Podcasts about kander and ebb

For Musical Theatre fans, Sally Ann Triplett is the definition of a West End leading lady having taken on principal roles in Chicago, Mamma Mia! and Billy Elliot. She is now currently playing Fraulein Schneider in the multi-award winning production of Cabaret at the Kit Kat Club in the Playhouse Theatre. Since the show opened in 2021, various stars have tread the boards at the newly renovated theatre including Jessie Buckley, Cara Delevigne, Fra Fee and Aimee Lou Wood. In the current cast, Sally Ann is starring opposite Rhea Norwood and Layton Williams who star as Sally Bowles and the Emcee respectively.In this brand new interview, Sally Ann Triplett discusses why this production of Cabaret has ended up being such a hit with audiences. Having previously played Sally Bowles herself and also played Fraulein Schneider in the Lido 2 Paris' production earlier, she opens up about her love for the show as well as for Kander and Ebb. In our interview, Sally Ann also opens up about how the industry has changed over the years, noting the increasing presence of phones and connections slowly disappearing in companies. We also talk about the shortage of roles for women and why she's been able to work so consistently over the course of her career, having recently originated the role of Gran in Dave Molloy's The Witches, marking a triumphant return to the National Theatre following her spellbinding run as Reno Sweeney in Anything Goes; as well as leading a production of Billy Elliot at Leicester Curve as well. It's a fascinating discussion as Sally Ann reveals her insights into what it's really like to be one of the West End's finest leading ladies.Cabaret at the Kit Kat Club is currently running until 31st May 2025 with tickets on sale now!

Join us for a dark and twisty tale of a dish best served very cold. The book is based on Swiss dramatist Friedrich Dürrenmatt's play, “The Visit of the Old Lady,” and the plot revolves around Claire Zachanassian (It just rolls off the tongue…), a widowed gazillionaire returning to her impoverished hometown to seek revenge on a man named Anton Schell who impregnated and abandoned her as a teen. Claire offers the town and each of its inhabitants a substantial sum of money in exchange for Schell's death. Deliciously complex moral and ethical dilemmas are explored and some beautiful, unsettling music is made, leading to a haunting conclusion. Give it a listen and let us know if you agree with Lenny and Stephanie, who loved it, or Forrest, who...didn't. And join us over on our Facebook and Instagram pages to tell us what you think!

"The Visit" by Kander and Ebb is a dark and twisty tale of a dish best served very cold, and it's based on Swiss dramatist Friedrich Dürrenmatt's play, “The Visit of the Old Lady.” The plot revolves around Claire Zachanassian (It just rolls off the tongue…), a widowed gazillionaire returning to her impoverished hometown to seek revenge on a man named Anton Schell who impregnated and abandoned her as a teen. Claire offers the town and each of its inhabitants a substantial sum of money in exchange for Schell's death. Deliciously complex moral and ethical dilemmas are explored and some beautiful, unsettling music is made, leading to a haunting conclusion. Give it a listen and let us know if you agree with Lenny and Stephanie, who loved it, or Forrest, who...didn't. You can always contact us on our Facebook and Instagram pages.

Composer John Kander and lyricist Fred Ebb's creative partnership lasted forty years and produced hit shows like Cabaret, Chicago and Kiss of the Spider Woman. Since Ebb's death in 2004, John Kander — now 96 years old — has continued making new work. With Chicago back on stage in Australia, John Kander joins us from New York. Also, we travel to Moscow to encounter the devil and his gang of misfits wreaking havoc among the literati of Stalinist Russia. Mikhail Bulgakov wrote the novel The Master and Margarita in the 1930s when he was fed up with seeing his books and plays banned by Russian authorities. Now, Belvoir St Theatre are adapting this unwieldy novel for the stage. 

Dr Tony Reed looks at the issues facing the LGBTI community

In Afternoon Delights Tony presents a range of music and composers that will interest those who enjoy show tunes and classical music.

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David Sabella is known for originating the co-starring role "Mary Sunshine" in the 1996 Broadway revival of Chicago The Musical, which is Broadway's longest running American Musical. Celebrating its 25th anniversary, David brings his show David Sabella Sings Kander & Ebb: 25Chicago25 to Feinstein's/54 Below on November 17 at 7pm. In this short form interview, David Sabella is Baring It Slightly. David's Feinstein's/54 Below show will in-person & also live streamed via BroadwayWorld. In-Person Tickets Live Stream Tickets Connect with David: Website Facebook Twitter Instagram Connect with Feinstein's 54 Below: Website Facebook Twitter Instagram Like What You Hear? Join my Patreon Family to get backstage perks including advanced notice of interviews, the ability to submit a question to my guests, behind-the-scene videos, and so much more! Follow me on Facebook, Twitter, and Instagram Visit: https://callmeadam.com for more my print/video interviews Special Thanks: My Patreon Family for their continued support: Angelo, Reva and Alan, Marianne, Danielle, Tara, Alex, and The Golden Gays NYC. Join the fun at https://patreon.com/callmeadamnyc. Theme Song by Bobby Cronin (https://bit.ly/2MaADvQ) Podcast Logo by Liam O'Donnell (https://bit.ly/2YNI9CY) Edited by Adam Rothenberg Outro Music Underscore by CueTique (Website: https://bit.ly/31luGmT, Facebook: @CueTique) More on David: David Sabella has enjoyed a long & varied career in performance. In 1996 he originated the starring role of “Mary Sunshine” in the 1996 revival of CHICAGO, with Bebe Neuwirth, Ann Reinking & Joel Grey. He returned to the Broadway company, to appear with Melanie Griffith as "Roxie Hart" & continued to return, as needed for the Broadway & National Touring Companies, until 2006. He is also appeared in workshops of Kander & Ebb's last collaboration, The Visit, with both Angela Landsbury & Chita Rivera. Off-Broadway, David performed leading roles in The Phillie Trilogy (Winner – Outstanding Lead Actor in a Play, Fresh Fruit Festival 2017); Jules – (the life of Julian Eltinge) Laurie Beechman Theater, October, 2012 & La Tea Theater 2014; Kiss and Make Up at the Lucile Lortel Theater, (New York International Fringe Festival); The Green Room (HBO Prods), as well as Hexed in The City, Foxy, Watch Your Step, So Long 174th Street (Musicals Tonight!), and O'Henry's Lovers (New York Musical Theater Festival). His regional theater credits include: A Little Night Music, Seesaw, Godspell, Merrily We Roll Along, The Gingerbread Lady & The Lisbon Traviata. As a voice-over artist David worked on several network television cartoon series, including Peter Pan and the Pirates for FOX &Teacher's Pet for Disney. In classical music, David won several prestigious voice competitions including The Luciano Pavarotti International Voice Competition, The Metropolitan Opera Eastern Regional Auditions & The New York Oratorio Society Competition at Carnegie Hall. He starred in the title role of Giulio Cesare with Virginia Opera (available on Koch International Label), L' incoronazione di Poppea (Utah opera) & Die Fledermaus (Lincoln Center). He has appeared numerous times at both Carnegie Hall & Lincoln Center as a principal soloist in such works as the Bach B-Minor Mass, Handel's Messiah & Peter Schickele's comical Three Bargain-Counter Tenors. He toured internationally with the now legendary La Gran Scena Opera Company. David appeared twice on the Rosie O'Donnell Show & has been featured in national magazines such as Opera News, In Theater, Entertainment Weekly, A&U (Cover), OUT, and Next. After the phenomenal success of CHICAGO, David's personal caricature was unveiled (June 1998) and hangs in the world-famous theater restaurant, Sardi's. Learn more about your ad choices. Visit megaphone.fm/adchoices

Part two of our conversation with John Kander and Fred Ebb, songwriters for such Broadway shows as WOMAN OF THE YEAR, 70, GIRLS, 70, THE RINK, THE HAPPY TIME, and ZORBA. They talk about their writing process and share several anecdotes about working with luminaries like Hal Prince, George Abbott, Liza Minnelli, Robert Goulet and more. Kander and Ebb share their love of writing together and going back and forth with Bob Fosse to create a perfect, climactic number for Gwen Verdon and Chita Rivera to perform in CHICAGO. Featured songs: “All That Jazz,” “I Don’t Remember You,” “Life Is,” “The Butterfly,” “Old Folks,” “Chicago Overture,” “Nowadays,” “Mister Cellophane,” “The Grass Is Always Greener,” “The Rink,” “Colored Lights,” and “Yes.” Originally produced and broadcast in 1986. For more information go to AnythingGoesPL.com or BPN.FM/AnythingGoes. Theme music arranged by Bruce Coughlin. Sound mixing by David Rapkin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway’s Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

John Kander and Fred Ebb, the writing team behind such shows as CHICAGO, CABARET, FLORA THE RED MENACE, are interviewed about their over twenty-year collaboration. They discuss how they first met, the early stages of their partnership, writing special material and how much they enjoy the time they spend writing together. They sing several of their own compositions together and share their experiences working with Hal Prince, George Abbott, Chita Rivera, Liza Minelli, Barbra Streisand, Bob Fosse, Gwen Verdon, and other stars of the stage and screen. Featured songs: “Cabaret,” “Perfect Strangers,” “Ring Them Bells,” “My Coloring Book,” “Sing Happy,” “A Quiet Thing,” “Wilkommen,” “So What?,” “If You Could See Her,” “Maybe This Time,” and “Theme From New York, New York.” Originally produced and broadcast in 1986. For more information go to AnythingGoesPL.com or BPN.FM/AnythingGoes. Theme music arranged by Bruce Coughlin. Sound mixing by David Rapkin. Associate producer Jeff Lunden. Anything Goes – Backstage with Broadway’s Best – is produced and hosted by Paul Lazarus. Learn more about your ad choices. Visit megaphone.fm/adchoices

Start spreading the news: we're celebrating one of the greatest creative partnerships in musical theater. Liza's classics and some rarities from The Act, Cabaret, Flora the Red Menace, and more.

CABARET Music by John Kander | Lyrics by Fred Ebb | Book by Joe Masteroff | Based on The Berlin Stories by Christopher Isherwood and the play I Am A Camera by John Van Druten. Episode Segments:1:44 - Speed Test 3:55 - Why God Why5:17 - Back to Before25:33 - What's Inside 50:37 - How Do You Solve a Problem Like Maria?1:06:42 - Our Favorite Things1:14:55 - Corner of the Sky Works Consulted:Cabaret (Original Libretto) by Joe Masteroff, John Kander & Fred Ebb | Directed & Produced by Harold PrinceCabaret (1972 Film) Directed & Choreographed by Bob Fosse, Screenplay by Jay Allen, Produced by Cy FeuerCabaret (1987 Revised Libretto) by Joe Masteroff, John Kander & Fred Ebb | Directed & Produced by Harold PrinceCabaret (1998 Broadway Libretto) by Joe Masteroff, John Kander & Fred Ebb | Directed by Sam Mendes, Co-Directed & Choreographed by Rob Marshall, Produced by Roundabout Theatre CompanyThe Making of Cabaret by Keith Garebian Cabaret: The Illustrated Book by Joe Masteroff, John Kander & Fred EbbMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording)  | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie  (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording  (Original Cast Recording  / Deluxe)  | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr.  | Performed by Alistair Brammer "Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording)  | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"What's Inside" from Waitress (Original Broadway Cast Recording)  | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"The Money Song (Sitting Pretty) from Cabaret (Original  Broadway Cast Recording) | Music by John Kander, Lyrics by Fred Ebb | Performed by Joel Grey, Cabaret Ensemble & Harold Hastings"Money" from Cabaret (New Broadway Cast Recording)  | Music by John Kander, Lyrics by Fred Ebb | Performed by Alan Cumming & Cabaret Ensemble (1998)"Cabaret" from Cabaret (Original Broadway Cast Recording)  | Music by John Kander, Lyrics by Fred Ebb | Performed by Jill Haworth & Harold Hastings"Maria" from The Sound of Music (Original Soundtrack Recording)  | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas 

Delivered on May 3, 2020, at Woodland Park Presbyterian Church as part of the regular worship service (4th Sunday in Eastertide).Scripture Reading, Acts 17:1-9 & 1 Thessalonians 1:1-10: After Paul and Silas had passed through Amphipolis and Apollonia, they came to Thessalonica, where there was a synagogue of the Jews. And Paul went in, as was his custom, and on three sabbath days argued with them from the scriptures, explaining and proving that it was necessary for the Messiah to suffer and to rise from the dead, and saying, "This is the Messiah, Jesus whom I am proclaiming to you." Some of them were persuaded and joined Paul and Silas, as did a great many of the devout Greeks and not a few of the leading women. But the Jews became jealous, and with the help of some ruffians in the marketplaces they formed a mob and set the city in an uproar. While they were searching for Paul and Silas to bring them out to the assembly, they attacked Jason's house. When they could not find them, they dragged Jason and some believers before the city authorities, shouting, "These people who have been turning the world upside down have come here also, and Jason has entertained them as guests. They are all acting contrary to the decrees of the emperor, saying that there is another king named Jesus." The people and the city officials were disturbed when they heard this, and after they had taken bail from Jason and the others, they let them go. Paul, Silvanus, and Timothy, To the church of the Thessalonians in God the Father and the Lord Jesus Christ: Grace to you and peace. We always give thanks to God for all of you and mention you in our prayers, constantly remembering before our God and Father your work of faith and labor of love and steadfastness of hope in our Lord Jesus Christ. For we know, brothers and sisters beloved by God, that he has chosen you, because our message of the gospel came to you not in word only, but also in power and in the Holy Spirit and with full conviction; just as you know what kind of persons we proved to be among you for your sake. And you became imitators of us and of the Lord, for in spite of persecution you received the word with joy inspired by the Holy Spirit, so that you became an example to all the believers in Macedonia and in Achaia. For the word of the Lord has sounded forth from you not only in Macedonia and Achaia, but in every place your faith in God has become known, so that we have no need to speak about it. For the people of those regions report about us what kind of welcome we had among you, and how you turned to God from idols, to serve a living and true God, and to wait for his Son from heaven, whom he raised from the dead -- Jesus, who rescues us from the wrath that is coming.Support the show (https://pod.fan/lets-begin-with-prayer)

Acclaimed Israeli-born, UK-based choreographer Hofesh Shechter brings his Grand Finale to the Melbourne Festival, we travel to the Brisbane Festival to experience three Australian works that question the ways in which we connect: From Darkness, Bitch on Heat and Communal Table, award-winning English actor Maxine Peake shares the Best Advice she was ever given, and Chicago returns to the Australian stage, bringing glitz, glamour, guile and all that jazz.

Acclaimed Israeli-born, UK-based choreographer Hofesh Shechter brings his Grand Finale to the Melbourne Festival, we travel to the Brisbane Festival to experience three Australian works that question the ways in which we connect: From Darkness, Bitch on Heat and Communal Table, award-winning English actor Maxine Peake shares the Best Advice she was ever given, and Chicago returns to the Australian stage, bringing glitz, glamour, guile and all that jazz.

The BBC described Ruthie Henshall as a mega-watt talent shining in all its dazzling brilliance. Scottish print media, The Scotsman commented, she has the kind of brilliant, high-voltage stage personality that can light up whole cities. Fair to say, Miss Henshall is the definition of a Star.Ruthie Henshall made her West End debut in 1987 in Cats, navigating several of the feline family before assuming the pivotal role of Grizabella. This supremely gifted 19 year old would go on to become a five time Olivier Award nominee for a succession of roles in Crazy For You, Chicago, Peggy Sue Got Married and Marguerite; winning for the role of Amalia in the London revival of She Loves Me.Her list of theatre credits is extensive and in an extraordinary accomplishment, audiences have seen her play the three female principal roles in the musical Chicago; originating the role of Roxie in the West End, giving her Velma on Broadway and returning recently to the London production in the role of Matron Mama Morton.As a recording artist she can be accessed in various cast recordings and several solo albums including The Ruthie Henshall Album, Pilgrim and Love Is Here To Stay - a celebration of Gershwin. She’s also an author - So You Want To Be In Musicals, released in 2012, is available from all good booksellers.Audiences cite her as one of their favourite voices; a consummate storyteller who can navigate a lyric with nuance, strength and tremendous vulnerability. She has the gift of being able to affect an audience and elicit a range of emotional responses.She is one of the world’s leading music theatre performers, currently in the middle of an Australian tour. Ladies and Gentlemen ... Miss Ruthie Henshall.

It's a blast when I get to meet people with whose work I am familiar, but I have never met them. This time at a recent press event at Feinstein's 54 Below, Producer/Singer/Actress ,Jana Robbins, and SInger/Actress Haley Swindal, come together to perform and evening of music featuring one of my favorite composer/lyricist teams, Kander and Ebb. Enjoy my conversations with these fabulous women. About Jana Robbins: http://www.janarobbins.com/ About Haley Swinfal: https://www.broadwayworld.com/people/Haley-Swindal/ More Info abt the show: https://54below.com/events/jana-robbins-haley-swindal/ Subscribe to Keith Price's Curtain Call on Itunes: www.keithpricecurtaincall.com Follow @keithpricecurtaincall on Instagram Follow @kpcurtaincall @comedydaddy Like me on FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/ Subscribe on You Tube: https://www.youtube.com/channel/UCduwJ3ytmAwdJMQtGllk1Ig

Dom and Robert are let off the lead by Nick and are allowed to talk to their heart's content about the more un-known shows of Kander and Ebb including The Rink, The Visit, Zorba and Woman of the Year.

Maybe this time, we'll savor the gifts of Kander and Ebb, featuring selections from their major scores, performed by artists such Liza Minnelli, Chita Rivera, Lauren Bacall, Herschel Bernardi & Robert Goulet.

Composer John Kander talks about his decades-long collaboration with Fred Ebb, with particular focus on the four projects that were not fully completed before Ebb's death in 2004: "The Scottsboro Boys", "The Visit", "All About Us" (aka "Over and Over") and "Curtains", speaking directly to the issues of utilizing the minstrel show construct for "Scottsboro". He recalls his first meeting Ebb and their earliest, never produced collaboration, "Golden Gate"; beginning work on "Cabaret", at the behest of Hal Prince, the morning after "Flora the Red Menace" opened; what factors resulted in "Chicago" being only a moderate success in the 70s but a smash in the 90s; why he thinks musicals are best written at a certain "remove" from their subjects; whether he believes there is a "signature" Kander and Ebb writing style; how he, Ebb and and their collaborators spent a great deal of time talking, asking "what if," long before any writing began; whether any of the more than 60 songs written for "Cabaret", most unused, will ever escape his "trunk"; what it was like to write for the particular voices of Liza Minnelli and Chita Rivera; whether he thinks writing teams benefit from working in the same room, as he and Ebb did throughout their career together; and what he's working on now. Kander also demonstrates how the same melody can be used to change tone over the course of a show, using examples from "Cabaret" and "The Visit". Original air date - December 29, 2010.

Composer John Kander (Tony Award winner for Best Original Score in 1967 for “Cabaret”, 1981 for “Woman of the Year”, and 1993 for “Kiss of the Spider-Woman”) talks about his decades-long collaboration with Fred Ebb, with particular focus on the four projects that were not fully completed before Ebb's death in 2004: “The Scottsboro Boys”, “The Visit”, “All About Us” (aka “Over and Over”) and “Curtains”, speaking directly to the issues of utilizing the minstrel show construct for “Scottsboro”. He recalls his first meeting Ebb and their earliest, never produced collaboration, “Golden Gate”; beginning work on “Cabaret”, at the behest of Hal Prince, the morning after “Flora the Red Menace” opened; what factors resulted in “Chicago” being only a moderate success in the 70s but a smash in the 90s; why he thinks musicals are best written at a certain "remove" from their subjects; whether he believes there is a "signature" Kander & Ebb writing style; how he, Ebb and their collaborators spent a great deal of time talking, asking "what if," long before any writing began; whether any of the more than 60 songs written for “Cabaret”, most unused, will ever escape his "trunk"; what it was like to write for the particular voices of Liza Minnelli and Chita Rivera; whether he thinks writing teams benefit from working in the same room, as he and Ebb did throughout their career together; and what he's working on now. Kander also demonstrates how the same melody can be used to change tone over the course of a show, using examples from “Cabaret” and “The Visit”.

Composer John Kander talks about his decades-long collaboration with Fred Ebb, with particular focus on the four projects that were not fully completed before Ebb's death in 2004: "The Scottsboro Boys", "The Visit", "All About Us" (aka "Over and Over") and "Curtains", speaking directly to the issues of utilizing the minstrel show construct for "Scottsboro". He recalls his first meeting Ebb and their earliest, never produced collaboration, "Golden Gate"; beginning work on "Cabaret", at the behest of Hal Prince, the morning after "Flora the Red Menace" opened; what factors resulted in "Chicago" being only a moderate success in the 70s but a smash in the 90s; why he thinks musicals are best written at a certain "remove" from their subjects; whether he believes there is a "signature" Kander and Ebb writing style; how he, Ebb and and their collaborators spent a great deal of time talking, asking "what if," long before any writing began; whether any of the more than 60 songs written for "Cabaret", most unused, will ever escape his "trunk"; what it was like to write for the particular voices of Liza Minnelli and Chita Rivera; whether he thinks writing teams benefit from working in the same room, as he and Ebb did throughout their career together; and what he's working on now. Kander also demonstrates how the same melody can be used to change tone over the course of a show, using examples from "Cabaret" and "The Visit". Original air date - December 29, 2010.

With Theresa Rebeck's "The Understudy" soon to close at the Roundabout and Douglas Carter Beane's "Mr. and Mrs. Fitch" beginning rehearsals at Second Stage, director Scott Ellis discusses his attraction to both projects and the delays and opportunities that caused each of them to land in New York a bit later than originally expected. He also discusses his early and absolute conviction that he was destined for a career as an actor, and how quickly that changed; how his friendship with John Kander and Fred Ebb from his acting in "The Rink" helped him to land his very first directing job, a revival of "Flora the Red Menace" at the Vineyard Theatre; the enormous opportunities afforded to him by artistic director Todd Haimes at the Roundabout, where Ellis is Associate Artistic Director; how and why he and Susan Stroman came to devise "And The World Goes Round"; his early work on the plays "Picnic" and "A Month in the Country" after his successes with "A Little Night Music" at the New York City Opera and "She Loves Me" -- Roundabout's first musical; the opportunity to collaborate on the creation of "Steel Pier" and the challenges of opening an original book musical in New York without benefit of an out-of-town tryout; why he feels "The Look of Love", his Bacharach and David revue didn't succeed -- and why he thinks it was always meant to be done "drinks in hand"; and how he tackled "Twelve Angry Men", a seemingly familiar work which had never been produced professionally in New York. Original air date - January 11, 2010.

With Theresa Rebeck's "The Understudy" soon to close at the Roundabout and Douglas Carter Beane's "Mr. and Mrs. Fitch" beginning rehearsals at Second Stage, director Scott Ellis discusses his attraction to both projects and the delays and opportunities that caused each of them to land in New York a bit later than originally expected. He also discusses his early and absolute conviction that he was destined for a career as an actor, and how quickly that changed; how his friendship with John Kander and Fred Ebb from his acting in "The Rink" helped him to land his very first directing job, a revival of "Flora the Red Menace" at the Vineyard Theatre; the enormous opportunities afforded to him by artistic director Todd Haimes at the Roundabout, where Ellis is Associate Artistic Director; how and why he and Susan Stroman came to devise "And The World Goes Round"; his early work on the plays "Picnic" and "A Month in the Country" after his successes with "A Little Night Music" at the New York City Opera and "She Loves Me" -- Roundabout's first musical; the opportunity to collaborate on the creation of "Steel Pier" and the challenges of opening an original book musical in New York without benefit of an out-of-town tryout; why he feels "The Look of Love", his Bacharach and David revue didn't succeed -- and why he thinks it was always meant to be done "drinks in hand"; and how he tackled "Twelve Angry Men", a seemingly familiar work which had never been produced professionally in New York. Original air date - January 11, 2010.

Conversations with actors David Hyde Pierce, Edward Hibbert and Karen Ziemba of the musical Curtains; as well as composer Duncan Sheik of Spring Awakening. Sheik also performs his opening song from the show, "Momma who Bore Me."