Podcast appearances and mentions of Linda Eder

In the episode we talk the shake up within the Royal Family, Survivor, RuPauls Drag Race's stinker of an episode, and Linda Eder! --- Send in a voice message: https://podcasters.spotify.com/pod/show/34tea/message

Harvey Brownstone conducts an in-depth Interview with Billy Stritch, Renowned Music Director, Vocalist & Pianist About Harvey's guests: Today's guest, Billy Stritch, is a renowned composer, arranger, vocalist, and pianist extraordinaire who is both a highly sought-after music director and a star performer in his own right.   For 25 years he worked closely with Liza Minnelli as her music director, collaborator and accompanist.  He's also been the music director and arranger for many other great stars including Tony Bennett, Marilyn Maye, Linda Lavin, Linda Eder, Ann Hampton Callaway, and Christine Ebersole.    In addition, he's a wonderful songwriter.  He co-wrote the multi-platinum, Grammy-winning, number 1 hit song “Does He Love You” recorded in 1993 by Reba McEntire and Linda Davis.    As a solo entertainer, he performs sell-out shows in concert halls and nightclubs across the country, including his highly acclaimed tribute shows to Mel Tormé and Cy Coleman, as well as his spectacular show with Jim Caruso called “The Sinatra Century”.  During the pandemic, he was one of the first artists to start performing online, creating his own weekly live-stream show called “Billy's Place”, celebrating the Great American Songbook with songs and stories from his amazing career.    He's recorded numerous albums, and some of my favourites are “Jazz Live”, “Waters of March”, “Billy Stritch Sings Mel Tormé”, “The Sunday Set: Recorded Live at Birdland”, “Christmas at Birdland”, and “Billy's Place”, which is a collection of his favorite songs from those online shows I just mentioned.  He's also been prominently featured on at least a dozen other albums by music artists like Christine Ebersole, Jim Caruso, Benny Carter, Klea Blackhurst, and many more.   And if all that weren't enough, our guest is also a Broadway star.   He played the role of “Oscar” in the Tony Award winning 2001 Broadway revival of “42nd Street”.  And when he's not on tour, he can often be found dazzling New York audiences on Sunday nights at Bemelman's Bar at the Carlyle, and of course, every Monday night at Birdland, for Jim Caruso's Cast Party. For more interviews and podcasts go to: https://www.harveybrownstoneinterviews.com/ To see more about Billy Stritch, go to:http://billystritch.com/https://www.facebook.com/billystritchpro/https://www.instagram.com/billystritch/https://www.youtube.com/channel/UCPKEPvjXbWy_RQALL8KiLPghttps://open.spotify.com/artist/5BFCEjtWiORUGo96eKDbXi?autoplay=true #BillyStritch   #harveybrownstoneinterviews

Jekyll & Hyde è un musical del 1990 liberamente ispirato al romanzo del 1886 Lo strano caso del dottor Jekyll e del signor Hyde di Robert Louis Stevenson. Originariamente era stato concepito per il palcoscenico da Frank Wildhorn e Steve Cuden; loro, in collaborazione con Leslie Bricusse (Lès.li Brècüssi), scrissero il libretto. Le musiche furono composte da Frank Wildhorn. Dopo una prima mondiale a Houston, in Texas, il musical intraprese un tour nazionale degli Stati Uniti prima del suo debutto a Broadway nel 1997. Da allora sono state messe in scena molte produzioni internazionali in varie lingue e una versione strumentale (suite). Creazione dell'opera Wildhorn e Cuden avevano scritto la colonna sonora di un ipotetico film alla fine degli anni '80, realizzando una registrazione demo nel 1986 con Chuck Wagner, Christopher Carothers, Tuesday Knight e Gillian Gallant, ma a Broadway non fu prodotta per mancanza di fondi. Tuttavia, fu realizzata una registrazione concettuale con Colm Wilkinson nei panni di Jekyll/Hyde e Linda Eder in quelli di Lucy Harris e Lisa Carew. Lo spettacolo è stato successivamente riscritto da Wildhorn e Leslie Bricusse, annunciando una produzione la cui prima mondiale sarebbe stata nel 1990 a Houston (Texas). Prima di Broadway Jekyll & Hyde fu presentato per la prima volta all'Alley Theatre di Houston nel maggio 1990, dove batté i record al botteghino, registrando il tutto esaurito e ottenendo il plauso della critica. Chuck Wagner interpretò i ruoli principali, con Rebecca Spencer nel ruolo di Emma Carew (che all'epoca si chiamava Lisa) e Linda Eder nel ruolo di Lucy. Gregory Boyd diresse la produzione. Si va a Broadway Dopo diverse rappresentazioni a Houston e dopo cambiamenti nel cast originale, il musical ha debuttato a Broadway al Gerald Schoenfeld Theatre (all'epoca noto come Plymouth Theatre) il 21 marzo 1997. Il protagonista di Supercar e di Baywatch, David Hasselhoff, ha assunto il ruolo principale il 17 ottobre 2000. Il musical è andato in scena per quasi 4 anni ed è diventato lo spettacolo più longevo nella storia del Plymouth Theatre, chiudendo dopo 1.543 repliche regolari il 7 gennaio 2001. La registrazione di David Hasselhoff Una registrazione con Hasselhoff compare di tanto in tanto su Raiplay ed è trasmessa nei canali televisivi Rai. Questa registrazione è stata realizzata dal vivo al Plymouth Theatre nel 2000 con il cast finale composto da David Hasselhoff nel ruolo di Jekyll/Hyde, Coleen Sexton nel ruolo di Lucy e Andrea Rivette nel ruolo di Emma. Questa è l'unica registrazione video ufficiale del musical nota; è stata pubblicata in DVD (Regione 1) nel 2001. Esiste anche una performance registrata professionalmente come demo per la versione DVD con Rob Evan nel ruolo del titolo ed è attualmente disponibile su YouTube. Adattamento cinematografico Il 21 gennaio 2013, è stato annunciato che Mike Medavoy, Rick Nicita e la sua società di produzione RPMedia si erano assicurati i diritti per una versione cinematografica del musical. Secondo quanto riportato dal New York Times, Wildhorn e Bricusse avrebbero dovuto avere un ruolo importante nel casting del film. Oltre a dover trovare un regista, i produttori speravano di far uscire il film entro il 2015. Nel marzo 2019, è stato annunciato che Alexander Dinelaris avrebbe scritto la sceneggiatura e prodotto il film attraverso la sua etichetta Lexicon con la Bluestone Entertainment di Richard Saperstein dopo che il tentativo di Medavoy e Nicita è fallito. Il 19 maggio 2019, Dinelaris ha annunciato che la sceneggiatura era stata completata e che lui e i produttori hanno iniziato a negoziare con gli studios. Speravano di iniziare le riprese nell'autunno del 2020, ma il progetto è stato messo in pausa a causa della pandemia di COVID-19. --- Send in a voice message: https://podcasters.spotify.com/pod/show/corgiov/message

Billy Stritch connected with Jazz88 in advance of his Crooners show, "A Musical Night Out with Billy Stritch". Sean from the Afternoon Cruise chatted with Billy about what he's learned from working with greats like Liza Minnelli, Linda Eder and others. Billy Stritch also shared a memory of playing with the late great Tony Bennett in Stritch's hometown of Sugar Land, Texas.

Billy Stritch connected with Jazz88 in advance of his Crooners show, "A Musical Night Out with Billy Stritch". Sean from the Afternoon Cruise chatted with Billy about what he's learned from working with greats like Liza Minnelli, Linda Eder and others. Billy Stritch also shared a memory of playing with the late great Tony Bennett in Stritch's hometown of Sugar Land, Texas.

Connor and Dylan are joined by the Sparkling Diamond Ashley Loren (Moulin Rouge, Jekyll & Hyde). The guys gush over Ashley's incredible talent, having recently seen her make her legendary legend entrance at the Al Hirschfeld. Ashley recounts her path from standby to alternate to now being the full-time Satine in Moulin Rouge. They chat about singing with Aaron Tveit, adopting her cat Mozart, and art being her healer. Ashley shares her early love of Shania Twain, and the full circle moment of making her Broadway debut in Jekyll & Hyde after being in awe of Linda Eder at a young age. Of course they get into her music career, learning to love pieces of oneself, touring with Carly Rae Jepson, Ben Rauhala, and a possible upcoming concert. Ashley openly shares her Lyme disease journey, and how she plans to use her platform to raise awareness. No topic is off the table, including hotness of The Duke in Moulin Rouge as well as the Hailey Bieber vs. Selena Gomez real drama.Follow Ashley on Twitter & Instagram & TiktokFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by Dylan

Actor/singer Sean Patrick Murtagh, whom you may know from Green Room 42 and/or his new album The Mario 101, is here for the album that he describes as: “the album that made [him] gay.” Topics include: moonlight on the bed, Linda Eder as diva, local gays, Linda Eder as instrument, formulas, Linda Eder as gateway drug, the heart and soul of why we do it, Linda Eder's placement, and Linda Eder's vowels. Sean Patrick Murtagh Dot Com Sean Patrick's album The Mario 101 Featured recordings: The Scarlet Pimpernel - A Romantic Musical Adventure (1992) • Jekyll & Hyde - The Complete Work (1995) • The Scarlet Pimpernel - Original Broadway Cast Recording (1997) • The Mario 101 - Sean Patrick Murtagh (2022) ORIGINAL CAST MERCH! Visit our Patreon for access to our monthly live stream The Original Cast at the Movies where 2023 is THE YEAR OF BARBRA celebrating the filmography of Ms. Barbra Joan Streisand! Patreon • Twitter • Facebook • Email

This week on The Hamilton Review Podcast, Dr. Bob welcomes American conductor Troy Quinn to the show! In this conversation, Troy shares the details of his impressive musical and academic background as well as his deep love for music. Troy is the new conductor of the Santa Monica Symphony Orchestra and the city is excited to have him lead the beloved orchestra.  Don't miss this great conversation! American conductor Troy Quinn is quickly establishing himself as one of his generation's most versatile young artists. Lauded for his energetic and riveting, yet sensitive conducting, Quinn is in his sixth season as Music Director of the Owensboro Symphony Orchestra in Kentucky. He is also the Music Director of the Venice Symphony in Florida where he conducts both the classical and pops concert series. Quinn's engagements have included performances with many prestigious orchestras in the United States, including the Los Angeles Chamber Orchestra, Rochester Philharmonic Orchestra, Chamber Orchestra of Philadelphia, and the Rhode Island Philharmonic, where he serves as the Summer Pops conductor. He is also the former Music Director of the Juneau Symphony. Since making his conducting debut with the Rochester Philharmonic Orchestra in their young conductor preview, Quinn has been the recipient of numerous accolades, including awards from the Presser Foundation, Rislov Foundation, Anna Sosenko Assist Trust, and a Rhode Island Foundation grant for his contributions to the musical landscape in New England. Equally at home in the pops and commercial world, Quinn has performed and recorded with some of the most popular artists of our time, including The Rolling Stones, Barry Manilow, Lee Greenwood, Josh Groban, Jennifer Hudson, Rockapella, Michael Feinstein, and Linda Eder. As an accomplished vocalist, Quinn has also collaborated with such prominent maestros as Helmuth Rilling, Carl St. Clair, and Dan Saunders of the Metropolitan Opera. In addition to his concert work, Quinn has worked extensively in the television and recording industry, having made appearances on such hit TV shows as Fox's GLEE, NBC's The Voice, and The Tonight Show with Jay Leno while recording on films like The Call of the Wild and Indiana Jones and the Kingdom of the Crystal Skull. He has also appeared at many of the world's major music centers and at such famed venues as the Hollywood Bowl and Walt Disney Concert Hall. A native of Connecticut, Quinn pursued a bachelor of arts degree from Providence College where he was the recipient of the Leo S. Cannon award for superior achievement in the music field. He went on to earn his masters degree with honors from the Manhattan School of Music, studying conducting with David Gilbert and voice with highly acclaimed Metropolitan Opera singer Mark Oswald. He completed his doctorate in conducting at the University of Southern California's Thornton School of Music, where he studied with Larry Livingston and Jo-Michael Scheibe and was awarded the outstanding doctoral graduate of his class. Quinn has participated in numerous masterclasses as a conducting fellow, attending conducting institutes at the Royal Academy of Music, Eastman School of Music, and Bard Conservatory of Music. He has been mentored by such renowned conductors as Benjamin Zander, Neil Varon, and Leon Botstein. Quinn serves on the conducting faculty at the University of Southern California's Thornton School of Music and has previously served as a faculty member at Providence College. How to contact Troy Quinn: Troy Quinn website How to contact Dr. Bob: Dr. Bob on YouTube: https://www.youtube.com/channel/UChztMVtPCLJkiXvv7H5tpDQ Dr. Bob on Instagram: https://www.instagram.com/drroberthamilton/ Dr. Bob on Facebook: https://www.facebook.com/bob.hamilton.1656

From an outdoor concert to a community 5K, there are several activities on the calendar for this week. If you love musical entertainment, you are in luck. This week brings in Linda Eder, Absolute Queen, Almost ABBA, Sheena Easton and more. Plus, don't miss out on the chance to show support for breast cancer research, awareness, and survivors too.

Intro: Should we take offense that it's Women's History month? (history has not exactly honored women.) Gina had a rough re-entry from vacation, the Disney enchantment, the expense of having kids, the pleasures of one on one time, Junipero Serra was also a monster, Whitey Bulger, networking. Let Me Run This By You: Is Drag Race sexist?, Sasha Velour,  Interview: We talk to Rebecca Spence about Hendrix College, Phantom of the Opera with Linda Eder, Ricky Schroeder and Silver Spoons, Erin Gray, taking the Christmas pageant quite seriously, Syler Thomas, being the preacher's daughter, playing Adelaide in Guys and Dolls and the Stage Manager in Our Town, Tisch, Zelda Fichandler, Mary Beth Fisher, Carmen Roman, Deanna Dunagan, Ora Jones, Amy Morton, Steppenwolf, Goodman Theatre, Every Brilliant Thing, Cyrano at Milwaukee Rep, beauty privilege, aging as an actress, Linda Evangelista, how Rebecca sees herself in terms of the cultural shift in American theatre, the accessibility benefit of digital theatre.FULL TRANSCRIPT (unedited):2 (10s):And I'm Gina Pulice. We went to theater school1 (12s):Together. We survived it, but we didn't quite understand.2 (15s):And it's 20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of it all.1 (22s):And you will too. Are we famous yet? February one, one month behind my friend one month by,2 (37s):Well, it's March 1st happy women's history month.1 (41s):I didn't even know that's how bad of a woman I am.2 (45s):Oh, well I was just thinking like, should we take offense that it's, you know, black history and women's history, like it's all in the past, you know, like why with both of those groups of people, we don't really want to be in the past.1 (1m 2s):Oh. And in fact there is a t-shirt that says that people love that. I have the same thought that says the future. Wait, the future of film is female. And I'm like, what about the present of film?2 (1m 17s):Right, right. Write1 (1m 19s):About like, I don't have a lot of time. I'm 46. Like what are you talking about the future? I mean, I can't be talking about the future. So I, I think the more we can get things in the present, the better off we are,2 (1m 33s):The better off we are now you're back. I'm back. I'm back. I'm back. I'm back. I did not want to come back. I did not leave my vacation. I did not wanna leave 80 degree weather and no responsibilities and fun all day. And it was our, a free entry1 (1m 53s):Monday, really? For everybody, just2 (1m 55s):You or well, for everybody. But for my part, it was getting in on a very late plane, not getting home till one 30 in the morning. It's two inches of ice on my driveway. So I'm like doing slapstick, trying to get my luggage to my door. My daughter's asleep. Oh my, I took the wrong key. I didn't have the right. I didn't have my house key. I don't know what the key is that I took. And so luckily, I mean, I guess I, nobody knows my address, but luckily we have a door that we often leave unlocked and it was unlocked.2 (2m 45s):So we got in and I got my daughter upstairs and I said, just go to sleep. I'll take care of everything. And she was like, yeah, of course, of course. I'm like, I'm not taking care of anything right now. So I remembered that we had some snow melt. I smelled, I go get it. And of course, when I walked into this door, that's usually unlocked. I immediately locked it saying like, we really shouldn't be leaving this open all the time. Oh my God. I know what's coming. I think, keep going, keep going though. And then I get my little ice smell and I go to the back and I closed the door because it's 20 degrees. And I don't want to let all the more mare out. And I happily salt my steps and get the luggage and bring it back up.2 (3m 30s):And the door was locked because the door was locked and I still don't have a key. And that my daughter is fast asleep. And not only is she slowly, I've already turned on the white noise machine. So if I ring the doorbell, if I had any chance of her hearing me, which it's pretty scant. And in any case, because she's a heavy sleeper, I've now masked the sound and it's cold, it's cold. And you, I immediately would be like, I have to eat this ice melt. That's not sane. That did not occur to me. Here's what occurred to me. I'm wearing leggings a t-shirt and a thin sweatshirt because I was just in 80 degree weather and sneakers.2 (4m 12s):I have no hat. I have no code. I have no gloves. I don't even have a key to the car. That's in the driveway because it's my husband's car. And why would I have a key to that? And we do have a garage code that has been broken for like a year. So I guess I should fix that for next time. I'm in this situation. Yeah. And I just tried ringing the doorbell and I tried yelling her name, you know, from down to like I'm in Romeo and Juliet, just yelling up to her window to the family in Utah. They weren't back. Oh my God.2 (4m 55s):I'm like, what the hell am I going to do? Walk to my neighbors at two in the morning and, and do what use, oh, and I didn't mind my phone was inside of, oh my God. Even if I had my phone, what am I going to do? Call my daughter. She doesn't have a cellphone. So I was in a real quandary. I was, I was in a pickle. So here's what I'd come to. I'm going to throw a heavy Boulder through our glass door so that I could get in. And then I'm going to tape it up with cardboard because I must get inside of my house. And then I remembered that another security breach we have is that our window in our dining room that goes directly onto our porch is never locked and very easy to climb through.2 (5m 43s):So that's what I did. And I didn't get to sleep until 3:00 AM. And that's just, that was just like, that was just, of course that was my reentry. Like there could have been no other reentry because ending your vacation sucks, sucks,1 (5m 60s):Bad. It2 (6m 0s):Really sucks. The greatest period of time is like the two weeks before your vacation, when you're getting psyched and then your vacation. And then for me, about two days before it's over, I'm like, oh God, I have to go.1 (6m 12s):I, I, I mean, you know, we're, I am really bad at transitions. Like I remember as an actor being told that to like, and I remember thinking that, and I remember thinking that's perfect. Like that, that makes perfect sense. I'm not shocked. And it makes perfect sense. I, there were no transitions in my childhood. It was like, you're being thrown here and then you're being thrown it. And so this all makes sense. And also it to be fair, your vacation did look fucking brilliant.2 (6m 43s):Like my vacation was like a1 (6m 46s):Dream.2 (6m 47s):It was like a dream come true. Honestly, like I kept being like, why is this so amazing? And I, I do. I do think, I, I think I understand now why Disney has the stranglehold on everybody's wallets that it does. It's because for many people, it is a place where your childhood is openly defended and encouraged and people don't get that. You know, and most people don't get that in other realms of their life. And you know, there's a lot of adult, only groups of people at Disney.2 (7m 28s):Like I even read a review of our hotel that was complaining about the number of children there. It's a, it's a, it's a, it's called the all star movies. It's like the it's 101 Dalmatian themed and toy story and Fantasia. And I'm thinking, wow, this couple went here thinking, oh,1 (7m 50s):People visionary tear like they without no, no, no. There are. Yeah, no, you're right on eighties. I think you've really, really hit the nail on the head. When you said that it's people's childhood encouraged, like, are you kidding me? Like senior pictures. I was like, oh, I'm going there. And I don't care if I go alone. Like, I don't give a fuck. You're going to see me alone. Wandering through Disneyland. Happy as a fucking clam.2 (8m 19s):Do you like rollercoasters? No. Oh, you don't like roller coasters. I was going to say, well, let's go together because I didn't get to ride one single roller coaster.1 (8m 25s):I will go with you. I would go if I trusted the person, I'm always just like, because I'm so neurotic. I'm like, do I want to die with this person? If I'm with some weird, like, you know, whatever. No I would go with you.2 (8m 40s):Well, let me tell you that. I don't know when the last time you went to like a six flags was, but the difference between your run of the mill amusement park and Disney is like the difference between coach on spirit, airline and first class Emirates. Yeah, exactly. It's just, they really, they really curate the experience for you. And I'm so fascinated by all of the work that has gone into just that, like all of the work that has gone into, and we, we had a classmate at the theater school who worked at Disney before she went to theater school and I'm drawing a blank on her name, blonde blonde hair.2 (9m 23s):And she told us about some of the rules. They have rules about how long your fingernails could be. And they had rules about your earrings and they had rules. I think some of those rules have changed because I'm pretty sure you didn't used to be able to show tattoos. I think you couldn't have dreadlocks before. Like it was a whole thing. It was a whole thing. So, so they've put a lot of effort into preserving the magic, right? Like you can't, there's this underground tunnel system. So you don't see the characters in there. Cause my daughter kept saying, oh, it was so sweet. She said, there's this hotel that's right near the park. And she said, why didn't we stay at that hotel? And I said, because it's like $3,000 a night. And she said, oh, I bet that's where the princess is live.2 (10m 7s):And I said, yeah, maybe. And I, and it was, as you recall, we went through this whole Santa's Easter bunny thing and she's she's hip to that. So I didn't challenge her assumption, but a couple of days later she did. And she said, well, they're not really princesses. They're really people who put on princess dresses. So they probably don't live here. I said, yeah, they probably don't. She said, where do I live? And I said, in an apartment, and I just saw the look on her face, like imagining, you know, Ariel living in her studio in like Florida. Right. And I live in Orlando having gone to theater school and then like, what am I doing? But you know what she's doing? She's fucking making dreams come fucking true is what she's done is like, honestly, it's the Lauren's work.2 (10m 53s):I felt like because they have these opportunities for you to meet the princesses, you know? And these people know their characters so well to the point that I can never hear Cinderella, she talks so quietly. I can never hear what she's saying. The, the girl, the woman who plays Rapunzel, that character talked a million miles an hour, she talks a million miles an hour. They read and they just know the ins and outs of their movies, such that they're constantly referencing. Like when, when we met Jasmine, she said, have you seen my monkey?2 (11m 35s):A pu I mean, and Clarissa was like, no, is she around here? Like, we'll, we'll go look for him. They really draw you in to the world. Do they are master storytellers? That's what they are Disney is. And these people, their whole,1 (11m 54s):I know people that go on Disney cruises that are like, I would live on this boat if I could.2 (12m 2s):Yeah, man. It's so enticing. It, it really is. And I, and I found myself being like, okay, this is like a museum product. It's a vacation. Like, but I think it made it harder to leave Mo a lot of times I have to say, especially since having kids, no offense to my kids. A lot of times when I come back from vacations, I'm like so relieved for it to be over because I've had to do so much work. I mean, traveling with one kid, who's pretty, self-sufficient was very easy to put a whole new spin on a family vacation.1 (12m 38s):It's my new thing, which is one-on-one time. So what I noticed in your pictures and social media was that when it's one-on-one time and I just had my niece here, right? Yes. I want to hear all about that. One-on-one time is so much different than family time. And I never had one-on-one time with either of my parents. Not that I really wanted it, but like, it was always trying to force groups or other families with our family. And I think one-on-one time people don't like to do because it's so intimate. And I, and I get that. But I also think when I saw your pictures, what I noticed was a genuine happiness and a knot in your face and your daughter's face, but also like a fun, it looked like fun.1 (13m 27s):And a lot of times when you see family fucking pictures, everyone looks miserable, miserable, miserable, miserable, miserable, and it's no one's fault, but that is the jam. It is miserable to be in a group.2 (13m 37s):It is miserable. And actually, as we were walking around, she kept saying, why is that? Dad's screaming at his kid? Like there was a moment where somebody was, I didn't observe it, but there was a baby crying. And how she reported it to me was that this mother told the baby to stop crying. And I said, well, you know, we're not having that experience because you're not a baby. And because we're not all together, but we've had a lot of experiences like that. You know, I'm glad that you don't necessarily think, look at that and say, oh, that's just like our family. But that is just like our family when we're all together,1 (14m 17s):It's a dynamic. So this is my whole, my whole like new way of seeing things. Not new way. But like w what helps me get through situation is like, oh, this is a dynamic problem. It is, it is a energetic, interpersonal problem. It's not one, one person's fault. But like, I now will never, I said to my niece, like, I only want to do one on one time with, with each of you. Great2 (14m 45s):Idea. Great idea. So how did that whole thing1 (14m 47s):Come to be? So I really wanted to, so each I have taken my nephew and my niece, the oldest one on solo trips, right. To two different places. But the youngest has never been, and then the pandemic hit. And so I was like, wait a second. This isn't fair. Not that life is fair, but I like to keep things kind of like, I don't want her being like, what the hell? I'm the youngest? Cause I was the youngest. I get it. So I was like, all right, I want a lease to come out here. But by herself, without my sister, without the kids, without George, like, no, no, no, no, no. Also our place is so small. Only one person could fit in it. Right. So a small person.1 (15m 28s):And so I said to my sister for her 13th birthday, which was Sunday, I want to fly Elise out. And so that's what I did. And she, she had president's day, right? So she, she missed one day of school because me and Mr. Davis school to do something with my sister and at least came and we had a blast one-on-one man, I'm all about trying to help the dynamic, not be unmanageable for myself and for others, but I'm really thinking about myself. Like2 (15m 60s):Probably so appreciated the attention she got. Right. Because I'm sure there's not much opportunity for her to get individual attention.1 (16m 8s):It's not practical. It just doesn't happen. There's so much going on. And you know, and, and so we had a blast. Now look, one thing that I was telling my therapist yesterday, I was like, oh, this is what I realized about children. They're fucking a lot of energy, even one brilliant child, right. That is, is just being a child. That's turning 13, no problems. Still, a lot of energy goes out cause she's, you know, and they're fucking expensive. So I don't care. I mean, I don't, I know nothing about, I know 100th of what the costs would be, but I'm like, oh my God.1 (16m 48s):And we weren't even doing crazy shit. We were so like, for people to say like, oh, a family of four or five can live on 50,000, $50,000. I'm like, are you, I spent like $50,000 in three days that I don't have, what are you talking about?2 (17m 3s):This is why, I mean, I have avoided saying miss in the past, but this is why we make so much money and have nothing. I mean, we have our house, we have a house, we own a house and we own cars. Yeah. But we have nothing else. We have nothing else. We have no savings. We have nothing else because 100% of our money goes to this very expensive thing we've chosen to do, which is1 (17m 28s):Yeah. And, and I have so much, I'm like, oh my God. Just even light. Yeah. Just life. Just not even buying. I mean, we didn't go crazy. We didn't go to Beverly Hills. We're not like living. Okay. So we went to, she got in really late Friday night and we went to, then we slept in a little bit. And then we went to the beach, went to my favorite beach, which is a unibrow beach who I found out was a terrible ruler that killed a lot of indigenous people, which is sad. But anyway, yeah. Paradise, Sarah that bad, bad, bad, bad, bad, man. I thought he was a Franciscan monk. I don't know my okay. I don't know.1 (18m 9s):Anyway. So it was like, oh, you know, he killed a bunch of indigenous people. I'm like, oh, that's great. Anyway. So we went to that beach in long beach, my favorite beach. Cause it's super chill. It's not a scene. It's not like Malibu. It's not like it's like down home. I love long beach. Right. And I also have an affinity to long beach because my ex lived there who passed away. So I like long beach, a lot. I have like special memories of that. And so we did that. We went, we ate like I now, because we moved to the pandemic. I had no reference for good food in my, in my neighborhood, in Pasadena, in LA none. So I was like, all right, we're gonna use this as an opportunity to explore dude, look, it has no, it doesn't hold a candle to Chicago.1 (18m 55s):Cause that's just how, you know, Chicago. I always tell people like Chicago is the best food and you'll die of a heart attack, but like, you'll eat the best food. We found great restaurants that we ate at. We, so we did a lot of eating. We did a lot of walking, walking around. We did some walks, some hikes. She obsessed with my dog Doris. And she was really, really good with her. Like trained her. Like she's really, she and her brother are both really into training dogs. So she did a lot of training with Torres, which I kept up zero. And then I just, I just don't care. And then I just don't, that's the truth. And we just really spent time together talking about life and about, you know, her, her life as a 13 year old and teenage stuff.1 (19m 42s):And, but it was, it was only, it was like she got in Friday night, she was here Saturday, all day, Sunday, all day, Monday, all day. She left Tuesday afternoon. I was so exhausted. I was like, I don't know. I have. So again, I have so much respect for her parents and people who are engaged with their kids. That's what I'll say. Like people who actually are trying to fucking be engaged. It's it's insane. I don't know how anyone has time to do anything else. Let me run this by, You know, I go into my little phases with the content I'm consuming and right now I'm really deep into con reconsider.1 (20m 31s):This is an old love that I kind of got away from drag race. Oh, right. Yeah. And I never had this thought before and I'm not, I don't have a judgment about it really either way. It's truly just a curiosity.2 (20m 47s):Curious to know what your thoughts are. Did you ever watch1 (20m 49s):That show? So I watched it a long time ago when it first came out. Did they remounted like, is there's different incarnations?2 (20m 57s):Yeah. They're on like season 13 or something like that. Yeah.1 (21m 0s):I watched it at the beginning when I also got into project runway and I got into America's next top model and all that stuff. Yeah. I, I, it wasn't my thing. It just didn't, it didn't compel me. Like I wanted it to love it and I, it's not, what is it about me? It is that, or the show. It's not my type of reality show in that. I just don't care enough. It's you know, about fat, like the fashion, the fashion. I, I'm more interested in the psychological component and at least at the beginning, it wasn't a huge part of the show.2 (21m 45s):Yeah. Well, for me it is the clue. Remember on star search when they used to have acting that acting component and it was so boring to watch, you know, because it's just not the same as singing and dancing. Right. Even I, as a little kid was like, this is boring. I didn't want to watch the acting part of star search. So we don't have an acting reality competition show. Drag race is the closest thing we have to because drag is theater, you know, it's creating character it's it's and, and there, the art has elevated to such a degree that the people who are really killing it are doing things that you would not imagine are drag and they're not wearing breastplates and they're not, they're just there.2 (22m 37s):And it's part of this whole concept of gender fluidity, which I'm really interested in. But my, my question is, is it inherently sexist that these men are doing female impersonations, right? Because, and a big part of it is the humor. And I just had this mode of being like, wait, is the fundamental conceit here that we're laughing at men being women, because why would you be a woman when you can be a man? I just, yeah, it may not be. And, and many, many drag artists may be feminists may consider themselves feminist.2 (23m 22s):I think RuPaul is not necessarily a feminist and he's not, he's not necessarily anti-racist. I mean, I think he's problematic in his own way, but it just occurred to me like, what am I laughing at this idea about just being a woman? Are we, are we trivializing? And we're making it frivolous.1 (23m 43s):It's so interesting. Like, I mean, think that it goes, what comes to mind is also like, how do the artists identify? Like, do they identify as, as, as non, you know, non-conforming or, or, or, or how, how did they feel?2 (23m 60s):Right. That's been an interesting evolution in the show actually from the first season. I think they they've had, they had at least one person who through the course of doing, it said, actually, I'm not, I don't really want to do drag. I want to be a woman. I am a woman. There's, there's been that. And I haven't really followed it closely, but there has been some controversy about like, well, if you have a woman, a trans woman on the show, then is it still drag? Right. So there's all these questions. I don't really know where that debate sits at the present moment, but I do know that very many people who consider themselves drag artists don't consider themselves men in any way.1 (24m 43s):So it's like, right. I, so that, that then leads me to be super curious about yes, like can cat it become one. It reminded me of Shakespeare when she experienced time pretending to be women. And it was always, you know, women weren't allowed to be actors or whatever, and they, and they also like, you know, they would make fun in a higher sort of, even a intellectual way. They were making fun of the, the weaker sex, whatever. So, yes, I think there's a part of it that we're just laughing at the horror show that is being a woman. And then the other thing that I was thinking about was I think you're onto something when, if we can transform it from being about that, to being about elevating art too.1 (25m 29s):Like when you said things that you wouldn't that piques my interest, wouldn't consider quote, drag. That is like, where I think we're headed in theater, right?2 (25m 38s):Like, oh yes, we must be. I mean, if we are to survive, we must be headed in that way.1 (25m 44s):Can you give me an example of like what, what you wouldn't consider drag that is like,2 (25m 50s):I got there's this drag artists named Sasha Valore and sh I'm right now, I'm on season. I forget if it's eight or nine, it might be nine. And she Sasha the lore does L well, first of all, and I think he identifies as a man. He does his art is political and intellectual. And he's one of these people who doesn't wear fake breasts. He does, he, what he does is he covers his nipples with pastries and, and, but builds the most beautiful garments around a look around an idea blend.2 (26m 31s):And, and it's rough. What I love is when it's referencing so many different things, when he explains his outfit later, he's like, well, this is a reference to Marlena Dietrich. And this is, this is a reference to, you know, the, how the gay culture in Russia exists because it's, you know, it's illegal to dress in drag there and, and homosexuality is not outright illegal, but it's, you know, obviously not a way that you want to go around presenting yourself. It's just this elevated conversation. I mean, the first time I ever saw actual drag was in Las Vegas at a show, I was a teenager and I couldn't believe I'd never seen it before.2 (27m 15s):I couldn't believe how much this man looked like a woman. And that's what the drag was. It was all about pretty much straight forward, like glamor looking as feminine as possible. And it has just come a long way since then. And now it's about, it's really just about embodying characters.1 (27m 34s):So yeah, you love storytelling. So this is what I'm getting at from the Disney thing. And from this is that you love detailed nuance, researched and referenced storytelling. Totally. That is your jam. So2 (27m 51s):It was my mind when, when all of these disparate things can come together into one cohesive piece of art. That's what I like in plays. That's what I like in books. That's what I like him.1 (28m 1s):So that's really interesting to know. Like, I think also like, yeah, for me, what I like is yes, super detailed, specific thought out things like I remember my favorite thing as a kid was pop-up books that had teeny little hidden parts that you wouldn't expect to have a tab that have it. That was my fucking jam. I was like, that is what I like about television is when there's callbacks or references or little Easter eggs, or like where you're like, oh my God, oh my God. Oh my God. Did you notice that the, you know, like I get into that because it means ultimately that people fucking care what they're doing.1 (28m 45s):Yeah,2 (28m 46s):Yeah, yeah. Oh, yes. That's what really gets you. That people care Today on the podcast we are talking to Rebecca, Rebecca is an actor. And if you live in Chicago and see theater, there's a very good chance that you've seen her on more than one occasion in more than one brilliant star Trek. She also does film and television. She's got actually a television series, 61st street. She's in Candyman, that's out in theaters right now.2 (29m 26s):She was in one of my favorite shows, easy, which featured a lot of great Chicago actors. We didn't really talk about any of that. We talked about her as dying love for Chicago theater and her absolute respect for the actors that make it happen. So please enjoy our with Rebecca Spence3 (29m 52s):Podcast or a voiceover.2 (29m 55s):What's the matter with you? Why don't you get with it podcast or be a professional podcast? It's so easy. Honestly, you just break right into the market. You get tons of downloads. And3 (30m 9s):This is what I hear. It's amazing that I haven't jumped on this bandwagon yet. I don't know.2 (30m 14s):I will say the number, the apex of active podcasts or podcasts that were downloadable in the pandemic was 2 million up from 750,000 before the pandemic.3 (30m 29s):I absolutely2 (30m 30s):Believe it's trending back down because I think people realize like it's kind of a lot of work to maintain something every week. So, you know, we're just hoping to get back into that sweet spot. Maybe even less people will do it and we'll get down to like half a million. So then we'll really have a chance. Anyway, congratulations, Rebecca Spence, you survived theater school. Wait, wait. You're, you're looking, you're looking like you don't agree with me.3 (30m 59s):I, I I'd like to reframe it a little bit. I, I survived a theater major. I did not survive the grad school audition process. I Did not into the theater school.2 (31m 18s):We've often said we should call it. We should really call this. I survived my desire to be famous, whether you became famous or not, you know, like you have to contend with your, with your desire for us,1 (31m 29s):Never went to grad school for you went to undergrad and you got a theater major, and then you, and then you went to you, you auditioned for grad schools and didn't get it. What, how could Rebecca Spence that fucking get into grad school? Are you kidding me?3 (31m 43s):No. What I was doing, I didn't have a clue what I was doing. So I, but I can say that my audition process for grad school is what brought me to Chicago and, and made me fall in love with Chicago. And ultimately helps me choose Chicago as a home base, which is where I've had my education. I, my entire education in theater has been through observing and watching people very, very, very good at what they do. And2 (32m 15s):Just observing or asking people. I mean, you said you didn't know what you were doing when you were auditioning, but3 (32m 21s):Yeah, I went to my, I had, I don't know anything to compare it to. I think I had a great theater experience in, at my tiny little school. We had a three professor department and they were wonderful. I, I looked at some conservatories for undergrad and I just wasn't entirely sure if that was what I wanted to do. Cause I didn't know anything about professional theater, not a thing I grew up in, in, in Texas. I had, I think I saw maybe one professional production.3 (33m 2s):I had a friend whose parents were into musicals and they gifted me with an evening to go see Phantom of the opera with Linda ETR of all people. So I'm like, if you're going to get an experience seeing it, that was great. But I knew I wasn't a musical person. I didn't have that kind of gift. And I didn't know what, like I never had seen regional theater. I had never gone to1 (33m 29s):Like a play3 (33m 30s):Play. No, I think my parents took me to a community college production of glass, menagerie,1 (33m 39s):Light fodder for a child have to say like, what is coming forward for me when you're talking about, you're not the first person to say like a musical with the first introduction to any kind of acting and they get a bad rap, sometimes musicals, but they're a gateway for so many kiddos. It's like magic. I'm like obsessed with musicals now.3 (34m 7s):Yeah. I I'm the youngest of three girls by a large margin. My sisters are nine and 11 years older than I am. And so they would put on plays and then stick me in them. So I was kind of dressed up a lot and they'd be like, go say this. And I would do that. And I've got1 (34m 27s):Actors now. What's that? Are3 (34m 29s):They actors now? Okay. No, not at all. No. We just had very active imaginations. And so I, but I loved it. I, I always wanted to be, I had a very active imagination and, and wanted to, I knew I wanted to act like I, I want it to be on silver spoons. Oh,1 (34m 50s):Well, here we are facing. I always, I always thought that the line was here. We are faced to face a Comella silver spoons. Somehow someone informed me that Kamala, wasn't a real word. You guys. And so I was like, wait, what do you, they were like, what did you just say? They're like, say it again. And they were like, you know, that's not the line, but anyway, you want it to be in silver. Did you want to be on like, Ricky's like sister or anything? Like you just wanted to be in that world?3 (35m 26s):Oh no. I had a whole, I had a whole plot line. Oh yeah, no. I was also going to be adopted into the family. Oh yeah. They were, I, I was also going to be adopted into the family, but then of course we were going to become love interest. Of course it's very twisted. I was, I was quite convinced. I, you know, Aaron Gray was going to be my mother. Oh. I also loved buck Rogers. So it was a big club look, Roger. So I kind of followed Erin gray. I thought she was quite possibly the most glamorous woman I'd ever seen. And that's not true.3 (36m 6s):Doris Day was, but I wanted to be parented by1 (36m 13s):Yes. I mean, that's like me and like my modern day telling Brian Cox, I wanted him to be my new father. Right. And that didn't, he was like, people have told me that before. It was actually, it's a real thing. So like, okay, so you, you want it to be that. And then how did that translate Rebecca into like actually studying it? Because like, how did you know? It was a thing3 (36m 37s):I started doing a lot of plays in church. I did a lot of church. Like I was married about 12 times. It feels like, and I remember taking, I remember my like little, my first like actual play. I remember, I think I had been four and I was married and I took it really seriously. And the little boy who was playing Joseph, who also happened to be named Joey was not taking it seriously. And he kept taking his little robe and throwing it over his head. And I remember being livid, absolutely livid. I just was, I was so disappointed because I really felt like I was giving off as many, like holy maternal vibes as I possibly could.3 (37m 26s):And he, he wasn't up to the task.1 (37m 28s):Did you find it, did he get fired or like, did he get recast recast?3 (37m 33s):I I, no. No, no. I mean, my memory is being up in front of the, I don't remember any group kind of rehearsal process. I just remember being up there and holding my little baby doll and feeling very pious Over. And Joey was like screwing with a shepherd.1 (37m 54s):That's fantastic. I am Joey, by the way, I would be the Joey. I'd be like doing dance moves and they'd be like this one, but here's the thing3 (38m 3s):Laughing. And that's why it was because people were laughing and they, you know, he was drawing attention and laughing. And I was like, I don't remember this being a comedy. This is a comment1 (38m 19s):Here's, what's interesting about that story for me is that you w I've never worked with you as an actor, but I know from being around you and seeing you work, that you are not enough, and this is not, well, I'll just say it like, you are like a consummate per actor. Like you, you take this shit seriously, which I adore, which I actually learned from people like that. But like, you are very kind and lovely, but you also are a fucking professional actor. And there is like, I know that sounds so obvious, but you know what I mean? Like there are people like Joey that fuck around at age four, which is fine. He's four. But like the fact that you didn't fuck around as Mary at age four, I think is actually an important thing in your, in your history because you take this shit seriously.1 (39m 7s):Also. You're like you work all the time, which is fantastic, which I don't think there's a coincidence there. That's all I'm saying. That's all. Yeah.3 (39m 19s):Thank you. I mean, I knew I wanted to do, I played a lot alone. I mean, I was alone all the time. So I was constantly like perfecting different personalities. I mean, because I moved as much as I did, we moved every two and a half to three years. I had like an opportunity to like, be put into different scenarios. And that was just like a playground for me to, to, well, first of all, it was survival. It was trying to figure out where am I? How do I fit in? How do I make friends? What what's like that group of people doing and how do I sort of evolve and adapt. So that they'll speak to me.1 (39m 57s):Did you move because of your family? Were you a military situation?3 (40m 2s):God's military? My, my father was an Episcopal priest, tiny segue. I listened to your podcasts and I'm the one that, that I just delighted and was listening to Siler. Thomas. I knew Siler Thomas from church camp. I had no idea Seiler Thomas. Wasn't cool. We, I grew up sort of adjacent to, to him. He's older than I am. So he was in a much like cooler hipper, older church crap. And, but we went to like all of the same, like regional functional things.3 (40m 47s):Cause my father was an Episcopal priest. And so he was very active in youth stuff. And so I went with him. That's how I know Seiler camp counselor. And I was a camper and I had no clue that he was a theater person. No, I can't2 (41m 5s):Wait to tell him. I can't wait to tell him3 (41m 7s):We reconnected sort of over Facebook, but I haven't seen him, but I listened to his entire podcast and I, I, I got really, I got really excited.2 (41m 15s):Yeah. Yeah. He's, he's fantastic. What I would have done if I had to move every couple of years is I would have pretended that I was British. When I came to a new school. Did you ever adopt new, like a really different3 (41m 31s):Personality? No, I couldn't. We were always sort of presented, like we were kind of presented as a family so that wouldn't have ever worked out for me. I did have a friend though in the sixth grade, my friend, Susan. And it was the first time we in, I was in Waco, Texas, and we went to all the sixth graders, went to one school for me, entire city were busted into a sixth grade center and we would rotate classes and she, and I would come up with like each class that we were in. We would have completely different personalities. We would like today where the really loud Rawkus girls and today were very shy and reserved, but today where the pranksters.3 (42m 17s):And1 (42m 18s):So you did go to theater school cause that's all we did. So there2 (42m 23s):Starting at four years old, you started your year to school3 (42m 25s):Training.2 (42m 28s):Yeah. So when you finally, when it was time for college, you were considering conservatories, but decided not to. How did you pick the school that you went to Hendrix?3 (42m 41s):I picked Hendricks because they had a theater program and my parents said that I had to be within a day's drive. And so they said, we can, you can go to school, but we have to be able to be able to drive to you within 12 hours, if anything happens. So I went 10 and a half hours away to two Hendricks college in Arkansas and had a pretty campus. And I, I knew, I, I knew I wanted to do theater. I had started doing more professional place, not professional, but, but really high quality plays in high school.3 (43m 21s):And I knew that I wanted to keep doing that. I really loved it. I just sort of disappeared into that. And that was, that was a safe way to build quick family, you know, do you found your people really fast? And I, I, that, that felt good to me. So I really enjoyed it. And2 (43m 41s):Were they known for having a great theater department?3 (43m 45s):No, but they built, so I did my freshman year, we moved in the middle of my eighth grade year and I had one freshman year in a, in a really small, small town in Southeast Texas or S yeah, it was near the coast and that didn't, that didn't go so well for me. And I ended up being sent to boarding school.1 (44m 13s):What did you do? Were you depressed?3 (44m 15s):Very poor choices and trying to, in trying to, to fit in, what is it,1 (44m 21s):Does that mean? What does that mean? Did you smoke cigarettes or like kill people? What happened like3 (44m 27s):In the middle? No, I, I had some substance stuff happened. I found the substances are pretty early in like, like an eighth grade. Yeah, yeah, yeah, no. I mean, we, we lived in the town that I lived in was known for grass farming and rodeo, and we didn't have anything to do. There was no, there was no movie theater. We didn't have a Walmart. We didn't have a skating rink there. It was,1 (44m 57s):It's like Footloose the toast.3 (44m 60s):So what we did is we went out to fields and drank like, that's true. That was what you did. So I, I, I wanted to do that. So I drank a lot and then I got caught a lot. And so my parents had a panic and sent me to boarding school in Austin, which they had a, really a growing theater department. And by the time I graduated, they had built this huge complex. So my senior year was the first year they sort of became an art school. So I kind of said goodbye. I mean, our first production was like, I remember they flew in some flats from Las Vegas.3 (45m 42s):I want to say we did guys and dolls, but we had like actual professional flats. And it was like my senior year. I was like, oh my God1 (45m 51s):Star, were you the star Rebecca? I was3 (45m 53s):Adelaide Adelaide. And then I got to be the stage manager in our town. So that was, but of course I, I didn't know what that meant. I wanted to be Emily,1 (46m 5s):Emily, of course. And then there were3 (46m 7s):Like stage manager and I was like, what? I'm stage managing the play? Like, I clearly hadn't read the whole play. I just read what I was like. I didn't know that that meant I had more to do. And it ended up being like a really, really meaningful, beautiful experience.2 (46m 24s):And just getting back to like the making. Cause I, I really love talking about making bad decisions. Would you say that you kind of did the, there is a trope of a preacher's daughter getting in to trouble? Is that what happened to you? Yeah, it was a rebellion against,3 (46m 43s):I mean, I, I just, you know, is there either the really, really good girl or the really, really bad girl and I, I, I didn't want to be the really, really,1 (46m 56s):Really hard position to be like, I can't imagine, like, even if your parents are like the nicest people there, again, there's a status thing that happens when there's someone in the community is touted as a certain thing. Like it's like royalty a little bit in America. Like we don't have, you know, so it's like you it's like, and then you're expected to behave a certain way. And as much as I had, like, I would say very little care and guidance in some ways I also didn't have a lot of pressure to be a certain way because we were all just like, there was no title. Like my parents didn't do anything. So it's, it's a tricky situation. But what I'm, what I'm also noticing is that the, the poor decision making and the drinking and they're getting caught actually was, it led to some really good fucking theater like that.1 (47m 46s):You went to Austin and you got to do like really good acting work. So it worked. I mean, you know, it wasn't a, it wasn't an all a bad thing. So you were like, yes,3 (47m 58s):I have learned more from my, my failures than I have ever learned from my successes. And I've had a lot of failures. I've had a lot of,1 (48m 8s):You know, something that I can speak to from being in like an insider in Chicago or formerly, and now in California, but being at a Chicago actor is like, everybody, I want to talk about the pressure in Chicago. So you are one of those people in Chicago that everyone's like, oh, Rebecca Spence books, everything. And I know it's not, I listen. I'm not saying it's true. This is what I'm saying. Let's get to the heart of the thing that I want to ask, which is from being on the I'm now on the outside looking in. Right. So what is it like? Cause that's always something that I heard and it has actually very little to do with you with other people's shit.1 (48m 48s):Right? It's not, I'm not saying you are doing anything, but what I'm asking as a woman and a performer, what is it like? And it's easy for me to do now because I'm in LA. So I don't give a, you know, like it's like, what does it feel like to have that kind of pressure of people, first of all, are you aware of it? That people are like Rebecca spins, books, everything. And then how does that affect you? And do you want to tell them to go fuck off? Or are you like, I work really hard.3 (49m 14s):Well, this, if this I'll take it two steps back, because this is a Testament to how much I, I love and admire Chicago theater. My understanding, I, I didn't get into theater school because I sabotage my auditions because I didn't know what kind of an actor I wanted to be. I actually, I choked. I freaked out because I thought that if you wanted to be an actor that meant that you wanted to be famous. And, and so I went to NYU, I came to Chicago to audition for theater school that I did the errata and auditioned for NYU Tisch.3 (49m 56s):And then I crashed the Harvard art. I didn't know you could crash. And somebody said you did. So I just got in line and I crashed the Harvard auditions. I made it to the final rounds of, of Tish. And I flew to New York and had a solid panic attack. I just, I didn't know anything about New York. I had, I came from tiny town in Texas. I had never been to Chicago. I had never been to New York. I didn't have a smartphone. I didn't know how to get around. I, I met Zelda. I met, you know, I did all the stuff. I was like, I can't afford this. I don't, I don't know what this is. I don't know what I'm doing. And I, I P I straight up chokes and, and really sabotage my own audition.3 (50m 40s):But I liked Chicago and my husband got a job here and we moved here and then somebody said, you know, I needed to find a job. I didn't even know. They were like, what about the Goodman theater? And I, I was like, I don't even know what that is. And I didn't know what, like actual regional theater was. And I ended up getting a job in development at, at the Goodman theater, because I was too scared to act. Cause I thought I don't actually know what I'm doing. I didn't know how to do like prepare a monologue very well. I had done that my senior year in college. Like we prepared one monologue. I didn't know like how to go through that whole process. But I started working at the Goodman. I started watching, I saw Chicago actors come on stage.3 (51m 24s):And it was people like Mary Beth Fisher, people like Carmen, Roman people like Deanna Dunnigan. Like people, people like Ora Jones. Like that was when I started hearing when they were like, oh, oh, oh my God. Or Jones is going to be on say, oh my God, Amy Morton. I'm like, who wait, who are these people who wait, who are these people? And like, people that I started hanging out like the theater crowd, when they started speaking about these people and their work ethic, I was like, that's what I want. I want to be a well-respected name in a medium sized town.3 (52m 5s):That's that to me is how I know I've made it. If people are like, oh, oh, we want to go see that show because I guarantee you, you're going to see someone who has put in the time, put in the effort, they're going to bring nuance. They're going to bring, you know, a craft to it. That was my goal. That's. And so when I hear that, there's part of me, that's like, I still don't know what I'm doing, but the little ego part in the back of my brain is like, it's what we've always wanted.1 (52m 38s):Yeah, no.3 (52m 39s):I wanted to be a respected actor in a town that who, whose work? I respect so much. I fucking love Chicago actors. And I love Chicago theater. I don't think there's any better theater in the country. I think that, that the work ethic and the quality of people that go in and do the work and bring, bring their hearts and their souls to it. That's all I've ever wanted to be a part of. So when you say, when you're like, oh, she works all the time. I'm like, I, I, I don't, I mean, I do work, but there's part of me. It's like, oh my God, maybe we're doing it. Maybe1 (53m 17s):I can tell you right now, Rebecca Spence, that you are doing the thing. Because when I saw you in, what was it? Every brilliant thing is that the, It was, it was beautiful. And when I saw it, I was like, oh yeah, this is why she, she books. She works all the time. It's all relative. Right. But that thing of she works all the time. But like, this is why it actually is because you're good at what you do. And you're also, like you said, you actually really care about the thing we were talking about. Caring, like Disney really cares how they take care of their parks. Like, that's a, that's a segue, but like, that's the, the point is that you, you, the care that you put into your, your art is very desirable, right?1 (54m 5s):Like people want to work with that. And I think in Chicago, there is this sense of, we're just sometimes we're just there to make it to the next place. But what it sounds like for you is like, this is your place3 (54m 18s):I'm here. Like this is, I have no desire to move to New York. I have no desire to move. I'm doing exactly what I always like. I'm doing more than I ever thought I ever hoped that I could do.2 (54m 33s):Like, wow.1 (54m 34s):I mean,3 (54m 35s):I ever thought that I hook could hope to do so. I am. I'm always really grateful because I,2 (54m 46s):Yeah, honestly, I, I really think that more people could stand to do that, to have as their goal. You know what, one of the things that has come out of this glut of information put out us all the time is this concept of like exceptionalism and that you only really hear reflected or, or echoed or amplified stories of people who are exceptional. People who make millions of dollars or people who, whatever graduate Harvard when they're 10 years old. And it, one of the casualties of it is that I think people who are forming their identities don't necessarily get enough examples of people who are achieving anything in the middle, you know, any kind of other success.2 (55m 36s):And, and we know how much these extreme successes lead to like tragedy. In a lot of cases, we'd be doing ourselves a favor. If we could put more stories of like, I aimed for this thing, that is not the, you know, the outer limit, but is, you know, difficult to do, but was obtainable for me. I think that would be,1 (55m 57s):I think it's so good. And I think that the, the also the, the irony or whatever it is is that now you, you, in terms of, in terms of film and television, you do book that work too, but it's not because your it's like you, that was your goal. And, and all this theater stuff is just sort of there it's like that work comes because of the, what you have done build the platform. And I think Gina, what you're speaking about is nobody's building the fucking platform on which to stand. So it's like all of a sudden, they're just catapulted on this platform at the top of the sky, and there's nowhere to go, but fall. Right. So you've done the work to build the platform, Rebecca.1 (56m 40s):And I think that that's, that's rare that doesn't happen. And I think that's fricking amazing because you have something to stand on. You're not like floating in LA like on a pedestal about,3 (56m 53s):I wouldn't do well in LA. I don't think I, I don't think I would do well there. I could maybe hang out in New York, but I don't think LA would, I liked LA. I went out there for just a brief moment just to see what it felt like. And people are like, oh, you're going to love it, or you're going to hate it. And I didn't feel either way. I, I liked it. I mean, I, I, wasn't responsible for living there and getting rent, paying rent. I was staying in a friend's pool house. And so I had a place to live for a month and I had one audition. So I hiked, it did a lot of hiking, which was great. And I found little pockets there, but I've thought, I don't think I could live in a town that is just constantly cycling around one industry.3 (57m 41s):And that was kind of how I've always operated. I didn't want to go to a conservatory because I was like, there's way more to me than just acting like, I, I love, I, I like, I love what I do it's but it's not the only thing that drives me. Like I like theater and acting is, is the thing that I love most, most of all, but I really there, I love Chicago, so there's so much more to do than just2 (58m 10s):So true. So I keep thinking about a little Rebecca and little Joey, we've heard a lot of stories about people who, when they were in college, feeling resentful about P other people who they felt like didn't take it seriously enough people, you know, like a common thing is a person who had to work really hard to get a full ride because they couldn't have afforded it to go to college otherwise. And then to be there with people who are partying instead of, you know, spending a hundred percent of their time dedicated to what they're doing. Does that come up for you now working on something now, do you encounter people who you feel maybe aren't fully appreciating the opportunity they're being given or, or at this level now, are you mostly with people who take it very seriously to,3 (59m 3s):Yeah, I haven't had that. And I mean, most of the people that I work with are really just so excited to be in the room. I mean, I, I, I th I can think of one instance when I was doing non-equity theater in a basement somewhere for, for, I was the only female in the entire, in the entire production, like cast, crew, everything. It was, it was me. And it was a bunch of guys that were kind of jerking around a little bit and it affected, it was like a really serious play.3 (59m 45s):And I remember one of them pulled up a pretty, I don't want to say dangerous, dangerous is too extreme of a term, but it was a play. It was days of wine and roses, which was, and you know, where I have to, the character ends up drink in some, but they, they changed the bottle and put actual alcohol in it onstage, and didn't tell me. And so I chugged and had like a thing of alcohol and I was like, and nobody would fess up to it. Like nobody who did, who did it? Y'all who did that? Just like tell me, and no one would, would, would fess up to it.3 (1h 0m 26s):And then I was like, this sucks. Yeah. That's actually, that's the only time I can think of when I was like, I'm, I'm putting my heart and soul into it for the most part. No, I've never, I thought, what about upset or like, is everyone you're working with really like, to joke around too. I mean, I, yeah, what I do on stage, I take very silly, but I love to play. I'm a prankster. I liked to, I I'm very silly. I like to be silly. I, I love people that are having a fantastic time. And when I know that it's not like messing up somebody else's process I'll jump right in.3 (1h 1m 7s):Cause I, I like it. So I haven't had any, what's a, what's a favorite project. Gosh, there've been, there've been a lot. I did a production of a three person Cyrano up at Milwaukee rep and it was the first time I'd ever left Chicago. And we did a three person version of, of Cyrano where we did made all of the sound effects ourselves.3 (1h 1m 49s):And so we switched characters and jumped and I had never done anything like that of like sort of it wasn't devised, but it, it, it was much more deconstructed than anything that I had ever been a part of. And it was, and we toured it. We toured it all around Wisconsin and into Minnesota and I'd, I'd never done it. I'd never done summer stock. I had never done anything like that. And we were this little Merry band of three, plus our manager in a, in a van driving all over making, you know, I was, we would do the sword fights and I would, I would use the foils and make all the sound effects and sheets.3 (1h 2m 30s):And I just thought that was, it was, it was a great time. I love it.1 (1h 2m 34s):Why did you love it? Like what, what you just love doing the like, cause it was the first time you did it or like what was the feeling that you were like, this is fucking awesome. Wow.3 (1h 2m 44s):Creative thing. And we surprise so many people because we made like the set was made out of ladders and like we would make the set and I love surprising the audience cause they would come in, they'd be like, what the, what is this? Like, are you like, oh God, we're gonna watch people like create out of boxes. See it, like, you're going to take me on one of these like craft paper theater projects and what am I getting myself into? And with just like a little thing of twinkle lights and we, and I was working with these two phenomenal actors, Reese, Madigan, and Ted Daisy, who work at Milwaukee rep all the time out and, and Oregon Shakespeare.3 (1h 3m 25s):And they do a lot of Oregon Shakespeare work. And we just played, we played in, played in, played in plate. It was, it was playing. And yet then we would have these like gut punch moments and it, I had just never done anything like that. I had always been put in sort of very traditional roles and nobody usually allowed me to step outside of those boxes. And I, I did it and had such, such a good time doing it.1 (1h 3m 53s):That leads me to my question about beauty. Okay. So I'm obsessed with this idea of beauty as, as a, as it relates to how people that are, are how we relate to our own beauty or feeling lack thereof or so, you know, you, I would say for me, you like a stunning, stunning woman. And, and I would like to know what is your relationship like? I mean, it's a very, it's a very intense question, but I am obsessed with it. What is your relationship like to your own idea of your beauty? Because people, because what you said, really trait triggered something in me of like people usually put me in these traditional roles, which to me means like beautiful wife, a beautiful mother, a girlfriend, a blah.1 (1h 4m 46s):And as you age, like talk all about that because people will say like Rebecca Spence is gorgeous and I agree and I want to know what is it like? And I guess it's sort of hard if you're the fish in the water, but like tell me, what's your relationship like to the way your own looks?3 (1h 5m 2s):Sure. You know, I, I, I fully acknowledged that I've had duty privilege. Like I've fully acknowledged that that has been a part of my progress. And you know, it has been something that has put me in roles. Like I was never the ingenue ever. I was never the Juliet. I was always the lady capital. I was always, cause I had always had a lower register and I always looked mature. I had a very classic features. And so I was always like lady Croom, lady Capulets.3 (1h 5m 43s):I was always like the bitter aunt. And it's kind of, I was Jean Brody, you know, like I got to, to have these sort of larger power play or things, which I always wanted. I wanted to play more powerful than I wanted to play pretty because I knew that I was always viewed as such. And you know, it's, I know that I've been allowed into a lot of rooms because of how I look. I think maybe that's why my drive is so strong because I want to back it up.3 (1h 6m 24s):Like I don't, it's very important to me that I bring work ethic and integrity and talent to, to, to that so that as I age and as I grow and as this goes away or transforms and evolves that I'm leaning more on, on, on the thing behind it. And, and aging as, as someone who is it's real, like it's, it's a real ego check when you were always called in for the beautiful wife and now you're starting to be called in for, you know, other roles.3 (1h 7m 11s):And, and this isn't a it's I know how it sounds like I always like know and feel1 (1h 7m 18s):No, no, no, no. Here's the thing. You're the one, you're the first person that we've talked to that we've said like, Hey, like I remember we interviewed someone and Gina brought this up to someone and was like, you're very beautiful. Like, what's it like to, and the person could not acknowledge that they, because they were, I think, I don't know what was going on. I assume they were afraid to sound vain, but here's the thing. It doesn't sound any kind of way. What sounds, what it sounds is like, you're trying to make sense of the way the world sees you, which actually isn't about you either. It's like, and yet acknowledge the privilege.1 (1h 8m 0s):So you're the first woman that we've talked to that has said, yeah, like I acknowledged like this got me into rooms, but I want to back it up instead of pretending that it doesn't exist. Right. Because,3 (1h 8m 12s):Because for anybody to lie, I, you know, I remember being, I remember being in a room and I was like, I was like, you're beautiful. And she was like, oh, I just am fat. And I'm like, come on. You know, I was like, come on, don't do it. Like it doesn't, it's, it's, it's so insulting to people that, that, that, that, like, let's be the thing I've tried to do is truly be objective about my work and, and who I like to. So you have to be objective about, like, I know what I look like. I know what I bring in, so what else do I add to it?3 (1h 8m 52s):And I it's something that I will never forget because, and after that, I know when we were very young, who is doing really, really well right now, and she is, you know, a self identified fat actress and like that, that is how she works in the world. And it's, she's, she's just phenomenal. But she was the daughter of a, of a beauty queen. Like her mother was a beautiful, beautiful woman. And she was like having to grow up with, you know, under, under someone that was beautiful. She's like I had to watch watching her age was one of the most painful things I could have ever witnessed because she was so used to being the most beautiful woman in the world, in the room.3 (1h 9m 42s):Like that was her identity was she didn't have to do too much else because she was the most beautiful woman in the room. And when she aged and those things started to fade it, she had sort of lost her identity. And that, that conversation has stuck with me for forever. I was like, don't ever be the person that, that your exterior is the only thing you have.2 (1h 10m 4s):Yeah. Well, I mean, I think it's awesome. I think it's fantastic that you acknowledge your beauty privilege, but I also acknowledge that there is a prison aspect to it too, or certainly when one is young, you know, where you can only be considered, you know, for a certain type of role, it can be just as limiting. And then if you go to that,3 (1h 10m 28s):Because of it, I mean, I I've been told, I lost I've lost roles where something is really, really, really excited about. And they were like, you're too, you are too classically attractive to be relatable. And I was like,2 (1h 10m 45s):Yeah,3 (1h 10m 46s):Being relatable is my jam. Right, right. What I worked so hard to do, I wouldn't be relatable. And I'm, you won't allow me out of that. And then of course, you know, I've got to sit back and I'm like, look, people have to face this kind of feedback on a completely dip. So, you know, I was like, then I mean that it sucked. And I, and I grieved that. I was like, but, but this is this industry that, and other people face that in tote for D for a myriad of different other reasons, they are told based off of how they look that they aren't right for the role. And I, I always knew that, but I was like, God, that sucks.1 (1h 11m 26s):And I'm thinking of like, yeah. And, and,3 (1h 11m 31s):And know it. And you don't want to tell anybody about it because no one, no one's going to be like, oh, that's horrible.1 (1h 11m 37s):Right. Right. I mean, it's this thing of you don't of course you don't want to, but I'm also just aware of like, like, I was obsessed with this whole story of Linda Evangelista who got face surgery, and then she finally showed her face and she looks fucking fine to me. Like, it's not about that. It's not about her face. It was about, it was no, no. I mean, literally it she's. I read the whole thing too. She, she calls herself deformed. She has like some fat that comes up over her bra3 (1h 12m 13s):Solidified. It's hard. Like, oh, that's true. Yeah. It's painful and hard. And,1 (1h 12m 20s):But the thing is like the, it is for me, what, what it brought forward was like from the outside, right outside, looking at Linda Evangelista, she's still one of the most beautiful people I've ever seen with her without her deformity. But it doesn't matter because she is not her identity was this model. Right. Which probably screwed her for life and also offered her privileges beyond my wildest dreams. Both are true. So I guess what it brings forward is like, everything about this journey is a combo fucking platter. You kinda have the privilege of beauty without also being in a prison.1 (1h 13m 1s):You cannot have the privilege of, you know, like for me, I kind of have the compassion that I have for humans. If I had not gone through what I had gone through as a child, especially an overweight child, like gum, it comes together. And I think we're so used to seeing people as, oh, that's Rebecca Spence. This is what she does. And this is how her life, it's not that way. And I think that's one of my life goals is to just show people through my writing and my work. Like this is a fucking combo platter. People like you don't get one way, like Linda Evangelista said, she feels like the most ugly person. And she acknowledged that she was a model and made millions of dollars doing it.1 (1h 13m 42s):So like, it's both, you're both, you're both things I give you permission. I give everyone permission to have both the prison and the privilege. I know it's not my job to do, but that's what I would wish on the world if I was running shit, which I'm not. So there we go. But anyway, that's my rant about you. I just really am focused on like asking women, especially like, what is it like, you know, especially as we get older to like change and it's a real3 (1h 14m 10s):Ego knock, I'm, you know, I'm not going to lie. I, I filmed something recently and I, my son went on, said, took a picture of the monitor and gave it to me. I was like, you know, I was like, oh shit. Okay.

Darryl, a native of Jacksonville, FL, holds a Bachelor's Degree in Architecture from the University of Florida. Mr. Hall is a member of the following professional acting unions: Actor's Equity Association, Screen Actor's Guild, American Guild of Variety Artists, and American Guild of Musical Artists as well as the founder and Executive Artistic Director of Stage Aurora Theatrical Company. A veteran of the stage, Mr. Hall's favorite credits include: Broadway Gershwin's Porgy and Bess at Lincoln Center/ NYCO (PBS Live from Lincoln Center Telecast), Cinderella starring Eartha Kitt (Broadway National Tour), Street Corner Symphony (pre-Broadway Workshop). Off-Broadway/NewYork Stormy Weather with Leslie Uggams (Manhattan Theatre Club, Signature Theatre), Stormy Weather with Phylicia Rashad (AMAS Musical Theatre), Radio City Music Hall Christmas Spectacular, Carnegie Hall with Linda Eder and the Broadway Gospel Choir, Three Mo' Tenors (PBS Great Performances and original cast recording), Hallelujah, Baby! (York Theatre Company), The In-Gathering (New Professional Theatre), Café Society (TRIBECA Performing Arts Center). Regional Theatre Man/Preacher in Crowns (Cincinnati Playhouse in the Park and Repertory Theatre of St. Louis), Flick in Violet (Best Actor- Carbonell Award Nomination) and Victor in Smokey Joe's Café (Actor's Playhouse), Jim in Big River (Lyceum Theatre), Gabey in On The Town (White- Willis Theatre), The Mikado (North Shore Music Theatre and Huntington Theater), High Spirits (Berkshire Theatre Festival), Don't Bother Me, I Can't Cope (Crossroads Theatre- Tony Award Winner/ Best Regional Theatre), Harry the Horse in Guys and Dolls (Alhambra Dinner Theatre), No Moe in Five Guys Named Moe (Riverside Theatre).

The brilliant actor, singer, and director, Robert Cuccioli, is renowned for his critically acclaimed, Tony-nominated dual performance as the good Dr. Henry Jekyll and his sinister alter ego, Mr. Edward Hyde, in Jekyll & Hyde, The Musical. Prior to his sensational run in Jekyll & Hyde on Broadway, Robert dazzled audiences across America in the show's pre-Broadway, first national tour. Both the tour and Broadway featured Linda Eder and Christiane Noll. For Broadway, Robert received Drama Desk, Outer Critics Circle, and FANY Awards for Outstanding Actor in a Musical. For the record: April 28, 2022, marks the 25th Anniversary of Jekyll & Hyde, The Musical opening at Broadway's Plymouth Theater (now called the Schoenfeld Theater).Robert's other Broadway appearances include playing Javert in Les Miserables, and his high-flying performance in another dual role, Dr. Norman Osborn aka The Green Goblin in the rock musical Spider-Man: Turn Off The Dark. Robert's first big break was playing Lancelot opposite the legendary Richard Harris's King Arthur in the U.S. and Canadian tours of Camelot. He's also performed in Kander and Ebb's, And The World Goes ‘Round, Off-Broadway as Nathan in The Rothschilds, and years later as Mayer Rothschild in Rothschild and Sons, which was also staged in London's off-West End.Robert's undertaken challenging roles at numerous theaters all over the U.S., appearing in Maury Yeston's and Arthur Kopit's Phantom of the Opera, leading roles in numerous productions of Shakespeare plays, and in classic plays and musicals like Amadeus, 1776, Guys and Dolls, South Pacific, The Sound Of Music, Funny Girl, Oklahoma!, The Man of La Mancha, Jesus Christ Superstar and many more. He's created roles in new musicals and plays, including, White Guy on The Bus, A Moon To Dance By (with Jane Alexander), and Bikeman: A 9/11 Play, among others.TV credits include: The Sinner, Elementary, White Collar, Baywatch, Sliders, recurring roles on All My Children, One Life To Live, Loving and The Guiding Light. Also, you can see Robert in such movies as: The Stranger, The Rest of Us, Impossible Monsters, Columbus on Trial, and Woody Allen's Celebrity. As a director Robert has staged Jekyll & Hyde at Houston's Theatre Under The Stars, the Westchester Broadway Theatre, North Shore Music Theatre, and here in Pittsburgh at the CLO. He's also directed productions of The Glass Menagerie and The Merchant of Venice at the Shakespeare Theatre of New Jersey. Robert has sung at a host of venues around the U.S., and his exceptional voice can be heard on the original Broadway cast recording of Jekyll & Hyde, and on the cast recordings of Rothschild and Sons, And The World Goes ‘Round, The Maury Yeston Songbook, and Jacques Brel Is Alive And Well And Living In Paris. And please be sure to check out Robert's debut solo album, The Look Of Love.             Please note: our humble apologies for technical audio issues mid-show that were beyond our control. Despite the less than ideal sound quality, Robert gives us the gift of his great experience and deep wisdom 

Linda Eder joins the show to take a victory lap on her $30K+ Contest win before the boys get down to business on the latest edition of Cash ConsiderationsThe Sportsbook Consigliere, Dave Sharapan - alongside his co-hosts Carl Hascall & Dan Alexander - talk NHL & NBA before getting into CFB Week 12 & NFL Week 11 free plays & analysis on sides, totals & props.  Come for the angles but stay for the laughs as the guys run down all the latest sports stories & action with plenty of fun along the way. Timestamps & Games Covered:Linda Eder Interview (William Hill Contest Winner) 5:19 -> 23:40NBA 28:00 -> 32:07NHL (Fenway Sports Group buying the Penguins) 32:18 -> 37:25College Football Layin' or Takin' Odds & Analysis (Purdue vs Northwestern, Penn State vs Rutgers, Alabama vs Arkansas & Utah vs Oregon) 38:11 -> 44:09NFL In the Gun Odds, Predictions & Analysis (Packers vs Vikings, Bills vs Colts, Eagles vs Saints, Bengals vs Raiders, Chiefs vs Cowboys, Cardinals vs Seahawks & Chargers vs Steelers) 47:00 ->1:07:49One Total, One Side & One Prop Free Picks 1:07:50 ->1:19:10Take A Minute 1:20:00 -> 1:35:17

Bertie County, North Carolina, has only about 19,000 people, about 62% Black. That's fewer than in most city zip codes. It's one of the poorest county in the state, and the population is down about 10% over the last decade. Black farmers lost much of their land as subsidies and credit by the USDA heavily favored white farmers. In 2007, the schools were in terrible shape, as you might expect. Then, an innovative school superintendent came to town, did a great job, and got fired. One of the programs he sponsored was Project H, teaching design and construction skills to high school students. There was a documentary about this called If You Build It. Nearly 10 years later, we talk to Emily Piloton-Lam, cofounder of Project H and executive director of Girls Garage; and Ron Wesson, a Bertie County Commissioner. Later on, music with Star Search champion and Broadway star Linda Eder. This show is dedicated to that school superintendent, Chip Zullinger, who died in 2014.

“Star Search” winner/Broadway star/recording artist/Carnegie Hall concert singer, Linda Eder has an amazing voice and career. She’s also a very fun guest. Get Honey for FREE at JoinHoney.com/LEVINE More podcasts at WAVE!

As an actor, Bobby has shared the stage with Lauren Bacall, Linda Eder, BeBe Neuwirth, Marge Champion, Cady Huffman, Nell Carter, Eileen Fulton, Kathy Lee Gifford, Kirstie Alley, and many more. Theatrical credits include the national tours of "A Wonderful Life" and "Cabaret". Regional credits include "42nd Street", "Singing in the Rain" "Kiss of the Spider Woman" and "A Chorus Line". A very proud member of Actors Equity Association and American Federation of TV and Radio Artists. TV Credits include 6 reality shows including- MARRIAGE REF, WIFE SWAP, FASHION EMERGENCY, MATCHED IN MANHATTAN, WHAT NOT TO WEAR, LALAS COURT LIFE, and he's also appeared on INSIDE EDITION, NY1, WNBC NEWS, WPIX NEWS, as well as Japanese and Brazillian TV as an aerial professional/artist.⁠ ⁠ As a professional actor he often utilizes his aerial and circus skills when performing in musicals and shows that use aerial acrobatics. For the past 14 years he's worked as an aerial sequence choreographer. Staging 22 productions of the musical BARNUM, as well as training and sequencing for shows like AIDA, TARZAN (TOTS National Tour), CARNIVAL, THOMAS THE TANK ENGINE-CIRCUS ON SODOR, MADAGASCAR LIVE! and ANNIE GET YOUR GUN. He has former students performing all over the world. Including Ringling Brothers, Cirque Du Soleil, Disney, Sea World, Hershey Park, Busch Gardens, The Pickle Family Circus, Big Apple Circus, Cruise ships and Broadway. Bobby usually coaches privately, training circus professionals in aerial arts such as Spanish web, static and swing trapeze, cloud swing, aerial fabric ("Silks or Tissu" ), hammock, dance trapeze, Cord de Lisse, tight rope, and juggling. "I enjoy all aspects of height, flight and aerial dynamics. My philosophy is simple "Why Walk when you can fly?"⁠ --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/p3-theatre-company/support

Harvey Brownstone conducts an in-depth interview with Linda Eder, Broadway, concert and recording superstarFor more interviews and podcasts go to https://www.harveybrownstoneinterviews.com

Frank Wildhorn es un compositor americano que alcanzó cierta fama trabajando para artistas como Natalie Cole, Kenny Rogers o Whitney Houston que le llevó al número uno de ventas su canción "Where do broken hearts go?", pero pronto el compositor se centró en el mundo del musical. Linda Eder para la que compuso y produjo la mayoría de sus discos y con la que estuvo casado entre 1998 y 2004 fue de gran apoyo como actriz y cantante en el mundo del musical con proyectos que les costó sacar adelante como “SVENGALI” o “JEKYLL AND HYDE” al que hemos dedicado el “Cuéntame un musical” de este mes y que sigue siendo su mayor éxito hasta la fecha. Prolífico compositor de canciones que ha escrito veintitrés musicales en los últimos treinta años, aunque no siempre le ha sonreído la suerte ni la crítica, sobre todo en su país, lo cual ha hecho que en los últimos años estrene con mayor fortuna sus musicales en Europa del Este o Asia. Espero te guste la selección de temas que hemos preparado: 00h 00'00" Presentación 00h 04'50" Cabecera 00h 05'26" 1990 JEKYLL & HYDE 00h 05'26" This is the moment - Thomas Borchert 00h 09'31" Letting go - Colm Wilkinson & Linda Eder 00h 13'32" In his eyes -  Sumi Jo 00h 17'33" 1991 SVENGALI 00h 17'33" So slowly - Danny de Munk & Vera Mann 00h 21'29" If he never said hello - Linda Eder 00h 24'51" 1995 VICTOR VICTORIA 00h 24'51" Living in the shadows - Julie Andrews 00h 26'17" 1997 THE SCARLET PIMPERNEL 00h 26'17" Into the fire - Chuck Wagner 00h 32'07" Our separate ways - Linda Eder & David Clemmons 00h 37'25" Storybook - Linda Eder 00h 41'56" 1998 THE CIVIL WAR 00h 41'56" Candle in the window - Linda Eder 00h 46'52" The honor of your name - Trisha Yearwood 00h 50'34" With these hands - Bryan White & Amy Grant 00h 55'10" 2003 CAMILLE CLAUDEL 00h 55'10" A woman in his arms - Linda Eder 00h 58'49" Gold - Linda Eder 01h 02'50" 2004 DRACULA 01h 02'50" Before the summer ends - Rob Evan 01h 05'13" Deep in the darkest night - Norm Lewis 01h 07'53" Life after life - James Barbour & Lauren Kennedy 01h 11'16" Loving you keeps me alive - Thomas Borchert 01h 14'15" 2006 CYRANO DE BERGERAC 01h 14'15" Bring me giants - Douglas Sills 01h 17'53" Every single day - Douglas Sills, Linda Eder & Rob Evan 01h 20'13" Alone - Douglas Sills 01h 22'59" 2006 RUDOLF 01h 22'59" Something more - Brandi Burkhardt & Rob Evan 01h 26'39" The measure of a man - Rob Evan 01h 29'20" Vienna - Linda Eder 01h 35'12" 2008 CARMEN 01h 35'12" Viva 01h 39'06" 2009 BONNIE & CLYDE 01h 39'06" How 'bout a dance?26 Laura Osnes 01h 41'51" This world will remem2222ber us - Jeremy Jordan & Laura Osnes 01h 45'17" Dyin' ain't so bad - Laura Osnes 01h 48'39" 2009 THE COUNT OF MONTE CRISTO 01h 48'39" I will be there - Thomas Borchert & Brandi Burkhardt 01h 53'28" Pretty lies - Pia Douwes 01h 56'13" The man I used to be - Thomas Borchert 01h 59'10" 2009 WONDERLAND 01h 59'10" The mad hatter - Linda Eder 02h 02'08" Nick of time - Megumi Hamada 02h 06'19" Together - Thomas Borchert 02h 09'17" 2011 TEARS OF HEAVEN 02h 09'17" Tears of Heaven - Linda Eder 02h 11'44" Without her - James Barbour 02h 14'35" My confession - Christiane Noll & Rob Evan 02h 18'10" 2014 EXCALIBUR 02h 18'10" Never to love - Mark Seibert 02h 22'31" 2015 DEATH NOTE 02h 22'31" Where is the justice? - Jeremy Jordan & Michael Lanning 02h 26'00" Hurricane - Jeremy Jordan 02h 29'10" We all need a hero - Laura Osnes & Adrienne Warren

Journey with me through the alphabet and discover all things beginning with the Letter E - including Evita, Easter Parade, Kerry Ellis, Everybody’s Talking About Jamie, Linda Eder, T S Eliot (i.e. Cats!).

Vamos a tratar el musical “Jekyll & Hyde” basado en la popular novela de Robert Louis Stevenson que critica y público aplaudieron desde el momento de su estreno en 1990. A pesar de ella tuvieron serios problemas financieros para poder llevarlo a Nueva York donde no se estrenó hasta siete años más tarde en Broadway. El musical lo estrenó en España Raphael en 2001 y tuvo gran éxito si bien el CD que se publicó sólo tenía los temas más importantes del musical, por lo cual, decidimos escoger para el podcast la grabación que produjo el compositor en 1994 con el título de “Jekyll & Hyde: Un thriller gótico musical” con el excelente Anthony Warlow como Jekyll & Hyde, Linda Eder como Lucy y Carolee Carmello como Lisa Carew. 00h 00'00" This is the moment 00h 03'37" Presentación 00h 05'26" Cabecera 00h 06'34" Inicio 00h 07'20" Prologue / Lost in the darkness 00h 10'10" I need to know 00h 14'07" Façade 00h 18'52" Bitch, bitch, bitch 00h 28'33" The engagement party 00h 22'28" Possessed 00h 24'22" Take me as I am 00h 27'54" Lisa Carew 00h 30'38" Board of Governors 00h 40'31" Bring on the men 00h 46'10" Lucy meets Jekyll 00h 49'30" How can I continue on? 00h 50'51" This is the moment 00h 54'44" Transformation 00h 59'33" Lucy meets Hyde 01h 02'01" Alive 01h 07'19" Streak of madness 01h 11'25" His work and nothing more 01h 16'28" Sympathy, tenderness 01h 17'49" Someone like you 01h 22'44" Mass 01h 23'37" Murder, murder 01h 29'57" Lettin' go 01h 33'24" Reflections 01h 35'46" In his eyes 01h 40'19" The world has gone insane 01h 43'47" The girls on the night 01h 48'12" No one knows who I am 01h 51'11" It's a dangerous game 01h 55'59" Once upon a dream (Lisa) 01h 59'14" No one must ever know 02h 05'03" A new life 02h 09'58" Once upon a dream (Jekyll) 02h 13'03" Confrontation 02h 18'29" The wedding reception 02h 22'41" Curiosidades 02h 23'35" Love has come of age 02h 29'29" We still have time

On this episode I am joined by actor, singer, entertainer, teacher, and entrepreneur Kwame Michael Remy. He is an international performing artist with theatre, concert, and recording credits. He has shared the stage performing with luminaries such as Sam Smith, Billy Porter,  Bebe Winans, and Linda Eder to name a few. Pre-Pandemic he was seen in the Pacific premiere of Kinky Boots in the role of Lola/Simon for which he won multiple awards for his performance. We discuss his new virtual entertainment company The House Ov Mahogany, how this new venture has allowed him and his friends to create freely, and how everything you want is on the other side of fear.Get in touch: Kwame Michael Remy Instagram @kwame_michaelThe House Ov Mahogany Instagram: @house_ov_mahoganyFacebook: https://www.facebook.com/watch/HOUSE-OV-Mahogany-107834111043469/Twitter: @H_OV_MahoganyAyana Major Bey Website: www.ayanabey.comInstagram: @ayanambey, @theartistpivot********************Executive Producer & Host: Ayana Major Bey Editor: Kieran NiemandSupport the show

On this episode I am joined by actor, singer, entertainer, teacher, and entrepreneur Kwame Michael Remy. He is an international performing artist with theatre, concert, and recording credits. He has shared the stage performing with luminaries such as Sam Smith, Billy Porter,  Bebe Winans, and Linda Eder to name a few. Pre-Pandemic he was seen in the Pacific premiere of Kinky Boots in the role of Lola/Simon for which he won multiple awards for his performance. We discuss his new virtual entertainment company The House Ov Mahogany, how this new venture has allowed him and his friends to create freely, and how everything you want is on the other side of fear.Get in touch: Kwame Michael Remy Instagram @kwame_michaelThe House Ov Mahogany Instagram: @house_ov_mahoganyFacebook: https://www.facebook.com/watch/HOUSE-OV-Mahogany-107834111043469/Twitter: @H_OV_MahoganyAyana Major Bey Website: www.ayanabey.comInstagram: @ayanambey, @theartistpivot********************Executive Producer & Host: Ayana Major Bey Editor: Kieran Niemand

This week Emma chats with the hugely successful songwriter, Scott Alan, who reigns supreme in the Musical Theatre world with his notoriously honest and vulnerable style of writing..  They discuss  how music has played such a huge role in managing  Scott's mental health.  the process of songwriting and performing as a form of catharsis, the dedication required to release your own music independently  and their shared adoration of the Studio 54 era, Karen Carpenter and Joni Mitchell.LINKSAlive Inside: A Story of Music and Memory: http://www.aliveinside.usNordoff Robbinshttps://www.nordoff-robbins.org.ukSCOTT ALAN SOCIAL MEDIA:INSTAGRAM: @scottalanmusicWEBSITE: www.scottalan.netSPOTIFY: https://open.spotify.com/artist/36mPTvwUFmSOm3JcQyLuEy?si=1yd2rlAcSu2jEvbmpacohQMENTIONS:Oliver Twist Cast recordingMariah Carey's  Autobiography 'The Meaning of Mariah Carey'Madonna 'Madonna' https://open.spotify.com/album/5lrlWKjNY0eTDXp9Bd3LpW?si=buj12FTSRKuiJfY51yeT-ACyndi Lauper 'She's so unusual'https://open.spotify.com/album/1FvdZ1oizXwF9bxogujoF0?si=i3qS6VwTTz2qZMc8Hshs2wWhitney Houston ‘I'm your baby tonight'https://open.spotify.com/track/3SmPl0CGxvvkQCrTv7edEE?si=C_B6ifzBRnaVIUusRZ-tMAFame the Musical  ‘Out Here on my own' Barbara Streisand, Linda Eder, Jason Robert Brown, Stephen Sondheim, Shoshana Bean, Cynthia Eritho Mariah Carey 'Rarities'https://open.spotify.com/album/0v1DRRYBXYg1uVN1CIsyy0?si=vD4Iv93pTp2gkgOxAia6xAEternalJadeMary J BligeDiane WarrenRandy GraffMegan HiltyJoni Mitchell ‘Blue'https://open.spotify.com/album/1vz94WpXDVYIEGja8cjFNa?si=5bcdXO1DR96W9tX7CQnPxQ'How to Fail'  with Elizabeth Dayhttps://howtofail.podbean.com‘It's My Turn' Diana RossCovid Crisis songhttps://www.youtube.com/watch?v=9Ctpxs3kh_QDear Music…'  is hosted and produced by Emma Hatton ‘DEAR MUSIC…' SOCIAL MEDIAINSTAGRAM: @dearmusicpodcastTWITTER: @dearmusicpodFACEBOOK: Dear Music PodcastEMAIL: dearmusicpodcast@gmail.comWEBSITE: www.emmahatton.com/podcastSPOTIFY PLAYLIST: spotify:playlist:01AgoYtV53WfBJcIy315rDEMMA HATTON SOCIAL MEDIAINSTAGRAM: @emmahatton1TWITTER: @emmahatton1FACEBOOK: Emma HattonWEBSITE: www.emmahatton.comCHARITY SOCIAL MEDIAINSTAGRAM: @RTMusicUKTWITTER: @RTMusicUKCOVER ARTWORK The Write Girl Calligraphy https://www.thewritegirlcalligraphy.comINSTAGRAM : @thewritegirlcalligraphyTHEME MUSICAnthony Stronghttps://anthonystrong.comINSTAGRAM: @anthonystrong_

Romelda and Suzanne continue their discussion on Courage and how this ONE word has enabled Romelda to fight for herself, the black community, and anyone else she believes needs her strength and advocacy. We consider Romelda the epitome of what truly defines this word; if you haven’t already done so, please listen to COURAGE: PART 1 (Episode 15), as her experiences in that discussion should NOT be missed! Listen and learn what it truly means to live out daily in courage. Enjoy!More About Romelda:Romelda Teron Benjamin is known for her powerful, full, rich, and emotionally charged vocal style. She recently appeared on Law and Order SVU and in the original Off Broadway Production of The Secret Life of Bees as Queenie at Atlantic Theater Company. She is most recognized for her portrayal of Sister Chantell in the original Off Broadway Production of Bare: A Pop Opera, and for her portrayal of Paradise in the Broadway Production of Brooklyn The Musical. Romelda recently appeared at Joe's Pub in the critically acclaimed Ryan Raftery: Watch What Happens Live On Stage The Tale of Andy Cohen and the Housewives as Nene Leakes and Ryan Raftery Is the Most Powerful Woman in Fashion The Anna Wintour Musical. Other Credits Include: Momma Morton in Chicago, Mavis White Eagle in Idaho!, Featured Ensemble in Catch Me If You Can original workshops through its out of town run at The 5th Avenue Theater in Seattle, BJ Crosby in the national tour of Smokey Joe's Cafe'. Romelda has appeared in numerous Recordings, Workshops, Readings, The John Oliver Show on HBO and concerts with Linda Eder, Natalie Douglas, Harry Connick Jr., Pope Francis, QOTMENTIONED IN SHOWROMELDA REVIEWSLISTEN HERE PODCASTWhere to Find Me:InstagramTwitterFacebook

In the first of this two-part episode, Suzanne sits down with Romelda Teron Benjamin for an in-depth and personal discussion about the word “courage.” As a successful black NYC actor, Benjamin has first-hand of how much strength and courage it takes to just exist in the world today. She doesn’t hold back her feelings, experiences, or ethics, and we are ever-so-grateful for her generosity and intimate truths. Listen to her Enjoy Episode15: “Courage: Part 1”QUOTE:"It takes a certain amount of courage to exist in this world, especially as a black woman."More About Romelda:Romelda Teron Benjamin is known for her powerful, full, rich, and emotionally charged vocal style. She recently appeared on Law and Order SVU and in the original Off Broadway Production of The Secret Life of Bees as Queenie at Atlantic Theater Company. She is most recognized for her portrayal of Sister Chantell in the original Off Broadway Production of Bare: A Pop Opera, and for her portrayal of Paradise in the Broadway Production of Brooklyn The Musical. Romelda recently appeared at Joe's Pub in the critically acclaimed Ryan Raftery: Watch What Happens Live On Stage The Tale of Andy Cohen and the Housewives as Nene Leakes and Ryan Raftery Is the Most Powerful Woman in Fashion The Anna Wintour Musical. Other Credits Include: Momma Morton in Chicago, Mavis White Eagle in Idaho!, Featured Ensemble in Catch Me If You Can original workshops through its out of town run at The 5th Avenue Theater in Seattle, BJ Crosby in the national tour of Smokey Joe's Cafe'. Romelda has appeared in numerous Recordings, Workshops, Readings, The John Oliver Show on HBO and concerts with Linda Eder, Natalie Douglas, Harry Connick Jr., Pope Francis, QOTWhere to Find Me:InstagramTwitterFacebook

Description: Two hours of Christmas music to remind us that we are all one world. We also feature great singers you know and love. Danny Lane’s present to you with no interruptions, Merry Christmas. Email us at dannymemorylane@gmail.com and "Like" this episode & please re-post, tell a friend. Here are the songs featured in this episode: 1) Do They Know It's Christmas by Band Aid 2) O Come All Ye Faithful (Adeste Fideles) by Luciano Pavarotti (w/ The National Philharmonic Orchestra) 3) Mele Kalikimaka by Bette Midler 4) Christmas Time Is Here by Vince Guaraldi Trio 5) Pretty Paper by Willie Nelson 6) A Child Is Born Into My Life by Oleta Adams 7) A Spaceman Came Traveling by Chris De Burgh 8) O Little Town Of Bethlehem by Yolanda Adams 9) Christmas Canon (Orchestral w/ Intro) by Trans-Siberian Orchestra 10) All I Want For Christmas Is You by Mariah Carey 11) The Christmas Shoes by NewSong 12) Mary's Boy Child by Harry Belafonte 13) Light of The Stable by Emmylou Harris (w/ Neil Young, Dolly Parton & Linda Rondstadt) 14) Please Come Home For Christmas by Luther Vandross 15) Merry Christmas Darling by Rockapella 16) Thank God It's Christmas by Queen 17) Dominick The Donkey (The Italian Christmas Donkey) by Lou Monte 18) O Holy Night by Mahalia Jackson 19) Christmas In The Caribbean by Jimmy Buffett 20) Rosie Christmas by Donna Summer 21) Happy Christmas (War Is Over) by John Lennon & Yoko Ono & The Plastic Ono Band (w/ The Harlem Community Choir) 22) Christmas (Baby Please Come Home) by Darlene Love 23) Christmas Island by Leon Redbone 24) Do You Hear What I Hear by Linda Eder (w/ The Broadway Gospel Choir) 25) Ay, Ay, Ay It's Christmas by Ricky Martin & Rosie O'Donnell 26) What Child Is This by Vanessa Williams 27) O Holy Night by Tevin Campbell 28) Arbolito De Navidad (Christmas Tree) by Gloria Estefan 29) O Come All Ye Faithful (Adeste Fideles) by Il Divo 30) From A Distance (Christmas Version) by Bette Midler 31) The First Noel by The Nylons 32) O Christmas Tree by Aretha Franklin 33) Silent Night (Oíche Chiúin = Ee'ha k'u'in) [Chorale Version] by Enya

Linda Eder is an American singer and actress. She made her Broadway debut in the musical Jekyll & Hyde, originating the role of Lucy Harris, for which she was nominated for the Drama Desk Award. Eder has performed in concert halls across the country including Carnegie Hall and Radio City Musical Hall.Linda Eder Official web pageLinda Eder “Love of my Life” - YouTubeWelcome Video LindaEder com - YouTubeVero's Voice Magazine The community magazine Vero loves to read! Wood N Spoon-Everything With Every Bite Mike Wood is a Vero Beach native and strives to bring you delicious healthy fresh ingredients.Your JUNK MONKEYS are just a click away! Don't let your junk drive you bananas!

While they may have lost the Spokes model category, that doesn't deter Rob and Robbie to venture back into the world of 1980s realness with Broadway diva Linda Eder's mind blowing appearances on TV's Star Search Joining the boys is Star Search alumni and recording star Marty Thomas who walks the boys through the life of a Star Search contestant, which Linda Eder song is the most iconic, how Linda influenced him as an artist, what exactly was the Spokes Model Category, his coming out process, and what he does today to help the LGBTQIA+ community of tomorrow. Follow us on Instagram, Twitter, and Facebook   Next Week: I LOVE LUCY

From Radio City kick lines to choreographing on film sets, our next guest has done it all with grace and gratitude. This week, Julie Tomaino talks to us about how her career as an actor led her to direct and choreograph, overcoming what seems impossible, and how disabilities aren’t always visible. Julie is a theatre professional specializing in choreography, stage direction, and dance education. She spent thirteen years living and working in New York City, most notably as a Rockette at Radio City Music Hall from 2005 – 2011. Other performance credits include Louise on the US National Tour of CRAZY FOR YOU; Margie in the ABC Movie remake BYE BYE BIRDIE; a dancer/singer on Celebrity Cruise Lines; and regional productions of THE PRODUCERS (Arts Club), CHICAGO (Theatre By The Sea), CABARET, EVITA, MY FAIR LADY & 42ND STREET (MGR Playhouse), FORUM (La Comedia), GUYS AND DOLLS (Shawnee), AND FIORELLO (Snug Harbour). Choreographic credits include: the pilot episode of the new TV Drama BLINK; an episode of CityTV’s PACKAGE DEAL (starring Harland Williams); several episodes of YTV’s MR. YOUNG; MY TURQOUISE YEARS (Arts Club); DANCING AT LUGHNASA (Exit 22); JOE SEGAL: AN EXTRAORDINARY LIFE (assoc); the 2011 SCOTIABANK GREY CUP GALA (assoc); I LOVE YOU BECAUSE (assoc – Intimate Theatre), XANADU (assist – Arts Club); 42nd STREET. (assist – MGR Playhouse); and Washington, D.C.’s Kennedy Center production of CELEBRATE BROADWAY, starring John Lithgow and Linda Eder (assoc). More about Julie: http://www.julietomaino.com/ https://www.instagram.com/julietomaino/?hl=en To find out more about What's Your Backup Plan? or listen to previous episodes, visit https://broadwaypodcastnetwork.com/podcast/whats-your-backup-plan/. Learn more about your ad choices. Visit megaphone.fm/adchoices

Richard Skipper sits down to chat with John Meyer to discuss Judy Garland. John Meyer's songs have been performed by Shirley Bassey, Lily Tomlin, Madeline Kahn, Eartha Kitt, Linda Lavin and, most prominently, Judy Garland. His memoir, Heartbreaker, (Kensington, 2006), details the dramatic eight weeks he spent with Garland. In October of 1968, John met Judy Garland, then at the tail end of her career. She embraced both John and his song, I'd Like to Hate Myself in the Morning. The pair embarked on a tempestuous romance, at the end of which Judy performed four of John's numbers on national TV, including the ballad It's All For You and the melancholy Christmas song, After the Holidays. John detailed the adventure in a memoir, Heartbreaker. Holidays was subsequently recorded by Margaret Whiting and Paula West. Linda Eder performs It's All For You in her act as well. https://www.amazon.com/Heartbreaker-Memoir-Garland-John-Meyer/dp/0806527544

On this week's show, Jamie and Rob launch a special three part mini-series looking at some of the biggest Broadway musical hits of all time, beginning with 1943's landmark “Oklahoma!” and continuing through today's juggernaut “Hamilton”. Part One focuses on the biggest hits of Broadway's golden age. This week's music: “Guns & Ships”, “Yorktown”, “It's Quiet Uptown”, from “Hamilton”, “Kansas City”, from Royal National Theatre's “Oklahoma!”, and “Out Of My Dreams” from “Oklahoma”, “Overture” and “I Could Have Danced All Night” from “My Fair Lady”, “Put On Your Sunday Clothes”, “Before The Parade Passes By” from “Hello, Dolly!” (Channing), “Hello, Dolly!” by Louis Armstrong, “Before The Parade Passes By” from “Hello, Dolly!” (Martin), “Before The Parade Passes By” from “Hello, Dolly!” (Midler), “Tradition”, “Fiddler on the Roof”, “Traditsye”, from “Fiddler on the Roof - 2018 Cast, in Yiddish”, “The Man of La Mancha” by Linda Eder, “Dulcinea” and “The Impossible Dream” from “The Man of La Mancha: New Cast Recording, 2002”, “Helpless” from “Hamilton”. Find us on Twitter & Instagram: @fabulousinvalid Facebook: www.facebook.com/fabulousinvalid Rob's reviews: www.stageleft.nyc Email us at: info@fabulousinvalid.com    Jamie Du Mont Twitter: @jamiedumont  Instagram: @troutinnyc  Rob Russo Twitter/Instagram: @StageLeft_NYC  Jennifer Simard Twitter: @SimardJennifer  Instagram: @thejennifersimard Learn more about your ad choices. Visit megaphone.fm/adchoices

In this episode, Ben and Daniel discuss the 1998 Carnegie Hall concert, My Favorite Broadway: The Leading Ladies. The concert was hosted by Julie Andrews and featured Broadway superstars such as Nell Carter, Lea DeLaria, Linda Eder, Jennifer Holliday, Anna Kendrick, Judy Kuhn, Priscilla Lopez, Dorothy Loudon, Rebecca Luker, Marin Mazzie, Andrea McArdle, Audra McDonald, Liza Minnelli, Debra Monk, Rosie O'Donnell, Faith Prince, and Karen Ziemba. It was directed by Scott Ellis and conducted by Paul Gemignani. Subscribe to Broken Records on YouTube and follow our QuaranStreams playlist.

Singer Marieann Meringolo, has been called The Miracle at Feinstein's, and has been compared to both a young Barbra Streisand and Linda Eder. The post Marieann Meringolo appeared first on Storybeat with Steve Cuden.

In this episode, performer and creator Victoria Gordon discusses Stephen Sondheim and James Goldman's 1966 television musical Evening Primrose, looking at the contradictions of art vs. capitalism and inside vs. outside and at Charles and Ella's relationship. We also talk about the song "Storybook" from Frank Wildhorn and Nan Knighton's The Scarlet Pimpernel, specifically Linda Eder's version.

In this episode, Ben and Daniel talk to singer and actress Linda Eder about Barbra Streisand's 1965 album My Name is Barbra. They also discuss Judy Garland, Shirley Bassey, Whitney Houston, Glenn Close, Frank Wildhorn, The Scarlet Pimpernel, Andrew Lloyd Webber, Sunset Boulevard, Eydie Gormé, Michael Bublé, Miranda Lambert, Carrie Underwood, Annie Get Your Gun, Vikki Carr, Eileen Farrell, Betty Buckley and Hello, Dolly! Known for her powerhouse vocals that have drawn comparisons to Streisand, Linda has performed in concert halls around the world, including Carnegie Hall. She has also performed on Broadway, where she originated the role of Lucy in Jekyll & Hyde, for which she was nominated for a Drama Desk Award.

"I don't think prostitutes sound like Linda Eder." Approachable Broadway ingenue Elena Ricardo (MAMMA MIA, BEAUTIFUL) stops by the Breakdown to share her obsession with vocal heavyweight (and semi-Broadway diva) Linda Eder. Elena and Matt discuss Eder's crazy vocal range as well as the difference between confidence and egotism and the ONE musical that gives Elena nightmares. BA-BAM!

047 James VanDemark: Technical Discipline & Interpretive Magic This episode is full of inspiration and extremely useful information!  Eastman School of Music Bass Professor, James VanDemark, offers us tip after great tip to bring our practice and performance to the next level! Among many topics, James talks to us about creating a technical discipline that leads to interpretive magic, and about on how crucial it is to have clear goals and setting the intention to build up our entire identity as an artist whenever we enter the practice room.  He elaborates on the importance of: using the bow in an imaginative way (having the bow be an extension of our imagination) while having a left hand that is as immaculate as can be acutely playing in the present moment establishing a great basic posture slow practice using the mirror having interpretation be at the center of the technical work create the concert experience in the practice room ear training - through listening to recording actively and with imagination, and through exercises having a schedule, have a clear intent, and be kind to others   MORE ABOUT JAMES: Eastman School of Music: https://www.esm.rochester.edu/faculty/james-vandemark/ YouTube Videos: Here Instagram: https://www.instagram.com/bassfilm1/     "Some people seemed destined to lead unconventional lives, and James VanDemark is certainly one of them," said the New York Times in the first of its three profiles on VanDemark. Performer, academic, boxer, producer, and entrepreneur - these are the principal roles VanDemark has successfully played in a highly diverse career spanning nearly four decades.   VanDemark's arts and culture projects have been featured in the New York Times, Connoisseur Magazine, on the MacNeil/Lehrer NewsHour, the BBC, CBC, NPR, and in many other media outlets around the world. In considerable demand as a speaker on entrepreneurial skills at colleges across the United States and Canada, VanDemark has also received great acclaim for his frequent role as narrator with many prominent symphony orchestras, including more than 40 performances with the Rochester Philharmonic and 15 with the Texas Festival Orchestra.   Appointed to the Eastman School of Music at the age of 23, VanDemark was the youngest faculty member ever appointed to a professorial position at a major American music school. His students perform in many of the world's great orchestras – the New York Philharmonic, Cleveland Orchestra, Pittsburgh Symphony, Los Angeles Philharmonic, Orpheus Chamber Orchestra, Philadelphia Orchestra, Rochester Philharmonic, Buffalo Philharmonic, Vienna Chamber Orchestra, Tokyo Chamber Orchestra, Singapore Symphony, Hong Kong Philharmonic – and many more. His students have also been nominated for—and won—numerous Grammy awards in various categories, including classical, contemporary, jazz, and bluegrass.   VanDemark's students have also held positions at major music schools, including Indiana University, Oberlin Conservatory, Eastman School of Music, Louisiana State University, Carnegie-Mellon, Peabody Conservatory, University of Delaware, NYU's Steinhardt School of Music, Michigan State University, University of Colorado, University of Alabama, University of Tennessee, and many others.   VanDemark's performing career has included solo appearances with the New York Philharmonic, St. Paul Chamber Orchestra, Buffalo Philharmonic, National Symphony of Mexico, Netherlands Radio Symphony, Symphony Nova Scotia, Minnesota Orchestra, Orchestre Symphonique de Quebec, Mostly Mozart Festival Orchestra, and many more. Chamber music appearances have included the Cleveland, Guarneri, Muir, Colorado and Ying Quartets, the Gryphon Trio, violinist Yehudi Menuhin, as well as legendary pianists Andre Watts, Alfred Brendel, and Gary Graffman. VanDemark has also been featured on Lincoln Center's “Great Performers Series” on three occasions, including in recital with Andre Watts.   VanDemark is also the recipient of commissioned works by many composers, including three Pulitzer Prize winners: Gian-Carlo Menotti, Joseph Schwantner, and Christopher Rouse. As a founding member of Square Peg Entertainment, VanDemark developed and represented screenplays and properties of Oscar winners Ernest Thompson, Horton Foote, Eiko Ishioka, Ron Harwood, Oscar nominee Hesper Anderson, Stu Silver, Paul Theroux, and many others. VanDemark also developed the World War I story CODE BROTHERS for CTV (Toronto), THE WAYNE AND SUE SHOW for Tribune Entertainment, produced the album and music video THE GIFT with singer Linda Eder for Atlantic Records, and with television legend Sir David Frost, developed the Frederick Forsyth novella THE SHEPHERD in conjunction with Shaftesbury Films (Toronto). VanDemark also co-produced and cast SPEAK LOW, the highly successful Brooklyn Academy of Music (BAM) Gala featuring Jerry Orbach, Donna Murphy, Duncan Sheik, and other stars of Broadway and the Metropolitan Opera in the music of Kurt Weill. VanDemark has also served as Music Supervisor for John Cougar Mellencamp's film, AFTER IMAGE.   Acclaimed for his extensive work in the Native American community, VanDemark commissioned and developed the Native collaborative musical work CIRCLE OF FAITH, profiled in The New York Times, Cleveland Plain Dealer, Detroit Free Press, Minneapolis Star and Tribune, Denver Post, Lakota Times, and on NPR's Morning Edition. VanDemark has helped produce more than 40 performances of the work in the United States and Canada.   As an accomplished amateur boxer, VanDemark was recently profiled on the front page of The Wall Street Journal, The Strad, on CBC's "Q," WNYC's "Soundcheck," and was featured at length on ESPN's E-60. VanDemark's conditioning and boxing program for students, musicians, and the general public has also brought him considerable worldwide acclaim. His recent boxing/ conditioning presentations include the University of Tennessee, the University of Alabama, Louisiana State University, Loyola University New Orleans, and the University of Santiago (Chile).   VanDemark attributes the longevity and diversity of his career not only to his own athletic training, but also to his work in the the health care field in the 1970's, when he worked extensively under the renowned neurologist Dr. Howard S. Barrows at the McMaster University School of Medicine in Canada in developing the groundbreaking Simulated/Standardized Patient Program (SPP). As a result of these achievements, VanDemark was named to the Industry Board of the American Health Council in October 2017.     If you enjoyed the show, please leave a review on iTunes!  I truly appreciate your support! Visit www.mindoverfinger.com for information about past and future podcasts, and for more resources on mindful practice. Join the Mind Over Finger Tribe here!  https://www.facebook.com/groups/mindoverfingertribe/     THANK YOU: Most sincere thank you to composer Jim Stephenson who graciously provided the show's musical theme!  Concerto #1 for Trumpet and Chamber Orchestra – Movement 2: Allegro con Brio, performed by Jeffrey Work, trumpet, and the Lake Forest Symphony, conducted by Jim Stephenson. Also a HUGE thank you to my fantastic producer, Bella Kelly!   MIND OVER FINGER: www.mindoverfinger.com https://www.facebook.com/mindoverfinger/ https://www.instagram.com/mindoverfinger/

The "Road show edition" take two!  Back at Larry's hideaway tucked away along the shores of beautiful Buzzards Bay, the boys continue their conversation about nothing touching on important topics such as trips, high speed Uber, and Larry's attendance at both a Diana Ross and a Linda Eder concert, the latter ending in Larry's  hilarious walk of shame through a Connecticut casino floor.  Bret is introduced to his new BEST FRIEND sailor Jerry while listening to messages from fans.  This ride is long...but fun and worth it!!

Julius Kerwin Stein, hijo de emigrantes judíos que huyeron de la Rusia zarista a Londres. A los ocho años con su familia emigró a Estados Unidos donde asombró a todos con su virtuosismo al piano actuando con las orquestas sinfónicas de Chicago, St. Louis o Detroit cuando aún no tenía diez años. Escribió más de 2.000 canciones, de las que 200 fueron éxito en las listas de ventas. Su facilidad para adaptarse a los más variados colaboradores la expresó en sus frases: “Eres tan bueno, como lo sea el letrista con el que colaboras”, o “Si eres incapaz de colaborar con alguien, no tienes cabida en el mundo del teatro”. Podemos citar a SAMMY CAHN con el que escribió éxitos como el villancico “Let it snow, let it snow, let it snow” y canciones para el cine por las que fueron nominados al Oscar en diez ocasiones, ganando el premio a mejor banda sonora y canción por “Three coins in the fountain”, película estrenada en España como “Creemos en el amor”. Con FRANK LOESSER escribió las canciones de la película “SWEATER GIRL” en 1942 y con Leo Robin para"MI HERMANA ELENA". En el terreno del musical escribió entre otras “LOS CABALLEROS LAS PREFIEREN RUBIAS”, "GYPSY”, “SUGAR”, “THE RED SHOES”, “FUNNY GIRL”, “TWO ON THE AISLE”, “SAY DARLING”, “DO-RE-MI”, “SUBWAYS ARE FOR SLEEPING”, “FADE OUT, FADE IN”, “HALLELUJAH, BABY” por la que ganaría el Tony, “BELLS ARE RINGING” o “BAR MITZVAH BOY”. Os dejamos nuestra selección de sus canciones en las que hemos incluido algunos de sus éxitos para teatro musical o para el cine  en las que hemos contado con Barbra Streisand, Doris Day, Frank Sinatra, Judy Khun, Megan Hilty, Bette Midler, Marilyn Monroe, Bette Midler, Matt Monro, Elaine Paige, Linda Eder o Harry Connick, jr. Espero os guste 00h 00'00" Presentación 00h 02'10" Cabecera 00h 02'46" Don't  rain on my parade - Billy Porter 00h 05'50" A little girl from Little Rock - Megan Hilty 00h 08'05" Five minutes more - Frank SInatra 00h 10'37" I am woman - Barbra STreisand 00h 13'28" It's always love - Tommy Steele 00h 17'32" Let me entertain you - Debbie Gravitte 00h 20'26" Everything's coming up roses - Bette Midler 00h 23'10" Diamond's are a girl's best friend - Marilyn Monroe 00h 26'38" If momma was married - Emily Skinner & Alice Ripley 00h 29'17" I'm the greatest star - Barbra STreisand 00h 33'20" Never Never Land - Paige O'Hara 00h 37'48" People - Matt Monro 00h 40'23" Small world - Bette Midler 00h 43'40" Sugar - Robert Morse & Tony Roberts 00h 47'09" Absent minded me - Barbra Streisand 00h 50'14" Bye bye baby - Megan Hilty & Clarke Thorell 00h 53'54" Hey look, no crying - Judy Khun 00h 56'23" Ev'ry street a boulevard in Old New York - Guy Haines 00h 59'16" I've heard that song before - Frank Sinatra 01h 01'45" Saturday night is the loneliest night of the week - Frank Sinatra 01h 04'26" I fall in love too easily - Judy Khun 01h 07'00" Being good isn't good enough - Barbra Streisand 01h 10'02" I believe - Frank Sinatra 01h 13'03" The party's over - Matt Monro 01h 17'05" Funny girl - Barbra Streisand 01h 19'45" Who are you now? - Debbie Gibson 01h 23'10" It's been a long, long time / Just in time - Judy Khun 01h 27'35" Long before I knew you - Elaine Paige 01h 31'26" Now's the time - Leslie Uggams 01h 35'02" The music that makes me dance - Barbra Streisand 01h 39'28" Three coins in the fountain - Frank SInatra 01h 42'27" It's magic - Doris Day 01h 46'03" Pitiful penniless burns - Guy Haines & Brent Barrett 01h 49'41" Make someone happy - Barbra Streisand 01h 53'40" Together, wherever we go - Bette Midler 01h 56'35" Why try to change me now - Frank Sinatra 02h 00'13" It's delightful down in Chile - SImon Jones & Megan Hilty 02h 04'23" Rose's turn - Bette Midler 02h 08'24" You'll never get away from me - Judy Khun 02h 12'06" Guess I'll hang my tears out to dry - Frank Sinatra 02h 15'27" Time after time - Matt Monro 02h 18'38" Some people - Linda Eder 02h 21'35" I don't want to walk without you - Judy Khun 02h 24'43" Sunday - Frank SInatra 02h 27'15" Let it snow! let it snow! let it snow! - Harry Connick Jr. 02h 29'36" Look at you, look at me - Judy Khun

Julius Kerwin Stein, hijo de emigrantes judíos que huyeron de la Rusia zarista a Londres. A los ocho años con su familia emigró a Estados Unidos donde asombró a todos con su virtuosismo al piano actuando con las orquestas sinfónicas de Chicago, St. Louis o Detroit cuando aún no tenía diez años. Escribió más de 2.000 canciones, de las que 200 fueron éxito en las listas de ventas. Su facilidad para adaptarse a los más variados colaboradores la expresó en sus frases: “Eres tan bueno, como lo sea el letrista con el que colaboras”, o “Si eres incapaz de colaborar con alguien, no tienes cabida en el mundo del teatro”. Podemos citar a SAMMY CAHN con el que escribió éxitos como el villancico “Let it snow, let it snow, let it snow” y canciones para el cine por las que fueron nominados al Oscar en diez ocasiones, ganando el premio a mejor banda sonora y canción por “Three coins in the fountain”, película estrenada en España como “Creemos en el amor”. Con FRANK LOESSER escribió las canciones de la película “SWEATER GIRL” en 1942 y con Leo Robin para"MI HERMANA ELENA". En el terreno del musical escribió entre otras “LOS CABALLEROS LAS PREFIEREN RUBIAS”, "GYPSY”, “SUGAR”, “THE RED SHOES”, “FUNNY GIRL”, “TWO ON THE AISLE”, “SAY DARLING”, “DO-RE-MI”, “SUBWAYS ARE FOR SLEEPING”, “FADE OUT, FADE IN”, “HALLELUJAH, BABY” por la que ganaría el Tony, “BELLS ARE RINGING” o “BAR MITZVAH BOY”. Os dejamos nuestra selección de sus canciones en las que hemos incluido algunos de sus éxitos para teatro musical o para el cine  en las que hemos contado con Barbra Streisand, Doris Day, Frank Sinatra, Judy Khun, Megan Hilty, Bette Midler, Marilyn Monroe, Bette Midler, Matt Monro, Elaine Paige, Linda Eder o Harry Connick, jr. Espero os guste 00h 00'00" Presentación 00h 02'10" Cabecera 00h 02'46" Don't  rain on my parade - Billy Porter 00h 05'50" A little girl from Little Rock - Megan Hilty 00h 08'05" Five minutes more - Frank SInatra 00h 10'37" I am woman - Barbra STreisand 00h 13'28" It's always love - Tommy Steele 00h 17'32" Let me entertain you - Debbie Gravitte 00h 20'26" Everything's coming up roses - Bette Midler 00h 23'10" Diamond's are a girl's best friend - Marilyn Monroe 00h 26'38" If momma was married - Emily Skinner & Alice Ripley 00h 29'17" I'm the greatest star - Barbra STreisand 00h 33'20" Never Never Land - Paige O'Hara 00h 37'48" People - Matt Monro 00h 40'23" Small world - Bette Midler 00h 43'40" Sugar - Robert Morse & Tony Roberts 00h 47'09" Absent minded me - Barbra Streisand 00h 50'14" Bye bye baby - Megan Hilty & Clarke Thorell 00h 53'54" Hey look, no crying - Judy Khun 00h 56'23" Ev'ry street a boulevard in Old New York - Guy Haines 00h 59'16" I've heard that song before - Frank Sinatra 01h 01'45" Saturday night is the loneliest night of the week - Frank Sinatra 01h 04'26" I fall in love too easily - Judy Khun 01h 07'00" Being good isn't good enough - Barbra Streisand 01h 10'02" I believe - Frank Sinatra 01h 13'03" The party's over - Matt Monro 01h 17'05" Funny girl - Barbra Streisand 01h 19'45" Who are you now? - Debbie Gibson 01h 23'10" It's been a long, long time / Just in time - Judy Khun 01h 27'35" Long before I knew you - Elaine Paige 01h 31'26" Now's the time - Leslie Uggams 01h 35'02" The music that makes me dance - Barbra Streisand 01h 39'28" Three coins in the fountain - Frank SInatra 01h 42'27" It's magic - Doris Day 01h 46'03" Pitiful penniless burns - Guy Haines & Brent Barrett 01h 49'41" Make someone happy - Barbra Streisand 01h 53'40" Together, wherever we go - Bette Midler 01h 56'35" Why try to change me now - Frank Sinatra 02h 00'13" It's delightful down in Chile - SImon Jones & Megan Hilty 02h 04'23" Rose's turn - Bette Midler 02h 08'24" You'll never get away from me - Judy Khun 02h 12'06" Guess I'll hang my tears out to dry - Frank Sinatra 02h 15'27" Time after time - Matt Monro 02h 18'38" Some people - Linda Eder 02h 21'35" I don't want to walk without you - Judy Khun 02h 24'43" Sunday - Frank SInatra 02h 27'15" Let it snow! let it snow! let it snow! - Harry Connick Jr. 02h 29'36" Look at you, look at me - Judy Khun

Peter Pan is a 1950 musical adaptation of J. M. Barrie's play Peter Pan, or The Boy Who Wouldn't Grow Up with music and lyrics by Leonard Bernstein; it opened on Broadway on April 24, 1950.[1] This version starred Jean Arthur as Peter Pan, Boris Karloff in the dual roles of George Darling and Captain Hook, and Marcia Henderson as Wendy. The show was orchestrated by Hershy Kay and conducted by Benjamin Steinberg. The show ran for 321 performances, closing on January 27, 1951. The production was initially intended as a full-blown musical, with Bernstein composing a complete score for it, but was staged with only five songs – "Who Am I?", "Pirate's Song", "Plank Round", "Build My House", and "Peter Peter" – to accommodate the limited vocal ranges of the principals. In 2000, conductor Alexander Frey learned about the full score, and restored the omitted material, which included almost an hour of previously unperformed Bernstein music. The restored songs included "Captain Hook Soliloquy" and "Dream With Me". The world premiere recording of Bernstein’s complete score was released on CD in 2005, conducted by Frey, and featuring Broadway star Linda Eder in the role of Wendy Darling, and baritone Daniel Narducci as Captain Hook, on the Koch International Classics label. In September 2008 the world premiere performance of the full Bernstein score was performed in concert with Alexander Frey conducting the Gulbenkian Orchestra, and dialogue adapted from the original J. M. Barrie play by Nina Bernstein Simmons. Three performances were given in Cascais, Portugal, for a combined audience of over 10,000 people, and featured Geraldine James (narrator), John Sackville-West (Peter Pan), Charlotte Ellett and Rachel Nicholls(Wendy) and Nicholas Lester (Captain Hook). The first stage production of the full Bernstein score was given by Santa Barbara Theater (California) in December 2008, directed by Albert Ihde and again conducted by Alexander Frey. A new chamber adaptation of the score will be produced at the Richard B. Fisher Center for the Performing Arts in June 2018, directed by Christopher Alden.

During the span of Rob’s impressive and varied career, he has performed in seven leading roles on New York stages including the original Broadway cast of Jekyll & Hyde, playing the title roles more than 1,000 times over three years. Rob also appeared on Broadway as Jean Valjean in “Les Miserables,” in “Disney’s Tarzan,” “Little Shop of Horrors,” and “Dance of the Vampires.” Rob is a member of the multi-platinum-selling band, Trans-Siberian Orchestra and he’s opened for and performed with Sir Elton John, Trisha Yearwood, Linda Eder, Phil Collins, REM, Joe Walsh, Usher, Michael Crawford, and many others. Rob has been a featured soloist for over 40 symphonies around the world, and his position as Creative Director at Nederlander Worldwide Entertainment has enabled him to be the one of the first Broadway performers to play Havana, Cuba in the last 50 years as a part of the live music event, “Broadway Ambassadors.” He’s here today to talk about the show he co-created – ROCKTOPIA. Hosted by: Paul Wontorek, Beth Stevens, Matt Rodin

Rebecca Spencer is simply one of the best actors and singers working in musical theatre today. Her theatrical career was based in New York City for over 28 years before she moved to Los Angeles. Rebecca was an original 1997 Broadway cast member of Jekyll & Hyde. And as an early collaborator, she created the role of the Lisa Carew, Jekyll's fiancé, in the 1990 Alley Theatre world premiere playing opposite Chuck Wagner and Linda Eder.The post Rebecca Spencer, Broadway and Stage Performer-Episode #30 appeared first on Storybeat with Steve Cuden.

This week Julie, Miranda, and Zane will chat with Patrick Aiken about which of life's truths can be gleaned from Jekyll & Hyde!- FURTHER READING -Wiki - Musical, Novella- CELEBRITY SHOUTOUTS -Robert Louis Stevenson, Leslie Bricusse, Frank Wildhorn, Steve Cuden, Colm Wilkinson, Linda Eder, Chuck Wagner, Robert Cuccioli, Christiane Noll, Kelli O'Hara, Anthony Warlow, David Hasselhoff

Orie and Saidue are joined by guest co-hosts Barry and Eddie and they talk Black History Month, Miss Universe, Beyonce's photo announcement and why gurls are dropping Uber. Plus, our guest, baritone Barry Robinson talks about his upcoming shows around the area and around the world. Linda Eder gets the honor of being our vocal master this week, and a dance break that takes you back.

Tue, 09 Feb 2016 18:00:00 -0000 full Straw Hut Media 3232 no 99926

We're featuring an interview with bassist Larry Gray on this week's episode.  Larry's multi-instrumental path has taken him through performance on guitar, flute, cello, and piano in addition to bass.  Larry is in high demand as a jazz bassist in Chicago, performing regularly for decades at Joe Segal's Jazz Showcase, and he teaches at the University of Illinois at Urbana-Champaign.  Enjoy! About Larry Born on Chicago’s south side, Larry Gray is considered by many to be one of jazz music’s finest double bassists. His impressive versatility and uncommon musical curiosity keep him in demand as both a leader and sideman. Larry began his musical studies at the age of five when his father brought home an accordion and introduced him to his first teacher. Invigorated by this study, Larry added the guitar to his arsenal and studied piano seriously for many years thereafter. It was not until he was in his twenties that he decided to switch to the double bass. Larry went on to study classical music extensively, eventually adding the cello to his long list of loved instruments. His principal teachers were Joseph Guastafeste, longtime principal bassist of the Chicago Symphony Orchestra, and cellist Karl Fruh, a highly regarded soloist and teacher. Under Mr. Fruh's guidance, he received bachelors and masters degrees in cello performance from the Chicago Musical College of Roosevelt University. Throughout his long and varied career, Larry has worked with numerous exceptional artists and jazz legends, including McCoy Tyner, Jack DeJohnette, Danilo Perez, Branford Marsalis, Benny Green, Freddy Cole, Benny Golson, Steve Turre, George Coleman, Lee Konitz, Bobby Hutcherson, Sonny Fortune, Ira Sullivan, Junior Mance, David "Fathead" Newman, Willie Pickens, Ann Hampton Callaway, Charles McPherson, Antonio Hart, Jackie McLean, Sonny Stitt, Eddie "Lockjaw" Davis, Al Cohn, Randy Brecker, Nicholas Payton, Kurt Elling, Eric Alexander, Phil Woods, Jon Faddis, Roscoe Mitchell, Von Freeman, Wilbur Campbell, Eddie Harris, and Les McCann. In addition, he has collaborated with guitarists Kenny Burrell, Joe Pass, and Tal Farlow, as well trumpeters Donald Byrd, Harry "Sweets" Edison, and Tom Harrell, among others. Larry continues to tour extensively, performing at jazz festivals and clubs around the globe, including the Umbria Jazz Festival, the Havana Jazz Festival, Rio Sao Paulo Festival, North Sea Jazz Festival, the Montreal International Jazz Festival, ECM Festival in Bielsko-Biala, Poland, the Poznan Jazz Festival, Monterey Jazz Festival, the Montreaux Detroit Festival, the Chicago Jazz Festival, Carnegie Hall, Lincoln Center, the Hollywood Bowl, Village Vanguard, Blue Note (New York and Tokyo), Kennedy Center, and the Ravinia Festival, with such jazz luminaries as Marian McPartland, Clark Terry, Nancy Wilson, Frank Morgan, James Moody, Larry Coryell, Louis Bellson, Barry Harris, Dorothy Donegan, Monty Alexander, Frank Wess, Joe Williams, Doc Severinsen and the Tonight Show Band, Kenny Drew Jr., and most recently, Ramsey Lewis. As a classical musician, Larry played several seasons with the Civic Orchestra of Chicago, including a year as principal bass. He worked on many occasions with the Chicago Symphony Orchestra under master conductors Erich Leinsdorf, Rafeal Kubelik, Carlo Maria Guilini, and Sir George Solti. He also was the featured double bassist with Lyric Opera for the world premiere of the opera Amistad. Larry is an arranger and composer whose work has been widely recognized as uniquely melodic and exceptionally refined. His discography includes 1,2, 3,..., on Chicago Sessions, the solo bass record, Gravity, One Look, and Solo + Quartet, all on Graywater Records, as well as the Ramsey Lewis and Nancy Wilson collaborations Meant to Be and Simple Pleasures. He can also be heard on the Ramsey Lewis recordings Appassionata, Time Flies, and With One Voice, and the latest release, Songs From the Heart. Larry also arranged and produced the critically acclaimed CD, Django by Ferro. Furthermore, Larry has recorded with Chet Baker, Curtis Fuller, Ira Sullivan, Lin Halliday, Willie Pickens, Nicholas Payton, Randy Brecker, Bunky Green, Bob Moses, Irish flute-whistle virtuoso Laurence Nugent, pop sensations Linda Eder, Dennis DeYoung, and Peter Cetera, and songwriter Michael Smith, among others. In addition, Larry is a first-call studio musician, and his playing can be heard on many commercial radio and television jingles and studio projects as well as the PBS television series, Legends of Jazz, where he can be seen performing alongside Jim Hall, Benny Golson, Chris Potter, Phil Woods, David Sanborn, Chris Botti, Clark Terry, and Roy Hargrove. In addition, Larry's original composition for double bass and guitar, Five Movements, was commissioned and performed by the Chicago Symphony Orchestra Chamber Ensemble at Symphony Center in Chicago. Most recently, Larry has composed two commissioned works for the Jazz Institute of Chicago. Tribute to the Bass Masters Suite was premiered at the Poznan Festival in Poland in 2008 to much acclaim. A second work, String Thing, was first presented in Chicago in October 2010 as part of the Jazz Institute of Chicago Jazz in Chicago series. Larry also completed a collaborative project with bassists Rufus Reid and Joseph Guastafeste that was premiered in March of 2011 in Chicago. Larry Gray is also a dedicated teacher and is Assistant Professor of Jazz Studies at the University of Illinois at Urbana-Champaign. He also served for many years on the faculties at DePaul University and Northern Illinois University. Active as a clinician at high school and colleges and festivals thought North America, he also coaches various instrumentalists in jazz techniques as well as music theory, sight-singing, and composition. Subscribe to the podcast – follow on Twitter – Like on Facebook

Play Pause Support the PodcastDownloadShare var srp_player_params_67724d08ba982 = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_67724d08ba982 = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-67724d08ba982"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-67724d08ba982"); } I can't of no better way to wind this site down than with a new addition to the Gay Pride Classics series.  It's been a long while since I originally posted the 5-set podcast, which I performed some minor updating to last year but it still needed more.  Bigger, better, faster ...HARDER! Things start with Linda Eder's version of "I Am What I Am" from La Cage Aux Folles.  This song was/is a rallying cry for the gay community originally made famous by Gloria Gaynor in 1983.  Though I didn't use Gloria's version, a 2013 re-work of her other gay anthem "I Will Survive" does appear here and fits nicely with the late 90s early millennium vibe of this set. While the majority of these songs have appeared at one time or another in past sets, the one song I could never get worked in is the closing number.  The original Bruce Roberts, Elton John, and Kristine W version of "When the Money's Gone" is one of my ALL-TIME favorites.  The only version of this song that exists is in a continuous mix; one for the Junior Vasquez "White Party Album" and the other from some obnoxious "Gay Anthems" mix album.  I was finally able to mix it in with the cold ending of "I'm Outta Love" and just added a blast sound effect for the cold ending of the song that was about to mix into another song from which it was taken.  Not to go on and on about this but I'm tickled I finally got it to work. Some of you have sent me a note indicating you tried to donate to the site but for some reason, it wouldn't allow you.  Usually, you have to turn off the pop-up blocker in your browser for it to work.  If you prefer, you can send your donation via PayPal to info@partyfavorz.com.  I need to raise $60 (I already got $10) by the 17th to keep the site up.  Otherwise, I'll just keep the name and drop everything else.  I'm freaking dirt poor at the moment and this is the only way to keep things moving.  If it doesn't happen, then it doesn't happen.  It's been a good ride and frankly, I'm pleased with what I have achieved, so no regrets. I want to wish everyone a very happy GAY PRIDE, this IS our year! Peace Out and as always ...ENJOY! -K Album : Unspeakable Joy | Pride ClassicsArtists : VariousGenre : Circuit, HouseLength : 1:52:41 Linda Eder - I Am What I Am (Lenny B's Too Much Drama Club) Suzanne Palmer - Muscles (Club 69 Future Mix) Jennifer Lopez - Alive (Thunderpuss Club Mix) Lamya - Empires (Illicit Siren Mix) Kim English - Unspeakable Joy (Razor 'n' Guido Vocal Mix) Celine Dion - I Drove All Night (Hex Hector Extended) Lara Fabian - I Will Love Again (Thunderpuss Club Mix) Laura Pausini - I Surrender (Mike Rizzo Global Club Mixshow Edit)

Play Pause Support the PodcastDownloadShare var srp_player_params_677258c11062e = {"title":"","store_title_text":"","albums":[],"hide_artwork":"true","sticky_player":"true","show_album_market":0,"show_track_market":"true","hide_timeline":0,"player_layout":"skin_boxed_tracklist","orderby":"date","order":"DESC","hide_album_title":"true","hide_album_subtitle":"true","hide_player_title":"true","hide_track_title":"true","show_publish_date":"false","show_skip_bt":"false","show_volume_bt":"false","show_speed_bt":"false","show_shuffle_bt":"false","use_play_label":"true","use_play_label_with_icon":"true","progressbar_inline":"true","spectro":"","hide_progressbar":"true","main_settings":"||"} var srp_player_params_args_677258c11062e = {"before_widget":"","after_widget":"","before_title":"","after_title":"","widget_id":"arbitrary-instance-677258c11062e"} if(typeof setIronAudioplayers !== "undefined"){ setIronAudioplayers("arbitrary-instance-677258c11062e"); } I can't of no better way to wind this site down than with a new addition to the Gay Pride Classics series.  It's been a long while since I originally posted the 5-set podcast, which I performed some minor updating to last year but it still needed more.  Bigger, better, faster ...HARDER! Things start with Linda Eder's version of "I Am What I Am" from La Cage Aux Folles.  This song was/is a rallying cry for the gay community originally made famous by Gloria Gaynor in 1983.  Though I didn't use Gloria's version, a 2013 re-work of her other gay anthem "I Will Survive" does appear here and fits nicely with the late 90s early millennium vibe of this set. While the majority of these songs have appeared at one time or another in past sets, the one song I could never get worked in is the closing number.  The original Bruce Roberts, Elton John, and Kristine W version of "When the Money's Gone" is one of my ALL-TIME favorites.  The only version of this song that exists is in a continuous mix; one for the Junior Vasquez "White Party Album" and the other from some obnoxious "Gay Anthems" mix album.  I was finally able to mix it in with the cold ending of "I'm Outta Love" and just added a blast sound effect for the cold ending of the song that was about to mix into another song from which it was taken.  Not to go on and on about this but I'm tickled I finally got it to work. Some of you have sent me a note indicating you tried to donate to the site but for some reason, it wouldn't allow you.  Usually, you have to turn off the pop-up blocker in your browser for it to work.  If you prefer, you can send your donation via PayPal to info@partyfavorz.com.  I need to raise $60 (I already got $10) by the 17th to keep the site up.  Otherwise, I'll just keep the name and drop everything else.  I'm freaking dirt poor at the moment and this is the only way to keep things moving.  If it doesn't happen, then it doesn't happen.  It's been a good ride and frankly, I'm pleased with what I have achieved, so no regrets. I want to wish everyone a very happy GAY PRIDE, this IS our year! Peace Out and as always ...ENJOY! -K Album : Unspeakable Joy | Pride ClassicsArtists : VariousGenre : Circuit, HouseLength : 1:52:41 Linda Eder - I Am What I Am (Lenny B's Too Much Drama Club) Suzanne Palmer - Muscles (Club 69 Future Mix) Jennifer Lopez - Alive (Thunderpuss Club Mix) Lamya - Empires (Illicit Siren Mix) Kim English - Unspeakable Joy (Razor 'n' Guido Vocal Mix) Celine Dion - I Drove All Night (Hex Hector Extended) Lara Fabian - I Will Love Again (Thunderpuss Club Mix) Laura Pausini - I Surrender (Mike Rizzo Global Club Mixshow Edit)

I can't of no better way to wind this site down than with a new addition to the Pride Classics series.  It's been a long while since I originally posted the 5-set podcast, which I performed some minor updating to last year but it still needed more.  Bigger, better, faster ...HARDER! Things start off with Linda Eder's version of "I Am What I Am" from La Cage Aux Folles.  This song was/is a rallying cry for the gay community originally made famous by Gloria Gaynor in 1983.  Though I didn't use Gloria's version, a 2013 re-work of her other gay anthem "I Will Survive" does appear here and fits nicely with the late 90s early millennium vibe of this set. While the majority of these songs have appeared at one time or another in past sets, the one song I could never get worked in is the closing number.  The original Bruce Roberts, Elton John and Kristine W version of "When the Money's Gone" is one of my ALL-TIME favorites.  The only version of this song that exists is in a continuous mix; one for the Junior Vasquez "White Party Album" and the other from some obnoxious "Gay Anthems" mix album.  I was finally able to mix it in with the cold ending of "I'm Outta Love" and just added a blast sound effect for the cold-ending of the song that was about to mix into another song from which it was taken.  Not to go on and on about this but I'm tickled I finally got it to work. Some of you have sent me a note indicating you tried to make a donation from the site but for some reason it wouldn't allow you.  Usually, you have to turn off your pop-up blocker in your browser for it to work.  If you prefer, you can send your donation via PayPal to info@partyfavorz.com.  I need to raise $60 (I already got $10) by the 17th to keep the site up.  Otherwise, I'll just keep the name and drop everything else.  I'm freaking dirt poor at the moment and this is the only way to keep things moving.  If it doesn't happen, then it doesn't happen.  It's been a good ride and frankly I'm pleased with what I have achieved, so no regrets. I want to wish everyone a very happy Pride, this IS our year! Peace Out and as always ...ENJOY! -K Album : Unspeakable Joy | Pride Classics Artists : Various Genre : Circuit, House Length : 1:52:41 Linda Eder - I Am What I Am (Lenny B's Too Much Drama Club) Suzanne Palmer - Muscles (Club 69 Future Mix) Jennifer Lopez - Alive (Thunderpuss Club Mix) Lamya - Empires (Illicit Siren Mix) Kim English - Unspeakable Joy (Razor 'n' Guido Vocal Mix) Celine Dion - I Drove All Night (Hex Hector Extended) Lara Fabian - I Will Love Again (Thunderpuss Club Mix) Laura Pausini - I Surrender (Mike Rizzo Global Club Mixshow Edit) Destiny's Child - Independent Women Part I (Victor Calderone Club Mix) Kristine W - Feel What You Want (Junior's NY Xtended Vocal) Whitney Houston - It's Not Right But It's Ok (Thunderpuss 2000 Mixshow) Gloria Gaynor - I Will Survive 2013 (Pink Ribbon Club Mix) Deborah Cox - Nobody's Supposed to be Here (Hex Hector's Club Mix) Debby Holiday - Dive (Chis Cox Club Anthem) Christina Aguilera - Beautiful (Peter Rauhofer Mixshow) Angie Stone - Wish I Didn't Miss You (Hex Hector & Mac Quayle Club Mix) Anastacia - I'm Outta Love (Hex Hector Main Club Mix) Bruce Roberts feat. Elton John & Kristine W - When The Money's Gone (Warren Rigg Euro Mix)

I can't of no better way to wind this site down than with a new addition to the Pride Classics series.  It's been a long while since I originally posted the 5-set podcast, which I performed some minor updating to last year but it still needed more.  Bigger, better, faster ...HARDER! Things start off with Linda Eder's version of "I Am What I Am" from La Cage Aux Folles.  This song was/is a rallying cry for the gay community originally made famous by Gloria Gaynor in 1983.  Though I didn't use Gloria's version, a 2013 re-work of her other gay anthem "I Will Survive" does appear here and fits nicely with the late 90s early millennium vibe of this set. While the majority of these songs have appeared at one time or another in past sets, the one song I could never get worked in is the closing number.  The original Bruce Roberts, Elton John and Kristine W version of "When the Money's Gone" is one of my ALL-TIME favorites.  The only version of this song that exists is in a continuous mix; one for the Junior Vasquez "White Party Album" and the other from some obnoxious "Gay Anthems" mix album.  I was finally able to mix it in with the cold ending of "I'm Outta Love" and just added a blast sound effect for the cold-ending of the song that was about to mix into another song from which it was taken.  Not to go on and on about this but I'm tickled I finally got it to work. Some of you have sent me a note indicating you tried to make a donation from the site but for some reason it wouldn't allow you.  Usually, you have to turn off your pop-up blocker in your browser for it to work.  If you prefer, you can send your donation via PayPal to info@partyfavorz.com.  I need to raise $60 (I already got $10) by the 17th to keep the site up.  Otherwise, I'll just keep the name and drop everything else.  I'm freaking dirt poor at the moment and this is the only way to keep things moving.  If it doesn't happen, then it doesn't happen.  It's been a good ride and frankly I'm pleased with what I have achieved, so no regrets. I want to wish everyone a very happy Pride, this IS our year! Peace Out and as always ...ENJOY! -K Album : Unspeakable Joy | Pride Classics Artists : Various Genre : Circuit, House Length : 1:52:41 Linda Eder - I Am What I Am (Lenny B's Too Much Drama Club) Suzanne Palmer - Muscles (Club 69 Future Mix) Jennifer Lopez - Alive (Thunderpuss Club Mix) Lamya - Empires (Illicit Siren Mix) Kim English - Unspeakable Joy (Razor 'n' Guido Vocal Mix) Celine Dion - I Drove All Night (Hex Hector Extended) Lara Fabian - I Will Love Again (Thunderpuss Club Mix) Laura Pausini - I Surrender (Mike Rizzo Global Club Mixshow Edit) Destiny's Child - Independent Women Part I (Victor Calderone Club Mix) Kristine W - Feel What You Want (Junior's NY Xtended Vocal) Whitney Houston - It's Not Right But It's Ok (Thunderpuss 2000 Mixshow) Gloria Gaynor - I Will Survive 2013 (Pink Ribbon Club Mix) Deborah Cox - Nobody's Supposed to be Here (Hex Hector's Club Mix) Debby Holiday - Dive (Chis Cox Club Anthem) Christina Aguilera - Beautiful (Peter Rauhofer Mixshow) Angie Stone - Wish I Didn't Miss You (Hex Hector & Mac Quayle Club Mix) Anastacia - I'm Outta Love (Hex Hector Main Club Mix) Bruce Roberts feat. Elton John & Kristine W - When The Money's Gone (Warren Rigg Euro Mix)

 Mark McLean had a single criterion when it came time to expand his horizons beyond the groove and record his long awaited breakout as a powerhouse composer and lyricist: it had to: Feel Alright. Feel Alright is the follow-up to McLean’s acclaimed 2010 indie recording Playground, an all-instrumental showcase for his band of the same name whose tracks earned significant airplay on both traditional jazz and urban jazz stations. The new album is produced by Grammy winning engineer and producer Steve Bigas, well known for his previous work with Taj Mahal and Ziggy Marley and for his long association with Daniel Lanois. Since moving to New York in 1999 and raising his international profile with his several year association with jazz singer/pianist Andy Bey in 2000, McLean — a jazz performance graduate from the University of Toronto who played at age 22 with fellow Canadian and jazz icon Oscar Peterson - has kept time in the studio and/or on tour with a virtual “who’s who” of jazz and pop artists whose music and influences spans multiple generations. These include Wynton Marsalis, Quincy Jones, Gladys Knight, Diana Krall, Glen Campbell, Carla Cook, Linda Eder, Jimmy Webb, Vanessa Williams, Patti Austin, Gladys Knight, Joe Sample, Jamie Cullum, Andrea Bocelli, Catherine Russell, Dionne Warwick and The Backstreet Boys.

Recap of the 2010 Steve Chase Humanitarian Awards, to benefit the Desert Aids Project. The event was hosted by Stephanie Powers and Richard Chamberlain. Entertainment by Linda Eder, Jennifer Holiday and Roslyn Kind. Appearances by Diahann Carroll, Linda Gray, Morgan Fairchild and Donna Mills. Also discussed new book The Color of Style, by David Zyla.

This week's show will include a preview of the 2010 Steve Chase Humanitarian Awards, to benefit the Desert Aids Project (DAP) of Palm Springs. The annual event will be held at the Palm Springs Convention Center on Saturday, February 27, it will be hosted by Stephanie Powers and Richard Chamberlain, with Linda Gray, Morgan Fairchild, Donna Mills and Diahann Carrol. The evening features Bob Mackie, Ann-Margret, Jennifer Holliday, Roslyn Kind, Linda Eder, and other celebrities yet to be announced! It attracts as many as 1,600 prominent attendees from across the country who want to help us recognize the achievements of people who are making a lasting impact in the fight against HIV/AIDS. It is one of the major annual charity fundraiser events held in the Palm Springs valley and continues to attract major celebrities to the desert community.

She is widely regarded as this generation's Streisand, and her gloriously angelic five-octave range seems to know no bounds. Best known for her triumphant run in Broadway's "Jekyll and Hyde," she has just released her latest album --- "Soundtrack," a terrific collection of her favorite movie tunes --- and now, the amazing LINDA EDER is stopping by Brandon's Buzz to discuss her newest project and her spectacular career.

A sober evening chat with Matty about his damn feelings again.  WAAAA lookit me, when I'm not drinking I feel things and they affect me...End Song: Don't Rain on My Parade performed by Linda Eder

ThinkTank, Linda Eder, and more. Chicago's Theatre News is hosted by Dustin Mote.