of Broadway choreography. Between 1943 and 1945, De Mille had four hits in a row – Oklahoma!, One Touch of Venus, Bloomer Girl, and Carousel – and three of them choreographed in her signature “Americana” style. This unprecedented string of successes made her the most powerful choreographer in the commercial theater, and soon led to her becoming the first director-choreographer of the “Golden Age” with Rodgers & Hammerstein's Allegro. De Mille's most significant contribution to the Broadway Musical was breaking the mold of the traditional Broadway chorus girl by insisting on hiring actor/dancers who could fully embody the characters that they were playing.  This new approach to Broadway dance, and this new kind of Broadway dancer, would be adopted by everyone who followed in her footsteps – especially Jerome Robbins – who years later would write, “Agnes broke the conception of what the Broadway dancer could be in the Broadway Musical. What they looked like, what was desired of them, and what their contribution to the show was.” And, as you will hear, Robbins took that idea and ran with it, just as De Mille's “Americana” style was starting to lose its luster. That's just the beginning Later in the episode Liza and I discuss Michael Kidd, Bob Fosse, Gower Champion, Michael Bennett, Graciela Daniele, Susan Stroman, Kathleen Marshall, Bill T. Jones, Stephen Hoggett, Lorin Latarro, Kelly Devine, Sergio Trujillo, Jerry Mitchell and more! Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as John Schroeder and Alan Brodie whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

City Ballet The Podcast launches this season with a new Hear the Dance conversation, guest hosted by Silas Farley, who is joined by three generations of dancers who are well acquainted with Jerome Robbins' In the Night. Former Principal Dancer Kay Mazzo originated the lead role in the ballet's first movement, about "young love"; Repertory Director Christine Redpath took over coaching the ballet from colleague Victor Castelli; and Principal Dancer Unity Phelan is performing the lead role in the tempestuous third movement. As they discuss, In the Night's power resides in its effective representation of human relationships and what the choreography reveals of its dancers' inner lives; in Unity's words, "You get to really be yourself—to dig down inside yourself and find something you didn't know you had." (46:54) Written by Silas Farley Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Nocturne Opus 27, No. 1 (1835); Nocturnes Opus 55, No. 1 and No. 2 (1843); Nocturne Opus 9, No. 2 (1830-1831) for solo piano by Frédéric Chopin All music performed by the New York City Ballet Orchestra Reading List:  Somewhere: The Life of Jerome Robbins by Amanda Vaill Jerome Robbins, by Himself: Selections from His Letters, Journals, Drawings, Photographs, and an Unfinished Memoir by Jerome Robbins, Edited by Amanda Vaill Jerome Robbins: A Life in Dance by Wendy Lesser Fryderyk Chopin: A Life and Times by Alan Walker Ballerina: A Biography of Violette Verdy by Victoria Huckenpahler Far from Denmark by Peter Martins

We're back! Welcome to Season 10! Leonard Bernstein to his wife: "These days have flown so -- I don't sleep much; I work every -- literally every -- second (since I'm doing four jobs on this show -- composing, lyric-writing, orchestrating and rehearsing the cast). It's murder, but I'm excited. It may be something extraordinary. We're having our first run thru for PEOPLE on Friday -- Please may they dig it!."  Westside Story ran for 732 performances, spawned a movie that won 11 Academy Awards, and is still a go to on every list of the greatest Broadway Musicals ever written.  The collaboration between Leonard Bernstein, Stephen Sondheim, and Jerome Robbins was a revolution on par with the collaborations of Stravinsky, Diaghilev, and Nijinsky with the Rite of Spring.  Simply put, no Broadway show had ever been so gritty, so tragic, and so raw. This was a musical, a comedy, a tragedy, a political statement, and most importantly, a stunningly revolutionary work of art by these collaborators.  And today, I want to tell you about the music, and more specifically, the Symphonic Dances from Westside Story; an arrangement that Bernstein made with his colleague Sid Ramin 3 years after the show's premiere.  The Symphonic Dances brought Bernstein's electric music from the theatre to the concert stage, and it's stayed there ever since.  So today, we'll go through each number, talking about just what makes this music so great, and also about the show itself - its background, its production, and the issues that Bernstein, Laurents, Sondheim, and Robbins were trying to tackle, all through the eyes of a tale of woe about Juliet and her Romeo, or of course, Maria and Tony. Join us!

“I remember an agent saying to me: ‘You're not pretty, you're not fat – I don't know what to do with you.'… They still don't know what to do with me.” – Nana VisitorAll-New 8TL Pop-Up Series - "Star Trek Ladies". Explore out-of-this-world conversations with and about the women of the Star Trek universe! Sharon and Susan begin with Nana Visitor, who starred as “Kira Nerys” on the classic television series Star Trek: Deep Space Nine.In Part One of a two-part conversation, Nana talks about her early days as a Broadway dancer in the 70's, and starring in 80's TV favorites such as Remington Steele, Scarecrow & Mrs. King, Matlock, Hunter, Knight Rider, MacGyver, Highway to Heaven, and In The Heat Of The Night.THE CONVERSATIONA Dancer's Life: Growing up with Jerome Robbins, Gwen Verdon and Bob Fosse dancing around your parent's apartment!All That Jazz – singing, acting and dancing with Bob Fosse -- and the life-changing advice he gave her about doing drugs.What is it like kissing your best friend's husband for a guest role in 1991's Baby Talk – especially when it's George Clooney?Riding horses for years on Wildfire… even though she's terrified of horses!Vixen, Murderer or Dead Body – Nana has played them all. But which one is almost always blonde?Getting a warm welcome on the Remington Steele set – from Stephanie Zimbalist and especially Pierce Brosnan!So join Susan, Sharon – and Nana – as they talk It's A Living, Angela Lansbury, Ryan's Hope, Kate Jackson – and “dancing through the pain”….AUDIOGRAPHYSharon's favorite: Watch Deep Space Nine on Paramount+.Susan's favorite: Own the OG Star Trek Original Series on Special Edition DVD. Find Nana Visitor on Instagram and Twitter. Keep the Holiday fun going: Susan, Sharon, Melissa and 90s TV Baby Serita Fonanesi recorded a hilarious live watch-thru of Lifetime's Ladies of the 80's: A Diva's Christmas!Try it for FREE ON PATREON!CONNECTRead transcripts and more at 80sTVLadies.com.Sign up for the 80s TV Ladies mailing list.Follow 8TL on Facebook.Check out Instagram/80sTVLadies.Get ad-free episodes and exclusive videos on PATREON.Find more cool podcasts at our host sight, Weirding Way Media.LISTENER FEEDBACKSend us a message on our 8TL website:What Star Trek Lady should we cover next?Who is your favorite Star Trek Lady?And what is your favorite show or movie in the Star Trek universe/franchise?HAPPY NEW YEAR! Let's get more out of 2024.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement

Our esteemed guest is Jack Noseworthy, long-time veteran on Broadway, TV, and film, to talk about his career and his process as an actor. He also is a Individual Giving Officer for Broadway Cares/Equity Fights AIDS. Since 1988 they have led the fight against AIDS, becoming the nation's leading industry-based nonprofit AIDS fundraising and grant-making organizations. They have raised over $300 million dollars to fight AIDS, as well as COVID-19 and other illnesses.Noseworthy also formed Truworthy Productions with his husband, Tony-award winning choreographer Sergio Trujillo, and they are producing a stage production of the 2002 hit film "Real Women Have Curves". The show opened December 2023 at the American Repertory Theater in Cambridge Massachusetts, and they aim to open on Broadway within the near future.For more about Broadway Cares and how to donate, go to https://broadwaycares.orgFor more about Jack's production company and their shows, go to http://www.truworthy.comInstagram @jack_noseworthyFor more info on Athletes and the Arts, go to https://athletesandthearts.comBio: Jack Noseworthy is the co-founder of Truworthy Productions along with Tony and Olivier Award-winning Director/Choreographer Sergio Trujillo. In their Truworthy venture, Jack is passionate about bringing authentic, diverse, and socially conscious works of theater, film, and television to life. He is an acclaimed producer and dynamic, experienced fundraiser on the Major Gifts team at Broadway Cares/Equity Fights AIDS, where he successfully collaborates with colleagues, helping to grow and steward relationships for their annual giving society, the Angels, and Visionary Circle, responsible for raising $4M of the foundation's annual budget. In addition, Jack manages the Broadway Cares NextGen Network—creating giving opportunities for young professionals with a passion for giving back to the community. In partnership with seven-time Tony winning legendary producers Fran & Barry Weissler, Jack is the lead producer on Lisa Loomer's new musical Real Women Have Curves, with music and lyrics by seven-time Grammy award winning artist Joy Huerta (Jesse & Joy) and her partner Fred Ebb/ Jonathan Larson recipient Benjamin Velez. Real Women Have Curves – The Musical will premiere at The American Repertory Theater (A.R.T.) in December 2023. For A.R.T., Jack also produced Arrabal (Elliot Norton Award for Best Production and Gala Production at the Ibero- American Theater Festival in Bogotá, Colombia). Jack produced Playbill's ¡Viva Broadway! Hear Our Voices concert for The Broadway League, Voices for Change at Ars Nova, as well as NextGen Spotlight and Home for the Holidays for Broadway Cares/Equity Fights AIDS, raising over $350k for artists struggling during the Covid-19 pandemic. His producing career has been bolstered by 33 years as a stage and screen actor. Jack made his Broadway debut in Jerome Robbins' Broadway, which was followed by Cats, A Chorus Line, Sweet Smell of Success, and the original Toronto company of the international hit, Come From Away. Some of his favorite screen credits include his debut in Encino Man, as well as ALIVE, Event Horizon, The Brady Bunch Movie, Undercover Brother, Cecil B. Demented, Killing Kennedy, and several Jonathan Mostow films including Surrogates, Breakdown, and U-571. His television credits include Elvis, Mrs. Cage, Shades of Blue, CSI, Judging Amy, Crossing Jordan, Law & Order, Law & Order SVU, and Dead at 21. Jack received his Master's Degree in Performing Arts Administration from New York University and is a proud graduate of The Boston Conservatory at Berklee as well as the Commercial Theatre Institute.

On the morning of November 14th, 1943, Leonard Bernstein, the talented 25-year-old assistant conductor of the New York Philharmonic, got a phone call saying he would at last be leading the respected orchestral group — in six hours, that afternoon, with no time to rehearse.The sudden thrust into the spotlight transformed Bernstein into a national celebrity. For almost five decades, the wunderkind would be at the forefront of American music, as a conductor, composer, virtuoso performer, writer, television personality and teacher.He would also help create the most important Broadway musicals of the mid-20th century — On The Town, Wonderful Town and West Side Story. These shows would not only spotlight the talents of its young creator. They would also spotlight the romance and rhythm of New York City.Bernstein is one of New York's most influential cultural figures. He spent most of his life in the city, and that's the focus of today's story – Leonard Bernstein's New York.The new film Maestro, starring Bradley Cooper and Carey Mulligan, focuses on Bernstein's personal story and intimate life. That specific angle is not our objective today – for the most part. We're looking at the relationship between the creator and his urban inspiration. Where did Bernstein make his name in New York City and how did his work change the city?FEATURING The Village Vanguard, City Center, Carnegie Hall, the old Metropolitan Opera and the Dakota ApartmentsAnd co-starring Jerome Robbins, Aaron Copland, Stephen Sondheim, Comden and Green, Lauren Bacall, Tom Wolfe of course Felicia MontealegreVisit the website for more information and images Music snippet information“On The Town: Act I: Opening: New York, New York” (Studio Cast Recording 1961)CBS Broadcast, Manfred Overture, Op 115 (New York Philharmonic)“Joan Crawford Fan Club” The RevuersSymphony No. 1 Jeremiah (New York Philharmonic)CBS Broadcast, Don Quixote, Fantastic Variations on a Theme of Knightly Character, op. 35 (New York Philharmonic)Fancy Free Ballet_ VII. FinaleI Get Carried Away, On The TownChristopher Street (From Wonderful Town Original Cast Recording 1953)On the Waterfront Main Title (Revised)Candide, Act II - No. 31, Make Our Garden Grow (Finale)West Side Story_ Act II_ SomewhereSymphonic Dances from West Side StorySamuel Barber, Adagio for Strings, Op. 11 (New York Philharmonic)Leonard Bernstein - Young People's Concerts - What Does Music Mean? (1958) Kaddish, Symphony No. 3 (To the Beloved Memory of John F. Kennedy)  I. Invocation - Kaddish 1The Ladies Who Lunch / Company Original Broadway CastMass - Hymn and Psalm_ A Simple Song Dybbuk Suite No. 2 - Leah  (New York Philharmonic)Leonard Bernstein and Shirley Verrett at GMHC Circus Benefit, Madison Square GardenMahler - Symphony No.5 (New York Philharmonic)

Hello Broadway Nation listeners! This week for the first time in more than 126 episodes some unforeseen technical complications have reared their ugly heads and those, on top of the tech rehearsals for the upcoming production of White Christmas that I am co-directing at Seattle's 5th Avenue Theatre, and some important deadlines for my upcoming book, have all come together and kept me from posting a new episode of this podcast as planned. This is especially frustrating to me because we are in the middle of what I think is a fantastic series of episodes about Oliver Soden's new biography of Noel Coward which I promise we will get back to as soon as possible! In the meantime, here is another of my favorite episodes Gypsy vs The Sound Of Music in The Golden Age Of Broadway which I thought would be appropriate since the The Sound Of Music opened on November 16, 1959, 63 years ago this week. Enjoy! The 1950s were crowned by four legendary musicals that went head to head for the “Best Musical” prize at the TONY Awards. In the last episode we looked at the 1958 contest of West Side Story vs. The Music Man,. In this episode I focus on the 1959–1960 which brought us Gypsy vs. The Sound Of Music. And you could subtitle this episode Ethel Merman vs. Mary Martin! Spoiler alert: There was a tie for the Best Musical Tony Award that season, but if you don't already know the story, it probably didn't end up the way you think it would have. As with the previous pair, there are still Broadway mavens that remain outraged over which show won, and which musical was in their view unjustly denied its rightful award! And in addition to Merman and Martin, the giants of Broadway that are figure significantly in this episode include: David Merrick, Leland Hayward,, July Styne, Stephen Sondheim, Arthur Laurents, Jerome Robbins, Joe Layton and, of course, Rodgers & Hammerstein, WARNING:: There are a few historically correct curse words used in this episode. You know how theater people are! Learn more about your ad choices. Visit megaphone.fm/adchoices

It is impossible for me to overstate how special it was to speak with Austin Pendleton. An actor's actor, playwright, director, and a wonderfully kind human being. I hope you enjoy this episode as much as I do. Topics include: working with jazz artists, Salvador Dalí on the phone at 4:00am, trying to blow off Jerome Robbins (and failing), promises made to Zero Mostel, Barbara Harris & Hunter College, acting with Kermit the Frog, and Oh Dad, Poor Dad, Mamma's Hung You in the Closet and I'm Feelin' So Sad. Austin Pendleton's Wikipedia page Featured recordings: The Last Sweet Days of Isaac - Original Cast Recording (1970) • People - Barbra Streisand (1964) ORIGINAL CAST MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where 2023 is THE YEAR OF BARBRA celebrating the filmography of Ms. Barbra Joan Streisand! Patreon • Twitter • Facebook • Email

COME FROM AWAY  Book, Music, & Lyrics by Irene Sankoff & David Hein Works Consulted & Reference :Come From Away (Libretto) by Irene Sankoff & David HeinCome From Away: Welcome to the Rock: An Inside Look at the Hit Musical  by Laurence MaslonCome From Away (2021 Live Capture ) Directed by Christopher AshleyMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording)  | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Me and the Sky" from Come From Away (Original Broadway Cast Recording)  | Music & Lyrics by Irene Sankoff & David Hein | Performed by Jenn Colella and 'Come From Away' Company"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff