Podcasts about john raitt

Michael Feeley had a successful career as an actor and model, performing and touring with stars such as Howard Keel, John Raitt, and Tovah Feldshuh. His theatre life was followed by a whole other 20-year-act as a professional recruiter in New York City.These days, Michael divides his time between a home in the center of France and another one on Saba, a small Caribbean island where he owns a real estate sales and management firm, Saba Island Properties. In his capacity as a life coach, Michael worked with celebrated entrepreneur and author Seth Godin. Michael now supports other accomplished humans who are ready for a career or life change. His compelling and very aptly titled book, "The Next Act," is just out.www.michaelfeeleylifecoach.com

TVC 644.3: Greg Ehrbar reviews the Shirley Temple Storybook Collection, a six-DVD set featuring some of the best episodes of her popular Sunday night series, Shirley Temple's Storybook (NBC, 1958-1959, 1960-1961). The DVD collection includes adaptations of such beloved children's classics as The Little Mermaid, Winnie the Pooh, Babes in Toyland, Pippi Longstocking, Kim, The Reluctant Dragon, The Land of Oz, and Madeline, and features such stars as Jonathan Winters, Ray Walston, Martin Landau, Agnes Moorehad, Robert Culp, Sterling Holloway, Margaret Hamilton, John Raitt, David Frankham, and Jonathan Harris. Want to advertise/sponsor our show? TV Confidential has partnered with AdvertiseCast to handle advertising/sponsorship requests for the podcast edition of our program. They're great to work with and will help you advertise on our show. Please email sales@advertisecast.com or click the link below to get started: https://www.advertisecast.com/TVConfidentialAradiotalkshowabout Learn more about your ad choices. Visit podcastchoices.com/adchoices

JAMES A. ROCCO is the visionary CEO of Thirty Saints Productions, creators of the Songbook Series and Broadway Songbook®. Thirty Saints Productions is a dynamic and innovative company that excels in creating original theatrical works for a diverse range of venues across the globe. In 2022, the company expanded its horizons, venturing into negotiating, consulting, and acquiring music licenses for popular jukebox musicals, solidifying its position as an industry leaders.    With Broadway Asia, Thirty Saints toured Joseph and the Amazing Technicolor Dreamcoat® to Tokyo and led the artistic team for the US Air Force's 9/11 tribute video, There Are No Words, seen by millions of viewers. Thirty Saints is an investor in the current Broadway, National Tour, and Toronto productions of Come from Away and Magic Mike in London.   From 2005-2017, Rocco was the VP of Programming and Producing Artistic Director of Ordway Center for the Performing Arts, where he presented and booked the best of touring Broadway (August, Osage County, An American In Paris, Kinky Boots, Les Misérables) and produced or co-produced award-winning theatricals (In The Heights, Love, Janis, Cabaret, West Side Story.) As the Ordway's representative and member of the Broadway League and the IPN (Independent Producer's Network), he was a producing partner and investor in Fun Home, Legally Blonde, The Color Purple, Monty Python's Spamalot, and others, as well as serving on the IPN's Governance Committee.    In 2019, he was recognized by The Broadway League and The Coalition of Broadway Unions and Guilds for "30 years of dedication, craft, and contribution to the theater" at their annual Broadway Salutes ceremony.   A longtime member of NAMT (National Alliance for Musical Theatre), he served on the Alliance's New Works committee.  Rocco commissioned the holiday musical A Country Christmas Carol and was part of the creative teams behind the off-Broadway cult hits Nite Club Confidential and Hooked on the 70s.  His re-versioned stage production of Singin' in the Rain has been seen worldwide.  Rocco was Producing Artistic Director of Lyric Theatre of Oklahoma and Interim Artistic Director of Stage One, a theatre dedicated to new musical development.    On Video, he was the Executive Producer and Co-Director of the Regional Emmy Nominated Documentary, The World We Create, and directed the television musical, Born of A Dream.  For Mitsubishi/ArtSphere, he created the stage and television spectacular Galaxy Express 999.   Rocco's theatrical career started at three years old, as the youngest member of the (Art) Linkletter Totten Tots! He appeared in Oliver! with Ray Walston and Jules Munschin; Carousel as Enoch Snow Jr, with John Raitt; and as Sheppard in Sidney Lumet & David Merrick's Paramount motion picture thriller, Child's Play.     James directed and produced his first show in New York at 16 (Henry, Sweet Henry, at the Mercer Arts Center and the Lamb Theatre).  As a performer, he appeared in the original Broadway production of Cats(as the Rum Tum Tugger), the International and TV Ashai Productions of Duke Ellington's Sophisticated Ladies; sang back up for Frank Sinatra and was featured singer for Herbie Hancock and the Super Sounds. He played Judas in Jesus Christ Superstar, The Witch in Into The Woods, appears on 10 Ben Bagley albums, and his CD, It's Between Us, produced the FMQB Top 40 hit, And The Night Stood Stillby Diane Warren. In 2021, Broadway World Minneapolis cited him as Vocalist of the Decade.  

The delightful and darling Virginia Seidel looks back on her career which includes sharing the stage with Dorothy Lamour, Ethel Merman, Ray Milland, Leland Palmer, Douglas Fairbanks, John Raitt, and Sylvia Sims! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hank Schob is an incredible acting coach with so much insight. I was thrilled to have him back on Actorcast for our second season. In this episode, we specifically talk about the benefits that come with learning acting online instead of in a studio and why Hank believes this is the way of the future. We discuss the advantages that come with working in the Zoom medium and why it is so crucial for actors to learn in this format.Please visit https://pennytempletonstudio.com to learn more. And check out Hank's last episode at https://www.actorcast.fm/14-hank-schob-acting-coach-at-penny-templeton-studio-qa/As well as being Co-Owner, Hank Schob teaches Camera Technique, Green Screen and Private Coaching for Actors at Penny Templeton Studio. A graduate of the American Academy of Dramatic Arts, Hank immediately began working on stage. His 50 years of theatre experience Off Broadway include the hit show Your Own Thing, Regional Theatre, and National Tours with stars such as Richard Gere in Awake and Sing, Jose Ferrer in Cyrano, and John Raitt in Shenandoah. He was nominated for a Carbonal Award in the Leading Actor category for his portrayal of Billy Flynn in Chicago. Mr. Schob has also been featured in the films Cadillac Man, Heading for Broadway and Fame. His TV credits include roles on All My Children, Ryan's Hope, Kojak, and Law & Order. He has also appeared on Good Morning America as an expert commentator on Acting and has been casting director for the feature film The Paragon Cortex as well as for Off-Broadway and Summer Stock. He contributed chapters on Camera Technique to the book Acting Lions.Sign up for the Actorcast Newsletter at Actorcast.

Today, I am so happy to announce my episode with  legendary Broadway dancer and  choreographer Baayork Lee, whose credits include A Chorus Line, My One and Only, The King and I, Flower Drum Song, and more. Tune in to hear some of the stories of her life and career, including the song for her and Ronald Dennis that was cut from A Chorus Line, the Broadway directing job she turned down, the process of saving Seesaw, being a dancing amoeba in Henry, Sweet Henry, befriending stage hands at 5 years old, founding the National Asian Artists Project, meeting Tommy Tune on A Joyful Noise, how Michael Bennett met John Raitt, and so much more.   Make sure to tune in for an entertaining and informative conversation with one of Broadway's greats.

Book Vs. Movie “Musicals in March” The 1931 Play Green Grow the Lilacs Vs the 1955 Musical Oklahoma!It's “Musicals in March” time here at Book Vs Movie The Margos are very excited to start our annual look at famous musicals and the inspiration for them. This episode is dedicated to one of the most successful Broadway shows of all time and the play Green Grow the Lilacs (1931) written by Oklahoma native Lynn Riggs. Riggs came up with the story of Oklahomans Curly, Laurey, and Ado Annie who live in a part of the world that will change dramatically in just a few short years. (Oklahoma became a state in 1907.) Curly is a cowboy (portrayed on Broadway by Franchot Tone) who is in love with Laurey Williams (June Walker) and the path to their relationship takes twists and turns. In this production, which takes place in 1900, American folk songs are used and sung by Tex Ritter on stage. Soon-to-be revered acting teacher Lee Strasberg played a Syrian “peddler” and just as in the musical, Curley is on trial for accidentally killing a farmhand (here his name is Jeeter.) In the early 1940s, Richard Rogers and Oscar Hammerstein took the original play and infused it with more romance, intrigue, dance, ballet, and some of the most memorable songs in Broadway history. When Oklahoma! originally opened on Broadway (March 31, 1943), it became a massive hit that ran for over 2200 performances and won a special Pulitzer Prize in 1944. Some of the actors who played in the original show include John Raitt, Florence Henderson, Alfred Molina, Celeste Holmes, and Jamie Farr. The story is funnier and more robust than the play and the history-making ballet sequence left people breathless. The 15-minuter performance was choreographed by Agnes de Mille (her first Broadway gig!) and represented the desire Laurey has between Curley and Jud Fry. After running for five years and several revivals for the last 80 years, the funny thing about Oklahoma!--because the TONY Awards did not exist until 1947, it never won any major theatrical awards for the original run. The 1955 film stars Shirley Jones, Gordon McRae, Rod Steiger, and Gloria Grahame and was directed by Fred Zinnemann in 70-mm widescreen (available on Disney+) with most of the outdoor shooting taking place in Arizona. It would go on to become a classic with several Academy Award nominations and was inducted into the National Film Registry in 2007. So, between the original play and the musical adaptation--which did we prefer? In this ep the Margos discuss:The story behind the original play and the theater world of the 1930s The impact on the culture of the musical in the 1940sThe differences between the film and stageStarring: Gordon MacRae (Curly McLain,) Shirley Jones (Laurey Willaims,) Gene Nelson (Will Parker,) Gloria Grahame (Ado Anni Cames,) Charlotte Greenwood (Aunt Eller,) Rod Steiger (Jud Fry,) Eddie Albert (Ali Hakim,) James Whitmore (Andrew Carnes,) and Barbara Lawrence as Gertie Cummings. Clips used:Oklahoma! themeOklahoma! original trailer“The Persian Goodbye” “Kansas City” Curley kisses LaureyAli Stroker “I'm Just a Girl Who Can't Say No” (2019 TONY Music by Richard RogersBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

Book Vs. Movie “Musicals in March” The 1931 Play Green Grow the Lilacs Vs the 1955 Musical Oklahoma!It's “Musicals in March” time here at Book Vs Movie The Margos are very excited to start our annual look at famous musicals and the inspiration for them. This episode is dedicated to one of the most successful Broadway shows of all time and the play Green Grow the Lilacs (1931) written by Oklahoma native Lynn Riggs. Riggs came up with the story of Oklahomans Curly, Laurey, and Ado Annie who live in a part of the world that will change dramatically in just a few short years. (Oklahoma became a state in 1907.) Curly is a cowboy (portrayed on Broadway by Franchot Tone) who is in love with Laurey Williams (June Walker) and the path to their relationship takes twists and turns. In this production, which takes place in 1900, American folk songs are used and sung by Tex Ritter on stage. Soon-to-be revered acting teacher Lee Strasberg played a Syrian “peddler” and just as in the musical, Curley is on trial for accidentally killing a farmhand (here his name is Jeeter.) In the early 1940s, Richard Rogers and Oscar Hammerstein took the original play and infused it with more romance, intrigue, dance, ballet, and some of the most memorable songs in Broadway history. When Oklahoma! originally opened on Broadway (March 31, 1943), it became a massive hit that ran for over 2200 performances and won a special Pulitzer Prize in 1944. Some of the actors who played in the original show include John Raitt, Florence Henderson, Alfred Molina, Celeste Holmes, and Jamie Farr. The story is funnier and more robust than the play and the history-making ballet sequence left people breathless. The 15-minuter performance was choreographed by Agnes de Mille (her first Broadway gig!) and represented the desire Laurey has between Curley and Jud Fry. After running for five years and several revivals for the last 80 years, the funny thing about Oklahoma!--because the TONY Awards did not exist until 1947, it never won any major theatrical awards for the original run. The 1955 film stars Shirley Jones, Gordon McRae, Rod Steiger, and Gloria Grahame and was directed by Fred Zinnemann in 70-mm widescreen (available on Disney+) with most of the outdoor shooting taking place in Arizona. It would go on to become a classic with several Academy Award nominations and was inducted into the National Film Registry in 2007. So, between the original play and the musical adaptation--which did we prefer? In this ep the Margos discuss:The story behind the original play and the theater world of the 1930s The impact on the culture of the musical in the 1940sThe differences between the film and stageStarring: Gordon MacRae (Curly McLain,) Shirley Jones (Laurey Willaims,) Gene Nelson (Will Parker,) Gloria Grahame (Ado Anni Cames,) Charlotte Greenwood (Aunt Eller,) Rod Steiger (Jud Fry,) Eddie Albert (Ali Hakim,) James Whitmore (Andrew Carnes,) and Barbara Lawrence as Gertie Cummings. Clips used:Oklahoma! themeOklahoma! original trailer“The Persian Goodbye” “Kansas City” Curley kisses LaureyAli Stroker “I'm Just a Girl Who Can't Say No” (2019 TONY Music by Richard RogersBook Vs. Movie is part of the Frolic Podcast Network. Find more podcasts you will love Frolic.Media/podcasts. Join our Patreon page to help support the show! https://www.patreon.com/bookversusmovie Book Vs. Movie podcast https://www.facebook.com/bookversusmovie/Twitter @bookversusmovie www.bookversusmovie.comEmail us at bookversusmoviepodcast@gmail.com Margo D. @BrooklynFitChik www.brooklynfitchick.com brooklynfitchick@gmail.comMargo P. @ShesNachoMama https://coloniabook.weebly.com/ Our logo was designed by Madeleine Gainey/Studio 39 Marketing Follow on Instagram @Studio39Marketing & @musicalmadeleine

This special episode, the first of two year-end celebrations, presents artists who have already been featured on Countermelody in rare recordings that have recently become available to me. A few of the artists heard include George Shirley, Heather Harper, Lawrence Winters, Elisabeth Söderström, Camilla Williams, Julia Migenes, John Raitt, Gloria Davy, Rosanna Carteri, Mirella Freni, Robert McFerrin, Margaret Marshall, Yi-Kwei Sze, Eileen Farrell, Shirley Verrett, Cathy Berberian, and many, many others in recordings, most from my personal collection, which you may not have heard before. This is a gift of love and gratitude from me to my listeners and supporters, a backward glance at all of the great singers who have been heard on the podcast over the past two and a half years, a theme which will continue next week. I look forward to continuing with new topics and new singers as we move into 2022. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody's core is the celebration of great singers of all stripes, their instruments, and the connection they make to the words they sing. By clicking on the following link (https://linktr.ee/CountermelodyPodcast) you can find the dedicated Countermelody website which contains additional content including artist photos and episode setlists. The link will also take you to Countermelody's Patreon page, where you can pledge your monthly support at whatever level you can afford. Bonus episodes available exclusively to Patreon supporters are currently available and further bonus content including interviews and livestreams is planned for the upcoming season.

Today, I am so happy to announce my episode with the amazing John Rubinstein. John is currently starring off-Broadway in the wonderful new production Morning's At Seven alongside Tony Roberts, Alley Mills, and more. You can buy tickets here: Morning's At Seven Tune in today to hear him tell some of the stories of his legendary career, including playing “Soliloquy" for John Raitt, watching rehearsals of Funny Girl, advice from Laurence Olivier, early Shakespeare roles, a late night visit from Bob Fosse, how he almost got Cabaret—twice, what it was like to return to Pippin in 2013, and his advice for everyone else who plays the role. His wisdom and charm are part of what has made him one of theater's top stars from the 1970s to today.

Today, I am so honored to announce my episode with the amazing Meg Bussert. Meg transitioned from being one of the most active ingenues on Broadway in the 1980s to one of the most sought-after character actresses today. Hear her tell some of the stories of her amazing career on our interview, including a suggestion she got from Meredith Willson, the direction from Michael Kidd that left her speechless, how she made Debbie Reynolds nervous, why John Raitt wasn't right for Petruchio, figuring out an accent for South Pacific, her go-to audition song, the magic of Tessie O'Shea and Gemze De Lappe, how she set off a fire alarm at the Westchester Broadway Theater, a telegram from Mary Martin, plus Edward Gorey, Barbara Cook, Alan Jay Lerner, and more!! You can also see her in a celebration of Jonathan Tunick happening October 2 at the Sharon Playhouse. Tickets are available here: https://www.sharonplayhouse.org/2021spotlight

Today I feature as part of my summer series on Great Baritones, one of the greatest Broadway baritones of all time, John Raitt (1917-2005). Wait: did I say one of the greatest? Make that possibly the greatest! Along with Alfred Drake and a handful of others, John Raitt completely redefined the Broadway leading man: strapping, robust, virile, handsome, with an operatic caliber voice and splendid acting chops to match. His creation of the role of Billy Bigelow in Rodgers and Hammerstein's magnum opus, Carousel, turned a deeply problematic character into a sympathetic one. In this episode we hear excerpts from this role, as well as some of Raitt's other hits (and non-hits), both on—and away from—Broadway: The Pajama Game, Oklahoma!, Annie Get Your Gun, Three Wishes for Jamie, Show Boat, and others, as well as a bit of opera! I also feature tracks from four of his solo records, recorded and released between 1955 and 1970, which include Neopolitan songs, folk songs, and pure late 60s pop as well as Broadway standards not normally associated with him. Some of his duet partners include Barbara Cook, Rosemary Clooney, Florence Henderson, Doretta Morrow, Anne Jeffreys, as well as his daughter Bonnie, herself one of the great blues singers and guitarists of the late 20th century. We also hear Bonnie's deeply personal song “Circle Dance,” which concerns their sometimes fraught—but eventually fully reconciled—relationship. Was he really a baritone, was he a tenor masquerading as a baritone, or was he a true “baritenor”? I consider all these possibilities but leave it to my listeners to draw their own conclusions. No matter how you assess John Raitt's voice, in the end, it sustained him through a career that lasted seven decades; it is a thrill to present him to my listeners in his full baritenorial splendor. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel's lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. At Countermelody's core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content including artist photos and episode setlists. And please head to my Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available.

I am so thrilled to announce Part 2 of my episode with the amazing Broadway legend Karen Morrow. Tune in to hear her talk about a cryptic conversation with Michael Bennett, singing a love song with Gordon MacRae, how Ed Kleban begged her not to quit a show, being thrown a birthday party by Joseph Papp, watching Howard Keel flub an important line, last-minute fixes in The Selling of the President, what advice she would give looking back at her older performances, meeting with Sid Caesar under a table, duetting with Joanne Worley and James Brown, asking John Raitt for money, and why she decided to leave the business. Plus stories about Loretta Swit, Jerry Herman, John Kenley, Carl Reiner, Ron Moody, and more.

Lois has been hailed by critics as one of the most highly respected directors in the Bay Area. She has directed over 75 productions at Playhouse West and other theatres throughout the country. Her versatility as a director ranges from Pinter’s Betrayal “Betrayal Sparkles” (San Francisco Chronicle) to Noel Coward’s Private Lives “The production is crisp, clean and wonderfully vicious in a velvet-lined sort of way” (Contra Costa Times) to Sandy Wilson’s The Boy Friend (Bay Area Critic’s Circle awards for Best Entire Production and Best Direction of a Musical) “Every facet of this musical gem has been polished – Leaves the audience cheering” (San Francisco Bay Times). Pat Craig of the Contra Costa Times wrote: “Playhouse West is the most consistently excellent theatre on this side of the hill, and one of the best in the entire Bay Area.” Lois has personally won 7 Bay Area Critic’s Circle Awards, 6 for directing and choreographing and 1 for Best Actress in 2001. Her World Premiere Production of the musical In This House garnered 4 Critic’s Circle Awards, 2 of which were awarded to Lois for Best Musical and Best Direction of a Musical in 2008. Lois Grandi launched her performing career at age of 12, as a solo ballet dancer with The Philadelphia Orchestra. At age 17, she ventured from Philadelphia to New York, where she became enamored with Musical Theatre.  Shortly thereafter, she found herself doing the Charleston, singing and having a blast in the Off Broadway production of The Boy Friend at The Cherry Lane Theatre. Thus, her initiation into the professional theatre! Roles that followed, included Louise in Carousel with John Raitt, Leisl, in The Sound of Music, Tiger Lily in Peter Pan with Sandy Duncan and Betsy Palmer, and Laurey in Oklahoma! opposite Peter Palmer. While in New York, she made many TV commercials and industrial films. She launched the choreography facet of her career, with The Music Man starring Bert Parks. Lois moved to The San Francisco Bay Area and raised her family. Back to work after a little break, she sang in many clubs in The Bay Area and made numerous industrial films and TV commercials. She had a recurring role in the TV series Up and Coming for PBS, and performed in and directed productions in various theatres in the area. In 1984 she founded The Performing Arts Academy (later re-named The Playhouse West Academy) and founded Playhouse West Theatre in 1995. In 2005, Lois performed as Melinda Metz in Michael Weller’s What the Night is For. “Melinda changes before your very eyes – from coquettish to a neurotic mess. The actress does an emotional striptease with unusual skill in peeling off the character’s protective layers.” (Talkinbroadway.com). Earlier at Playhouse West she played the heart wrenching, handicapped Edna in Light Sensitive by Jim Geoghan. This role won her the Best Actress Critic’s Circle Award. “Lois Grandi shines in the role of Edna” East Bay Express. She was most recently seen in the TV series Trauma and played Melissa in Love Letters at The Willows Theatre in 2009. www.loisgrandi.com --- Send in a voice message: https://anchor.fm/confessionsofanactress/message Support this podcast: https://anchor.fm/confessionsofanactress/support

Today, Backstage Babble is honored to sit down with Broadway actor James Dybas, star of Pacific Overtures and Do I Hear a Waltz? In this episode, hear about the fib he told to land Do I Hear a Waltz?, how he ended up fearing for his life on a hanging platform above the Uris Theater, what went wrong during his Victor/Victoria audition, why Sergio Franchi stopped him from eating garlic, why his role in George M! required sitting down to dinner with a dog, the time he streaked behind John Raitt during Camelot, what it was like being part of Jerome Robbins’ Theater Lab, plus stories about Joe Layton, Elizabeth Allen, Arthur Laurents, Pat Birch, and more.

Hank and I had the opportunity to connect through our mutual friend, Ryan Kessler, who was a previous guest of Actorcast. I was inspired by Hank's devotion to the craft of acting and enjoyed having him share his insights with you all. We talk about why actors need to build a stronger work ethic, why script analysis is such an important class to take, and one of the biggest hurdles that actors need to overcome.As well as being Co-Owner, Hank Schob teaches Camera Technique, Green Screen and Private Coaching for Actors at Penny Templeton Studio. A graduate of the American Academy of Dramatic Arts, Hank immediately began working on stage. His 50 years of theatre experience Off Broadway include the hit show Your Own Thing, Regional Theatre, and National Tours with stars such as Richard Gere in Awake and Sing, Jose Ferrer in Cyrano, and John Raitt in Shenandoah. He was nominated for a Carbonal Award in the Leading Actor category for his portrayal of Billy Flynn in Chicago. Mr. Schob has also been featured in the films Cadillac Man, Heading for Broadway and Fame. His TV credits include roles on All My Children, Ryan’s Hope, Kojak, and Law & Order. He has also appeared on Good Morning America as an expert commentator on Acting and has been casting director for the feature film The Paragon Cortex as well as for Off-Broadway and Summer Stock. He contributed chapters on Camera Technique to the book Acting Lions.Please visit https://pennytempletonstudio.com to learn more.Sign up for the Actorcast Newsletter at Actorcast and join our membership to gain access to exclusive content at Become an Actorcast Premium Member | Actorcast.

Since arriving in California in 1988 from his native land of Sri Lanka, Hussain has become a first call bass player in Los Angeles. His feel, versatility and joyful attitude has kept his phone ringing for over thirty years. His presence is a joy to behold on the bandstand and in the studio, raising the level of musicality and inspiring both the audience and the musicians that he plays with.Born and raised in Colombo, Sri Lanka, Hussain grew up surrounded by the richly varied traditional music of his country, but was also drawn to Pop, Jazz and R&B that he heard on the radio. He started singing in school choirs at 10, took up piano and accordion at age 12, and at 17 started playing electric bass.After living in Europe for 6 years he moved to Los Angeles to study music at the Musicians Institute, where he graduated with the school’s highest honors. Armed with his bass, his passion and dedication Hussain’s stellar reputation has lead him to travel the world many times over, playing music with some of the most beloved artists of our generation.His credits include Sergio Mendes, Tom Scott, Michael Bolton, Deniece Williams, Helen Reddy, Jim Messina, Joe Williams, John Raitt, Petula Clark, Freda Payne, Kenny Kirkland, Little Anthony and the Imperials, Lamont Dozier, Pauline Wilson, David Foster, Michael McDonald, Bobby Brown, Russell Ferrante, Dionne Warwick, Captain & Tennille, The Perri sisters, Chaka Khan, Crystal Gayle, Jonathan Butler, The Four Tops, The Hollywood Bowl Orchestra, Gloria Gaynor, Robben Ford, Phoebe Snow, Marty Stuart, Sam Moore, Steve Winwood, Whitney Houston, Tito Puente, Al McKay, Yanni, Dave Weckl Band, Carol King, Melissa Manchester, Christopher Cross, Stewart Copeland, Terry Wollman and Kenny G. Hussain currently tours and records as a member of Herb Alpert and Lani Hall’s quintet.Hussainjiffry.comhttps://www.facebook.com/hussain.jiffry.3/https://www.instagram.com/hussain_jiffry/vibratogrilljazz.comHerbalpert.com

Today’s episode (in celebration of Countermelody’s first birthday!) picks up where the last one left off: more musicals, more opera (and operaish) singers! Excerpts from cast recordings, radio broadcasts, telecasts, and live performances highlight the work of singers who divided their time, to a greater or lesser extent, between the Broadway stage and the operatic stage. We begin with the great bass-baritones (Ezio Pinza, Cesare Siepi, Giorgio Tozzi, and José Van Dam) and move through the great Broadway (and sometime opera) baritones (Alfred Drake, John Raitt, Bruce Yarnell, Robert Trehy, Leslie Scott, Lawrence Winters, and John Reardon) with a nod to other opera singers who have also graced the Broadway stage (Helen Traubel, Shirley Verrett, Mona Paulee, Dorothy Sarnoff, Risë Stevens, Lee Venora, Camilla Williams, and Carol Brice). We then consider singers whose vocal abilities could easily have put them on the opera stage, had they chosen to so devote themselves (Alice Ghostley, Madeline Kahn, Barbara Cook, Florence Henderson, Judy Kaye, Lisa Vroman, Audra McDonald, Victoria Clark, Rebecca Luker, and the late Marin Mazzie). The episode also features tributes to two recently deceased divas (Gabriella Tucci and Christiane Eda-Pierre) as well as a spotlight on the gorgeous soprano Margaret Tynes, who just celebrated her 101st birthday. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!  

I should’ve paid attention in Health class. Watch Nexus by Danielle Mohlman on its virtual national tour EXTENDED THRU MAY 17! Taking Care - An Emergency Fund for the Washington Theatre Community MUSIC: “Soliloquy” performed by John Raitt from Carousel - Selections from the Theatre Guild Musical Play (1945), music by Richard Rodgers, lyrics by Oscar Hammerstein II Merch • Patreon • Twitter • Facebook • Email

Gary chats on about his early days as a young adult working at the Gilford Playhouse and some of the stars that performed there (William Shatner, John Raitt, David McCallum,etc.). He talks about his time with Streetcar, The Players Ring (16yrs!) and the company he started called Phylloxera Productions. And about his desire to produce Nicholas Nickleby and why it would be so difficult to do it. Then we dig into his latest production, BO-NITA, a one woman show starring the incredibly talented Deidre Hickock Bridge. We break down the process of one person creating multiple characters with different accents that have to interact with each other.

Denise Ashlynd brings over 30 years of professional experience to her work in theatre, film, television, commercials, and voice-over. A native of Florida, she made her television debut on "Romper Room" at the age of 5. By age 13, she performed on stage in her first Equity production of "Fiddler on the Roof." Denise graduated magna cum laude from Florida State University with a B.F.A. degree in Music Theatre. While at FSU, she worked and studied with Joseph Papp, Roger Rees, Raul Julia, Nigel Rideout, and Neal Kenyon. She also had the privilege of working with Academy Award winning director, Jonathan Demme, on his film "Something Wild," which was shooting in Tallahassee at the time. Just after graduation, Denise earned her Equity card and moved to NYC, where she continued her training at Circle in the Square. On stage, she has performed Off-Broadway, in U.S. tours, regionally, and throughout 13 countries in Europe in productions of  "Man of La Mancha" (starring John Raitt),  "Hair," >"Jesus Christ Superstar" and Alan Johnson's "West Side Story" to name just a few. She has acted in and voiced numerous television and radio commercials, including "Massachusetts Lottery" and "PBS-Give Me A Break." Denise has appeared on film and T.V. in projects starring Christopher Walken, "When I Live My Life Over Again," Alysia Reiner "No Letting Go," Meryl Streep "Music of the Heart," Ted Danson "3 Men and a Little Lady," and Andy Samberg/The Lonely Island "The Comedy Awards 2011." She had the honor of studying with Grammy and Audie award winning director/producer of audiobooks, Paul Ruben, and can be heard narrating Melissa Gilbert's children's book "Daisy and Josephine" as well as other titles from Simon & Schuster and HighBridge Audio. Denise has a passion and a gift for working with children, and brings that passion to her work in commercials, television, film and audiobooks. She has a home voice-over studio and shares her workspace and home with her husband and son. For more information about this and other episodes, head over to mikelenzvoice.com.

"Carousel," the second musical created by the legendary Rogers & Hammerstein, is noted today for two major things. One - it’s the show from which we gained the songs "June is Bustin’ Out All Over," and "You'll Never Walk Alone," sometimes alternately known as "When You Walk Through a Storm," a song without which funerals, church services, graduations, and high school music recitals would have been a very different experience over the last 70 years. The SECOND Thing "Carousel" is usually noted for is, well, the plot of the 1945 musical is kinda weird and sort of unsettling, But Hey, at least it’s got that 'Storm' song. And didn’t Elvis have a huge hit with that song? Yes, he did. In truth, "Carousel," a huge hit when it first spun onto Broadway with John Raitt and Jan Clayton in the leads, has a LOT of great songs, some of which you might even have heard before. "June is Bustin’ Out All Over," for what it’s worth, has been bustin‘ into movies, Bugs Bunny cartoons, and major league baseball commercials ever since it first hit the stage. Then there’s, "If You Loved Me," covered on record albums hundreds of times by everyone from Bing Crosby, Frank Sinatra and Perry Como to Art Garfunkel, Chad & Jeremy and Sammy Davis Jr. And of course, though it has no lyrics and almost no one knows its name, this piece of music, "The Carousel Waltz," is one of the most famous pieces of circus music ever written, gracing zillions of music boxes for seven decades. Less famous, but worth noting is "Real Nice Clambake," which gave us the indelible lyric, "This was a real nice clambake/we're mighty glad we came/the vittles we et/were good, you bet/the company was the same." Man, that’s poetry. Actually, all kidding aside, that IS poetry. Rogers & Hammerstein’s commitment to capturing the vernacular of their characters was unheard of on the Broadway musical stage before R&H arrived with "Oklahoma," "South Pacific," "The King & I," and "Carousel." Oh, by the way, the reason I’m talking about it is that Spreckels Performing Arts Center is currently presenting a delightfully stripped down production of "Carousel," putting the music front and center along with the orchestra, which is right there on stage with musical director Janis Wilson. Billed as a staged concert, it’s more of a fully staged musical with minimal sets, and an orchestra you can actually look at during the show if you want to. But with gorgeous costumes, snappy choreography, and some truly magnificent singers and actors, you'll soon stop noticing the musicians and be pulled into the story. Or not. The truth is, "Carousel" DOES have a kind of a weird, conspicuously dated story, in which the residents of a turn of the century New England mill town deal with everyday problems: love, poverty, death, spousal abuse, class divisions, what to do when you've died with unfinished business, and timeless issue of finding a suitable rhyme to the word ‘vittles.’ The music is lovely, and it weaves in and out of the dialogue like a river along a gentle mountainside. Directed with fondness and a staunch refusal to ‘fix’ any of the stories outdated ideas, this "Carousel" but putting focus on it’s most notable attribute, the music, is as pleasant and laidback as a lazy ride on a merry-go-round - or a summertime clambake amongst friends. "Carousel" runs through March first at Spreckels Performing Arts Center - spreckelsonline.com

Renowned singer/songwriter Bonnie Raitt remembers her father, a legend of the Broadway stage, whose papers have joined the collections at the Library of Congress.

Jim Simpson, artistic director of New York's Off-Off-Broadway The Flea Theater, charts the company's 15 year journey from a collective meant to last for only five years to an ongoing institution on the verge of moving to a home that they own. Along the way, he tells about his years as a child actor in Honolulu appearing in touring musicals with stars such as John Raitt; his teenage summer spent studying with landmark Polish director and theorist Jerzy Grotowski; the highly politicized spirit of the Boston University theatre program during his time there; bridging the Robert Brustein and Lloyd Richards eras while in graduate school at Yale, including Richards' quashing of Simpson's all-male "Hamlet"; his ongoing development of the play "Benten Kozo" across multiple productions; his years as a freelancer at theatres including Williamstown and Hartford Stage; his forays into commercial runs both successful ("Nixon's Nixon") and incomplete ("Citizen Tom Paine"); why The Flea's central tenets included clean dressing rooms for the actors and bathrooms for the patrons; the company's ongoing relationship with playwrights, notably A.R. Gurney; and how the 9/11 tragedy nearly closed the theatre and then, largely thanks to "The Guys", spurred it into a new era; whether the presence of stars at The Flea, including Simpson's wife Sigourney Weaver, as well as John Lithgow and Marisa Tomei, has given them a profile beyond that of the customary downtown house; and why The Flea's resident young company, The Bats, forces the theatre to keep moving on to new challenges. Original air date - November 3, 2010.

Jim Simpson, artistic director of New York's Off-Off-Broadway The Flea Theater, charts the company's 15 year journey from a collective meant to last for only five years to an ongoing institution on the verge of moving to a home that they own. Along the way, he tells about his years as a child actor in Honolulu appearing in touring musicals with stars such as John Raitt; his teenage summer spent studying with landmark Polish director and theorist Jerzy Grotowski; the highly politicized spirit of the Boston University theatre program during his time there; bridging the Robert Brustein and Lloyd Richards eras while in graduate school at Yale, including Richards' quashing of Simpson's all-male "Hamlet"; his ongoing development of the play "Benten Kozo" across multiple productions; his years as a freelancer at theatres including Williamstown and Hartford Stage; his forays into commercial runs both successful ("Nixon's Nixon") and incomplete ("Citizen Tom Paine"); why The Flea's central tenets included clean dressing rooms for the actors and bathrooms for the patrons; the company's ongoing relationship with playwrights, notably A.R. Gurney; and how the 9/11 tragedy nearly closed the theatre and then, largely thanks to "The Guys", spurred it into a new era; whether the presence of stars at The Flea, including Simpson's wife Sigourney Weaver, as well as John Lithgow and Marisa Tomei, has given them a profile beyond that of the customary downtown house; and why The Flea's resident young company, The Bats, forces the theatre to keep moving on to new challenges. Original air date - November 3, 2010.

Legendard baritone John Raitt would be 88 this weekend and Michael 'Phantom' Crawford is 63. Tonight we celebrate both artists with popular and rarer recordings of their respective work.