Podcast appearances and mentions of jon hartmere

Midday theater critic J. Wynn Rousuckjoins Tom on Zoom for another of her weekly reviews of the region's thespian offerings. Today, in this Web-only critique, she spotlights Once Upon a One More Time, a fairy-tale musical that's getting its world premiere on stage at the Shakespeare Theatre Company in Washington, DC. In this satirical musical fantasy, written by Jon Hartmere, a group of classic fairy-tale princesses, gathered at their fortnightly book club, experience a catharsis after reading Betty Friedan's radical feminist manifesto, The Feminine Mystique. With the recorded music of pop princess Britney Spears as their soundtrack, the newly empowered princesses set about redefining themselves in an uproarious assault on storybook sexism. Once Upon A One More Time, whose 13-member cast is directed by the Creative Team of Keone and Mari Madrid, continues at the Shakespeare Theatre Companyat the Harman Center for the Arts in Washington DC until Sunday, January 9. Click the theater link above for showtime and ticket information. See omnystudio.com/listener for privacy information.

Kelly Macmanus Funke is President of Littleton Road Productions, a television production company with an overall deal at Universal Content Productions (UCP). Her career began in the 1990s, working for Cary Woods as he produced the first projects of today's most celebrated content creators, including Jon Favreau, Doug Liman, James Mangold, Alexander Payne, M. Night Shyamalan, and Scott Rosenberg. Under her own company film generator, she was the associate producer on Jonas Pate's SHRINK and she championed the early works of author Gregg Hurwitz, Broadway and screenwriter Jon Hartmere, and television writer, Patrick Macmanus. Then it all came to a halt. In 2009, she said goodbye to Hollywood. She spent the next decade in leadership positions in various industries. She served as Senior Vice President, Marketing for North America for the sportswear brand FILA. She was part of the global executive leadership team that returned the branded manufacturer from near-obsolescence in 2007 to a $5 billion dollar enterprise that won Shoe of the Year in 2018. During her time away, she also shepherded the return of legendary brand ambassador Grant Hill to a lifetime deal; built an in-house ad agency from the ground up; and oversaw the creation and growth of the company's B2B and B2C eCommerce teams. Immediately prior to her tenure at FILA, Funke was Director of Operations on a U.S. Senate primary in the '08 cycle and oversaw operations for Jamestown Associates, a nationally renowned political ad agency. In the fall of 2019, her brother Patrick was inundated with projects for him and for the many talented writers he he championed with his overall deal at UCP. Naturally he called up Kelly. Naturally, she said yes. Two years later, they now have an overall deal, created the hit Peacock drama Dr. Death starring Joshua Jackson and are in the middle of production on the true-crime limited series The Girl From Plainville starring Elle Fanning. Her story is just as remarkable as she is. Can't wait for you to dive in and meet Kelly! This week, we discuss: Parallels between production and the writer's process Why producing is age agnostic Having faith in yourself

The Corn Stock Winter Playhouse opens its new season with a production of “Bare: The musical.” Douglas Okey [OAK-ee] has this review, for Peoria Public Radio and the Live Theatre League. Opinions expressed are those of the reviewer, not those of Peoria Public Radio or the Live Theatre League. There’s something oddly refreshing about “bare: the musical.” To be sure, the show does not explore new themes. It blazes no unexplored trails, musically speaking. And yet watching the show Friday evening felt new and fresh. Perhaps the credit goes to the outstanding cast of young performers. Also known as a “pop opera,” “bare” employs the sing-every-line device used by many recent musical playwrights, including Andrew Lloyd Webber. While the show has brief moments of spoken dialogue, the songs by Jon Hartmere and Damon Intrabartolo carry the bulk of the narrative. In the wrong hands, a rock or pop opera can be difficult to follow. In the event, there were no worries. “bare” follows the teen

Television and theatre singer/actress Lindsay Heather Pearce (Glee, The Glee Project) is interviewed about her starring role in the Los Angeles revival of Damon Intrabartolo and Jon Hartmere’s Pop Rock Opera Bare. The Live Arts Calendar highlights the bluegrass musical comedy El Grande De Coca-Cola! At the Ruskin Theatre Group in Santa Monica, CA. Musical theatre star and writer Jonah Platt is also interviewed about his starring role in Bare and his writing career for television (The Family Guy). Pearce and Platt reveal embarrassing moments during performances.

Television and theatre singer/actress Lindsay Heather Pearce (Glee, The Glee Project) is interviewed about her starring role in the Los Angeles revival of Damon Intrabartolo and Jon Hartmere’s Pop Rock Opera Bare. The Live Arts Calendar highlights the bluegrass musical comedy El Grande De Coca-Cola! At the Ruskin Theatre Group in Santa Monica, CA. Musical theatre star and writer Jonah Platt is also interviewed about his starring role in Bare and his writing career for television (The Family Guy). Pearce and Platt reveal embarrassing moments during performances.

Bob Wilcox and Gerry Kowarsky review (1) A CHORUS LINE, by Marvin Hamlisch, Edward Kleban, James Kirkwood & Nicholas Dante, at Stages St. Louis, (2) THE IMMIGRANT, by Mark Harelik, at the New Jewish Theatre, (3) PELLEAS AND MELISANDE, by Claude Debussy, at Opera Theatre of St. Louis, (4) JUST DESSERTS, by Neil LaBute, at St. Louis Actors' Studio, (5) VAGABOND ADVENTURES, at Circus Flora, (6) KIND SIR, by Norman Krasna, at ACT Inc., (7) THE VISIT, by Friedrich Duerrenmatt, at Stray Dog Theatre, (8) BARE, by Damon Intrabartolo & Jon Hartmere, at New Line Theatre, and (9) BECKY'S NEW CAR, by Steven Dietz, at Insight Theatre Co.

This week John welcomes Jon in an episode that will make you do a "Parent Trap"esque double take. Screenwriter Jon Hartmere joins us this week to tell us what highly structured coupon clipping has to do with hell week at a baseball frat.  Beyond the obvious connection. Much of this episode was recorded in the dark. Music by Louden Swain, which should be obvious by now.