Podcasts about les mis

Un livre, Un lecteur. Emission présentée par Florence Berthout Elle reçoit François Lalliard qui parlera du livre « Les Misérables » de Victor Hugo À propos du livre : « Les Misérables » de Victor Hugo LES GRANDS TEXTES DU XIXe SIÈCLE Peut-on imaginer un monde sans Jean Valjean, Cosette, Gavroche, Javert ou Fantine, à jamais vivants au Panthéon de l'esprit humain ? En 1862 paraissent Les Misérables, qui désignent toutes les vicitmes d'un ordre social dont Victor Hugo condamne les injustices. Immense épopée populaire, le roman est emporté dans l'air de Paris et de ses bas-fonds, chargé de l'odeur des barricades et de la Révolution. Il deviendra l'une des oeuvres les plus lues dans le monde. On dit que lorsque les premières épreuves sortirent des presses, les correcteurs et les imprimeurs pleuraient.

Aarhus Teater har netop offentliggjort de nyeste medlemmer af deres ensemble, og Søs Egelind har forladt Tivolirevyen pga. forskellige forventninger til produktionen. Det taler vi selvfølgelig om. Og så har vi selvfølgelig set Les Miserable på Betty Nansen Teatret. Den er I mange, der har spurgt til. Sov vi? Elskede vi det?  Vi har også været på Folketeatret og AFUK for at se hhv. De Urørlige og FEMINA FABULA LIVE.  GOD FORNØJELSE

Group Guide Use this guide to help your group discussion as you meet this week. Sermon TranscriptMy name is Spencer, I am one of the pastors here. We are taking a break from 1 Samuel to really be in Holy Week this week. We have Palm Sunday today, Good Friday coming up this Friday for our night of worship, and Easter Sunday. So we're going to pause 1 Samuel, and we're actually going to be in John 15 today. If you have a Bible, you can turn there. We'll get there in a moment.One of the things I try to do with my children is I try to look for teaching moments, to really build their life on the right truth, to build their life on the right words and phrases about who our God is and how that shapes them. And I'm looking for those opportunities when they come. A year and a half ago, my son… we're trying out different activities. He started karate and gave that a run. Now, I didn't do mixed martial arts as a kid, but I was like, "Alright, we'll give this a go." So I'm watching him, and there's this one day where he's just kind of halfway going through the motions. I appreciate his instructor because his instructor didn't play around. He told him, "Just sit down. If you're not going to participate, just sit down." He got back up again, just kind of halfway through the motions. And then I was done. We were done with that. I put him in the car, and we're off to community group.I'm looking for just this moment to teach him what I've been trying to teach him for a few weeks at this point. I was just like, "Hey listen, buddy…" What I was trying to teach him is the theology of work: the idea that we work unto the Lord, that everything we do, we do to the glory of God. I wanted him to understand that this may seem small, but it's actually a picture of bigger things. Like, you need to actually listen. You need to work hard. You're there for an hour; do the motions, do all the things. I don't really know what to tell him, but I'm sitting there watching him. You pick it up, do the things that you need to do in order to do this well, because we work unto the Lord. And I'm driving, and I can see in the mirror looking back, his eyes are just kind of glazed over. I'm like, "Are you listening?" And then finally I just said, "Hey buddy, why are you doing karate?" I'd set up the moment where he's just like, "I'm doing it to the glory of God, Dad!" Like, I'm waiting for some smaller version of that, that at least captures what we've been talking about. And he was deep in thought. And then he just said, "To protect women."And I was like… and it dawned on me that when he started karate just a few months before that, that was one of the things that we had talked about. I was like, well, you know, karate, this will give you the opportunity for self-defense and to grow. And I remember that I had said something about… you know, I was trying to teach him that we as men, we're called to protect and take care of women, and that in our household, yeah, you should learn what it takes to, like, if someone's going to come in, to be able to fight them, to be able to put them on the ground. I think I did some version of that. That's what he took away: that karate was to protect women. And I was like, you know what buddy? Honestly, count the W. Like, I mean, just we'll work on the theology of work stuff on other things, but if you have it in your brain that this is how to protect women, like we're getting somewhere. But I said that months ago, I hadn't even thought about it.But that happens. We take words, we take ideas, and we build our lives upon them. He had built karate on top of this idea that "I will fight for my sisters, I will fight for my mother." And I was like, yeah, that's good. But we do that. That's something that happens as we build our lives upon ideas and truth and words. And today as we look at this passage, we're going to focus on this teaching from Jesus that teaches just that: the importance of words and how they shape us.You see, on Palm Sunday, what we just celebrated in the songs that we sang and the liturgy that we read, we celebrate that Jesus came into the city celebrated as Hosanna, the Savior King. And then a whole bunch of things happened between him entering into the city and Good Friday. In fact, when you read the Gospels, they slow down a bunch. The gospels cover the three-year ministry of Jesus, but they really slow down at the end. And a lot of it does cover this final week where we get teaching after teaching of Jesus talking about what it means to be one of his followers, what the kingdom of God is like. And John 15 is one of those teachings. It's actually on the night of Passover when he's teaching his disciples. And we're going to see what he is getting at.Now, we're not going to see it in its entirety. To do this passage justice would take three or four weeks. I mean, there's a lot going on in John 15. We're only going to do 11 verses. And even to do that, it would take some time because there's a lot of really wonderful pictures of God and some good, wonderful theology packed into this. So I'm not going to be able to answer and do all the things. That's actually part of why we have community groups. If you're in our groups this week, you'll be able to discuss this and go a little bit deeper into some of the other areas. But we're really going to focus and zoom in on one idea that comes out of this text. It's the idea of Jesus's word at work in us and how that has profound power to shape us. Because we live in a world that is offering so many different things you can build your life on, so many different phrases and words and ideas that you can build your life upon. But I want us to see so clearly that Jesus has this invitation to build our life on something better, and that matters immensely. So that's just the one thing we're going to pull from this today, and I want us to sit in this and see this so clearly.So let me pray for us that we'd have hearts to receive this, and then we will move into this. Heavenly Father, I pray that you would give us ears to hear. I pray that we would receive your word and not just be hearers of the word, but be doers. And that comes through believing the gospel. That comes through course-correcting our life, moving away from sin and more towards you. And we can't do that without your power at work within us. So we ask that you would do that. In Jesus' name, Amen.Alright. So in John 15, just a little bit of context because we're jumping into the Gospel of John. This is a teaching called, in a series of teachings called, the "I am" teachings. And John, as he's telling the story of Christ – and John's really explicit about how he's written this gospel – it is to explain Christ as God and that you should believe in him. And so he's got seven different teachings he's lined up, these "I am" teachings, that Jesus is telling them who he is. He says, "I am the bread of life. I am the light of the world. I am the door. I am the good shepherd. I am the resurrection and the life. I am the way, the truth, and the life." And then we get to this final "I am" teaching here in chapter 15. So I want to read it all in one clip and then we'll work through this.He says, "‘I am the true vine, and my Father is the vinedresser. Every branch in me that does not bear fruit he takes away, and every branch that does bear fruit he prunes, that it may bear more fruit. Already you are clean because of the word that I have spoken to you. Abide in me, and I in you. As the branch cannot bear fruit by itself, unless it abides in the vine, neither can you, unless you abide in me. I am the vine; you are the branches. Whoever abides in me and I in him, he it is that bears much fruit, for apart from me you can do nothing. If anyone does not abide in me, he is thrown away like a branch and withers; and the branches are gathered, thrown into the fire, and burned. If you abide in me, and my words abide in you, ask whatever you wish, and it will be done for you. By this my Father is glorified, that you bear much fruit and so prove to be my disciples. As the Father has loved me, so have I loved you. Abide in my love. If you keep my commandments, you will abide in my love, just as I have kept my Father's commandments and abide in his love. These things I have spoken to you, that my joy may be in you, and that your joy may be full.'"Man, there's a lot going on there. A lot of wonderful truths. Now, to even begin to understand what he's getting at, we need to understand that he's using a metaphor to teach something greater. He's using the example of a vine to help teach that he is the vine and we are the branches. Now here's the problem: Many of us are not growing vineyards in this area. It's just not happening. And they would have been very familiar with this language, and we are not. So I think it's helpful to actually see what he's talking about. So this is a typical vineyard vine. And what Jesus is getting at here is that he's the main vine that goes across the trellis, and that we are the branches that flow out of this vine. So there's one main vine that's going across, and there's branches flowing out of this.And there's a lot packed into this. But one of the things he's trying to clearly teach is that his people are in him. We are a part of him. This is something that you read throughout the New Testament. This is what Paul is getting at when he's teaching that Jesus is the head of the church and the church is the body. It's all one. This is where we get teachings about Jesus is the cornerstone, the foundation of our faith that the house is built upon. It's these same ideas that we are in Christ, that when you're a Christian, you are connected to him. And it's a helpful visual to explain what he is getting at.Now, there also is quite a bit packed into this passage that we don't have time to get into. There's a whole thing on the Father pruning branches, branches thrown into the fire. There's some things on needing to understand being known by spiritual fruit and the importance of that, the importance of the commandments. There's all types of stuff that is going on here. But again, to be able to do this and do this well… I have one option: I could be here for like 60 minutes, which is frowned upon because Kid City has children that have a ticking time bomb. So I'm not going to do that. And I'm not going to stretch this out for three or four weeks. I do think that you'll find some helpful study in this in groups this week. But I do want to focus on this one main idea here: that Jesus, the Word incarnate, this is our God, and we get to abide in him, and we get to be in him and him in us. And I just want us to see this so clearly.So let's work this going back to the top in verse one when he says, "I am the true vine, and my Father is the vinedresser." Now, Jesus is teaching his disciples, and his disciples are Jewish, and they would have been familiar with this language of the vine. This is not something that's foreign to them, not just because they have lots of vineyards where they were living, but also this is language that flows out of the Old Testament. When you read the Old Testament, you read Psalm 80, Israel is described as a vine taken out of Egypt and planted in the promised land. Isaiah 5 talks about the people of God being described as a vineyard, as a vine. Jeremiah 2 talks about the people of God being called a choice vine. Ezekiel chapter 15 talks about Jerusalem being a vine. We see this over and over again. So much so that in the 100-200 years before Christ, in what's called the intertestamental period between the last book Malachi being written and the gospels happening and Jesus coming, the period of the Maccabees, this period a few hundred years before Christ, they had coins in that time period that had on the back of them a vine from a vineyard, symbolizing Israel. So they were familiar with this. And this was not neutral, that Jesus just took something that they were unfamiliar with that had no loaded language, no loaded meaning in it. He took something that had meaning and also some meaning that we may not see. If you read those Old Testament passages, when it usually talks about Israel as a vine, the people of God as a vine, it speaks negatively. Calls them a wild vine, a useless vine, pictures of disobedience and deserving judgment. So this is not a neutral example that they've been given. But what Jesus is doing is he's taking something that is familiar to them and he's redefining it. He's helping them see this in a different way. And he says, "I am the true vine. I am the vine." And then he says, "My Father is the vinedresser." This is the farmer. This is the gardener, is the one who tends to the vine.And then he continues in verse two. He says, "Every branch in me that does not bear fruit he takes away, and every branch that does bear fruit he prunes, that it may bear more fruit." Verse three: "Already you are clean because of the word that I have spoken to you." So there's a lot that he's… I mean, again, if you read the Gospel of John, you see so many of these themes that are connecting together. But John 1 begins with Jesus being declared as the Word who became flesh, the incarnate Word. This is the idea that as God created the world through the power of his spoken word, this God is the Word who became flesh. And this Jesus, this Word, goes to work in his disciples, bringing them to faith. And then they are called, we'll see this later, to live by his words, by his teachings. So we got both pictures here: Jesus the Word who saves and sets apart his people, and the words that he's given for his people to live by, the teachings of the gospel. So he's telling this to his disciples, and it's to 11 disciples, minus Judas. You see, at this point in the Passover meal, Judas has already left. So it's just the 11 that he's talking to when he looks at them, and this is supposed to be unbelievably encouraging, and he says, "You are clean." He looks at 11 men that he's invested three years of his life in, teaching them the kingdom of God and the gospel, helping them see who he is over and over again. And this is the Word that is going to work in their heart to bring them to faith, to be the people of God that he builds the church through, so the people of God may abide in him. He says, "You are clean." This is the power of the word, the power of the word to save us through faith, to set us apart, to make us clean, and to live out his teachings.But I want us to pause and don't miss this point: That means that the word is powerful. That words in general are powerful. Like, we undersell so often how important it is. We unknowingly build our lives upon words and phrases. We just got done about a month ago with our recovery cycle. Recovery is a 10-week program that we do every year. It's offered for those who are working through any bit of suffering or sin or brokenness. And every year I get to watch, I get a front row seat as a pastor to watch God change people and help them see that they've built their lives upon the wrong words in ways they don't even realize. Because this is what we do. I mean, it's not uncommon in recovery to have someone that remembers a time where their parent years ago said, "Why can't you be as good as this sibling?" And that phrase took root in their heart. And they spent the next 10, 20, 30, 40 years working and striving and proving themselves with an unending work ethic, trying to please others, trying to be the best because years ago they built their life on this idea that they heard so long ago. It's not uncommon in recovery for someone who's been bullied in school growing up or in the workplace to finally make a decision: "That's not going to happen again." That they're no longer going to be in a position where someone overpowers them. They will be in the seat of power. And they build their life upon that idea where everything becomes a power dynamic, and it's beginning to crush their soul. There are positive things we build upon in the wrong ways. It's not uncommon in recovery to hear someone that heard some version of "You're so pretty," "You're so smart," "You're so strong," "You're so dependable" for so long that it went to their head. And instead of that being a place where they turned over thanks to the Lord, it became a place of pride or a place of identity. And the rest of their days has been spent trying to live up to this expectation where "I have to stay the prettiest or the strongest or the smartest or the most dependable." And it's exhausting. And I so love recovery because I get to watch people discover this and then encounter the gospel and a word that is better, that changes them to where they're no longer living under this identity, but they've been given a new one.But that helps us, I hope that helps us see, that is how powerful words are. And the power of the gospel is immense to change our lives and become a foundation that shapes us. 1 Peter 1:23 says, "since you have been born again, not of perishable seed but of imperishable, through the living and abiding word of God." What he is preaching there is that we, through the word of God, are born again. It comes to live in us, and God implants this imperishable seed, this seed that will never die, spoil, or fade. It begins to grow in us, and it changes us through the living and abiding word of God. This is the power of the word, and it's the power of the word at work in us.And that's something that we should have front and center in our souls, that we should remember how powerful the gospel is. And that's what we celebrate this week, y'all. We just sang songs that celebrated "open wide the gates" and that Jesus comes into the city. We celebrate that he, on Good Friday, as we'll sing so much about on Friday, goes to the cross to pay the penalty for our sin and to absorb the wrath of God that we deserve. That as Romans 6 says, "For the wages of sin is death." The good news of the gospel is that we have sinned against a holy and perfect God, but Jesus lovingly goes to the cross to pay that penalty for us. And the next Sunday, we will celebrate that he walks out of the tomb and makes a way for a new life in Christ, for us to be born again through the imperishable seed that gets implanted in us, that brings us to life. And then we celebrate that Jesus ascends to the right hand of God the Father, where he rules and reigns as King and Lord. So that we look at Jesus not just as Savior, not just as conqueror of death, but as the Lord who says "do this," and we do it; "don't do this," and we don't do it; "be obedient here," and we say, "Yes, Lord." This is the gospel that saves us and sets us apart. That's the power of the word at work in his people that saves us.But also, I don't want us to miss this: it's a continual invitation to us as Christians to abide. Because in verse four he says, "Abide in me, and I in you. As the branch cannot bear fruit by itself, unless it abides in the vine, neither can you unless you abide in me. I am the vine; you are the branches. Whoever abides in me and I in him, he it is that bears much fruit, for apart from me you can do nothing." So Jesus looks at his disciples and he tells them, "Abide in me." Which means to remain, to stay. Abide in me. It's an invitation, but also it's an encouragement because what does he say? "Abide in me, and I in you." That it isn't this effort and toil to just try to stay connected to him; He's at work within us. Which, y'all, makes him the main character here. He's the vine. He is the vine. He says, "Apart from me you can do nothing. A branch apart from me cannot bear fruit. It withers and it dies." He says, "I am the vine. I'm the one that gives life to the branches. I'm the one that sustains the branches. I'm the one that gives you the fruit. It is me at work within you." And the disciples need to hear this. And y'all, we so deeply need to hear this as Christians. We so deeply need to believe this.Because so many of us are so deeply trying to be vines when he's called us to be branches. We may not say that, but our actions display this: that we want to be the vine. And my question is, are you tired? If you're honest, are you tired of trying to be the vine? It's not the way it's supposed to be. Matt Freeman, our pastor who oversees worship and other things, he's getting ready to take a sabbatical. He's going to be gone for three months, which I'm excited about for him. I'm excited about for him because this is going to be good for his soul. Um, I got to do a sabbatical last year, and I needed it. Um, I needed the time to rest and and to do some soul work. I'm thankful as a church that we get to do these sabbaticals. I'm thankful that we have the time and space and we have the team that can be able to do this. But I needed this because I've realized that so much of my pastoral ministry and my life as a Christian is this endless attempt to be the vine, and it just shows up over and over again. And that's no way to live. And as a pastor, that's an easy way to burn out. I mean, pastoring is a joy, and I love it, and it's wonderful. I wouldn't want to do anything else. But it is hard. There's a spiritual weight to it. And the burnout rate in pastoral ministry is high. I mean, it's high. There's a whole cottage industry devoted right now to trying to understand all the different factors for why pastors are burning out, why they don't last longer than five years. And it's, you know, there's a lot that's going on there. And like many things, these problems are multifaceted, multifactorial. There's a lot of things going on. And there's also trying to figure out how to inspire people to jump into pastoral ministry because there's fewer people jumping into pastoral ministry. So they're all trying to figure this out. But I know one of the factors good and well of this type of burnout is self-inflicted. It is forgetting that you're not the vine, that you're a branch. And my sabbatical taught me that so much, that so much of my effort is from me. And I had to grow in prayerfulness. There was an immense lack of prayerfulness in my life. And I've had to learn to just, when I'm feeling burdened, to just go outside and just walk down Holland Avenue in the sun and see the invisible attributes of God and his glory of his creation and just talk to God and just pray and cast my cares upon him to sustain me. Like, I need this. Well, you need this. Like, as a Christian, you need this.You need to read the scriptures, not just for the utility of checking a box or doing a thing or completing a task or what, but to actually just gaze upon the beauty of our God and his word. We need this. We need this because we're so trying to be vines, and we're not. We're not capable of it. We're not designed to be the vine. We're not designed to be the source of life, of strength, of identity. No, it comes from him. And there's this invitation to abide in him. And we just miss it, y'all. We miss it. So many of us are trying. So many of us, our Christian faith is like a phone. It's like a phone where it's just going. It's got all... like my wife, when she for a long time she didn't realize that on the iPhone you have to like close out the windows. And then one day I was like, she's like, "My battery keeps dying." I was like, "Let me see it. Have you closed out your windows?" And she's like, "What?" I was like, "You've had a hundred windows going for years! Like, you got to like get rid of these." And so many of us have so many windows open all the time. We're so many things that are happening all the time. And, you know, we'll switch to low power mode and try to stretch the life out of it, and all of a sudden it starts shutting down. And the problem is that it's meant to be connected to the source of power. It's got to be recharged. You can't endlessly use the phone and expect that it's going to function like it's supposed to.And that's us. We just, we miss this, y'all. We try to work jobs and raise children and pay rent and be good friends and family and clean up our house and be good neighbors and stay healthy and pay debt and be a better spouse. We try to do all the things without ever charging the battery. And we wonder why we are anxious and depressed and sleepless and overmedicated and overstimulated and overwhelmed. And it is because we have underwhelmed our souls by trying to be the vine when he's just saying, "Be a branch." Just be a branch. And we reject this offer to abide in the vine. And we as Christians live lives a million miles a minute. And then when we have the time to truly abide, we will doom scroll and we will distract. And there's this invitation from our Savior that's saying, "Would you abide in me? Would you abide in me?" And we wonder why our faith is so bland and God seems so foreign and our worship seems so boring. And it's because we live lives trying to be vines instead of branches. The power to live the life we're called to live flows from him. It does not flow from ourselves. And some of us, myself included, need to be so deeply confronted by that reality this morning.And then Jesus continues in verse six. He says, "If anyone does not abide in me, he is thrown away like a branch and withers; and the branches are gathered, thrown into the fire, and burned. If you abide in me, and my words abide in you, ask whatever you wish, and it will be done for you." So he says, "If you abide in me and my words abide in you, ask whatever you wish, it'll be done for you." Which is a wonderful invitation that has been so deeply hijacked and marred by prosperity preachers in America, who have just tried to actively ruin that passage every chance they can. As if that's some invitation to fill the desires of your heart. As if that's not connected to the immediate context, what Jesus just taught in John 14. In John 14 he says, "Whatever you ask in my name, this I will do, that the Father may be glorified in the Son. If you ask anything in my name, I will do it." So he just taught that, and he's teaching it again. It's this idea of we ask for things in the name of the Lord, in his name, that his will would be done to his glory and not the exaltation of self. And there's a lot of prosperity preachers in America that took that and made that about our own selfish enriched desires, and they've ruined that. And hell is hot, and they're going to see it one day because that is a wicked way to twist this passage. Because what's so beautiful about this passage is to have such a sweet communion with God, to so deeply abide in him and him in you, that he so shaped your desires to be so heavenly and kingdom-motivated, that what flows out of your heart in this deep abiding relationship is things that make much of him, in his name, to his glory, and not our own. And that is a way to live. That is an invitation to a much sweeter, much better life when we live inside the vine.And then he, we'll finish here in verses 8 through 11. Says, "By this my Father is glorified, that you bear much fruit and so prove to be my disciples. As the Father has loved me, so have I loved you. Abide in my love. If you keep my commandments, you will abide in my love, just as I have kept my Father's commandments and abide in his love. These things I have spoken to you, that my joy may be in you, and that your joy may be full." Now goodness, there's a lot in that passage, which again, if you're not part of a group, stop by our connect table today, jump in a group. You could study this this week in your group. So I can't get into all of this. But I do want to end on this idea here, that following the ways of God – and that's keeping his commandments – that following the ways of God is abiding in his love, and that's where joy is found. Like, y'all, we need that so deeply. Our souls need that so deeply. Because our instincts from the flesh, when God says "do this," "don't do this," our instincts say, "Ah, did you say that? Ah, is... I don't know." We don't want to do this. But what he's trying to help us see is that if you're abiding in me, if you're abiding in my love, you'll see this is where joy is found. And maybe against your instincts, but it's better for you because you'll actually discover something that is better.When my wife and I got married, we had a few different interests. I love sports, I still do. She was a musical theater minor. And to this day, she teaches dance and musical theater for a middle school. So she loves musical theater. And I, when we got married, did not like musical theater. I wasn't raised on it. I saw Oklahoma one time as a kid, and I was like, "That's a glimpse of hell." This is like, I don't love this. But she does. And so I had to finally start to see things from her perspective. And the first musical that finally started to make sense to me is I listened to Les Mis and I saw Les Mis, and I went, huh. I love stories. I love good film. I love music. Okay, I see. And I started to… and then my buddy texted me and said, "Hey, have you heard about this Broadway that just hit called Hamilton?" And I just was like, "No." It's like, I went on Spotify and I listened to it. I went, "Oh my goodness." And then we started going to see Broadways together. We started going up to Charlotte and then, you know, Colombia, and just we started seeing these things. It's like, "Oh, okay." Like, I'm starting to get some of this. And there's some that I truly have begun to enjoy. There's some I still don't enjoy, and I say, "You should go see that with your friend." But there are others where I'm just like, "No, this is a wonderful story. I'm captured by it. I'm captured by the music. I see what they're doing in the first act, how they pull this into the second act. I see this. And now I see how good this is." Now, it was against my instincts; would have never thought I'd be a person that would show up to a Broadway and enjoy it. But I see how some of them, there's a lot of joy in this, and there's joy with her and enjoying this together.And it may be against our instincts to see the commands of God that we don't want to follow. But if you in faith will trust the vine and trust what he is saying, that this is where joy is actually found. If you do this, you will experience true joy, not the fleeting happiness of this world. Because the world offers us so many things that we can chase after that we think are good, and those things will never satisfy. We have to believe this. We have to believe this wholeheartedly.A couple days ago, I got to do something that I have so wanted to do for so very long. I got to go to the Masters, which has been a bucket list thing for me to do. Like, I just, I've so badly wanted to go, and I finally got to go. And I got there, and it was awesome. This is probably going to show up in 10 sermon illustrations in the next couple of years because it just was a profound experience for me. But I know some of you don't like golf. It's fine. But stay with me. I was there, and I was enjoying it. I was enjoying all the things that I've wanted to enjoy for years. But I also realized there's a crowd that shows up to the Masters, it's a little different. I thought that, you know, everyone's going to be there and they're going to be enjoying this the whole way to the finish. And by the time we're at 18, the final hole in golf – there's 18 holes – on the final hole, we're there, which is a big deal as you see them finish in the biggest golf tournament in the world, but stay with me. We're there, and there's only like three or four hundred people still left. Like, there just, that's it. I was like, "What in the world? There were thousands of people here earlier, and we're on the final hole of the biggest golf tournament in the world." And what I realized is, is for a lot of people, this is just a social thing. This is a thing. And there's a… I went up to where all the fancy houses are, and I saw all the fancy beautiful people and all the things. And I just had a moment of clarity, not from a position of self-righteousness, but just from a position of just God-given clarity. That's like, there's so many people that want to be in those houses. There's so many people where that's the good life, that that's everything the world offers: money, status, fame, luxuries, riches, all of it. Everything is aimed at that life right there. To be able to do this, it's just a social thing that you do for a minute and go on to the next big thing. And I had such clarity to go, "That's not joyful. That is fleeting worldly happiness. And it's not where joy is found."And we have to examine our souls to realize where true joy is found. It is found in living a life that abides in the vine. It is found in joyously listening to our Savior and living a life that is pleasing in his sight because that's where ultimate joy is found. And y'all, that invitation is so clearly given to us as the people of God. But we have to have the ears to hear it, and we have to have the eyes to see it. And that's my hope. There are some of you that if you're honest, you've been looking for joy in all the wrong places. That so much of your life has been filled with, "If I can just get to this point in life, if I can just get this, if I can just obtain this, I'll finally be happy." And Jesus so clearly is saying that's not where joy is found. But there is an invitation to you, there is, to come and abide in Christ and have him abide in you, and to live a life connected as a branch to the vine. And my hope is this: in this Holy Week, as we walk through this into Good Friday and we celebrate what he did at the cross, as we walk into Easter and celebrate the empty tomb, that you would have your eyes open to what this invitation is. And you take it, and you'd believe.And there are those of us that have truly tasted and seen that the Lord is good, that we actually are Christians, we love Christ. But what you need to hear this morning is that some of you have so strived and worked and labored like a vine. And my hope this morning is that you'd hear the invitation so clearly to abide, that you'd see that you are a wonderful branch that God is pruning and doing stuff with. He's trying to bear fruit in. But things need to shift in your life. My hope is that in a group this week, you begin to see that even more clearly, that things need to shift in your life to be a Christian that actually takes the invitation to abide and remembers that you're a branch and he's the vine. Let me pray.Heavenly Father, I pray that you would help us see this invitation this morning. God, help us see that you are the source of life and hope and joy and fulfillment and identity. It's you. God, I pray that you'd compel our hearts to believe that. There are those here that have never truly believed that. That has not been their story. They've lived life trying to find joy everywhere else. And God, I pray that you pierce through their heart right now to help them see where true actual joy is found. It is found in you. And there are many of us, God, that we've believed that, we've forgotten it. And we've lived lives trying to be branches. And God, may you pierce through our hearts this morning to help us see who we are actually called to be. And that we begin and remember and rediscover what it means to be a branch connected to you, our wonderful vine. In Jesus' name, Amen.

This episode takes its name from the infamous scene in Peter Pan where Tinkerbell's survival depends entirely on the audience's applause. Here, Chris and Ununice unpack “Tinkerbell Politics” — a metaphor for the existential dependency of marginalized movements on the belief, goodwill, and clapping of the majority. It's spicy, slippery, and sacrilegious — in the best possible way.Chris Abraham and co-host Ununice (aka Karen, Co-Pilot, Baby Doll, Sweet Pea) jump headfirst into the deep end with “Tinkerbell Tactics” — an unsparing critique of modern identity politics, performative wokeness, and the fragile alliances between marginalized movements and mainstream society. From Beltway insights to Les Misérables anthems, this one ricochets from high theory to hot takes with unapologetic energy.If you don't clap, she dies. Tinkerbell becomes a stand-in for social justice causes that rely on mainstream applause — votes, funding, and attention.The 70% cis-het normie majority are seen as necessary but resented lifelines: “Bite the hand that feeds you” becomes not just a phrase, but a pattern.Chris compares Beltway NGO competition to baby birds in a nest — vying for “mommy's” attention (i.e., federal funds, public support).Movements like BLM, Trans Rights, and DEI initiatives are framed as “TV shows” subject to cancellation when interest wanes.“Let them rebel — they'll burn out.” Mainstream culture, like a bored parent, knows it can wait out revolutions.Unconventional fashion and identity expressions (tattoos, blue hair, emo, etc.) once shocking, now banal. What was once rebellion becomes Target merch.Exposure therapy works, but doesn't guarantee respect. The freak next door is tolerated — not necessarily valued.Aesthetic rebellion leads to “tattoo regret centers.” Social rebellion follows similar cycles.Alienating the majority by labeling them “fascist,” “transphobe,” etc. leads to backlash.The desacralization of protected groups — when holy cows become hamburger.The irony of using federal grants to label your funders Nazis.Right-wing strategists reframing wokeness as “theft” from taxpayers — and rolling back DEI budgets state by state.“Never burn a bridge.” DC wisdom comes in hot as Chris warns that dependency requires diplomacy.Identity movements should balance autonomy with realism about funding and social capital.Even progressive institutions are vulnerable to the same critical tools they use.Everything can become a target — even the church, even pride parades, even the flag — when the cultural pendulum swings.Chris argues the Les Mis anthem can be used by any insurgent group — socialist or nationalist — because the narrative of “freedom vs oppression” is elastic.Jean Valjean as Trump? A stretch or just postmodern poetry?Ununice dials the tone from earnest to acerbic midway through. Satire, cringe, riz (charisma), and “Criz” (a proposed Gen Z term) all make appearances.“If you don't clap for Tinkerbell, Tinkerbell dies, right?”“The paradox of f*** you normies — but also, please clap so I can keep breathing.”“Tattoo regret centers are the canaries in the co-opted identity coal mine.”“You can't ask people for money while calling them fascists.”“Every one of those Les Mis lyrics could be sung by the AFD in Germany.”“Jean Valjean is just Trump with more abs.”“Deconstruction is indiscriminate — even your saints are fair game.”Tinkerbell Politics: The idea that marginalized movements often rely on the belief, attention, and funding of the mainstream majority.Federal Funding Firewalls: Budget line items immune to election cycles — until they're not.Q: Is this episode satirical or serious?A: Both. Think South Park meets Jacques Derrida — with better microphones.Q: Is “Tinkerbell Tactics” just about queer politics?A: Nope. It's about all movements that rely on external applause — and what happens when the crowd stops clapping.

Will Callan is starring as Sebastian in Cruel Intentions: The '90s Musical.Following its London run at The Other Palace, Cruel Intentions is currently touring the UK and Ireland. Based on the 1999 film and inspired by Les Liaisons Dangereuses, Cruel Intentions features ‘90s pop classics including songs by Britney Spears, Boyz II Men, Christina Aguilera, TLC, R.E.M., Ace of Base, Natalie Imbruglia, The Verve, *NSYNC and many more.Will came to theatre via the music world and participating in The Voice Kids (ITV). He toured the UK & Ireland as Marius in Les Misérables and later reprised his performance in the West End.In this episode, Will discusses all-things Cruel Intentions, his path into theatre and his time in Les Misérables.Cruel Intentions tours until 28th June 2025. Visit www.cruelmusical.co.uk for info and tickets.This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

In this week's mini-sode, we are shining the spotlight on the classic musical: Les Misérables! This completely sung-through musical is an absolute beast, but it's a must-know for sure!Support the showHost/ Production/ Editing: Brennan StefanikMusic: Dylan KaufmanGraphic Design: Jordan Vongsithi@batobroadway on Instagram, Threads, and TikTokPatreon.com/batobroadway

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. This week Vidar was off to see ‘Calamity Jane' for the first time as the Watermill Theatre's production visited the Birmingham Hippodrome Theatre with description by Professional Audio describer Jonathan Nash.  About ‘Calamity Jane'. Gosh almighty! Grab a posse because the whip crackin' musical comedy classic Calamity Jane is a rollin' on over the plains to a theatre near you. Based on the much-loved Doris Day movie, this plumb fancy new production stars the multi-award-winning West End actor and singer Carrie Hope Fletcher (Cinderella, Les Misérables). Meet the fearless, gun slingin' Calamity Jane – biggest mouth in Dakota territory and always up for a fight. She'll charm you hog-eyed though, especially when trying to win the heart of the dashing Lieutenant Gilmartin, or shooting insults at the notorious Wild Bill Hickok. But when the men of Deadwood fall hard for Chicago stage star Adelaid Adams, Calamity struggles to keep her jealousy holstered. Her heart's a thumpin'... but who for? With the sure-fire classic songs The Deadwood Stage (Whip-Crack-Away), The Black Hills of Dakota, Just Blew in from the Windy City, and the Oscar-winning Secret Love, The Watermill Theatre's Production of Calamity Jane, is directed by Nikolai Foster, co directed and choreographed by Nick Winston and features musical supervision by Olivier, Grammy and Tony Award winner Catherine Jayes. What are you waiting for, you wild coyotes?  Whip-crack-away and book now! For more about the tour of ‘Calamity Jane' along with details of dates and times of performances do visit - https://calamityjanemusical.com You will also find details about access at the Birmingham hippodrome Theatre including dates and times of audio described performances by visiting - https://www.birminghamhippodrome.com/plan-your-visit/access/ (Image shows RNIB logo. 'RNIB' written in black capital letters over a white background and underlined with a bold pink line, with the words 'See differently' underneath)

AND he was quite impressed...with Hugh Jackman. Matt Lucas will be touring the country later this month with the Les Misérables The Arena Spectacular. He told us about his brushes with fame hanging out with Elton John and Jason Mamoa before getting him to review a little remix we did of an interview with his friend David Walliams!See omnystudio.com/listener for privacy information.

What do you get when you mix Broadway royalty with sci-fi cloning, environmental theater, and a dash of boogie-woogie piano? A wildly entertaining conversation with the legendary Terrence Mann. From his earliest days growing up in a musical household to helping launch the North Carolina Theatre, Terry's journey is packed with passion, persistence, and a whole lot of timing. He shares the story behind how he actually got cast in Cats (it involves London and a royal connection), and how he practically willed his way into Les Misérables after being told multiple times they didn't want to see him. His advice for young performers? “Have no fear, there are no wrong choices, and be specific”—words he lives by and teaches. Now back on stage in Broadway's The Great Gatsby as Meyer Wolfsheim, Terrence opens up about what it feels like to return to the theater after years in “Foundation land,” filming Apple TV's epic sci-fi series. We also dive into his work as a director, educator, and his longtime love for North Carolina's historic Lost Colony production. And yes, we play a game of Plot in 60 Seconds, get a surprise cameo from iOS balloons, and bond over the beautiful chaos of 1980s New York auditions. This episode is packed with decades of wisdom and a whole lot of heart. Terrence Mann is a three-time Tony nominee best known for originating iconic roles such as Rum Tum Tugger in Cats, Javert in Les Misérables, and the Beast in Beauty and the Beast. His Broadway credits also include Pippin, Tuck Everlasting, The Addams Family, Scarlet Pimpernel, and Rags. On screen, he's appeared in Sense8, all four Critters films, and currently stars as Brother Dusk in the Apple TV+ sci-fi series Foundation. He's also an accomplished director, educator, and co-founder of Triple Arts, a musical theater training program. Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

Surprise, Swifties and sleuths! For our April Fools' bonus episode, Phil and Emily hit pause on the movie talk to investigate one of the most unexpected pop culture crossovers of the 2000s: Taylor Swift's guest appearance on CSI: Crime Scene Investigation—yes, really.In this chaotic and deeply unserious deep dive, we break down the 2009 episode “Turn, Turn, Turn,” where Taylor plays a rebellious teen who journals, wears eyeliner, and may or may not be involved in a murder. We discuss her acting chops (or lack thereof), how this episode somehow turns into a montage of three separate crimes, and why this CSI arc feels like a Black Mirror episode we hallucinated.Along the way, we spiral into discussions about Cats, Les Misérables, My Chemical Romance, and the long-lost dream of Gaylor. If you've ever wanted to hear two film nerds try to unpack goth Taylor Swift getting murdered with scissors on CBS primetime… this is the episode for you.#CSI #TaylorSwift #TurnTurnTurn #PodcastLikeIts2000s #AprilFools #SwiftTok #CSITaylorSwift #Gaylor #CatsMovie #PopCulturePodcast #EmilyAndPhilLoseIt #CrimeProceduralChaos Hosted on Acast. See acast.com/privacy for more information.

Please join Kate and Sheila as they discuss parts 2 & 3 of Victor Hugo's unforgettable tale of woe, Les Misérables. Today we meet the young girl, Cosette, who was left with the cruel innkeepers. The Thenardiers have taken money from Cosette's young mother under false pretenses. They make Cosette work tirelessly, and use money sent from her mother for themselves. Jean Valjean is at last free to rescue Fantine's daughter as he promised. Cosette was a “fly trembling in a spider's web”. The Bible tells us in Exodus 22:23, “Do not take advantage of the widow or the fatherless. If you do, they will cry out to Me, I will certainly hear their cry.” Cosette does just that, after her prayer the paths of Jean Valjean and Cosette meet and the poor waif is removed from the sinister selfish family at last!“The bishop had taught him (Jean Valjean) the meaning of virtue; Cosette had now taught him the meaning of love.” Life was briefly sweet for the pair, as a devoted grandfather with his grateful granddaughter, until the detective, Javert, relentlessly tracked them down. Danger popped their new found joy like a pin in a balloon. How will they escape this unmerciful fame-seeking man? Next, we meet Marius, whose grandfather raised him until he disinherited him. “The rigors of his present life gratified and pleased him.” Time has passed and the despicable Thenardiers end up as Marius' next door neighbors. The showdown between the grafters along with their thugs-for-hire, kind-hearted Jean Valjean, and the unstoppable detective is viewed by an anything but calm Marius through a peephole in the wall connecting the rooms! Hugo challenges his readers, of yesterday and today, by addressing topics that many would   rather sweep under the rug than be exposed for all to see. Are you ready to jump into the fray? 

This episode was originally released on 5/1/2018. While new episodes of Breaking Walls are on hiatus I'll be going back and posting the older episodes beginning with this episode on the birth of radio. ___________ In Breaking Walls Episode 79, we present a detailed look at Orson Welles' radio career through the end of 1941. Highlights: • Beginnings in Illinois and China — How they helped shape Orson • The Todd Seminary School — His first exposure to theater and Radio • Connections and Early Breaks — How his mentor Roger Hill, Thornton Wilder, Alexander Woollcott, and Katharine Cornell helped Orson get to Broadway • Orson meets John Houseman and Archibald MacLeish, and first appears on the March of Time • 1935-1937 — From the March of Time to the Columbia Workshop, and how Irvin Reis taught Orson how to create for radio • How the US Government shaped the opportunity for Orson to write, direct, and star in Les Misérables on the Mutual Broadcasting System in 1937
 • The Shadow Knows! — Agnes Moorehead and Orson Welles' one season on The Shadow • The birth of the Mercury Theater on the Air as First Person singular. • How it's success led to the most infamous night in radio in October of 1938 • Mainstream success with Campbell's Soups • Orson goes to Hollywood, and signs the greatest autonomous film contract in history at 24 • Citizen Kane — How William Randolph Hearst and RKO shaped the film • Lady Esther Presents — Orson comes back to radio in the autumn of 1941 • Pearl Harbor Day and collaborating with Norman Corwin • Joseph Cotton introduces Orson to Rita Hayworth The WallBreakers: http://thewallbreakers.com Subscribe to Breaking Walls everywhere you get your podcasts. To support the show: http://patreon.com/TheWallBreakers The reading material used in today's episode was: • Citizen Welles: A Biography of Orson Welles by Frank Brady • This is Orson Welles by Welles and Peter Bogdanovich • The Encyclopedia of Old-Time Radio by John Dunning • Discovering Orson Welles by Jonathan Rosenbaum Other materials included: • http://www.wellesnet.com - an incredibly comprehensive website on Orson's career • Orson Welles on the Air, 1938-1946 at https://orsonwelles.indiana.edu • The Radio Preservation Task Force also has a great Facebook group headed by Josh Shepperd Selected Interviews in this episode were: • Orson Welles with Dick Cavett, Johnny Carson, and Huw Wheldon, • Agnes Moorehead and Alan Reed were with radio Hall of Fame Member Chuck Schaden, who interviewed over 200 members of the radio community during his 39 year career. Chuck's interviews can be streamed for free at SpeakingofRadio.com. • William Robson was with Dick Bertel and Ed Corcoran for WTIC's The Golden Age of Radio in January of 1976 and Kenny Delmare was with John Dunning in 1983. Those interviews can be found at the Old Time Radio Researcher's Group at Otrrlibrary.org • William Herz was with Walden Hughes and John and Larry Gassman in 2013 for their program on the Yesterday USA Radio Network, which you can visit at http://www.yesterdayusa.com.

Vajèn van den Bosch (27) is musicalactrice en heeft op haar jonge leeftijd al bijna 20 jaar ervaring opgebouwd. Als kind stond ze in musicals als The Sound of Music, Droomvlucht en Mary Poppins. Later vertolkte ze hoofdrollen in onder andere Kinky Boots, Wicked en Les Misérables, zowel in Nederland als in Duitsland. Op dit moment schittert ze als Elsa in de musical Frozen. 

In this episode of Broadway Drumming 101, we sit down with Andrew Beall, an accomplished percussionist, composer, and Broadway musician whose career spans international performances, musical theater orchestration, and a deep love for percussion. From his early days in Ohio to working on some of Broadway's biggest productions, Andrew shares insights into his journey, his influences, and his passion for composition.We dive into the art of orchestration, the challenges of subbing on Broadway, and how he balances multiple musical roles—including running Bachovich Music Publications and managing orchestras. Andrew also talks about adapting to technological advancements in music, the impact of Finale's discontinuation, and how biking in NYC keeps him in rhythm with the city's fast pace.Whether you're an aspiring Broadway musician or just love behind-the-scenes stories from the theater world, this episode is packed with wisdom, humor, and practical advice.Episode Highlights:

Welcome to another episode of Musical March! This week we review the heart-wrenching, depressing, yet hopeful musical, Les Misérables! This films reputation back in the day highlighted real on set singing, real emotion over singing and Russel Crowe's infamous singing voice! We hit all the marks! Enjoy! "There is evidence we filmed this last, but remember I made the joke first!" - Alain Music: https://jessejacethomas.bandcamp.com/album/want Coffee Affiliate Link: https://www.bonescoffee.com/ifinallywatched CODE: IFINALLYWATCHED Create your podcast today! #madeonzencastr

Sarah talks to Samantha Barks ahead of her one-off concert at the London Palladium on April 5. In a wide-ranging interview Samantha reveals why Elsa was a career highlight, why she loved The Masked Singer on TV and what it was like to work with Hugh Jackman and Jonathan Bailey. Plus the secrets of concealing a pregnancy bump on stage. Hosted on Acast. See acast.com/privacy for more information.

Vinny Coyle is starring as Wild Bill Hickok in Calamity Jane.The production is currently embarking on a UK and Ireland tour with direction by Nikolai Foster and co-direction and choreography by Nick Winston.Based on the Doris Day movie, this production of Calamity Jane last toured ten years ago and features classic songs including The Deadwood Stage (Whip-Crack-Away), The Black Hills of Dakota, Just Blew in from the Windy City and the Oscar-winning Secret Love. Vinny stars opposite Carrie Hope Fletcher in the title role.Vinny recently starred as Johann Baptist zu Sonnenburg in Mozart: Her Story (Theatre Royal Drury Lane) and played Raoul in The Phantom of the Opera (Broadway Italia).His other theatre credits include: Hugo in Aspects of Love (Lyric Theatre), Yash/Davenport in The Government Inspector (Turbine Theatre), Young Buddy in Follies (Tangier), The Baker/Arthur in Andrew Lloyd Webber's Cinderella (Gillian Lynne Theatre), Policeman in the Pit/Cover Raoul in The Phantom of the Opera (UK & Ireland Tour), Feuilly/Cover Enjolras in Les Misérables The Staged Concert (Gielgud Theatre), understudy Chris and John in Miss Saigon (UK Tour) and Cover Grantaire/Factory Foreman in Les Misérables (Queen's Theatre).In this episode, Vinny reveals why he's having a ball in Calamity Jane. He also discusses how a football injury led him to a career in musical theatre, the advice Ramin Karimloo gave him about becoming a leading man, his reflections of a whirlwind run in Cinderella... and lots more!Calamity Jane tours until September 2025. Visit www.calamityjanemusical.com for info, tour dates and tickets. This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

Broadway Drumming 101 – Classic Interview: Gary SeligsonIn this classic episode of Broadway Drumming 101, I sit down with the incredible Gary Seligson. If you've been around the Broadway scene, you already know his name. Gary's played on some massive shows, including Aida, Tarzan, Wicked, and Billy Elliot. His resume is stacked, but what really makes this interview special is the insight he shares about navigating the business, working in the pit, and adapting to the ever-changing world of theater drumming.We get into everything—how he got started, what it takes to lock in with a Broadway orchestra night after night, and how he keeps his playing fresh even after doing the same show hundreds (or thousands) of times. He also shares his approach to learning a book, staying prepared, and making a lasting career in this business.Gary's been in the game for a long time, and he's got a ton of wisdom to share. Whether you're an aspiring Broadway drummer or just someone who loves hearing behind-the-scenes stories from the pit, this episode is packed with gems.Episode Highlights:* Gary's Beginnings in Drumming: From banging on pots and pans as a child to his first toy snare drum, Gary's love for drumming was evident from an early age. His father nurtured this passion, leading him to study with Glenn Weber, who became a pivotal figure in his musical education.* High School and Early Gigs: Gary discusses his experiences in regional and all-state jazz bands, his first gig at age 13 with a Chicago/Blood, Sweat & Tears-style horn band, and how playing Bar Mitzvahs and country music gigs gave him a solid foundation for professional musicianship.* Music Education at Hartt School of Music: He shares why he chose the Hartt School over Berklee and North Texas, his influential mentor Al Lepak, and how studying in Hartford put him on a path toward a professional career in music.* Breaking into the New York Music Scene: After studying with legendary studio drummer Gary Chester, Gary received his first opportunity to sub on Broadway's The King and I in 1984. His first night in the pit was a nerve-wracking but pivotal moment that shaped his future on Broadway.* National Tours and Nine Years on the Road: Gary recounts his time playing Cats, Les Misérables, and Miss Saigon on tour, how driving between cities gave him a new appreciation for different parts of the U.S., and how this extensive road experience prepared him for his return to Broadway.* Landing Long-Running Broadway Shows: His journey from subbing on Chicago and The Lion King to originating the drum books for Aida, Wicked, and Tarzan. He shares fascinating behind-the-scenes stories, including how Phil Collins personally insisted that Gary be the drummer for Tarzan after hearing him play Wicked live.* Working with Legends: Gary reflects on playing drums alongside Elton John and Phil Collins, what made their playing styles so unique, and how their guidance influenced his own musicianship.* Adapting to Different Roles: From drumming to percussion work on Motown: The Musical, Gary shares how playing alongside master percussionists like Roger Squitero and Javier Diaz elevated his approach to groove and feel.* Navigating Broadway's Ups and Downs: Gary talks about the transitions between gigs, the importance of subbing, and how he balanced a career that included School of Rock and subbing next to me at Ain't Too Proud.This in-depth discussion offers incredible insights into a Broadway musician's life, the industry's realities, and the dedication required to thrive in musical theater drumming. Whether you're an aspiring drummer or a theater enthusiast, this episode is a must-listen.Give it a listen, and let me know what you think!

Bob McCarthy is a leading expert in sound system design and optimization, with over 40 years in the industry. He pioneered Source Independent Measurement (SIM®) in 1984 and has worked on major productions, including Metallica, Cirque du Soleil, and Broadway hits like Wicked and Les Misérables. His book, Sound Systems: Design and Optimization, is a go-to resource for audio professionals worldwide. A sought-after educator and consultant, Bob continues to shape the future of live sound through his work, seminars, and ongoing projects with top artists and venues.This episode is brought to you by Artistry In Motion and GearSource

Tony Award-winner Anthony Crivello sat down for a one-on-one conversation in The Locher Room.Known for his Tony winning performance as Valentin in Kiss of the Spider Woman, Anthony has graced Broadway in iconic productions like Les Misérables, Evita, Marie Christine and The Phantom of the Opera: The Las Vegas Spectacular. His screen credits span fan favorites like Seinfeld, Crocodile Dundee II, and Star Trek: Voyager.Anthony reflected on his friendship with the late Thom Christopher, sharing heartfelt memories of the Emmy-winning actor. Daytime drama fans will also recognize Anthony from his memorable role as Johnny Dee Hesser on One Life to Live. Anthony will give us a glimpse into his exciting current projects, including his starring role as Chief D.W. Johnson in the independent bank heist film The Omro Heist.He also discussed the upcoming five-part audio anthology Maria Goretti / The Saints, where he portrays Alessandro Serenelli, and his voiceover work in Warner Brothers Animation's Batman: Knightfall Part 1 and the Harry Potter-inspired Quidditch game for WB Games.Don't miss this opportunity to hear from one of the industry's most versatile performers as he shares stories from his remarkable career, behind-the-scenes insights, and his plans for 2025.

ER IST WIEDER DA! Euer Christian meldet sich aus dem Vorbereitungs-Sabbatical zurück und liefert ab, wie in seinen besten Zeiten...zum Wiedereinstieg liefert er euch Russell Crowe - ist ein Oscar-gekrönter australischer Schauspieler, der für seine kraftvollen und vielseitigen Rollen in Filmen wie "Gladiator", "A Beautiful Mind" und "Les Misérables" bekannt ist. Viel Spaß!

In this episode, Jeff and Richie sit down with David Thaxton, currently starring in the iconic musical Sunset Boulevard on Broadway. David shares his journey from the West End to Broadway, working with Jamie Lloyd and Nicole Scherzinger, and the impact of winning an Olivier Award. He also talks about balancing his music career with theatre work and the pressures of auditioning. Tune in for behind-the-scenes stories and insights into his role in this legendary show. Follow us on Instagram @HalfHourPodcast and share your thoughts on Sunset Boulevard on our latest post! DAVID THAXTON he/him (Max Von Mayerling). Theatre credits include Sunset Blvd. (Savoy Theatre, Olivier Award nominated for Best Actor in a Supporting Role in a Musical); Passion (Donmar Warehouse, Olivier Award winner for Best Actor in a Musical); Les Misérables (Sondheim/Queen's); Jesus Christ Superstar (Regent's Park Open Air); Come From Away (Phoenix); The Phantom of the Opera (His Majesty's); Camelot (London Palladium); Love Never Dies (Adelphi);West End Men (Vaudeville); She Loves Me (Sheffield Crucible); Candide (Menier Chocolate Factory); Jesus Christ Superstar - The Concert (Regents Park Open Air); Roller Diner (Soho); Only the Brave (Wales Millennium Centre); The Sorcerer's Apprentice (Southwark Playhouse). Training:Royal Welsh College of Music and Drama. David is co-founder and co-writer for the band Divisions (@Divisionsreal). Instagram/X: @YoungThacko Learn more about your ad choices. Visit megaphone.fm/adchoices

Megan Gardiner is In The Frame!Megan recently starred as Nessarose in the Wicked UK & Ireland Tour. Megan was also the first cover for Glinda and played the role regularly. She received huge acclaim for starring as Hannah Campbell in the UK premiere of Allegiance at the Charing Cross Theatre. Her theatre credits also include: understudy Cosette in Les Misérables (UK & Ireland Tour/West End), understudy Dorothy in The Wizard of Oz (Cork Opera House) and more recently she has been touring in the concert show Defying Gravity: West End Women.In this episode, Megan discusses her Wicked journey, her path into theatre and the impact Allegiance had on her career. She also talks openly about being a dyslexic actor working in musical theatre and what she has learnt along the way.Follow Megan on Instagram: @_megangardiner This podcast is hosted by Andrew Tomlins @AndrewTomlins32 Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts. Hosted on Acast. See acast.com/privacy for more information.

In Other News with Ethan: The Fabulous Fox Theater just unveiled its exciting 2025–2026 Broadway season lineup featuring must-see productions like Harry Potter and the Cursed Child, Les Misérables, Spamalot, Beetlejuice, and more. Tickets go on sale starting May 28th. In music news, the Grateful Dead's commemorative 60th anniversary box set is hitting stores with 60 hours of live performances from 1969-94. Plus, This is Spinal Tap fans can rejoice as the band reunites for a sequel this September. Will Beyonce sell out her UK tour amid ticket price hikes? We dive into all the latest buzz in the entertainment world.

Kate and Sheila introduce part 1 of  Les Misérables a.k.a. ‘The Brick' by Victor Hugo.These episodes are dedicated to our dear friend, Matt Green, who passed from this life in 2024. His love for this story inspired us to tackle the Brick, thank you Matt!The Bishop is the first character we meet. He inspired us greatly with words such as…“I was not put in this world to protect lives but to save souls.”“We must never fear robbers and murderers. They are dangers from outside, small dangers. It is ourselves we have to fear. Prejudice is the real robber and vice the real murderer.”His message to Jean Valjean touched his heart and changed the trajectory of his life!“...my brother, you no longer belong to what is evil but to what is good. I have bought your soul to save it from black thoughts and the spirit of perdition, and I give it to God.”Jean Valjean was imprisoned for breaking a shop window in his attempt to steal bread to feed his sister's family. He was sentenced to serve 5 years, however after 4 escape attempts his sentence was increased by 14 years!Are you ready to challenge yourself far beyond your life as a reader to the depth of your compassion as a  person? Published in 1862, this classic helps us to discover what is true! 

Carrie Hope Fletcher is a true triple threat: a powerhouse performer, a bestselling writer and an inspiring voice off stage too.She's been in the spotlight since she was seven years old and has made her name as a West End star playing iconic roles…Éponine and Fantine in Les Misérables, Veronica Sawyer in the original West End production of Heathers: The Musical, and she originated the role of Cinderella in Andrew Lloyd Webber's Cinderella. Beyond the theatre, Carrie's a big social media personality and has a massive YouTube following and she's also a bestselling author. Her older brother Tom Fletcher is lead vocalist and guitarist of the band McFly but will any of their hits make it into her Inheritance Tracks?Inherited: Sophia by Nerina Pallo Passed on: Dancing in the Moonlight by ToploaderProducers: Ben Mitchell and Ribika Moktan

Send us a textHow do actors and singers deal with performing in long-running shows? And what is the role of a vocal coach - is vocal technique only part of the puzzle?In this episode of This Is A Voice, we sit down with Claire Underwood — the vocal coach behind Hamilton, Les Misérables, Cabaret, Phantom of the Opera and more in London's West End — to explore:

After three years of manifesting this interview, Mickey-Jo finally had the chance to sit down with Carrie Hope Fletcher.Currently starring in the UK and Ireland Tour of CALAMITY JANE, Carrie Hope Fletcher is known to many for her hugely popular YouTube channel as well as her stage performances as Éponine and Fantine in LES MISÉRABLES, Veronica in HEATHERS, and as the original star of Andrew Lloyd Webber's CINDERELLA.Check out this full interview to find out what they talked about moments after meeting for the first time...About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

In this episode of the 8750 podcast, the hosts engage in a lively discussion that begins with lighthearted banter about dog breeding and evolves into serious topics like gun legislation and personal freedoms. They humorously explore the idea of testing parenting capabilities, share funny and bizarre dreams, and recount their own arrest stories, reflecting on the lessons learned from those experiences. In this segment, YetiYeff shares a series of wild college stories, focusing on his experiences with alcohol, the consequences of his actions, and the humorous yet chaotic aftermath of a particularly memorable night. The conversation touches on themes of friendship, music, and the lessons learned from reckless behavior. In this lively conversation, the hosts delve into various topics ranging from personal legal troubles and military base restrictions to the nuances of social media engagement and the debate over men's fashion choices. They share experiences related to attending the musical Les Misérables, discuss the challenges of podcasting and merchandise sales, and celebrate a birthday with a special Patreon offer. The discussion is filled with humor, insights, and personal anecdotes, creating a relatable and entertaining atmosphere. In this lively conversation, the participants delve into various gaming topics, including their personal gaming preferences, the ongoing console wars between Xbox and PlayStation, and the cultural implications of gaming. They share anecdotes about their gaming experiences, discuss the impact of major acquisitions in the gaming industry, and reflect on the evolution of gaming events like E3. The discussion is filled with humor, banter, and insights into the gaming community. The conversation explores various themes surrounding gaming preferences, the intersection of politics and gaming culture, and the broader implications of democracy and bureaucracy in public perception. The speakers discuss their gaming habits, preferences for story engagement, and the impact of political figures on the gaming community. They also delve into the complexities of political discourse, the role of bureaucracy, and the public's understanding of government operations. In this segment, the conversation revolves around various topics including Elon Musk's pricing strategies for Twitter, the implications of Dogecoin's financial maneuvers, and the hosts' travel aspirations. They also share personal experiences related to family vacations, particularly Disney Cruises, and discuss the nuances of government spending and financial literacy. In this segment, the conversation explores themes of exclusivity in memberships, the impact of celebrity culture, societal norms surrounding breastfeeding, humorous parenting anecdotes, challenges posed by weather conditions, and personal stories about tattoos. The speakers share their thoughts on the complexities of navigating these topics in modern life, often with a humorous twist. In this episode, the conversation takes a wild turn as YetiYeff recounts a harrowing experience involving a fall that led to a serious injury, a trip to the emergency room, and the humorous aftermath of the situation. The group then shifts gears to discuss celebrity encounters, sharing stories of meeting famous personalities. The discussion takes a deeper dive into the complexities of relationships, particularly focusing on cuckolding dynamics and the importance of communication in such scenarios. The episode wraps up with a humorous segment titled 'Nobody Asked Yet,' where the hosts provide unsolicited advice on chaotic relationship situations. The participants explore the complexities of relationships, particularly focusing on polyamory, the chaos that often accompanies it, and the importance of communication and rules. The discussion is punctuated with humor and personal anecdotes, making for an engaging and thought-provoking dialogue.www.patreon.com/eightysevenfifty

Several years after first seeing this production, Mickey-Jo returned to watch the new UK and Ireland tour of CALAMITY JANE, based on the film of the same name.The new tour stars Carrie Hope Fletcher (Cinderella, Heathers, Les Misérables) as Calamity Jane alongside former co-star Vinny Coyle (Cinderella, Aspects of Love) as Wild Bill Hicock, and a company of actor-musician performers.Check out this full review for Mickey-Jo's thoughts on this production, the show's adapted material, and these leading performances...•00:00 | introduction 02:21 | snyopsis / material08:56 | production14:05 | performances•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠MickeyJoTheatre⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre

Les Misérables | The Final Episode (Finale) || September 3, 1937Orson Welles adapted the 1862 novel by Victor Hugo, directed the series, and starred as Jean Valjean.01:20 || The Final Episode -- William Johnstone (Marius Pontmercy, Prosecutor), Orson Welles (Jean Valjean, Prisoner accused of being Jean Valjean), Ray Collins (Judge who sentences Valjean, Judge at Arras), Hiram Sherman ("Guilty!", Police Officer, Third Judge), Frank Readick (Bishop of Digne)#victorhugo #orsonwelles #lesmiserables #duaneoldtimeradio: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

What insights can the world of musical theatre offer us about overcoming challenges and unlocking our true potential? This week on the Performance Intelligence Podcast, join Josh Piterman as he reveals his thoughts on mastering vulnerability, honing your craft, and the transformative journey of self-discovery—lessons designed to inspire you to reach new heights in your own pursuits.Josh is a celebrated Australian musical theatre performer and classical crossover artist, renowned for his powerful voice and captivating stage presence. With over 15 years of experience, he has dazzled audiences on both Australian and international stages, earning acclaim for his roles in iconic productions such as Les Misérables and The Phantom of the Opera.In this episode Andrew and Josh discuss:4:00 Josh's early life loving sport and not thinking about performing arts, having a natural knack for show ponying with friends and being discovered by the school drama teacher by accident.7:15 Anyone can sing, it's one of the most vulnerable acts you can do, trying karaoke to get out of your comfort zone and how Josh warms up for performances.14:30 Start singing at a base level then learn to distort it, Josh's pre performance rituals and how he keeps performances fresh after hundreds of shows.19:30 Using a mantra before going on stage to take the onus off himself, figuring out who the nobody in you is and supressing your own spiritual ego.27:00 Josh's biggest spiritual influences, becoming able to take his own mask off and the constant desire to improve and overcome imposter syndrome.35:45 Learning to look in the mirror after going through a divorce, the lotus flower is born from the mud and the shit and having discipline as a form of self love.43:00 Andrew and Josh's definition of love, teaching discipline through delayed gratification and how Josh has such a good memory.50:10 Josh's coaching client that needed play to excel at her presentations, Josh's focus now on helping others achieve their goals and play creating sustained happiness.1:01:00 How Josh learned to deal with his imposter syndrome, how Josh crumbled on stage at the 33rd birthday of Phantom Of The Opera and how that helped him grow.1:09:50 Josh's definition of purpose, using SQ or Spiritual quotient to tune out the noise of the world and Josh's own path on the heroes journey.1:17:20 Diversity is an old old wooden ship, how Andrew cultivates his SQ and how Josh reflects on his own podcastsListen to Josh's podcast here:https://shows.acast.com/behind-the-maskYou can find Josh at his website:https://www.joshpiterman.com.au/Or at his Instagram:https://www.instagram.com/joshpiterman/?hl=en Looking to streamline your financial goals? Connect with Zack Raad at Fruition Financial. 

Les Misérables || The Grave | The Barricade || Broadcast: August 20, 1937; August 27, 193701:30 || The Grave -- William Johnstone (Police Officer, Marius Pontmercy), Everett Sloane(Police Lieutenant, Gyribier the Gravedigger), Ray Collins (Fauchelevent), Orson Welles (Jean Valjean), Estelle Levy (Cosette at age eight), Peggy Allenby (Prioress), Hiram Sherman (Priest at the Grave), Virginia Nicolson (Older Cosette), Martin Gabel (Inspector Javert)28:45 || The Barricade -- Martin Gabel (Inspector Javert), Orson Welles (Jean Valjean), Virginia Nicolson (Cosette), Ray Collins (Police Officer, First Policeman), William Johnstone (Marius Pontmercy), Hiram Sherman (First Revolutionary, Second Policeman), othersOrson Welles adapted the 1862 novel by Victor Hugo, directed the series, and starred as Jean Valjean. #victorhugo #orsonwelles #lesmiserables #duaneoldtimeradio: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

You may know Hugh Jackman as the star of X-Men, The Greatest Showman, and Les Misérables, but did you know that he has a secret to success that involves working less, not more? That's right, Hugh Jackman follows the 85% rule, an unofficial guide to life that says we should try hard at things, but not too hard. In other words, we should aim to work at 85% of our capacity, rather than 100%. But why would he do that, and does it really work? Does the science back up this claim? In under 3 minutes, we answer your questions! To listen to the last episodes, you can click here: What is the Werther effect? How can I overcome my fear of speaking in public? What are plant milks? A podcast written and realised by Amber Minogue. First Broadcast: 10/10/2023 Learn more about your ad choices. Visit megaphone.fm/adchoices

This week we are doing something a little different. We are exploring a game that we got called out for from our Sonic episode. This time we will NEVER FORGET Altered Beasts. PatreonMerchTikTokBskyInstagramPipedream podcastsSpreakerClips used in this episode:Altered Beasts (1988)Altered Beast - Rise From Your Grave (doom metal arrangement) by Tohru NakabayashiHercules (1997)Les Misérables (2012)Music: Kevin MacLeod"Jazz Brunch""Discovery Hit""Miami Nights"

In this jam-packed episode of MusicalTalk, Hannah finally experiences Les Misérables live on stage—was it everything she dreamed of... or did she dream a dream in vain? Meanwhile, we dive into the world premiere of Scissorhandz, the bold new musical adaptation of Tim Burton's beloved film! And finally we break down all the big winners at the WhatsOnStage Awards 2025!

Les Misérables || The Trial | Cosette || Broadcast: August 6, 1937; August 13, 193701:20 || The Trial -- William Johnstone (Bishop of Digne, Prosecutor), Hiram Sherman (Man who announces Javert, Judicial Clerk), Orson Welles (Jean Valjean [Monsieur Madeleine], Champmathieu), Martin Gabel (Inspector Javert), Alice Frost (Fantine), Adelaide Klein (Nun), Ray Collins (Judge), others; Milton Katims, musical director30:41 || Cosette -- William Johnstone (Judge, Second Inn Customer), Orson Welles (Jean Valjean), Martin Gabel (Inspector Javert), Ray Collins (Thenardier), Agnes Moorehead (Madame Thenardier) Hiram Sherman (First Inn Customer), Estelle Levy (Cosette)Orson Welles adapted Victor Hugo's 1862 novel, directed the series, and starred as Jean Valjean. Marking the radio debut of the Mercury Theatre, Welles's Les Misérables was described by biographer Simon Callow as "one of his earliest, finest and most serious achievements on radio".Orson Welles adapted the 1862 novel by Victor Hugo, directed the series, and starred as Jean Valjean. #victorhugo #orsonwelles #lesmiserables #duaneoldtimeradio: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

Academy Award®-winning production sound mixer Simon Hayes joins us to discuss his groundbreaking work on “Wicked.” Nominated for his third Oscar®, Hayes shares how he captured live vocals on set, blending the technical innovation with the emotional. He reflects on lessons learned from “Les Misérables,” how he worked seamlessly with the music department, and the intricate process of ensuring performers like Cynthia Erivo and Ariana Grande had the freedom to deliver their most powerful performances while always staying in sync with the film's score."We had no idea that when Cynthia and Ari sung together, their voices would mesh the way that they did. And something very, very special happens when those two sing together… That first time when I had my cans on, and they were dueting, and the hairs on the back of my neck started standing up, and you get that tingle… You just know, as a sound mixer, 'My God, we've struck gold.' This is something very unique and special."—Simon Hayes, Production Sound Mixer, “Wicked”Be sure to check out “Wicked,” now available to stream at home in Dolby Vision® and Dolby Atmos®.And don't miss our previous episode featuring Stephen Schwartz and the music team behind “Wicked, as well as our episode with Director Jon M. Chu and the film's post-production team.You can also check out the video for this episode.Please subscribe to Dolby Creator Talks wherever you get your podcasts.Learn more about the Dolby Creator Lab and check out Dolby.com. Connect with Dolby on Instagram, Twitter, Facebook, or LinkedIn.

Les Misérables | The Bishop; Javert || Broadcast: July 23, 1937; July 30, 193701:20 || The Bishop -- Orson Welles (Jean Valjean), Alan Devitt (Judge), Agnes Moorehead (Old Woman, Madame Magloire), Frank Readick (Bishop of Digne), others31:40 || Javert -- Hiram Sherman (Letter Deliverer, Factory Official, Idler who torments Fantine), Betty Garde (Favourite), Alice Frost (Fantine), Agnes Moorehead (Marguerite), Ray Collins (Traveling Dentist, Fauchelevent), Martin Gabel(Inspector Javert), Orson Welles (Jean Valjean [Monsieur Madeleine])Les Misérables is a seven-part radio series broadcast July 23 – September 3, 1937 (Fridays at 10 p.m. ET), on the Mutual Network. Orson Welles adapted Victor Hugo's 1862 novel, directed the series, and starred as Jean Valjean. The 22-year-old Welles developed the idea of telling stories with first-person narration on the series, which was his first job as a writer-director for radio.#victorhugo #orsonwelles #lesmiserables #duaneoldtimeradio: : : : :My other podcast channels include: MYSTERY x SUSPENSE -- DRAMA X THEATER -- SCI FI x HORROR -- COMEDY x FUNNY HA HA -- VARIETY X ARMED FORCES.Subscribing is free and you'll receive new post notifications. Also, if you have a moment, please give a 4-5 star rating and/or write a 1-2 sentence positive review on your preferred service -- that would help me a lot.Thank you for your support.https://otr.duane.media | Instagram @duane.otr#orsonwelles #oldtimeradio #otr #radioclassics #citizenkane #oldtimeradioclassics #classicradio #mercurytheatre #duaneotr:::: :This podcast uses the following third-party services for analysis: Podtrac - https://analytics.podtrac.com/privacy-policy-gdrp

Description: Join us as we dive into John 8:21-30, where Jesus challenges His audience to move from spiritual blindness to belief. In this passage, we explore three transformative themes: 1️⃣ Blindness: Living "below" and being consumed by worldly distractions. 2️⃣ Revelation: The Cross as the ultimate turning point where grace meets our sin. 3️⃣ Transformation: Seeing Christ in our neighbors and embracing a cruciform life shaped by humility, love, and sacrifice.Through real-life examples like Jean Valjean's story in Les Misérables, practical steps for reflection, and prayer, we uncover how to live out Jesus' call to faith and selfless love.Reflect with us:How can we reorient our hearts toward God amidst worldly distractions?What does it mean to embrace a life shaped by the cross in our daily actions?Don't miss this opportunity to deepen your walk with Christ and embrace His presence in your life and others.

Originally aired as episode 198 on March 22, 2022. Trigger warning: This episode contains discussion of eating disorders. At the age of 25, Eva Noblezada is a two time Tony Award nominee, a Grammy Award winner, and a WhatsOnStage Award winning actress and singer. She starred as Kim in Cameron Mackintosh's London revival of Miss Saigon when she was 17 years old, and shortly after played Eponine in the West End revival of Les Misérables. Eva later reprised her performance as Kim in the first Broadway revival of Miss Saigon (also her Broadway debut). In 2019, she made her film debut in Yellow Rose starring alongside Lea Salonga, who originated the role of Kim in Miss Saigon. Eva originated the role of Eurydice in Hadestown on Broadway, and it's in Hadestown where she continues to lead, and take audiences “way down under the ground”.  Eva speaks candidly about her past toxic relationship with the word “perfect”, how it affected her life as a 17 year old all on her own abroad, leading Cameron Mackintosh's London revival of Miss Saigon, and why she felt like she was “falling for years”. She opens up about living with anxiety, panic attacks, and body dysmorphia, and how she's learned to come back to herself at those times, and ask the important questions - “Are we in danger? - We're okay”. Talking about Hadestown, Eva shares her thoughts on Eurydice (and playing Eurydice), and her love for the “extra layer of consciousness” that can be seen throughout the whole show.  In this episode, we talk about:  Growing up Filipino Mexican, and discovering musical theater  A strong work ethic, instilled by her father  The mental and physical toll of an 8 show schedule  Meeting Tara Rubin at the Jimmy Awards Pole dancing as fitness, and how society sexualizes women  Her “all or nothing” way of life  Connect with Eva: IG: @livevamaria Twitter: @EvaNoblezada Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Learn more about your ad choices. Visit megaphone.fm/adchoices

I veckans Stil ska vi glänta på dörren till Frankrikes största, kändaste, rikaste och mest älskade författare Victor Hugos fantasifullt inredda hem. Lyssna på alla avsnitt i Sveriges Radio Play. Victor Hugo var inte bara en enormt produktiv man som på ett imponerande sätt växelverkade mellan olika genrer – romaner, essäer, poesi och politik – under sextio års tid. Han hade också en grandios stil och personlighet som matchade den maxade produktiviteten. Hans livsmotto skulle kunnat ha varit: ”mycket är mer och bättre”. Och det gällde det mesta – pengar, mat, inredning, fester och inte minst sex.I veckans program pratar vi med konsthistorikern Veronica Hejdelind om Victor Hugos excentriskt inredda hem på kanalön Guernsey strax utanför Normandies kust. Vi ringer också upp artisten Peter Jöback som spelar huvudrollen i arenauppsättning av Les Misérables som nu har nypremiär. Och så berättar vi om den andre Victor Hugo, nämligen modeskaparen Halstons strulige pojkvän.

This week we are talking extensively about reality TV old and new, and getting into an indepth analysis of which characters in Les Mis are or are not divas.

Mick is in-studio. Kirk reviews what just happened on the Unnamed Show (00:00:00). It is justified for Kirk to call Megan Makin' Money whatever he wants (00:03:19). The finale for Surviving Barstool next week will be business as usual (00:04:03). The episodes of Surviving Barstool have been lackluster (00:05:40). The Mick mediation from Mayo will still happen (00:06:42). Justin and Mick are working passed their issues (00:08:56). Danny Katz calls in to recruit a pickleball partner (00:11:05). Cam from Alberta calls in about Dave Portnoy (00:12:23). Rico has not reached back out to Kirk (00:14:07). The rest of the episodes of Surviving Barstool are going to be a toss-up (00:15:30). It's clearly weird that Big Cat hid his hometown information for 15 years (00:17:51). A caller proposes that Mick and Justin work together with an exercise (00:20:20). A caller mentions how Big Cat has been a baby for a while (00:21:57). A caller commends Kirk for his authenticity (00:23:00). Matt Damon's character in “The Departed” might be gay (00:24:50). A caller talks about how close Mintzy was to Kirk (00:26:36). Caller asks if “Mystic River” and “The Town” are better than “The Departed” (00:29:03). Caller asks if Kirk would've been less mad at Big Cat if he didn't make it personal (00:30:35). Caller claims he called Richard Perry's death (00:31:57). Jeff left the stream early last night, Kirk is visiting Penn State (00:33:49). Caller provides a segment for a new listener of the show (00:38:14). Mel Gibson cured cancer, experimental treatments are questioned (00:40:22). Caller asks why Kirk didn't go at Dave (00:45:47). A caller has Kirk rate Les Mis performances (00:47:59). A caller asks if Big Cat is upset for leaving the Patriots fandom (00:48:50) A caller has a golf question for Kirk (00:49:49). Jay calls about cancer and Justin's weight (00:52:24). Kirk offers to meet Jay (00:54:30). A caller asks Kirk to put Big Cat out of his misery (00:55:45). John calls in about 90210 fraudulent relationships (00:57:02). Caller invites Mick to bartend for him (00:59:10). A caller tells Kirk he got shot by the big man (01:00:29). Tim calls in to tell his porn theatre story (01:02:26). Dave from Madawaska calls in about Joe the political guest (01:04:35). Mick talks about a trip to New York (01:06:30). There's some contention with the BO Boys and Manhattan (01:10:34). Jason Whitlock calls out the show (01:14:30). The presidents all together are a sight to see (01:16:08). Justin previews the weekend and NFL picks (01:17:00). A preview of Laconia (01:23:40). News round up (01:24:20). A new parody song (01:25:59). Vince McMahon settled with the SEC (01:26:50) Marty Mush calls Kirk must-see tv (01:27:54). Mick gives his pick for Surviving Barstool (01:28:35). Glenny Balls is leaving with Caleb but staying with Barstool (01:30:10). Mick gives his thoughts on Brianna Chickenfry (01:31:51). A preview of the Minifan Network (01:34:48). Justin starts with Factor on Monday (01:36:03). Cullinane is thinking of ditching his basketball team because of a sickness (01:37:45). No Country for Old Men is great (01:42:00)You can find every episode of this show on Apple Podcasts, Spotify or YouTube. Prime Members can listen ad-free on Amazon Music. For more, visit barstool.link/kminshow

This episode of The Other Side of the Bell, featuring trumpeter Aaron Smith, is brought to you by Bob Reeves Brass.  About Aaron : Aaron Smith is an active freelance trumpet player in Los Angeles, CA. He also writes, arranges, and publishes music through his small business, TrumpetSmith Publishing (ASCAP). In addition, he serves on the Hearing Board for the American Federation of Musicians (AFM) Local 47 and on the Board of Directors for the Recording Musicians Association Los Angeles (RMALA).  Raised in an Army household with musician parents who played jazz and r&b, and later to receive classical conservatory training, Smith thrives on versatility, consistency, and accurate delivery of musical intent. As a trusted freelance musician in Los Angeles, he performs regularly for live orchestral events, musical theatre, films, independent recording projects, streaming, television, and video games.  He has recorded on film/tv projects for celebrated composers including Alan Menken, Bear McCreary, Branford Marsalis, Germaine Franco, Heitor Pereira, Kris Bowers, Rob Simonsen, and Terence Blanchard; on sound recordings for Adrian Younge, Austin Wintory, Charles Gaines, Dr. Dre, Joachim Horsley, John Daversa, and X Ambassadors. He has performed as a sideman in bands on the Academy Awards, Dancing with the Stars, Disney's Encore!, Ellen, the LATE LATE Show, and The Voice. He's also appeared as a sideman onscreen for films including Babylon and Joker: Folie à Deux; and tv commercials for Capital One and Microsoft. He's backed major artists including Beyoncé, Billie Eilish, Common, Danny Elfman, Jennifer Holliday, Josh Groban, Kelly Clarkson, Labrinth, Lady Gaga, Sigur Rós, Steve Lacy, and more. He has also performed for contemporary/new music ensembles and series including Alarm Will Sound, the Industry's Hopscotch Opera, Jacaranda, Southwest Chamber Music, wasteLAnd, WildUp, Green Umbrella, Monday Evening concert series, and Noon to Midnight Festival. In the L.A. theater world, Smith performs regularly at the Hollywood Pantages, Dolby, La Mirada Theaters and Pasadena Playhouse. Some notable shows from these theaters with Smith on solo trumpet include Back to the Future, Beetlejuice, Color Purple, Jelly's Last Jam, Les Misérables, Moulin Rouge, Wicked, and the Wiz.  As a composer, Smith strives to curate a top-tier experience for brass players especially. The primary focus is exploring boundaries while expressing a story; both through adapted arrangements structurally sound to the composer's intent and through his own original compositions. His work has been performed internationally. He has also created original chamber music commissioned by Marissa Benedict for University of Minnesota, Jim Self for University of Southern California, also by the Interlochen Center for the Arts, and Stomvi-USA.  Smith's training as a music performance major includes a Master of Fine Arts degree from California Institute of the Arts where he studied with Edward Carroll and John Fumo; and a Bachelor of Music degree from the Eastman School of Music with professor James Thompson. He is also a graduate of the Interlochen Arts Academy with Stanley Friedman.

Greg Jenner is joined in 20th-century New York by Dr Hannah Thuraisingam Robbins and comedian Desiree Burch to learn about the history of Broadway.Most of us are familiar with at least one Broadway musical, from classics like My Fair Lady and the Sound of Music to new favourites Hamilton and Wicked. In the last couple of decades, high-profile film adaptations of shows like Chicago, Cats and Les Misérables have brought musical theatre to a bigger audience than ever before. But whether or not you know your Rodgers & Hammerstein from your Lloyd Webber, the history of Broadway is perhaps more of a mystery.This episode explores all aspects of musical theatre, from its origins in the early years of the 20th century, to the ‘Golden Age' in the 50s and the rise of the megamusical in the 80s. Along the way, Greg and his guests learn about the racial and class dynamics of Broadway, uncover musical flops and triumphs, and find out exactly what ‘cheating out' is.This is a radio edit of the original podcast episode. For the full-length version, please look further back in the feed.Hosted by: Greg Jenner Research by: Hannah Campbell Hewson, Annabel Storr and Anna McCully Stewart Written by: Emmie Rose Price-Goodfellow, Emma Nagouse, and Greg Jenner Produced by: Emmie Rose Price-Goodfellow and Greg Jenner Audio Producer: Steve Hankey Production Coordinator: Ben Hollands Senior Producer: Emma Nagouse Executive Editor: James Cook

Paris is home to over 100 museums, from world-renowned art galleries to quirky, hidden gems. In this episode, we highlight 5 underrated museums you won't want to miss, each offering a unique glimpse into Parisian history and culture. Discover the Bibliothèque Nationale Richelieu, where centuries of knowledge await. This historic library houses treasures like a rare Gutenberg Bible and an original manuscript of Les Misérables. Then, explore the newly renovated Musée Carnavalet, a free museum dedicated to the history of Paris, complete with a beautiful Art Nouveau shop and a charming courtyard café. Next, step into the elegant Musée Jacquemart André, an aristocratic mansion on Boulevard Haussmann that showcases Italian art and a stunning fresco. For something truly unique, visit the Musée des Moulages, a museum of dermatological casts housed in one of Paris' oldest hospitals. Finally, don't miss Musée de Montmartre, where iconic artists like Renoir once worked, and the beautiful gardens are just as impressive as the exhibits. This episode is brought to you by My Private Paris, the award-winning travel company offering private tours in Paris, day trips around France, and custom travel itineraries.  Become a member of The Earful Tower on Patreon or Substack for bonus content, early access, and invites to exclusive events. Members can read the full "Top 20" list of our tips for Best Museums in Paris, one for every arrondissement.

For extra episodes and exclusive content, subscribe to our Patreon! For only $5 a month, receive a bonus episode every week! Subscribe today! Welcome to Puddles. Andrew and Brenna joke about everything, mostly their own relationship. In this episode, we cover In-N-Out's secret menu, Andrew's obsession with Les Misérables, Brenna's experience with the Salvation Army, sex workers, Melanie's doppelgänger, watching Wicked in theaters, and calling the cops on yourself. Andrew ends up in the emergency room in Arkansas, Brenna searches online for her mugshot, and everybody poops their pants. Leave us a voicemail: ⁠⁠https://www.speakpipe.com/Puddles⁠⁠ Send us questions: ⁠⁠puddleboyandpuddlegirl@gmail.com SUBSCRIBE! Puddles Youtube Feed Puddles Podcast Spotify Audio Feed Puddles Podcast iTunes Audio Feed CHAPTERS 00:00 - Back to basics 02:00 - Le Miserables 04:20 - Anora 06:00 - Salvation Army Santa 11:00 - Brenna's mugshot 18:00 - I'm guilty 22:00 - Tinted windows 24:00 - The King 27:00 - Diner lobster 29:00 - Pooping in your pants 33:00 - The emergency room 42:00 - Gastroenteritis 45:00 - Airport pickups 48:00 - In-n-out secret menu 50:00 - Burger culture FOLLOW US: Puddles - ⁠⁠https://www.instagram.com/puddlespodcast⁠⁠/ Andrew - ⁠⁠https://www.instagram.com/andrewtcollin/ ⁠⁠ Brenna - ⁠⁠https://www.instagram.com/brennaalexiss/ ⁠⁠ Melanie - ⁠⁠https://www.instagram.com/melaniemeisner/ ⁠⁠ Theme song performed by: Ed Glaser Ending song written by: Andrew Collin Visuals and Graphics by: Melanie Meisner Produced by: Melanie Meisner

A fragile truce between Israel and Hezbollah is holding, but both sides are on alert. In the US, Donald Trump's incoming cabinet have received bomb threats. Also: will Parisians embrace Les Misérables in French?