Podcast appearances and mentions of Jerome Robbins

durée : 00:08:49 - Le masque et la plume - par : Jérôme Garcin - Steven Spielberg signe sa première comédie musicale avec sa version de "West Side Story". 60 ans après le film de Robert Wise et de Jerome Robbins, cette nouvelle vision, bien que très proche de l'œuvre initiale, propose une esthétique neuve qui charme les critiques du "Masque". - réalisation : Charlotte Lipinska, Michel Ciment, Eric Neuhoff, Jean-Marc Lalanne Vous aimez ce podcast ? Pour écouter tous les épisodes sans limite, rendez-vous sur Radio France

The 1960s would eventually completely revolutionize huge swaths of the American cultural landcape, including Broadway. But as is often the case, the early part of the decade looks a lot like the decade before: talented young writers, composers, directors, and producers pushing at the boundaries of what Rodgers & Hammerstein had done. It was the Golden Age of the Broadway Musical, and its last masterpiece was Bock and Harnick's Fiddler on the Roof from 1964. Produced by Hal Prince, directed by Jerome Robbins, and starring the indomitable Zero Mostel, the show was an absolute smash, and is one of the last of its kind. Join us as we talk Fiddler, Zero, HUAC, and "If I Were a Rich Man."   All clips are from the 1964 cast album of Fiddler on the Roof featuring Zero Mostel and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com Recommended Reading/Viewing: The transcript of Zero Mostel's testimony before HUAC Ethan Mordden, Anything Goes: A History of American Musical Theater (Mordden's other volumes are also excellent resources for more in-depth discussion) Broadway: The American Musical

"Dance Talk” ® with Joanne Carey and special guest Connor Walsh SJoin host Joanne Carey for Episode 3 of a 4-part Series highlighting Houston Ballet & YAGP! Joanne welcomes principal dancer and YAGP Alum, Connor Walsh, principal dancer at Houston Ballet, as he shares his journey from childhood on Maryland's Eastern Shore to the heights of ballet as a principal with Houston Ballet. Together they discuss insights on dance education, the importance of collaboration, and tips for aspiring dancers as well as the impact YAGP had and continues to have on Connor. They also discuss the upcoming YAGP Houston event May 10-18. Get your tickets!Connor Walsh was born in Fairfax, Virginia and began his training at the age of seven under the direction of his mother Constance Walsh. He has trained at The Kirov Academy of Ballet, The Harid Conservatory, and Houston Ballet's BenStevenson Academy, where he was awarded the Rudolf Nureyev Foundation Scholarship and the Ben Stevenson Scholarship award. In 2004, he won the first annual gold award from the National Foundation for Advancement in the Arts (NFAA), and was given the Award of Encouragement at the Shanghai International Ballet Competition. In 2004, Walsh joined Houston Ballet's company as a member of the corps de ballet. He was quickly promoted to soloist in 2006 and then to principal dancer in 2007. Walsh has originated lead roles in Stanton Welch's The Nutcracker (The Prince), Romeo and Juliet (Romeo), Giselle (Albrecht), Marie (Count Axel von Fersen), and La Bayadère (Solor).  He has danced major roles in numerous full-length ballets including John Cranko's Onegin (Lensky) and The Taming of the Shrew (Petruchio), Kenneth MacMillan's Manon (Des Grieux) and Mayerling (Prince Rudolf), John Neumeier's A Midsummer Night's Dream (Theseus / Oberon, Puck) and The Little Mermaid (The Poet), Sir Frederick Ashton's La Fille mal Gardée (Colas), Ronald Hynd's The Merry Widow (Camille), Ben Stevenson's Don Quixote (Basilio), The Sleeping Beauty (Prince Florimund), and Dracula (Fredrick), Sir David Bintley's Aladdin (Aladdin) and The Tempest (Ferdinand), Trey McIntyre's Peter Pan (Merman), and  Stanton Welch's Swan Lake (Siegfried), Marie (Count Axel Fersen and King Louis XVI), Madame Butterfly (Pinkerton), La Sylphide (James), and Cinderella (The Prince and Dandini).Walsh's repertory also includes works by George Balanchine, Jerome Robbins, Jiří Kylián, William Forsythe, Justin Peck, Alexander Ekman, Wayne McGregor, Christopher Wheeldon, Twyla Tharp, Hans Van Manen, Glen Tetley, Christopher Bruce, Antony Tudor, Nacho Duato and Serge Lifar, Melissa Barak. One act creations include Stanton Welch, Aszure Barton, Edwaard Liang, Mark Morris, James Kudelka, Nicolo Fonte, Melissa Hough, and Garrett Smith among others.In recent years Walsh has expanded his reach into teaching, coaching and choreographing. In 2015, along with fellow Houston Ballet company members Oliver Halkowich and Melody Walsh, Walsh founded REACH - a choreographic project that raises money for arts education in schools.  Following the success of REACH, Walsh and his colleagues were invited to create a world premiere, entitled What we keep, for Houston Ballet in spring of 2018.  Walsh's world premiere A Joyous Trilogy (in flight) created for Houston Ballet and set to music by Quinn Mason took the Wortham stage on June 2, 2022. Walsh enjoys teaching, coaching and choreographing as well as participating in many forms of dance.  He is also a soccer fanatic as well as food enthusiast.Houston Ballet⁠https://www.houstonballet.org/⁠YAGP⁠https://yagp.org/⁠Tickets for YAGP Houston⁠https://yagp.org/yagp-2026-houston-tx-finals/⁠“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."⁠⁠⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠⁠⁠⁠⁠Please leave us a Review.Please help support the podcast:⁠⁠⁠⁠⁠⁠⁠⁠⁠https://gofund.me/e561b42ac⁠⁠⁠⁠⁠

"It was very dangerous to be a friend of the Harts because... yes, they were always getting killed." -- Stefanie PowersGet ready for a masterclass in sophisticated glamour!In this episode of 80s TV Ladies, hosts Susan Lambert Hatem and Sharon Johnson sit down with the incomparable Stefanie Powers. Known to millions as the elegant and erudite Jennifer Hart from the smash-hit series Hart to Hart, Stefanie redefined what a TV marriage could look like alongside co-star Robert Wagner—showing us a partnership that was sexy, equal, and genuinely fun.But Stefanie's legacy goes far beyond the "chauffeur and limousines" of the 80s. We dive into her history as a true television pioneer, including her groundbreaking role as the first woman to lead an hour-long series in the 1966 spinoff The Girl from U.N.C.L.E. Whether you're a die-hard fan of the Harts or a lover of television history, this conversation is a sparkling look back at one of the most iconic eras of TV.THE CONVERSATIONTHE FIRST LADY OF ACTION: Exploring Stefanie's groundbreaking role in The Girl from U.N.C.L.E. as the first woman to headline her own hour-long action series.THE LOVE OF HER LIFE: Led her to her 45-year lifetime legacy of conservation. Creating the William Holden Wildlife Foundation to honor and expand the work of William Holden.THE GREATEST STRIKE EVER: Getting the call from Aaron Spelling, writer Tom Mankiewicz, and Robert Wagner – and the lucky newspaper strike that led to her starring in Hart to Hart, instead of going to Broadway with Stacy Keach.HART TO HART: Diving into the "tennis match" rapport with Robert Wagner and the creation of a TV marriage built on equality, sexy banter, and high-stakes mystery.SOFTBALL COACH TO SHOWRUNNER: Stories of Sidney Sheldon, Leonard Goldberg, and how Aaron Spelling was Stefanie's softball coach before he became the legendary showrunner and creator of so many hit shows, they often called ABC, Aaron's Broadcasting Company.THE LA SCALA “THREE ROOMS: A look at the old Hollywood social hierarchy when Hollywood was a very small town.KIDDIES BALLET CLASS: The surprising shared history between Stefanie, Natalie Wood, and Jill St. John.STUDIO SYSTEM SURVIVOR: Stefanie reflects on her early days at MGM, being one of the last contract players, and working under the rigorous eye of brilliant - and monstrous - Jerome Robbins in West Side Story.WORKING WITH “FREEWAY”: Behind-the-scenes secrets of their canine co-star, including the hilarious truth about how they made such a friendly dog look like a fierce protector.A GLOBAL LEGACY: Stefanie discusses her 45-year journey as Founder and President of the William Holden Wildlife Foundation and her hands-on work in conservation and education in Kenya.SUCCESS VS. FAILURE: A candid look at why the industry prepares artists for failure, but rarely gives them the tools to navigate massive, life-changing success.WILLIAM HOLDEN WILDLIFE FOUNDATION: Why Stefanie believes that if you have a passion for a cause, you can't wait for others—you have to be the one to step up. “Participation is not just asked for, it is required.”AUDIO-OGRAPHYWatch episodes of Hart to Hart on Tubi or Roku.Catch The Girl from U.N.C.L.E. on DVD at Ebay.  Or find it at Internet Archive.Learn more about the work of the William Holden Wildlife Foundation at WHWF.orgGo directly to the WHWF DONATE page. Check out her official website: StefaniePowersOnline.comFollow Ms. Powers on Facebook and Instagram.Watch Stefanie guest star in The Rockford Files episode, The Real Easy Red Dog at Apple TV.VITAL READINGCheck out Democracy Docket here.Learn more about the ACLU here.Make sure you're registered to VOTE at Vote.orgPROMO DEALSGet 21% OFF on awesome sheets and pajamas at COZY EARTH.Be sure to use the promo code: 80STVLADIES.Happy Shopping!MARCH 8TL DEALS BLOCK:80s TV Ladies deals and discounts:Cozy Earth (21% Off)

This week Allan picks the Best Picture Winner! West Side Story (1961) Directed by Jerome Robbins and Robert Wise

As the 1950s moved on, new talents were emerging, taking up the challenge laid down by Rodgers and Hammerstein to create integrated musicals featuring real characters dealing with real issues. Among others, Jerome Robbins, Leonard Bernstein, Arthur Laurents, and Stephen Sondheim heard that challenge and rose to meet it, creating something brand new and incredibly challening for 50s Broadway audiences. West Side Story debuted in 1957 (Erik says 1959 a few times in the episode, ignore him), and its 1961 film adaptation cemented its legacy as a classic. So why has it taken this long to get to it? The reasons are complicated. Join us as we discuss them and the 2021 version of "America," All clips are from 2021's motion picture soundtrack of West Side Story featuring Ariana DeBose and David Alvarez and are protected by the Fair Use guidelines of Section 107 of the Copyright Act for criticism and commentary. All rights reserved to the copyright owners. Listen to the SMSTS playlist on Spotify! Follow SMSTS on Instagram: @somuchstufftosing Email the show: somuchstufftosing@gmail.com Recommended Reading/Viewing: https://sites.google.com/view/analyzing-vocal-music/posts/leonard-bernstein-america https://www.pbs.org/wnet/americanmasters/the-divided-states-of-america-why-rita-moreno-objected-to-west-side-storys-original-lyrics/18671/ Ethan Mordden, Anything Goes: A History of American Musical Theater (Mordden's other volumes are also excellent resources for more in-depth discussion) Broadway: The American Musical

"Dance Talk” ® with Joanne Carey and special guests dance photographer, Gene Schiavone and writer, Gavin LarsenJoin host Joanne Carey as she chats with both Gene Schiavone and Gavin Larsen about their new collaborative book 'Infinite Steps,' Thirty-three Dancers and Their Lives in Ballet." This book isn't just a coffee table dance photo, it is a book that explores the stories behind ballet dancers and reads like an entry point into what and who Gene saw and captured from behind his lens. You will not only discover insights into their careers, the creative process, and the inspiring stories of dancers' lives but while reading it, but be moved by each individual experience and journey. Listen also how Gene and Gavin's friendship and trust in each other's artistry enabled the stories to shine through and create this legacy for the dance world for generations.Gene Schiavone became interested in photography as a child.  With no formal training, he went on to become a sought after Dance Photographer. What began as a childhood curiosity became a budding career,  photographing some of the worlds best ballet dancers. Gene attributes his introduction to the world of ballet to his wife through her involvement with ABT (American Ballet Theater). His informal conversation with renowned ballerina ,Julie Kent, piqued his interest in the art form and he began to attend more ballet performances. Around that same time, Gene was given permission to photograph performances of ABT's studio company and after two years was invited to photograph the main company, which led to other requests for similar work.Gene's work and images includes Boston Ballet, Mariinsky Theatre, Bolshoi Ballet, Washington Ballet, Miami City Ballet, Atlanta Ballet and The Radio City Rockettes among others. His images have appeared New York Times, Washington Post, Wall Street Journal and all the major dance publications both here and abroad.Gene continues to acknowledge his gratitude for all the dancers he has worked with over the years and for the hundreds of pairs of signed shoes and photos he remembers them by. Gavin Larsen, Born and raised in New York City, received her professional dance training at the School of American Ballet, the PacificNorthwest Ballet School and the New York School of Ballet. In 1992, she joined Pacific Northwest Ballet under the direction of Kent Stowell andFrancia Russell, leaving the company in 1999 to join the Alberta Ballet, directed by Mikko Nissinen. In 2002, she performed with the SuzanneFarrell Ballet as a soloist at the Kennedy Center in Washington, D.C. In 2003 Ms. Larsen joined Oregon Ballet Theatre as a principal dancerunder artistic director Christopher Stowell. Over the course of her career, Ms. Larsen danced prominent roles in ballets by George Balanchine, Jerome Robbins, Christopher Wheeldon and Paul Taylor, among others, and originated roles in numerous ballets. She retired from performing in 2010 to focus on teaching, coaching and writing about dance. Ms. Larsen has taught and coached widely across the country and worldwide. She has been a regular contributor for Pointe, Dance Teacher, and Dance Spirit magazines. In 2015 she was honored with a fellowship to the Helene Wurlitzer Foundation inTaos, NM, to pursue her work as a writer. Her memoir, Being a Ballerina: The Power and Perfection of a Dancing Life, was published by the University Press of Florida in 2021. She lives in Asheville, NC.To purchase their book:https://floridapress.org/9780813081502/infinite-steps/https://www.amazon.com/Infinite-Steps-Thirty-Three-Dancers-Ballet/dp/0813081505https://www.barnesandnoble.com/w/infinite-steps-gavin-larsen/1148313125“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠⁠⁠⁠⁠Please leave us a Review.Please help support the podcast:⁠⁠⁠⁠⁠⁠⁠https://gofund.me/e561b42ac⁠⁠⁠⁠

Ann Hutchinson Guest's Century Plus (2022)

Host Silas Farley is back with another fascinating Hear the Dance conversation, joined this week by Kay Mazzo, Christine Redpath, and Jean-Pierre Frohlich to discuss Jerome Robbins' masterpiece Dances at a Gathering. In this wide-ranging and intimate conversation, they share memories of the ballet's momentous 1969 premiere as well as time spent with Robbins in the rehearsal studio. As they discuss the various sections of Dances, they reflect on moments when Robbins' humor emerges; the "freedom" and even suspense of certain passages; and the ways in which the ballet is a gift from the choreographer as much to the dancers, who share in its rich sense of community, as to the audience. (1:09:57) Written by Silas Farley Edited by Emilie Silvestri Music:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Mazurka, op. 63, no. 3; Waltz, op. 69, no. 2; Mazurka, op. 33, no. 3; Mazurkas, op. 6, nos. 2 and 4, op. 7, nos. 4 and 5, op. 24, no. 2; Waltz, op. 24; Waltz, op. 34, no. 2; Mazurka, op. 56, no. 2; Etude, op. 25, no. 4; Waltz, op. 34, no. 1; Waltz, op. 70, no. 2; Etude, op. 25, no. 5; Etude, op. 10, no. 2; Scherzo, op. 20, no. 1; Nocturne, op. 15, no. 1 All music performed by 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 Life of Chopin by Franz Liszt Chopin: Prince of the Romantics by Adam Zamoyski Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

We're launching a new season of City Ballet The Podcast with an enlightening Hear the Dance conversation on Jerome Robbins' Antique Epigraphs. Host Silas Farley is joined by former NYCB dancers and original cast members Maria Calegari and Heléne Alexopoulos, and current Repertory Director Rebecca Krohn, who performed several roles in the work and now coaches today's performers. They describe learning this lyrical ballet, following the delicate Debussy score through its unique solos and romantic passages for the cast of "eight glamorous women." (49:32)  Written by Silas Farley Edited by Emilie Silvestri Music: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Six Epigraphes Antiques (1915), orchestrated by Ernest Ansermet (1932) and Syrinx (1912) All music performed by 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 Claude Debussy: A Critical Biography by François Lesure, Translated by Marie Rolf Documenting: Lighting Design (Performing Arts Resources, Vol. 25) Jennifer Tipton, Contributing Author

Sarah Vogel was born in Auschwitz and liberated at age three, but she has no memories of being there and nobody to tell her the story of her birth or her mother. Becoming Sarah (Diane Botnick, She Writes Press 2025) grapples with identity, memory, belonging, and reinventing oneself. Sarah's trajectory is filled with both happiness and extreme loss, and she finds love, friendship, and home, but the lies she invented as a survivor follow her through her daughters and granddaughters, each of them survivors of something. Diane was born and raised in Akron, Ohio, but always knew she'd wind up in New York City. Her first night in Greenwich Village she went to a double feature of Godard's “Weekend” and Wiseman's “Titicut Follies,” and her romance with the city began. For the next 30 years, Diane worked around, starting out in Italy assisting people like Jerome Robbins and Ellen Stewart with their contributions to the Spoleto Festival, then back in the City for the Dia Art Foundation, Isamu Noguchi, Great Performances at WNET, and finally, Workman Publishing. Along the way, she returned to school in pursuit of a master's in creative writing at City College. Fulfilling all requirements but unable to pass the French exam (with a dictionary!), she was never awarded her diploma. However, the privilege of being mentored by Donald Barthelme and being appointed student editor of the literary magazine FICTION gave her far more than a diploma ever could. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/new-books-network

Sarah Vogel was born in Auschwitz and liberated at age three, but she has no memories of being there and nobody to tell her the story of her birth or her mother. Becoming Sarah (Diane Botnick, She Writes Press 2025) grapples with identity, memory, belonging, and reinventing oneself. Sarah's trajectory is filled with both happiness and extreme loss, and she finds love, friendship, and home, but the lies she invented as a survivor follow her through her daughters and granddaughters, each of them survivors of something. Diane was born and raised in Akron, Ohio, but always knew she'd wind up in New York City. Her first night in Greenwich Village she went to a double feature of Godard's “Weekend” and Wiseman's “Titicut Follies,” and her romance with the city began. For the next 30 years, Diane worked around, starting out in Italy assisting people like Jerome Robbins and Ellen Stewart with their contributions to the Spoleto Festival, then back in the City for the Dia Art Foundation, Isamu Noguchi, Great Performances at WNET, and finally, Workman Publishing. Along the way, she returned to school in pursuit of a master's in creative writing at City College. Fulfilling all requirements but unable to pass the French exam (with a dictionary!), she was never awarded her diploma. However, the privilege of being mentored by Donald Barthelme and being appointed student editor of the literary magazine FICTION gave her far more than a diploma ever could. Learn more about your ad choices. Visit megaphone.fm/adchoices Support our show by becoming a premium member! https://newbooksnetwork.supportingcast.fm/literature

In this episode of "Dance Talk” ® with Joanne Carey , host Joanne Carey interviews Emily CoatesIn this episode of  "Dance Talk” ® with Joanne Carey engages in a deep conversation with dancer, choreographer, and writer Emily Coates. They explore Emily's journey from her early dance training in ballet to her transition into modern dance, her experiences working with renowned figures like Baryshnikov, and her current project 'Tell Me Where It Comes From.' Tell Me Where It Comes From, was sparked by the discovery of an archival box housed at the Wadsworth Atheneum Museum of Art in Hartford, Connecticut, chronicling George Balanchine's brief touchdown there in 1933. The discussion highlights the importance of following one's artistic instincts, the role of dance history, and the collaborative nature of creating new work. Emily shares insights on the creative process, the significance of archival research, and the impact of dance on personal and artistic growth.Emily Coates is a dancer, choreographer, and writer and has performed internationally with New York City Ballet (1992-98), Mikhail Baryshnikov's White Oak Dance Project (1998-2002), Twyla Tharp Dance (2001-2003), and Yvonne Rainer and Group (2005-present), and worked with an array of choreographers, including Jerome Robbins, Angelin Preljocaj, Trisha Brown, Deborah Hay, Mark Morris, John Jasperse, and Sarah Michelson. Career highlights include performing three duets with Baryshnikov, in works by Morris, Karole Armitage, and Erick Hawkins.Her choreographic work has been commissioned and presented by Danspace Project, Performa, Baryshnikov Arts Center, Works & Process at the Guggenheim, Ballet Memphis, Wadsworth Atheneum, Carnegie Hall, University of Chicago, Yale Repertory Theatre, Yale Art Gallery, and Columbia Ballet Collaborative, among other venues. She is currently completing a film project titled “Dancing in the Invisible Universe” in collaboration with filmmaker John Lucas and Yale's Wright Laboratory.Her essays have appeared in PAJ: A Journal of Performance and Art, The Huffington Post, Theater, PEAK Journal, programs and an exhibition catalogue for the Paris Opera Ballet, and in the forthcoming Oxford Handbook of Contemporary Ballet. Her awards and distinctions include the School of American Ballet's Mae L. Wein Award for Outstanding Promise; the Martha Duffy Memorial Fellowship at the Baryshnikov Arts Center; Yale's Poorvu Family Award for Interdisciplinary Teaching; a grant from the Alfred P. Sloan Foundation in the category of Public Understanding of Science, Technology, and Economics; a 2016 Fellowship at the Center for Ballet and the Arts at NYU; and a 2019 Jerome Robbins Dance Division Dance Research Fellowship at the New York Public Library for the Performing Arts at Lincoln Center. She graduated magna cum laude with a BA in English and holds an MA and MPhil in American Studies from Yale. Her first book, Physics and Dance, co-written with her longtime collaborator, particle physicist Sarah Demers, was released in January 2019 by Yale University Press.She is Professor in the Practice in Theater, Dance and Performance Studies at Yale University, with a secondary appointment in Directing at the Yale School of Drama. She has directed the dance studies concentration at Yale since its inception in 2006.Informationhttps://campuspress.yale.edu/emilycoates/Make plans to check out this piece on tour!February 26, 2026 at The Avery Theater , Hartford ConnecticutApril 23 & 24th 2026 at Schwarzman Center , Yale University“Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."https://dancetalkwithjoannecarey.com/Please leave us a Review.You support the podcast:https://gofund.me/e561b42acFollow Joanne Carey on Instagram@westfieldschoolofdance

Interview Date: September 21st, 2025Episode Summary:In this inspiring conversation, Menina Fortunato sits down with Julie McDonald, the trailblazing co-founder of MSA Agency and the first dance agent in history. Julie shares her incredible journey from professional dancer to industry visionary—representing some of the biggest names in choreography and performance.She reflects on the evolution of the commercial dance world, the importance of professionalism and preparation, and what truly sets apart dancers who build lasting careers. Julie offers invaluable advice on networking, auditions, and why knowing your dance history—from Bob Fosse to Jerome Robbins—is essential for any serious artist.From agency insight to mentorship, this episode is filled with stories, wisdom, and warmth from a woman who changed the industry for dancers everywhere. Julie also shares exciting news about being honored with the Trailblazer Award at Gala of the Stars—a full-circle moment for one of dance's greatest advocates.This episode is perfect for dancers, teachers, and aspiring professionals who want to understand the business behind dance, the art of longevity, and the power of curiosity and gratitude in shaping a meaningful career.Shownotes:(0:00) – Welcome & intro to Julie McDonald and her legacy (3:15) – Julie's start as a dancer & transition into agency life (7:40) – Founding MSA: creating the first dance agency in the world(12:25) – Representing choreographers, dancers & industry icons(22:10) – What makes a dancer stand out to an agent(35:05) – How the dance industry evolved through the decades (50:12) – Advice: professionalism, mindset, and consistency (1:13:05) – Julie's message: know your dance history & icons (1:16:16) – Gala of the Stars — Julie honored with Trailblazer Award(1:16:57) – Closing: gratitude, selfies, and inspiration for young dancersBiography:Julie McDonald is the visionary co-owner of McDonald Selznick Associates (MSA) and a trailblazer in dance and choreography representation. In 1985, she launched the first talent agency devoted exclusively to dance, setting a new standard for advocacy, professionalism, and artistic excellence in the industry.From the outset, Julie championed fair terms and improved working conditions for dancers and choreographers, tirelessly promoting the visibility and integrity of commercial dance. In 2000, she joined forces with Tony Selznick to found MSA, which today represents a roster of award‑winning talent. Her clients have earned Emmy, Tony, MTV, and MTV Awards—while leading the creative teams behind Broadway hits, Las Vegas spectaculars, high‑profile films, television dramas, sitcoms, and major awards shows (Emmy, Grammy, Oscar).A dedicated collaborator and industry visionary, Julie co‑created the American Choreography Awards (1994–2004), celebrating excellence in dance across media. Her pioneering work has been recognized with Lifetime Achievement Awards from both the Choreographers Carnival and McCallum's Choreography Festival.Through her ongoing projects and continued leadership at MSA, Julie McDonald remains a powerful force in shaping the future of dance, honoring its past, and empowering the artists who bring it to life.Connect on Social Media:Instagram- https://www.instagram.com/juliemcdonaldmsa/

Robert Marx is president of The Fan Fox & Leslie R. Samuels Foundation, one ofNew York City's leading arts philanthropies.  Since 1995, Rob has appeared on the Metropolitan Opera's live Saturday afternoon radio broadcasts as an intermission host, commentator and Opera Quiz panelist.  His many broadcast interview subjects have included the late Supreme Court Justice Ruth Bader Ginsburg, stage director Robert Wilson, and former Met general manager Joseph Volpe.  From 1989-99 he was executive director of Lincoln Center's New York Public Library for the Performing Arts.   Among many new initiatives there, he created the Library's first touring program, sending exhibitions about choreographers Alvin Ailey and George Balanchine, director Harold Prince, and stage designer Ming Cho Lee across America and to Asia.  Major collection acquisitions included the personal archives of choreographer Jerome Robbins, impresario Lincoln Kirstein, composer John Cage, stage designer Boris Aronson, and producer Joseph Papp.   From 1987-1989 Rob was director of the National Endowment for the Arts Theatre Program, and was director of the New York State Council on the Arts Theatre Program from 1976-1983.

In a special two-part Hear the Dance Episode, host Silas Farley leads us on a wide-ranging discussion of Jerome Robbins' 1971 ballet The Goldberg Variations. In this first part, Farley is joined by former NYCB Dancer Bruce Wells, an original cast member, and current Principal Dancer Emilie Gerrity, one of the ballet's present-day interpreters. Wells shares the challenges Robbins faced after an injury forced him to choreograph from a wheelchair, as well as highlights from the year-long creative process. Gerrity describes the "class" section of this monumental ballet as "simple but beautiful," and recalls learning the work from original dancer Christine Redpath, among other memorable coaches. (1:12:53) Written by Silas Farley Edited by Emilie Silvestri MUSIC:  Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) 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 Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

In the second part of this deep dive Hear the Dance discussion of Jerome Robbins' The Goldberg Variations, host Silas Farley is joined by former NYCB Dancers and current Repertory Directors Christine Redpath and Jean-Pierre Frohlich. Redpath, an original cast member of Goldberg, digs into Robbins' approach to the creation of this remarkably multi-faceted ballet, while Frohlich remembers the adjustments the choreographer made through the ensuing performances. Both talk about coaching Goldberg on today's company members and the ways in which the work has influenced the dancemakers of today. (42:29) Written by Silas Farley Edited by Emilie Silvestri MUSIC: Concerto for Violin and Orchestra in D major (1931) by Igor Stravinsky Aria with Variations in G, BWV 988 (1742), "The Goldberg Variations" by Johann Sebastian Bach All music performed by New York City Ballet Solo Pianist Susan Walters Quotations from the writings of Lincoln Kirstein are © 2019 by the New York Public Library (Astor, Lenox and Tilden Foundations) 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 Bach: Music in the Castle of Heaven by John Eliot Gardiner Bach's Musical Universe: The Composer and His Work by Christoph Wolff Thirty Years: Lincoln Kirstein's The New York City Ballet by Lincoln Kirstein Repertory in Review: 40 Years of the New York City Ballet by Nancy Reynolds, with an Introduction by Lincoln Kirstein

In this week's episode of "Behind the Curtain," we tune in to a live-discussion hosted by our friends at the Opera League of Los Angeles between LA Opera Chorus Director Jeremy Frank and "West Side Story" Assistant Director Andrea Beasom, who brings her background as a professional dancer to the rehearsing and staging of Jerome Robbins original choreography. "West Side Story" electrifies the LA Opera stage from September 20 to October 12, and you can get your tickets before they're gone at LAOpera.org.

RNIB Connect Radio's Toby Davey is joined again by Vidar Hjardeng MBE, Inclusion and Diversity Consultant for ITV News across England, Wales, Northern Ireland and the Channel Islands for the next of his regular audio described theatre reviews for 2025 This week we are celebrating 20 years of Stage Experience the Youth Theatre Company at the Alexandra Theatre in Birmingham with their production of ‘West Side Story' through the talents of the young performers with description by Professional Audio describer Remy Lloyd. About Stage Experience and their production of ‘West Side Story'. Stage Experience, the Youth Theatre Company based at the Alexandra Theatre in Birmingham celebrate their 20th anniversary with the iconic musical, West Side Story. Inspired by William Shakespeare's Romeo & Juliet, West Side Story is not only one of the greatest love stories of all time, but it also features a stirring score by Leonard Bernstein and Stephen Sondheim including Tonight, I Feel Pretty, Maria and America. Tony and Maria are two star crossed lovers, caught between warring street gangs. Will their love conquer the bitter Sharks and Jets rivalry or will it all end in tragedy? With dazzling dance, mesmerising music and a sizzling storyline, get ready to see the stars of the future shine on stage. Based on a conception of Jerome Robbins. Book by Arthur Laurents, music by Leonard Bernstein, lyrics by Stephen Sondheim. Entire original production directed and choreographed by Jerome Robbins. Originally produced on Broadway by Robert E. Griffith and Harold S. Prince, by arrangement with Roger L. Stevens. This amateur production is presented by arrangement with Music Theatre International.  You will find more about Stage Experience at the Alexandra Theatre on their Facebook page which can be found on the following link or by searching for them on Facebook - https://www.facebook.com/alexandrastageex?locale=en_GB  (Image shows the RNIB Connect Radio logo. On a white background ‘RNIB' written in bold black capital letters and underline with a bold pink line. Underneath the line: ‘Connect Radio' is written in black in a smaller font)

On this week's episode of Behind the Curtain, KUSC's Gail Eichenthal interviews the director of West Side Story at LA Opera, Francesca Zambello. What unfolds is a fascinating conversation touching on Zambello's extensive work in the community, her vision for West Side Story, and this production's faithfulness to Jerome Robbins' original choreography. Listen in for a dose of inspiration, and get your tickets for LA Opera's West Side Story—playing September 20 through October 12—at LAOpera.org.

Jerome Robbins at The Joyce and Chief of War are top of mind as the world continues to devolve. Other topics include AI technologies in the arts with a special musical collaboration.⁠Can I Be Frank?⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ WEBSITE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YOUTUBE ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ SUPPORT:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨VIA VENMO!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨ or  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PATREON⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ REID⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JEREMY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JACK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ withdanceandstuff@gmail.com⁠

Today, I'm thrilled to announce my interview with Oscar nominee Mary Elizabeth Mastrantonio. Tune in to hear some of the stories of her legendary career, including her unconventional path to WEST SIDE STORY, how THE HUMAN COMEDY fulfilled a childhood dream, what Brian De Palma taught her during SCARFACE, the thrill of singing SUNDAY IN THE PARK WITH GEORGE, how AMADEUS inspired her to take acting lessons, why Aldonza in MAN OF LA MANCHA is a thankless role, dancing for Jerome Robbins, how THE MARRIAGE OF FIGARO changed courses in rehearsal, why THE KNIFE was ahead of its time, her relationship with Joseph Papp, how she almost starred in KISS ME, KATE, the extended rehearsal process for THE COLOR OF MONEY, how theater is different in London, balancing jet lag with LAW AND ORDER, how Roger Rees led the company of THE WINSLOW BOY, and so much more. Don't miss this candid conversation with a star of stage and screen.

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.

Join "Dance Talk” ® with Joanne Carey and special guest Lourdes Lopez, former Artistic Director of Miami City BalletIn this episode of "Dance Talk” ® with Joanne Carey interviews Lourdes Lopez, a prominent figure in the ballet world. They discuss Lourdes's early beginnings in dance, her immigrant experience, and her journey to becoming a principal dancer with the New York City Ballet. Lourdes shares insights on her transition to artistic director at Miami City Ballet, the importance of diverse repertory, and her vision for the future of the performing arts. The conversation highlights the profound impact of dance as a soul's journey as well as the challenges and opportunities facing the arts today.Lourdes Lopez was named one of The Most Influential People in Dance Today by Dance Magazine, became Artistic Director of Miami City Ballet in 2012, bringing with her a nearly 40-year career in dance, television, teaching and arts management. As a Soloist and Principal Dancer with New York City Ballet, Lopez danced for two legends of the art form, George Balanchine and Jerome Robbins. Under Lopez direction, Miami City Ballet has become one of the country premier Ballet companies. According to The New York Times, This troupe [is] at the forefront of all those dancing choreography by George Balanchine today. Bold, light, immediate, intensely musical, the dancing of Miami City Ballet flies straight to the heart. Born in Havana, Cuba in 1958 and raised in Miami, Lopez began taking ballet lessons at the age of five, on the recommendation of a doctor. At the age of 11 she received a full scholarship to the School of American Ballet (SAB), the official school of New York City Ballet, splitting the year between Miami and New York City. At fourteen, she moved to New York permanently to devote herself to full-time studies at SAB, and shortly after her sixteenth birthday, joined the corps de ballet of New York City Ballet. Under the direction of George Balanchine and Jerome Robbins, her star rose quickly at New York City Ballet; In 1984, she was promoted to Soloist and then Principal. Upon retirement, Lopez joined WNBC-TV in New York as a Cultural Arts reporter,. She was also a full-time senior faculty member and Director of Student Placment, Student Evaluation and Curriculum Planning at New York Ballet Academy East. In 2002, Lopez became the Executive Director of The George Balanchine Foundation, which works to educate the public about dance and to further the art of ballet, with a special phasis on the work and achievements of George Balanchine. In this position, she oversaw the 2004 Balanchine Centennial Celebration, a worldwide festival honoring the choreographer and his legacy. Lopez co-founded The Cuban Artists Fund, which supports Cuban and Cuban-American artists in their endeavors. In 2007 she received an award from the American Immigration Law Foundation honoring Cuban Americans for their accomplishments and contributions to American society. She also co-founded Morphoses with Christopher Wheeldon in 2007 a New York-based dance company aiming to revitalize dance through innovative collaborations with important artists from the worlds of music, visual arts, design, film and fashion; and by inviting younger and broader audiences to engage in and actively experience dance. 2014 Lopez was elected to serve on the Ford Foundation Board of Trustees, marking the first time an artist was elected to serve on its board and in 2011, she received the prestigious Jerome Robbins Award for her years in dance. “Dance Talk” ® with Joanne Careywherever you listen to your podcasts. ⁠⁠⁠⁠⁠⁠⁠https://dancetalkwithjoannecarey.com/⁠⁠⁠Follow Joanne on Instagram @westfieldschoolofdance Tune in. Follow. Like us. And Share. Please leave a review! “Dance Talk” ® with Joanne Carey "Where the Dance World Connects, the Conversations Inspire, and Where We Are Keeping Them Real."

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

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

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.

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

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."

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

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!

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)