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4 episodes with Marin Mazzie
3 episodes with Marin Mazzie
2 episodes with Marin Mazzie
3 episodes with Marin Mazzie
2 episodes with Marin Mazzie
4 episodes with Marin Mazzie
2 episodes with Marin Mazzie
2 episodes with Marin Mazzie
2 episodes with Marin Mazzie
Send us a textJam Fam, you are in for a treat today! Today's episode is one of living your best life, following your dreams, advocating for yourself and doing things that make you feel good. We so lucky to have Kimberly Marable with us today, currently starring on Broadway in Chicago!Kimberly Marable has spent over 15 years as a working actor. Her Broadway appearances include CHICAGO (Velma Kelly), THE LION KING (u/s Nala, Shenzi, Sarabi) and SISTER ACT (u/s Deloris van Cartier). She was an original cast member of the TONY and GRAMMY Award winning musical HADESTOWN on Broadway where she understudied Persephone and a Fate. Her National and International Touring credits include HADESTOWN (Persephone), THE BOOK OF MORMON, SISTER ACT (standby Deloris van Cartier), DREAMGIRLS, HAIRSPRAY, and THE WEDDING SINGER (u/s Linda). Kimberly has performed at regional theaters including The Guthrie Theater in Minneapolis, The Signature in Arlington, VA and Arkansas Repertory Theatre ("The Rep") in Little Rock, AR; and has participated in the pre-Broadway development of HADESTOWN, PAL JOEY with Marin Mazzie & Patina Miller, and THE WANDERER with NKOTB's Joey McIntyre, which made its world premier at Papermill Playhouse. She has appeared on CBS' FBI & BULL, NPR Music's Tiny Desk Concert series, and numerous television specials, including the 85th & 93rd Annual Macy's Thanksgiving Day Parades and the 73rd Annual TONY Awards. Kimberly is the voice of Lorelai in the Netflix Anime series, CANNON BUSTERS and does promotional voice overs for various tv networks. Born and raised in Brooklyn, NY, Kimberly earned a Bachelors of Arts degree in Theater modified with Sociology from Dartmouth College. She was an adjunct professor for the Theatre Program at Drexel University. In 2012, Kimberly co-founded Broadway Serves, an affiliate program of Broadway Cares/Equity Fights AIDS, which provides theater professionals with community service opportunities. She serves as the Vice Chair on the Advisory Committee for the Entertainment Community Fund's Looking Ahead program, is on the Entertainment Community Fund's Human Services Committee, and serves on the Board of Trustees for Broadway Cares/Equity Fights AIDS.We hope you enjoy today's conversation with the incredibly talented, Kimberly Marable.Thank you for listening Jam Fam! Make sure you follow us across social media and don't forget to like and subscribe anywhere you listen to your favorite podcasts!Facebook: JAM Joe and Michelle's Dance PodcastInstagram: jam_dance_podcastTwitter: @jamdancepodcastEmail: jamdancepodcast@gmail.com
Immigration, capitalism, feminism, intersectionality, and the civil rights: this musical has it all! Flaherty & Ahren's 1998 musical Ragtime is a big, expensive show with lots of plot (never Peter's strong suit) – but we love this musical and what it has to say about kingdoms of power and the kingdom of God. _________________________________________ Peter & Nathan make some highly controversial claims: – "Ragtime" is the greatest opening number in Broadway history. – "Daddy's Son" – Nobody sings this like Broadway's GOAT, Audra Ann McDonald. Nathan will fight you on this. – "Henry Ford" & "Wheels of a Dream" – Is Ragtime just an extended commercial for Ford? And we wonder together about hearing "New Music," listening for resurrection, and what it means to live faithfully "‘Til We Reach That Day." _________________________________________ You'll hear Brian Stokes Mitchell, Audra McDonald, Marin Mazzie, Peter Freidman, Judy Kaye and the cast of the 1998 Original Broadway Cast. _________________________________________ Never miss an episode! Sign up for our email list to get updates when new episodes are released, info about upcoming special events, and more. _________________________________________ Check out some of our all-time favorites! Phantom of the Opera Joseph and the Amazing Technicolor Dreamcoat Jesus Christ Superstar! Schmigadoon! (Season 1 / Season 2) West Side Story! Yentl! Frozen! Barbie!
In this week's episode, Patrick and Tommie applaud a dog named Gita, yodel with the New Guinea Singing Hound, remember John Lennon and Marin Mazzie on their birthday, get chill over The Iceman Cometh, share some moldy cheese with Leif Erickson, find Trump's statements about immigrants and genes a little too Nazi for their taste, rescue the truth about FEMA's hurricane relief, Patrick reviews the new Francis Ford Coppola film Megalopolis, they aim their Jewish space lasers at Marjorie Taylor Greene's weather control claims, and name their favorite John Lennon songs (well, Patrick does anyway).
"Ragtime: The Musical," with music by Stephen Flaherty, lyrics by Lynn Ahrens, and a book by Terrence McNally, is based on the 1975 novel of the same name by E.L. Doctorow. It's two-and-a-half hours of intense beauty and heartbreaking grief, and frankly, all three of us choked up a little while recording this episode. The (incredibly intricate) plot follows the intersecting lives of three groups in the early 20th century: African Americans, upper-class white suburbanites, and Eastern European immigrants. Set against the backdrop of New York City, the story delves into themes of racial tension, social upheaval, and the pursuit of the American Dream, weaving vibrant, moving music with compelling narratives. The characters navigate love, loss, racism, feminism, and the evolving landscape of a dysfunctional nation in flux, all while singing some of the most gorgeous lyrics and music that ever flowed from Ahrens and Flaherty's pens. (And somehow we managed to squeeze in a tribute to the amazing Marin Mazzie, too!) So get yer hanky ready -- it's time to dust off this musical gem and explore the masterpiece that is "Ragtime: The Musical." *We'd love to hear from you! Contact us any time on our Facebook or Instagram page.*
We can never go back to before but we can celebrate the memory of someone who continues to teach us about authenticity and bravery. Marin Mazzie was such a magical singer/actress and gift to musical theatre who, in battling the challenge of ovarian cancer, taught us about the power of healing therapy and that amid life's ups and down, the world goes round.
Donna knows best! We are joined by actor and singer Donna Murphy. You Might Know Her From The Gilded Age, Tangled, Center Stage, Spiderman 2, and Broadway productions of Wonderful Town, The King & I, Passion, and Hello, Dolly! We were in long pursuit of Donna and were pleased as punch to chat with her about finding her dancer posture for Center Stage, the Joni Mitchell mishap that almost stood in the way of Mother Gothel, and how Mrs. Asher is the Mort Guffman of The Gilded Age. All that, plus how she covered for Audrey in Little Shop for one night only, dying every night on stage for Passion, and the incredible highs and lows of playing Dolly Levi as the alternate to Bette Midler in the recent Hello, Dolly! revival. Wonderful woman! Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this week Burt Bacharach and Raquel Welch died this month Dick Van Dyke was on The Masked Singer Nicole Scherzinger sings with multiple Phantoms of the Opera NJ's version of Punxatawney Phil (Mel) died Warren Beatty doing Dick Tracy on TCM this past week (“IP squatting” Parker Posey onstage in new play The Seagull/Woodstock, NY Foo Fighters “Everlong” Drag queen Orion Story SPICE GIRLS IN ORDER OF BEST SINGERS: 1) Sporty 2) Baby 3) Scary 4) Ginger 5) Posh We love “I Wanna Be Like You” by Louis Prima Damian's mom slept in a bald cap as Mini-Me for a work Halloween party Donna Murphy will be starring in Dear World in March 2023 Plays Mrs. Astor in The Gilded Age Starred in 2003 Broadway revival of Wonderful Town Watch Donna sing: “100 Easy Ways to Lose a Man” Betty Comden and Adolph Green wrote the song Has big song as Mother Gothel in Tangled, “Mother Knows Best” Auditioned with “Last Midnight” from Into the Woods Auditioned for the Witch in the OBC and then as a Baker's Wife replacement Finally performed The Witch at the Delacorte in Central Park 2012 Played many age transitions in The People in the Picture Fosca's first song in Stephen Sondheim's Passion, “I Read” Played Tuesday nights only for the Bette Midler Hello Dolly in 2017 in the wake of her own husband's death Was in negotiations to play Elizabeth Arden in War Paint (opposite Patti LuPone) while her husband, Shawn Elliott was dying (2017). She was simultaneously acting in PBS' Mercy Street Was up for the mother role in The Marvelous Mrs. Maisel (played by Marin Hinkle) Scott Rudin, the producer of Hello Dolly, did not treat Donna well. Scott Rudin scandal YMKHF interview with Broadway's original Minnie Fay, Sondra Lee (Episode #38) Played ballet teacher, Juliette Simone in Center Stage (directed by Nicholas Hytner) Stella Adler was more terrifying than Stephen Sondheim Brooke Shields got a re-recording of the Wonderful Town Broadway revival The Sondheim 80th Birthday Celebration Concert (directed by Lonny Price) Donna doing “Could I Leave You?” from Follies with other divas onstage: Patti LuPone, Marin Mazzie, Audra McDonald, Bernadette Peters, Elaine Stritch David Hyde Pierce doing “Beautiful Girls” intro Donna approached Mandy Patinkin after the 80th Birthday Concert to tell him how much he meant to her Died a great death in Spiderman 2 (@4:54 mark) Donna telling the Little Shop story to Alan Menken Barbra directing Daisy Ridley and Anne Hathaway in her Malibu home studio Barbra's autobio is going to be over 1000 pages, thank god Lainie Kazan full interview (Episode #29) Lainie Kazan/Fanny Brice on The Barbra Archives (scroll halfway down the page to find)
And people called it Ragtime . . . we celebrate the unique syncopation of this score. Brian Stokes Mitchell, Audra McDonald, Marin Mazzie and more.
SHOWS: Merrily We Roll Along, She Loves Me, Curtains David Loud occupies a unique place in Broadway history: in addition to his distinguished body of work as a music director and vocal arranger, he has also originated three roles as an actor. He most recently served as Music Director for the Broadway premiere of The Visit, starring Chita Rivera and Roger Rees. Other credits include the original Broadway productions of The Scottsboro Boys, Sondheim on Sondheim, Curtains, Ragtime, A Class Act, Steel Pier, and revivals of Porgy and Bess, She Loves Me, Company, and Sweeney Todd. He originated the role of Manny in Terrence McNally's Master Class (starring Zoe Caldwell), played Sasha (the conductor) in Curtains, and made his Broadway debut in Harold Prince's original 1981 production of Stephen Sondheim's Merrily We Roll Along. Off-Broadway, David created the vocal and dance arrangements for Kander & Ebb's And the World Goes ‘Round. He has created arrangements for Marin Mazzie, Jason Danieley, Audra MacDonald, Victoria Clark, Paulo Szot, Liz Callaway, Betty Buckley, and Barbara Cook. He conducted the incidental music for Mike Nichols's revival of Death of a Salesman and collaborated with Wynton Marsalis and John Doyle on A Bed and a Chair, a jazz interpretation of Sondheim's music. Other recent projects include The Land Where the Good Songs Go, a concert of Jerome Kern songs at Merkin Concert Hall; First You Dream, a concert of Kander & Ebb songs that was broadcast on PBS; and three programs in the 92nd Street Y's Lyrics and Lyricists series: On A Clear Day: The Musical Vision of Burton Lane, Taking a Chance on Love: The Music of Vernon Duke, and A Good Thing Going: The Stephen Sondheim and Harold Prince Collaboration. He is a graduate of Yale University and has been on the faculty of the Yale School of Drama and Fordham University. Learn more about your ad choices. Visit megaphone.fm/adchoices
THE FANTASTICKS COMPOSER: Harvey Schmidt LYRICIST: Tom Jones BOOK: Tom Jones SOURCE: Edmond Rostand's play Les Romanesques (1894) DIRECTOR: Word Baker PRINCIPLE CAST: Rita Gardner (Luisa), Kenneth Nelson (Matt), Jerry Orbach (El Gallo) OPENING DATE: May 3, 1960 CLOSING DATE: January 13, 2002 PERFORMANCES: 17,162 SYNOPSIS: Matt and Luisa are two star struck lovers separated by a wall their feuding fathers erected. They escape the confines of their homes and struggle to form a relationship based on trust and understanding. David Arthur examines the socio-political climate which allowed the intimate, off-Broadway musical The Fantasticks to become the longest-running show in American history. Abandoning a desire to adapt Les Romanesques as a cowboy-infused musical hoedown, Tom Jones and Harvey Schmidt delivered producer Lore Noto a lyrical folktale that took Greenwich Village by storm and was lauded by notable celebrities, if greeted stoically by major critics. The small cast musical with experimental subject matter paved the way for more commercially successful musicals to incubate in off-Broadway theatres, such as Little Shop of Horrors, Nunsense, and Hedwig and the Angry Inch. As a long-standing member of the Lehman Engel BMI workshop, he is the recipient of the Jerry Harrington Award. In addition to writing the book and lyrics for the NYMF award winning, ABOUT FACE with music by Jeffrey Lodin, David along with Brian Lasser, contributed material to the MAC award winning revue, HERE'S TO OUR FRIENDS. For the concert stage he has written for Randy Graff, Judy Kuhn, Karen Mason, Marin Mazzie, Donna Murphy, and Barbara Walsh. Along with the music, lyrics and book for SARATOGA TRUNK SONGS, current projects include the book and lyrics for NOBODY SLEEPS WELL IN CASABLANCA with music by Douglas J. Cohen, and the book and lyrics for ODDLY ENOUGH with music by Mary Feinsinger, along with a new piece, SPEAK OF THE DEVIL with book, music and lyrics by David Arthur. SOURCES The Fantasticks, Original Cast Recording, MGM (1960) The Fantasticks by Tom Jones and Harvey Schmidt, published by Applause Libretto Library (2000) The Fantasticks starring John Davison and Susan Watson, directed by George Schaefer, NBC (1964) The Fantasticks starring Jean Louisa Kelly and Joey MacIntyre, directed by Michael Ritchie, United Artists (2000) Try To Remember: The Fantasticks starring Tom Jones and Harvey Schmidt, directed by Eli Kabillio, Zeitgeist Films (2003) The Amazing Story of The Fantasticks: America's Longest Running Play by Donald C Farber and Robert Viagas, published by Citadel Press (1991) Learn more about your ad choices. Visit megaphone.fm/adchoices
About the Guest David Loud (NYC) occupies a unique place in Broadway history. In addition to his distinguished career as one of Broadway's most respected music directors and arrangers, he originated three Broadway roles as an actor, including his appearance in the original cast of Stephen Sondheim's legendary failure (and cult classic) Merrily We Roll Along, directed by Harold Prince. In a career spanning several decades, he served as music director for the original Broadway productions of Ragtime, Curtains, Sondheim on Sondheim, The Visit, The Scottsboro Boys, A Class Act, The Look of Love, and Steel Pier, as well as revivals of She Loves Me, Company, and Swehttps://www.parkinson.org/rence McNally's Tony-winning play, Master Class. The extraordinary cast of characters in his life also includes John Kander, Fred Ebb, Angela Lansbury, Chita Rivera, Roger Rees, Marin Mazzie, Scott Ellis, Jerry Bock, Sheldon Harnick, Garth Drabinsky, and Barbara Cook, among others. Links https://www.simonandschuster.com/books/Facing-the-Music/David-Loud/9781682451915 (Facing the Music Publisher Page) https://www.parkinson.org/ (Parkinson's Foundation) Music Credit Opening written and performed by Huck Borden. Instagram @huck_borden. Connect with Us Facebook @beltlinetbroadway Twitter @beltlinetobway Instagram @beltlinetobroadway
This week on the podcast I'm talking with Broadway Musical Director and Conductor, David Loud. David tells me about his 34 years on Broadway, the magic of theatre and music "in the room" with someone. He talks to me about working with some of the best, including Stephen Sondheim. And how rewarding the teaching he's doing now is.David tells me about the energy of being in the middle of everything while conducting on Broadway, and how the best collaborating happens when everyone makes the same show. We talk a lot about being grateful during the hardest things in life and David tells me about being diagnosed with Parkinson's Disease and the peace he has found since. David is releasing his memoir Facing the Music in February 2022 be sure to check that out. Great, special chat this week.Music by GuustuuvThis episode was sponsored by Him&HerAbout Facing the Music:https://www.simonandschuster.ca/books/Facing-the-Music/David-Loud/9781682451915FACING THE MUSICBy David Loud"Beautifully written, filled with vivid details, braided withlove and loss and wit and the perspective of someone withan utterly unique story to tell."-- Lynn Ahrens, lyricist(Ragtime, Seussical, A Man of No Importance)Experience Broadway musicals from a new perspective – from theconductor's podium.David Loud occupies a unique place in Broadway history. In additionto his distinguished career as one of Broadway's most respected musicdirectors, he originated three Broadway roles as an actor, including hisappearance in the original cast of Stephen Sondheim's legendary failure(and cult classic) Merrily We Roll Along, directed by Harold Prince. In acareer spanning several decades, he served as music director for the originalBroadway productions of Ragtime, Curtains, Sondheim on Sondheim, TheVisit, The Scottsboro Boys, and Steel Pier, as well as revivals of She Loves Me,Sweeney Todd, Company, and Porgy and Bess. And he appeared alongsideZoe Caldwell and Audra McDonald in Terrence McNally's Tony-winningplay, Master Class.FACING THE MUSIC is David Loud's poignant and hilarious memoirof his extraordinary adventures conducting Broadway shows, rubbingshoulders with John Kander, Fred Ebb, Audra McDonald, StephenSondheim, Harold Prince, Angela Lansbury, Chita Rivera, Roger Rees, ZoeCaldwell, Marin Mazzie, Jerry Bock, Sheldon Harnick, Garth Drabinsky, andBarbara Cook, among others.It is also a look at his path to the podium, from his one-of-a-kindchildhood (a stage-struck kid growing up at a school devoted to organicfarming and mountain climbing), to formative experiences at a NewEngland prep school and Yale University. His coming out as a gay man andhis diagnosis as a person with Parkinson's Disease, combined with hisextraordinarily entertaining backstage anecdotes, make for a riveting look atwhat it means to live, love, and make music in the rarefied air of Broadway.“Luminous and surprising, an extremely honest memoir of alife lived in the world of Broadway musicals, by one of thetheatre's most gifted conductors. I can't think of anotherbook quite like it.”-- John Kander, composer(Cabaret, Chicago, New York, New York)
Native of the small town of Gastonia North Carolina, T. Oliver has been performing since he could walk and talk. The youngest of 4 children…he began singing in the choir of St. Stephen's AME Zion church, as part of a very musical family. By the age of nine he had terrorized his family enough by singing the entire cast recording of “Annie” every afternoon and soon found himself on the stage of The Little Theater of Gastonia in the musical, “Shenandoah”, T. Oliver performed throughout his childhood and adolescence, with the guidance of George Gray, Andrew Millard, Mark Hyde, Rebecca Rhyne, Debbie Rhyne and Trip McGill. After Graduating from high school, he was awarded a scholarship, talent based of course, to The University of North Carolina School of the Arts. Two days after graduating with a Bachelor's degree in Music, he began work on the 2nd National tour of “Once On This Island” then “Guys & Dolls” before making his way to New York City and Broadway. His Broadway credits include, “Chicago”, “Kiss Me Kate”, “Follies”, “Thoroughly Modern Milllie”, “Never Gonna Dance”, “La Cage Aux Folles”, “The Wedding Singer”, “Mary Poppins”, “Damn Yankees” and the 25th Anniversary concert of “Dreamgirls”. T. Oliver has been lucky enough to work with some of the Great White Way's brightest and best performers including… Chita Rivera, Bryan Stokes Mitchell, Jane Krakowski, Karen Ziemba, Blythe Danner, Judith Ivey, Marin Mazzie, Sutton Foster, and Robert Goulet. Black Theater Coalition: https://blacktheatrecoalition.org/ The Caring Economy made it onto FeedSpots Top 30 CSR Podcasts Don't forget to check out my book that inspired this podcast series, The Caring Economy: How to Win With Corporate Social Responsibility (CSR). --- Support this podcast: https://anchor.fm/toby-usnik/support
Lea Michele breaks down her time on Broadway and what she has learned over the past year on this weeks LITTLE ME: Growing Up Broadway! Broadway/TV/film star and recording artist, Lea Michele sits down with Little Me host and Broadway Workshop director, Marc Tumminelli in a very special episode of LITTLE ME: Growing up Broadway. Lea shares the backstage stories of her early career and reflects on what it means for her to come back to Broadway for the one night Actor's Fund concert of Spring Awakening. She reflects on her Broadway memories of making her Broadway debut at 8 years old in Les Miserables, her memories of working with Marin Mazzie, her undying friendship with Johnathan Groff, Audra McDonald teaching her how to sing, Peter Friedman taking her to the TONY Awards, her high school musicals, performing in the Fiddler on the Roof revival, her Glee experience, her almost playing Eva in Evita on Broadway, Ryan Murphy constantly challenger her, her new album - FOREVER, being a new mom and her thoughts the upcoming revival of Funny Girl. Produced by Marc Tumminelli and The Broadway Podcast Network. https://leamichele.com/ Learn more about your ad choices. Visit megaphone.fm/adchoices
Dylan and Connor are joined by Tony Award nominee Carmen Cusack (Bright Star, Wicked, Flying Over Sunset). Listen in as they discuss post-Tonys thoughts, Slave Play returning to Broadway, Designing Women, playing Elphaba in a snowstorm, honoring Marin Mazzie, Carmen's illustrious resume, her hot husband Paul, originating Alice Murphy in Bright Star, being nominated for a Tony, Doris Day, Idina and Kristin healing onstage singing “For Good,” personal trainers, Grace & Frankie, and MORE. See Carmen this fall in her solo show “Baring All” at Feinstein's/54 Below and on Broadway in Flying Over Sunset.Follow Carmen on Twitter & InstagramGet tickets to Carmen's new concert at Feinstein's/54 Below on 10/22 & 10/24 here! Follow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanHERE is where you find official DRAMA. merch!SUBSCRIBE TO OUR PATREON HERE! Be the first to get our new merch, hear bonus episodes, and more!Please subscribe on Apple Podcasts, rate us 5 stars, and leave a kind review!
Welcome back to the Stage Door! This week, I'm joined by the brilliant Ben Davis. Some of Ben's MANY Broadway credits include Les Miserables, Violet, Thoroughly Modern Millie, La Boheme, and Dear Evan Hansen in addition to national tours, concert work, tv and film. Join us this week as we chat about drones, pizza, and the hike that nearly killed me in Woodstock, NY (Kind of kidding?) Ben shares some beautiful stories about his father, the simple yet profound life-advice he gave, and the one message Ben's father wouldn't let up on until I shared it aloud. Truly, the impact of what I shared with Ben that day didn't even fully click until we met again for our interview. We also chat about Marin Mazzie's legacy, competition within the Mediumship community, as well as discuss different careers, ego checks, and why we shouldn't be trying to quantify the work we do!Make sure to check out Ben's account Instagram: @thisbendavisbenjaminjaydavis.comLearn more about mediumship or book a reading with me!Instagram: @stagedoormedium stagedoormedium.comEditing and graphics:Instagram: @davidraydesign davidraydesign.comWatch on Instagram & YouTube
Connor and Dylan are joined by Heléne Yorke (The Other Two, Bullets Over Broadway). Gay icons galore! Listen in as the girls discuss Little Mix, SoulCycle, being engaged to a hottie, being the original Campbell in Bring it On: The Musical, knee surgery, filming during a pandemic, Wicked, working with and honoring the late Marin Mazzie and Nick Cordero, the West Side Story revival teas, Heléne's legendary Michigan alumni pals, the impact of Sutton Foster, and embodying the hilarious and headstrong Brooke Dubek on The Other Two.Follow Heléne on Twitter and InstagramCelebrate the #SummerOfDRAMA with limited edition merchandise! Follow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by Connor MacDowellHERE is where you find official DRAMA. merch!SUBSCRIBE TO OUR PATREON HERE! Be the first to get our new merch, hear bonus episodes, and more!Please subscribe on Apple Podcasts, rate us 5 stars, and leave a kind review!
"RAGTIME" es uno de los últimos grandes musicales estrenado en Broadway. Grande en cuanto a la historia que nos cuenta. Todo un fresco de la ciudad de Nueva York a principio del siglo XX en la que conviven tres colectivos: los blancos de buena posición, la comunidad negra y los ríos de inmigrantes que llegan a la ciudad desde todas partes en busca de un futuro mejor. Un musical coral como el retrato que hace. Todo un desafío para la pareja de compositores Stephen Flaherty y Lynn Ahrens que aceptaron el reto de construir este costoso musical con el que se pretendía recuperar la hegemonía de los musicales americanos en Broadway frente a los llegados desde Inglaterra que eran los más demandados por el gran público. Para el podcast hemos escogido el CD del original Broadway cast que reunía a algunos intérpretes que con el tiempo se han convertido en grandes estrellas del musical americano. Brian Stokes Mitchell es Coalhouse el pianista negro, Marin Mazzie es Madre, Peter Friedman es Tateh el inmigrante, Audra McDonald es Sarah la pareja de Coalhouse, Judy Kaye es Emma Goldman, Mark Jacoby es Padre y Lea Michele es la hija de Tateh. Espero te guste 00h 00'00" Ragtime piano solo 00h 02'48" Presentación 00h 04'28" Cabecera 00h 05'35" Inicio 00h 07'08" Prologue: Ragtime 00h 17'20" Goodbye my love 00h 19'14" Journey on 00h 24'00" Crime of the century 00h 27'29" What kind of woman 00h 31'09" A shtetl iz Amereke 00h 32'23" Success 00h 38'07" His name was Coalhouse Walker 00h 41'00" Gettin' ready rag 00h 42'20" Henry Ford 00h 44'38" Nothing like the city 00h 47'40" Your daddy's son 00h 52'07" The courtship 00h 55'08" New music 00h 59'45" Wheels of a dream 01h 04'31" The night that Goldman spoke at Union Square 01h 07'45" Gliding 01h 12'42" The trashing of the car 01h 13'57" Justice 01h 16'59" President 01h 18'38" Til we reach that day 01h 23'52" Entr'acte 01h 25'01" Houdini, master escapist 01h 26'03" Coalhouse Soliloquy 01h 27'39" Coalhouse demands 01h 32'10" What a game 01h 35'49" Fire in the City 01h 36'41" Atlantic City 01h 42'35" Buffalo Nickel Photoplay, Cia. 01h 45'37" Our children 01h 49'43" Harlem Nightclub 01h 50'15" Sarah Brown Eyes 01h 52'49" He wanted to say 01h 56'52" Back to before 02h 01'50" Look what you've done 02h 07'50" Make them hear you 02h 11'28" Epílogue: Ragtime / Wheels of a dream (Reprise) 02h 15'19" Curiosidades 02h 18'15" Ragtime suite instrumental
ASHLEY PARK is a Tony Award nominated actress, currently starring as “Mindy” in the hit television series Emily in Paris. For her performance, she became the first Asian American Actress to receive a Critics' Choice Nomination for “Best Supporting Actress in a Comedy Series.” She will next appear in Bleecker Street's upcoming feature Mr Malcom's List. On stage, Park is perhaps best known for originating the role of “Gretchen Wieners” in the Broadway production of Tina Fey's Mean Girls. In addition to her Tony nomination, she received Drama League, Drama Desk, Outer Critics Circle and Chita Rivera Award nominations for her performance in Mean Girls. That same season, Park garnered critical acclaim for starring as “Mwe” in KPOP, for which she won the esteemed Lucille Lortel Award for Lead Actress in a Musical and was nominated for her second Drama League and Drama Desk Awards of the season. Other Broadway credits include: Grand Horizons; Mamma Mia!; The King and I; and the recent revival of Sunday in the Park with George. On television, Park reunited with Tina Fey for Peacock's new hit series GIRLS5EVA and was previously seen in the critically-acclaimed Netflix limited series Tales of the City. Other television credits include Apple TV+'s Helpsters and PopTV/Lionsgate Television's Nightcap. Park is the proud recipient of Actor Equity Association's 2018 Clarence Derwent Award, and in 2019 was honored with the inaugural Marin Mazzie Award for Empowerment by the Cancer Support Community. Her outreach as a social activist and a cancer survivor has stayed important to her through her dedicated work and support of service organizations such as the Make-A-Wish Foundation and Broadway Cares Equity Fights AIDS. Park graduated from the University of Michigan with a BFA in Musical Theater.Weekly Round-Up:Listen to the Still Processing podcast episode with Cathy Park Hong.Read the Harvard Business Review article, “To Dismantle Anti-Asian Racism, We Must Understand Its Roots” by Lily Zheng.Listen to Krista Tippett's On Being podcast episode, “A Life Worthy of Our Breath” with Ocean Vuong.Watch highlights of the late Marin Mazzie in The King and I, which she starred in with Ashley.
RAGTIME Book by Terrence McNally | Music by Stephen Flaherty | Lyrics by Lynn Ahrens | Based on “Ragtime” by E.L. Doctorow Episode Segments:2:12 - Speed Test5:06 - Why God Why10:43 - Back to Before14:14 – Putting It Together28:12 - What's Inside49:26 - How Do You Solve a Problem Like Maria?1:15:34 - Our Favorite Things1:24:54 - Corner of the Sky1:28:10 – What Comes Next?Works Consulted & Reference :Ragtime (Original Libretto) by Terrence McNallyRagtime by E.L. DoctorowRagtime: The Making of a Musical in “The Cultural Critic” by Steve Cohen Great Performances: Creating Ragtime (PBS – 1998)Stars in the House: Ragtime ReunionThe Making of a Musical: Ragtime at The Kennedy CenterSingular Sensation: The Triumph of Broadway by Michael RiedelMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Your Daddy's Son” from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Audra McDonald"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff
By 2012, over two decades had passed since Carrie the Musical’s high-profile Broadway car crash, and the last thing its creators wanted was to resurrect the show that haunted them. But the requests for a revival kept coming in. We find out why Director Stafford Arima was determined to give the show a new life, and how he persuaded the writers to give Carrie another chance in a smaller, tighter new production (with not a unitard or giant staircase in sight). We meet two of the stars of that ‘revisal’, Molly Ranson and Carmen Cusack, and speak to award-winning vocal designer AnnMarie Milazzo about how she reinvented the sound of Carrie for a new generation. Is it possible to shake off the reputation of a show that’s known as a complete disaster? And can you really do Carrie without the blood? Friends of Carrie - join us on our social channels: this week we shared some iconic exclusive photos from Linzi Hateley’s personal Carrie collection! Instagram Facebook Twitter Out for Blood is hosted by Holly Morgan and Chris Adams, edited by Tom Moores, with original music by Odinn Orn Hilmarson and artwork by Rebecca Pitt. Out for Blood is a proud member of the Broadway Podcast Network. Thanks this week to Dean Pitchford, Stafford Arima, AnnMarie Millazzo, Molly Ranson, Carmen Cusack and Andrew Wachter. THIS WEEK’S LINKS: Stafford Arima is now the Artistic Director of Theatre Calgary, in Alberta, Canada. The Carrie ‘revisal’ was produced and staged by MCC Theater The iconic Marin Mazzie as ‘Mother’ in ‘Ragtime’ Footage from the Carrie revisal on Playbill.com and the official cast recording on Spotify The New York 1 review of the show Please note that we don’t own any of the content above and we’re not responsible for the content of third-party links – enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices
This week Mackenzie and Autumn journey on in their Model T as they discuss the turn of the century musical Ragtime! Hear them discuss why this musical should have won Best Musical over The Lion King. They sing the praises of the late great Marin Mazzie who originated the role of Mother. Find out why both Mackenzie and Autumn agree that this musical deserves a movie musical adaptation and who they could cast in it. All of this plus two ships passing at a distance, through the darkness on this Friday's all new episode of the podcast! Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. Facebook Instagram Twitter
Collaborating with Stephen Schwartz to update "Working" for modern audiences, Peter breaks down their process and the challenges that make this virtual production so timely. Thank you for taking the time to listen to our chat with Peter Flynn! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! About Peter Flynn: Peter is a New York based director, writer and teacher who works both in new work development, as well as staging classic American musicals in New York and for some of the most notable regional theaters. His New York directing credits include the off-Broadway premiere of Smart Blonde by Willy Holtzman starring Andréa Burns; the off-Broadway premiere of Curvy Widow by Bobby Goldman & Drew Brody; Rhapsody in Seth starring Seth Rudetsky; Lee Blessing's Two Rooms; the 75th Anniversary performance of Thornton Wilder's Our Town with Adriane Lenox, B.D. Wong, S. Epatha Merkerson; On the 20th Century with Douglas Sills & Marin Mazzie; Chess with Josh Groban & Julia Murney; Funny Girl with Bebe Neuwirth, Whoopi Goldberg, & Andrea Martin; Skippyjon Jones, and Junie B. Jones (nominated for two Lucille Lortel Awards including Best Musical). Other credits include Andrea Martin's one woman show, Andrea Martin: Final Days Everything Must Go; Katori Hall's The Mountaintop; Gypsy at the St. Louis MUNY; Kiss Me, Kate for the Maltz-Jupiter Theatre where he has directed productions of Man of LaMancha (Carbonell Award, Best Director & Best Musical), Sleuth, & Other Desert Cities; and Into the Woods & Ragtime (Helen Hayes nomination for Outstanding Direction for both productions) for Ford's Theatre where he is an Associate Artist. As a writer, Peter is currently under commission to create the book for two new musicals: Lily, a musical adaptation of Edith Wharton's The House of Mirth, and Love of the Game, an adaptation of the Michael Shaara novella. Both are written with composer/lyricist Brooks Ashmanskas. Love of the Game is receiving its first workshop in New York, spring of 2020. He has also written the scripts for the Drama Desk Awards, the Second Stage Theatre Annual Gala, the Guthrie Theatre's 50th Anniversary Performance, and for industrials including Aztra-Seneca Pharmaceuticals. Peter was the Artistic Director of the Hangar Theatre in Ithaca, New York for five seasons, overseeing a variety of large scale productions, intimate plays, and the development of new work. He is also the Founding Artistic Director of the Perry-Mansfield New Works Festival in Steamboat Springs, Colorado. Peter also creates and directs award-winning entertainment for Carnival Cruise Lines, with music ranging from Motown, rock, disco, and Cuban/Miami fusion. He is currently creating his latest show with Carnival to debut on a new vessel in the fall of 2020. For Peter's teaching experience, please visit the “Teaching” page. Peter is a graduate of Northwestern University, and a member of SDC. Website: www.peterflynndirector.com --- Come say hi to us! Facebook: @PageToStagePodcast @BroadwayPodcastNetwork Instagram: @PageToStagePodcast @TheMaryDina @BrianSedita @BroadwayPodcastNetwork Twitter: @TheMaryDina @BwayPodNetwork Youtube: @PageToStagePodcast @BroadwayPodcastNetwork #PageToStagePodcast Learn more about your ad choices. Visit megaphone.fm/adchoices
In this special episode, Jose talks to Lynn Ahrens & Stephen Flaherty, the composers behind beloved musicals such as Ragtime, Once on This Island, and Anastasia. During the pause provoked by the pandemic, the duo went to their archives to put together a new album called Legacy: Two Song Cycles. The double album features previously unreleased demos split into two song cycles. The first is called 1859: A Farmer's Diary and features vocals by Jason Danieley and the great, late Marin Mazzie. The second, A Boy With a Camera, was inspired by photographs taken by Ahrens' father in the 1950s. It features vocals by Steven Pasquale and Sarah Uriarte Berry. The duo talked about why some songs never make it to the final version of the musical, and talk about what it means to look back at 37 years of work together. The episode includes a special appearance by Juju Nieto, a Dramaturgy student at Carnegie Mellon University who had some questions for the legendary music makers. Learn more about your ad choices. Visit megaphone.fm/adchoices
Our guest today is veteran actor Lee Wilkof, of Little Shop of Horrors, Assassins, Sweet Charity, She Loves Me, Holiday Inn, Kiss Me, Kate, and more. Tune in to hear him talk about the compliment that meant the most to him, taking on the chat boards (about Breakfast at Tiffany's), why he should've turned down Holiday Inn, why Michael Blakemore is a great director, the intense Little Shop rehearsal process, and working with Steve Martin, Nathan Lane, Stephen Sondheim, Sara Bareilles, Donna Murphy, Marin Mazzie, and more.
Ooky Spooky! This episode we're talking about the infamous and bloody... Carrie: The Musical! Join us as we discuss flaws in the original production, how Sue kinda sucks, and the importance of a story driven score. Resources/Performances Discussed: The Theatre Will Rock - Elizabeth L Wollman2015 Los Angeles Production - https://youtu.be/uqYXtKdfnw8 2015 Destruction - https://vimeo.com/181349698 Marin Mazzie - https://youtu.be/N1h8EBSAx8QAlice Ripley - https://youtu.be/a3w18W35XhkFollow us on Social Media!! @thispodwontrunaweek on instagram @thispodwontrun on twitter Hosts: Katlyn Shaw, @katlynwithak on all platforms Savannah-Lee Mumford @dntcallmesavannah on instagram and @dntclmesavannah on twitter This episode was edited by Sam Yeager.You can follow him @violentgarden on instagram
Today’s episode (in celebration of Countermelody’s first birthday!) picks up where the last one left off: more musicals, more opera (and operaish) singers! Excerpts from cast recordings, radio broadcasts, telecasts, and live performances highlight the work of singers who divided their time, to a greater or lesser extent, between the Broadway stage and the operatic stage. We begin with the great bass-baritones (Ezio Pinza, Cesare Siepi, Giorgio Tozzi, and José Van Dam) and move through the great Broadway (and sometime opera) baritones (Alfred Drake, John Raitt, Bruce Yarnell, Robert Trehy, Leslie Scott, Lawrence Winters, and John Reardon) with a nod to other opera singers who have also graced the Broadway stage (Helen Traubel, Shirley Verrett, Mona Paulee, Dorothy Sarnoff, Risë Stevens, Lee Venora, Camilla Williams, and Carol Brice). We then consider singers whose vocal abilities could easily have put them on the opera stage, had they chosen to so devote themselves (Alice Ghostley, Madeline Kahn, Barbara Cook, Florence Henderson, Judy Kaye, Lisa Vroman, Audra McDonald, Victoria Clark, Rebecca Luker, and the late Marin Mazzie). The episode also features tributes to two recently deceased divas (Gabriella Tucci and Christiane Eda-Pierre) as well as a spotlight on the gorgeous soprano Margaret Tynes, who just celebrated her 101st birthday. Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great singers of the past and present focusing in particular on those who are less well-remembered today than they should be. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” Occasional guests from the “business” (singers, conductors, composers, coaches, and teachers) lend their distinctive insights. At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford. Bonus episodes available only to Patreon supporters are currently available!
Hoy traemos a una excelente actriz y cantante, toda una mega estrella en los países de habla inglesa, pero bastante desconocida para el gran público, ajeno al mundo del teatro y al musical. Hoy en protagonistas damos un repaso a la vida y carrera de Audra McDonald. Estamos ante la mujer que ostenta el record con sus 50 años recién cumplidos de ser la persona que ha conseguido el mayor número de Premios Tony por su trabajo en los escenarios de Broadway, nada menos que SEIS y en todas las categorías a las que puede optar una actriz, tanto en teatro de texto como en el musical, pero no adelantemos acontecimientos. Vamos a comenzar como debe hacerse en todo, yendo paso a paso. Espero te guste la selección que hemos preparado de este extraordinaria intérprete que volverá en concierto al Teatro Real de Madrid el próximo Septiembre de 2021. 00h 00'00" I am what I am 00h 02'50" Presentación 00h 03'45" Cabecera 00h 04'37" DEBUT EN EL MUSICAL con RODGERS & HAMMERSTEIN 00h 06'17" Mister Snow 00h 09'49" If I loved you - con Josh Groban 00h 13'59" TEATRO DE TEXTO, MUSICAL y CINE 00h 15'17" Master class - con Zoe Caldwell 00h 17'48" Your daddy’s son 00h 21'27” You were meant for me 00h 24'11" GRABACIONES DE ESTUDIO y CONCIERTOS 00h 24'59" A little bit in love 00h 27'54" Tonight - con Mandy Patinkin 00h 31'45" Lloyd Webber Love Trio - con Marin Mazzie y Judy Khun 00h 38'48" RODGERS & HART y MICHAEL JOHN LA CHIUSA 00h 39'23" Beautiful / I Will love you 00h 43'59" Why can’t I? - con Dawn Upshaw 00h 47'40" ANNIE & DREAMGIRLS 00h 48'57" Maybe/Tomorrow 00h 50'58" Dreamgirls 00h 54'10" PASSION & 7 DEADLY SINS 00h 55'32" Happiness - con Michael Cerveris 01h 00'12" My book 01h 04'43" MAHAGONNY & 110 IN THE SHADE 01h 05'18" Alabama song 01h 07'59" Simple little things 01h 11'13" PORGY AND BESS & SOUND AND MUSIC LIVE 01h 12'43" I loves you Porgy - con Norm Lewis 01h 15'50" Climb every mountain 01h 18'30" GRANDES COMPOSITORES MODERNOS 01h 19'03" God give me strenght (Burt Bacharach y Elvis Costello) 01h 23'48" I had myself a true love (Harold Arlen) 01h 27'40" I think it’s gonna rain today (Randy Newman) 01h 30'42" Stars and the moon (Jason Robert Brown) 01h 35'00" CLÁSICOS DEL CANCIONERO AMERICANO 01h 35'25" All the things you are (Jerome Kern) - con Norm Lewis 01h 38'07" I don’t mean a thing if it ain’t got that swing (Duke Ellington) 01h 41'48" How long has this been going on? (George Gershwin) 01h 44'54" LADY DAY AT EMERSON's, BAR & GRILL & SHUFFLE ALONG 01h 46'29" God bless the child 01h 50'31" You’re lucky to me 01h 52'55" ALLEGRO & HELLO AGAIN 01h 54'06" Come home 01h 57'33" Beyond the moon 02h 02'03" FELICITANDO A SONDHEIM 02h 02'48" The ladies who lunch - con Christine Baranski y Maryl Streep 02h 07'10" AUDRA SOLIDARIA Y COMPROMETIDA 02h 08'49" Singing you home - con Jason Robert Brown
Hoy traemos a una excelente actriz y cantante, toda una mega estrella en los países de habla inglesa, pero bastante desconocida para el gran público, ajeno al mundo del teatro y al musical. Hoy en protagonistas damos un repaso a la vida y carrera de Audra McDonald. Estamos ante la mujer que ostenta el record con sus 50 años recién cumplidos de ser la persona que ha conseguido el mayor número de Premios Tony por su trabajo en los escenarios de Broadway, nada menos que SEIS y en todas las categorías a las que puede optar una actriz, tanto en teatro de texto como en el musical, pero no adelantemos acontecimientos. Vamos a comenzar como debe hacerse en todo, yendo paso a paso. Espero te guste la selección que hemos preparado de este extraordinaria intérprete que volverá en concierto al Teatro Real de Madrid el próximo Septiembre de 2021. 00h 00'00" I am what I am 00h 02'50" Presentación 00h 03'45" Cabecera 00h 04'37" DEBUT EN EL MUSICAL con RODGERS & HAMMERSTEIN 00h 06'17" Mister Snow 00h 09'49" If I loved you - con Josh Groban 00h 13'59" TEATRO DE TEXTO, MUSICAL y CINE 00h 15'17" Master class - con Zoe Caldwell 00h 17'48" Your daddy’s son 00h 21'27” You were meant for me 00h 24'11" GRABACIONES DE ESTUDIO y CONCIERTOS 00h 24'59" A little bit in love 00h 27'54" Tonight - con Mandy Patinkin 00h 31'45" Lloyd Webber Love Trio - con Marin Mazzie y Judy Khun 00h 38'48" RODGERS & HART y MICHAEL JOHN LA CHIUSA 00h 39'23" Beautiful / I Will love you 00h 43'59" Why can’t I? - con Dawn Upshaw 00h 47'40" ANNIE & DREAMGIRLS 00h 48'57" Maybe/Tomorrow 00h 50'58" Dreamgirls 00h 54'10" PASSION & 7 DEADLY SINS 00h 55'32" Happiness - con Michael Cerveris 01h 00'12" My book 01h 04'43" MAHAGONNY & 110 IN THE SHADE 01h 05'18" Alabama song 01h 07'59" Simple little things 01h 11'13" PORGY AND BESS & SOUND AND MUSIC LIVE 01h 12'43" I loves you Porgy - con Norm Lewis 01h 15'50" Climb every mountain 01h 18'30" GRANDES COMPOSITORES MODERNOS 01h 19'03" God give me strenght (Burt Bacharach y Elvis Costello) 01h 23'48" I had myself a true love (Harold Arlen) 01h 27'40" I think it’s gonna rain today (Randy Newman) 01h 30'42" Stars and the moon (Jason Robert Brown) 01h 35'00" CLÁSICOS DEL CANCIONERO AMERICANO 01h 35'25" All the things you are (Jerome Kern) - con Norm Lewis 01h 38'07" I don’t mean a thing if it ain’t got that swing (Duke Ellington) 01h 41'48" How long has this been going on? (George Gershwin) 01h 44'54" LADY DAY AT EMERSON's, BAR & GRILL & SHUFFLE ALONG 01h 46'29" God bless the child 01h 50'31" You’re lucky to me 01h 52'55" ALLEGRO & HELLO AGAIN 01h 54'06" Come home 01h 57'33" Beyond the moon 02h 02'03" FELICITANDO A SONDHEIM 02h 02'48" The ladies who lunch - con Christine Baranski y Maryl Streep 02h 07'10" AUDRA SOLIDARIA Y COMPROMETIDA 02h 08'49" Singing you home - con Jason Robert Brown
Volvemos con un musical de Cole Porter, "KISS ME, KATE". Tenemos una obra de teatro dentro de otra obra de teatro, en este caso "La fierecilla domada" de Shakespeare con un divertido argumento que juega con la lucha de sexos y nos habla del sometimiento de la mujer a su marido y de cómo este tiene que domesticarla. Shakespeare la escribió en 1590 y Cole Porter estrenó el musical en 1948. Hoy 70 años más tarde el machismo de algunas frases y situaciones nos rechinan, pero entiendo que hay que verlas con humor, agradeciendo al feminismo su constancia para lograr la igualdad entre hombres y mujeres. En fin, ver como fuimos y cómo somos hoy. De las muchas versiones que hay del musical vamos a tomar la de Broadway de 1999 con un reparto que tiene a Brian Stokes Mitchell como Fred/Petruccio, Marin Mazzie como Lilli/Kate, Ami Spanger como Lois/Bianca y a Michael Berresse como Bill/Lucentio. Espero la disfrutéis tanto como yo y seguiré esperando que algún día se atrevan a montarla en España. 00h 00'00" Presentación 00h 02'18" Cabecera 00h 03'17" Inicio 00h 05'24" Another openin', another show 00h 12'25" Why can't you behave? 00h 15'21" Wunderbar 00h 19'26" So in love 00h 23'57" We open in Venice 00h 26'17" Tom, Dick or Harry 00h 30'22" I've come to wive it wealthily in Padua 00h 32'53" I hate men 00h 37'17" Where thine that special face 01h 08'15" Bianca 00h 41'52" We sing love 00h 43'56" Kiss me, Kate 00h 47'02" Too darn hot 00h 53'40" Where is the life that late I led? 00h 58'46" Always true to you in my fashion 01h 05'10" From this moment on 01h 13'11" So in love (Reprise) 01h 16'53" Brush up your Shakespeare 01h 21'52" Pavana 01h 23'41" I am ashamed that woman are so simple 01h 25'57" Kiss me, Kate 01h 26'53" Anécdotas y curiosidades 01h 29'10" I am ashamed that people are so simple 01h 33'13" It was great fun the first time 01h 37'26" We shall never be younger 01h 40'04" I'm afraid, sweetheart, I love you 01h 41'59" Agradecimientos y despedida vez que se publique un nuevo programa.
Volvemos con un musical de Cole Porter, "KISS ME, KATE". Tenemos una obra de teatro dentro de otra obra de teatro, en este caso "La fierecilla domada" de Shakespeare con un divertido argumento que juega con la lucha de sexos y nos habla del sometimiento de la mujer a su marido y de cómo este tiene que domesticarla. Shakespeare la escribió en 1590 y Cole Porter estrenó el musical en 1948. Hoy 70 años más tarde el machismo de algunas frases y situaciones nos rechinan, pero entiendo que hay que verlas con humor, agradeciendo al feminismo su constancia para lograr la igualdad entre hombres y mujeres. En fin, ver como fuimos y cómo somos hoy. De las muchas versiones que hay del musical vamos a tomar la de Broadway de 1999 con un reparto que tiene a Brian Stokes Mitchell como Fred/Petruccio, Marin Mazzie como Lilli/Kate, Ami Spanger como Lois/Bianca y a Michael Berresse como Bill/Lucentio. Espero la disfrutéis tanto como yo y seguiré esperando que algún día se atrevan a montarla en España. 00h 00'00" Presentación 00h 02'18" Cabecera 00h 03'17" Inicio 00h 05'24" Another openin', another show 00h 12'25" Why can't you behave? 00h 15'21" Wunderbar 00h 19'26" So in love 00h 23'57" We open in Venice 00h 26'17" Tom, Dick or Harry 00h 30'22" I've come to wive it wealthily in Padua 00h 32'53" I hate men 00h 37'17" Where thine that special face 01h 08'15" Bianca 00h 41'52" We sing love 00h 43'56" Kiss me, Kate 00h 47'02" Too darn hot 00h 53'40" Where is the life that late I led? 00h 58'46" Always true to you in my fashion 01h 05'10" From this moment on 01h 13'11" So in love (Reprise) 01h 16'53" Brush up your Shakespeare 01h 21'52" Pavana 01h 23'41" I am ashamed that woman are so simple 01h 25'57" Kiss me, Kate 01h 26'53" Anécdotas y curiosidades 01h 29'10" I am ashamed that people are so simple 01h 33'13" It was great fun the first time 01h 37'26" We shall never be younger 01h 40'04" I'm afraid, sweetheart, I love you 01h 41'59" Agradecimientos y despedida vez que se publique un nuevo programa.
This week we chat with Matthew Hannibal Butler about which of life's truths can be gleaned from the Kennedy-favourite musical - Camelot!"A 1993 review in The New York Times commented that the musical "has grown in stature over the years, primarily because of its superb score ... [which] combined a lyrical simplicity with a lush romanticism, beautifully captured in numbers like 'I Loved You Once in Silence' and 'If Ever I Would Leave You.' These ballads sung by Guenevere and Lancelot are among the most memorable in the Lerner-Loewe catalogue. King Arthur supplies the wit, with songs like 'I Wonder What the King Is Doing Tonight.'"Listen to Matthew's Podcast here: thatsnotcanon.com/deliciouswordsandwichpodcastFURTHER READING:Camelot (musical)Camelot (film)Alan Jay LernerFrederick LoeweThe Once and Future King.Kennedy AdministrationJulie AndrewsRichard BurtonRobert Goulethttps://open.spotify.com/album/5Fp6Y3gNufwzUeEBxuOZpohttps://music.apple.com/us/album/camelot-original-1960-broadway-cast-recording/158476378Camelot: The Musical, A History By Matthew Hannibal ButlerBy Alan Jay Lerner and Frederick LoweA History By Matthew Hannibal ButlerCamelotis an oft forgotten and underrated musical masterpiece by the iconic duo Lerner and Lowe, first premiering with Sir Richard Burton as King Arthur and Dame Julie Andrews as Guinevere, with Robert Goulet as the dashing Sir Lancelot. They did not have these titles when it premiered in 1960 at the Majestic Theatre, but I thought it was a nice touch considering their royal counterparts.Camelotis inspired by the definitive Arthurian novel The Once and Future King by T.H. White, a four book saga consisting of the iconic Sword in the Stone,The Witch in the Woods, The Ill-Made Knight and finally The Candle in the Wind. The musical mainly focuses on the events of this final instalment detailing with the last weeks of Arthur’s reign, the machinations and ultimately revolts by his son Mordred, Guinevere and Lancelot’s demise, and the tragic king’s final reflections of right and wrong. For all its levity, what I adore about this musical’s story is its choice to focus on one of the greatest tragedies in western folklore: The Fall of Camelot.As you can tell, I am an Arthurian lore fanatic, and T.H. White’s book, in my opinion, is the best classic interpretation of King Arthur. A tragedy of this musical is, in my opinion, that it did not inspire more interest in White’s marvellous book.Lerner and Lowe, as well as Camelot’s original director Moss Hart, were all coming from the chaotic universal success of their musical My Fair Lady and their musical film Gigi. Tensions and stakes were high. ‘Twas the classic tale of ‘What’s next?’ after tremendous success. Hart and Lerner decided upon T.H. White’s quintessential fantasy published in 1958 for their next musical. For a very small background on White, he wrote the bulk of the series in Ireland as a conscientious objector of the second World War between 1938 and 1941, thus writing a distinctly anti-war, anti-violent story engrained with western identity. To adapt this at this time, just before Kennedy’s escalation of the Vietnam War is a right proper noble gambit worthy of Arthur, let me tell you.Frederick Lowe initially had no interest in the project, but agreed to write the score on the condition that, if it went badly, it would be his last. This do or die spirit, I found, reigned throughout the whole production, in spite of everything, and made it the suitably tragic triumph that it became. There were several problems plaguing the production, not least of which was Lerner’s wife leaving him during its writing, causing him to seek medical attention. I can’t help but surmise this informs one of the most poignant moments of the play, when Arthur realises the feelings shared between Lancelot and Guinevere and he thus soliloquises about his love for his kingdom, his purpose and in truth his friends will ensure that they will together nonetheless prevail through all challenges.During its initial previews, it overran drastically. It was supposed to be two hours and forty minutes, instead it clocked in at a casual four and a half hours with the curtain coming down at twenty to 1 in the morning. Lerner later noted, “Only Tristan and Isolde equalled it as a bladder endurance contest”. In spite of this trial, positive reviews still generally prevailed though with an insistence much work needed yet. With drastic editing to be done, Lerner was hospitalised for three weeks with a bleeding ulcer, then Hart tagged into the hospital just as Lerner tagged out with his second heart attack.Cutting it down became a stubborn quest, for Lerner did not want to make dramatic decisions without Hart. Alas, Jose Ferrer of Cyrano de Bergerac fame was unable to step in, and so it goes as Lerner wrote: “God knows what would have happened had it not been for Richard Burton.” He accepted cuts and changes all while radiating faith and geniality to calm the fears of the cast. A King off and on the stage. Meanwhile, ever the Queen, last minute changes were so dramatic that literally at the last minute before the New York preview Julie Andrews was given the iconic number “Before I Gaze At You Again”, simply remarking “Of course, darling, but do try to get it to me the night before”.With Hart returned, literally and figuratively, cuts and edits continued. The New York critics’ reviews of the original production were mixed. However, My Fair Lady’s fifth anniversary approached and Ed Sullivan wanted to do a tribute segment on his show. Lerner and Lowe chose to mainly perform highlights from Camelot on the show, and so it was their new show achieved an unprecedented advance sale of three and a half million dollars.Now that’s perseverance, even when things are going haywire, you raise the stakes even higher! This served also to make Robert Goulet a household name with his signature ballad, “If Ever I would Leave You” becoming the Once and Future Belter.Camelot had its initial run. In such time, it gained many an award, including four Tony Awards, with Richard Burton for Best Leading Actor, naturally Best Scenic Design and Best Costume Design, with Franz Allers for Best Conductor and Musical Director and finally with Julie Andrews being ROBBED and fetching a nomination for Best Leading Actress.Robert Goulet became a STAR with appearances on the Danny Thomas and Ed Sullivan Shows, and the stellar, and frankly best, original cast recording became a favourite bedtime listening for President John F. Kennedy, who was Lerner’s classmate at Harvard University. His favourite lines from the final reprise of the titular song became well-documented, and forever associated Camelot, with all its idealism and sheen, with the Kennedy Administration.Small sidenote, to enjoy this tremendous score, the best buck starts and ends with the original cast soundtrack.Alas, the obstacles encountered in producing Camelot were hard on the creative partnership of Lerner and Loewe, the show turning out to be one of their last collaborations. Camelot was indeed Hart’s last Broadway show, dying of a heart attack on December 20, 1961.Since the original production, Richard Burton reprised his role as Arthur with Christine Ebersole as Guinevere and Richard Muenz as Lancelot. Then ‘twas revived in 1981 with Richard Harris as Arthur, Meg Bussert as Guinevere, Muenz once more as Sir Lancelot. This version can be found three parts on the YouTubes. Harris starred in the tragic for all the wrong reasons film, but proved he was the jewel in that particular crown for he took the show to tour nationwide with Muenz. A curious Broadway Revival also ran in 1993 with Robert Goulet now King Arthur.There was then in 2007 Michael York as King Arthur, Rachel York, no relation, as Guinevere and the disgraced James Barbour ironically as Lancelot.Alas, I have not been able to see Michael York as King Arthur, as that is inspired casting.The final production I have had the honour of seeing was in 2008, since alas taken down from the YouTubes, where the New York Philharmonic presented five semi-staged concerts of Camelot with Gabriel Byrne as a more contemplative and subdued King Arthur, Marin Mazzie as Guenevere, and Nathan Gunn as Lancelot. What made this production stand out for me was it didn’t overdo anything, as this musical can oft be overwhelming, and also it featured Christopher Lloyd as Pellinore, a role I feel he was destined to do. Oh, if only they had done a spin-off adventure story starring Christopher Lloyd as Pellinore in his endless hunt for the Questing Beast.All in all, the history of Camelot I think reflects it perfectly for better or ill. It is not a universally appealing production. In my opinion, it was never destined to be, considering its content and style. It is very chatty, pontificating and philosophical, yet with its simply magic score, a lush fantastical world, sweeping tragic romance and swashbuckling glory, when it connects with people it connects as firmly as the sword in the stone.Like us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanonproductions.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Find out more about him at www.benedictbraxtonsmith.com
This week I continue our exploration of the movement for social justice as expressed in song. This constitutes not just the fight in the United States for racial and class equity but also the worldwide struggle against imperialism, focusing in particular on African and South American singing freedom fighters, including Miriam Makeba, Salif Keita, Youssou N’Dour, Letta Mbulu, Mercedes Sosa, Milton Nascimento, and Víctor Jara. Other artists heard include Marvin Gaye, Leontyne Price, Nanci Griffith, Frederica von Stade, Nina Simone, David Crosby, Pete Seeger, Marin Mazzie, Buffy Sainte-Marie, Jefferson Airplane, Sam Cooke, Joséphine Baker, Joan Baez, Tracy Chapman, Thunderclap Newman (whose song lends the episode its title), Harry Belafonte, Dawn Upshaw, Phil Ochs, Rosemary Clooney, Curtis Mayfield, and Mahalia Jackson, as well as number of present-day troubadors. Composers represented include Kurt Weill, Duke Ellington, John Adams, Silvio Rodríguez, Leonard Bernstein, Marc Blitzstein, Stephen Foster, Violeta Parra, Flaherty and Ahrens, Ary Barroso, and Caiphus Semenya. I address the spectrum of emotions that persons of conscience are experiencing right now, including despair, rage, anger, struggle, ending with faith, hope, and resolve. Don’t miss this episode! Countermelody is a podcast devoted to the glory and the power of the human voice raised in song. Singer and vocal aficionado Daniel Gundlach explores great classical and opera singers of the past and present with the help of guests from the classical music field: singers, conductors, composers, coaches, agents, and voice teachers. Daniel’s lifetime in music as a professional countertenor, pianist, vocal coach, voice teacher, and journalist yields an exciting array of anecdotes, impressions, and “inside stories.” At Countermelody’s core is the interaction between singers of all stripes, their instruments, and the connection they make to the words they sing. Please visit the Countermelody website (www.countermelodypodcast.com) for additional content. And please head to our Patreon page at www.patreon.com/countermelody to pledge your monthly support at whatever level you can afford.
SHOWS: The Scarlet Pimpernel, Into the Woods, War Paint He's one of the most stunning leading men on Broadway and for a few hours we've got him! He is the one and only Douglas Sills who has appeared in Into the Woods, The Secret Garden, Chess, Living on Love, Little Shop of Horrors, The Addams Family and, of course, The Scarlet Pimpernel! Douglas pulls back the curtain on his career to discuss how Jack Gilford popped his balloon, what it was like playing Mack Sennett, and why the Radio City Music Hall got his greatest diva moment! Also, Doug shines the spotlight on Jerry Herman, Frank Wildhorn, and Marin Mazzie! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 To book a room at Shetler Studios, head on over to: https://www.shetlerstudios.com
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.
Good morning theater fans! This is Caryn Robbins with The Broadway Scoop for Thursday, March 12th. Broadway star Kelli O'Hara will take on the role of 'Mother' in The Actors Fund's upcoming benefit concert of RAGTIME. The Tony Award winner joins previously announced cast members Audra McDonald, Brian Stokes Mitchell and Peter Friedman. Taking place on April 27th at the Minskoff Theatre, the event will be dedicated to late Broadway star Marin Mazzie.BEETLEJUICE stars Alex Brightman and Leslie Kritzer will announce the nominations for the 2020 Drama League Awards, in a live broadcast from Sardi’s on April 16th. The duo will reveal the nominees for Outstanding Production of a Play, Outstanding Production of a Musical, Outstanding Revival of a Play, Outstanding Revival of a Musical, and the coveted Distinguished Performance Award. Winners will be announced at a ceremony to be held on May 15 at the Marriott Marquis Times Square.And a happy opening to the new musical SIX, officially opening tonight at Broadway's Brooks Atkinson Theatre following a preview period which began on February 13. Showcasing the six wives of Henry VIII, the show originated at the 2017 Edinburgh Fringe Festival before going on to a West End run, and earning five Olivier Award nominations. SIX made its critically-acclaimed U.S. premiere last July in Chicago.And that's The Broadway Scoop for Thursday, March 12th
In this episode, Ben and Daniel talk to three-time Tony nominee Carolee Carmello about the soundtrack to the 1973 film adaptation of Godspell. They also discuss Julie Andrews, The Sound of Music, Lesley Ann Warren, Marni Nixon, West Side Story, Evita, Mary Testa, Oliver, Gypsy, Barbra Streisand, Barbara Cook, Comden and Green, Falsettos, Kiss Me Kate, Marin Mazzie, and Parade. They talk about Carolee's secret, closeted soprano past and the fact that she has never taken a voice lesson. Carolee is currently starring as America's coast-to-coast Dolly Levi in the national tour of Hello, Dolly!
Pardo's Turn is back with the fabulous Catherine Porter! In this episode, we talk about her eclectic performance career, battling cancer, kissing Hugh Jackman, and standing by for Marin Mazzie as Diana in Next to Normal on Broadway.
Eric and Bob kick things off describing who they are, what makes an "exclusive gay moment," and discuss their love of Ellen Greene, Sunset Boulevard, Marin Mazzie and X-Men. Email exclusivegaymoment@gmail.com with topic ideas and feedback!Connect with EGM:InstagramTwitterFacebookEmail
In this episode, Ben and Daniel talk to actor and comedian Cole Escola about Judy Garland's beloved 1961 Grammy-winning live album Judy at Carnegie Hall. They also discuss Bernadette Peters, Liza Minnelli, Barbara Cook, and Marin Mazzie. Cole talks about how he discovered each of these legendary performers and how live albums and concert patter have helped inform his own career. Cole currently writes for and stars in Amy Sedaris's Emmy-nominated show At Home with Amy Sedaris on truTV.
"It just encapsulates every part of what I love about the musical theatre." It's gay, it's crude, it's BROADWAY! Josh Daniel (THE BOOK OF MORMON) stops by to talk about his obsession with the 6 Tony Nominated/Winning Ladies in Red at Stephen Sondheim's 80th Birthday Concert. He and Matt discuss why no man's d*ck can throw Patti Lupone , why Marin Mazzie's performance makes Matt mad and, more importantly, which diva's performance is the perfect choice for your next "sexy time." GET INTO IT, FISH!
We’re back to the 90s! We wonder what the hell Anthony Hopkins was doing there, discuss the controversy over Disney’s first bid for Broadway domination with Beauty and the Beast, and try our best to deconstruct Passion’s take on passion. Works referenced/cited: Sondheim, Stephen. Look, I Made a Hat: Collected Lyrics (1981-2011) with Attendant Comments, Amplifications, Dogmas, Harangues, Digressions, Anecdotes and Miscellany. Alfred A. Knopf, 2011. Gordon, Joanne. Art Isn't Easy: the Theater of Stephen Sondheim. Southern Illinois University Press, 1992. Zadan, Craig. Sondheim & Co. Da Capo Press, 1994. Jones, John Bush. Our Musicals, Ourselves: a Social History of the American Musical Theatre. Brandeis University Press, 2011. McLaughlin, Robert L. Stephen Sondheim and the Reinvention of the American Musical. Univ Pr of Mississippi, 2018. Film Genre Reader. Univ. of Texas Press, 2007. “List of 1994 Tony Award Nominations With AM-Tony Nominations.” AP NEWS, 16 May 1994. Weber, Bruce. “'Passion' and 'Beast' Square Off in Tonys; 'Angels' Cited Again.” The New York Times, 17 May 1994. Weber, Bruce. “'Passion' Wins Tony As Best New Musical; 'Angels' Wins Again.” The New York Times, 13 June 1994. Rose, Lloyd. “'PASSION,' 'PERESTROIKA' TAKE TOP TONY AWARDS.” The Washington Post, 13 June 1994. Kakutani, Michiko. “Sondheim's Passionate 'Passion'.” The New York Times, 20 Mar. 1994. Richards, David. https://“Review/Theater; Sondheim Explores the Heart's Terrain.” The New York Times, 10 May 1994. Seckerson, Edward. “Sondheim Passion Original Broadway Cast.” Gramophone, 9 Jan. 2013. Gerard, Jeremy. “Passion.” Variety, 10 May 1994. “The Inspiration for Passion.” Melada, Geoffrey. “Why Sondheim's 'Passion' Is His Most Personal Work.” TodayTix Insider, 23 Aug. 2018. Brantley, Ben. “THEATER REVIEW;A More Intimate 'Passion' Throws Off Its Inhibitions.” The New York Times, 20 June 1996. King, Susan. “Sunday, No Park, Lots of 'Passion'.” Los Angeles Times, 28 Sept. 1996. Harris, Kathryn. “My Dearest Giorgio: The Use of Letters in PASSION.” Music Theatre International, 27 Jan. 2017. Passion Interviews - Donna Murphy, Marin Mazzie, Jere Shea Davis, Francis. “More Than They Can Chew?.” Sondheim.com. Pacheco, Patrick. “THEATER : Mr. Cool Tries Passion : Stephen Sondheim's New Musical of Obsessive Love May Be the Biggest Challenge Yet for Broadway's Restless 'Conscience'.” Los Angeles Times, Los Angeles Times, 1 May 1994. Richards, David. “Review/Theater: Beauty and the Beast; Disney Does Broadway, Dancing Spoons and All.” The New York Times, 19 Apr. 1994. Vine, Hannah. “Look Back at the Original Broadway Cast of Beauty and the Beast.” Playbill, 18 Apr. 2018. “Susan Egan on Her Dirt-Catching Days as a Disney Princess and Humble Motherhood.” Stage Rush, Oct. 2011. “'Beauty' Moving From Palace To the Fontanne.” The New York Times, 14 July 1999. Canby, Vincent. “Is Broadway Ready for a Disney World Show?”The New York Times, 24 Apr. 1994. Robinson, Gaile. “BY DESIGN : A Beastly Assignment : How to Make a Human-Sized Teapot and a Candelabra? Ann Hould-Ward Used Fancy Wiring, Prosthetics and Pryotechnics to Make the the Stage Production of 'Beauty and the Beast' Come Alive.” Los Angeles Times, 16 Mar. 1995. Witchel, Alex. “Is Disney the Newest Broadway Baby?” The New York Times, 17 Apr. 1994. Handy, Bruce. “Disney Does Broadway.” The New York Times, 9 Oct. 1994. Maslin, Janet. “Critic's Notebook; A Beauty or a Beast? Contrasting Film and Musical.” The New York Times, 23 Apr. 1994. Ehren, Christine. “Toni Braxton Premieres Beauty 's New Song, Oct. 7 On 'Rosie'.” Playbill, 7 Oct. 1998. Brantley, Ben. “Review/Theater: Cyrano: The Musical; Cyrano's Flights Have Touched Down On West 52d Street.” The New York Times, The New York Times, 22 Nov. 1993. Simons, Marlise. “A Musical 'Cyrano': Can a Dutch Hit Sell on Broadway?” The New York Times, 21 Nov. 1993. Alexander, Ron. “CHRONICLE.” The New York Times, 29 Nov. 1993.
Kiss me Kate is a Cole Porter classic and (we feel) super underrated! So let’s flashback to the episode we did with a Kate of our own Naomi Mole!This week Zane and Patrick will chat with Naomi Mole about which of life's truths can be gleaned from Cole Porter's classic musical - Kiss Me, Kate!BOOK TICKETS TO KISS ME, KATE!Gold Coast Little Theatre - FACEBOOK, GCLT Kiss Me, Kate!- FURTHER READING -Wiki - Musical, Film, Cole PorterIMDbiTunesSpotify- CELEBRITY SHOUTOUTS -Samuel and Bella Spewack, Alfred Drake, Patricia Morison, Lisa Kirk, Harold Lang, Bill Johnson, Adelaide Hall, Julie Wilson, Marin Mazzie, Brian Stokes Mitchell, Amy Spanger, Michael Berresse, Lee Wilkof, Ron Holgate, Michael Mulheren, Brent Barrett, Kelli O'Hara, Cole Porter, Kathryn Grayson, Howard Keel, Ann Miller, Keenan Wynn, Bobby Van, Tommy Rall, Bob Fosse, Willard Parker, Ron RandellLike us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanonproductions.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Find out more about him at www.benedictbraxtonsmith.com
PRETTY WOMAN'S Jason Danieley talks working with the Cancer Support Community in honor of his late-wife Marin Mazzie.Hosted by Beth Stevens, Ryan Lee Gilbert and Caitlin Moynihan
This year we lost so many legends from Marin Mazzie to Gary Beach, Neil Simon to William Goldman, Rick McKay to Craig Zadan. We end our year celebrating their life and legacy with a legend who called many of these artists friends, colleagues, and companions: the incomprable Lee Roy Reams. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 To book a room at Shetler Studios, head on over to: https://www.shetlerstudios.com
A thoughtful retrospective of the Broadway artists we lost in 2018, including Marin Mazzie, Barbara Harris, Gary Beach, Patricia Morison and more.
Here we expand on our Carrie episode with our first bonus content! We discuss Carrie The Musical, which bombed spectacularly for several years and remains a "how did this get made?" mystery in the world of Broadway. Things you'll learn: who Marin Mazzie was (RIP), that Phoenix can't sing, and that there are even worse musicals than Carrie. Thanks y'all for listening!
Faith Prince has been dazzling Broadway audiences since winning the Tony, Drama Desk and Outer Critics Circle Awards for her performance as Ms. Adelaide in Guys and Dolls. Other Broadway credits include Disaster! The Musical, Annie, A Catered Affair, The Little Mermaid, Bells are Ringing (Tony, DD, OCC noms), Nick & Nora (OCC Award), Jerome Robbins’ Broadway (Tony, DD noms) and more. Faith currently recurs as Ty Burrell’s stepmother on ABC’s Modern Family. She also recurred as Joey Lawrence’s mother on ABC Family’s long-running series Melissa & Joey and wrapped her 5-season run as Brooke Elliott’s mother on Lifetime’s popular series Drop Dead Diva. Show Notes: Faith compares Randy to Elaine Stritch. Randy compares Faith to Gwen Verdon. Randy wants Faith to work with Christopher Guest. Star quality is JOY. Faith: “Big talent is great need.” What Allison Janey wants, Allison Janey gets. Faith is a life coach for artists. Faith’s personal theme song: “Where am I Going?” Randy attempts to replace Roz Kerins, Faith’s BFF. Faith honors Broadway star Marin Mazzie who passed away recently from ovarian cancer and Faith and Randy honor dear friend Elaine Cook. #WhateverYouNeed Twitter: @randallkjones @siriouslysusan Instagram: @RandallKennethJones @siriouslysusan www.RandallKennethJones.com www.SusanCBennett.com www.Faith-Prince.com
The first ever mini-episode with Patrick, focusing on why he'll never make it as well as why he's still here. Patrick talks about the wonderful camaraderie within theater and gives a loving tribute to Marin Mazzie, who passed away last month from ovarian cancer. (Read about Marin's remarkable joy and positivity as she confronted cancer.) A career that spans 30 years, she was always a consummate professional yet easy-going and always herself. She brought passion and true enjoyment to each role she played. Her light still shines and her impact is still felt on a grateful Broadway community to whom she gave so much. "We've been laughing and laughing, and hoping that the audience thinks it's as funny as we do," she says of her time in Bullets Over Broadway. Opera News did an excellent interview and chronicle of her life. ----- Please consider buying me a coffee to support this work that goes into each episode. Join the WINMI community by following on Instagram or Twitter as well as reaching out to Patrick with any questions or comments: contact.winmipodcast.com
In what may be their gayest episode yet, Matt and John invite cabaret/kickstarter superstar Robbie Rozelle to discuss backstage Patti Lupone stories, the legacy of Marin Mazzie, and the downside of going viral.
Ryan and Jason return to memorialize 5 great Ladies we lost at the end of summer 2018: Charlotte Rae, Aretha Franklin, Barbara Harris, Carole Shelley, and Marin Mazzie.
This Week: Remembering the great Marin Mazzie. Every week director Robert W Schneider and actor Kevin David Thomas pull back the curtain on neglected, forgotten, and under appreciated musicals, as well as bizarre performances, endearing television appearances, and all things show business. Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4
Fall is upon us! Some plays and movies we're thinkin' about. Art to see. Dan explains Rabbi Voice. José Andres feeds an island. Bricks and Mortar, but no Clerks! Retail thinks outside the checkout counter. Sports betting comes to the Meadowlands. Will Jordan, Marin Mazzie. Credits: Talent: Tamsen Granger and Dan Abuhoff Engineer: Ellie Suttmeier Art: Zeke Abuhoff
On the latest Stealing Focus podcast, Jeff and Emily discuss the newest trailer for MARY POPPINS RETURNS, remember the late great Marin Mazzie, and list off which artists desperately need a jukebox musical made out of their songs! To learn more about Stealing Focus, check out our Youtube channel for lots more content! https://www.youtube.com/Divinemissem82 Follow us on Twitter! @emilyabclark @jeffscotcarey
Tonight, we remember Neil Simon, Leonard Bernstein, and Marin Mazzie.
(This episode is sponsored by MCC Theater's Collective Rage, which is a a party of a show that you definitely want to be invited to. Tickets: mcctheater.org) Sam and Linnae talk Be More Chill going to Broadway, Pop Punk High, Trainspotting, Smokey Joe's Café, The Jonathan Larson Project, Torch Song, Marin Mazzie, To Kill A Mockingbird, Everybody's Talking About Jamie, and more. Check out yesbroadway.com for more information about all of this and more! Facebook: /YesBroadway Instagram: @yesbroadway Twitter: @yesbway --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/yesbroadway/support
This week Julie Miranda, and Zane chat with Jessica Kate Ryan about which of life's truths can be gleaned from Sondheim's infamous flop, Merrily We Roll Along!"...to be a Stephen Sondheim fan is to have one's heart broken at regular intervals. Usually, the heartbreak comes from Mr. Sondheim's songs -for his music can tear through us with an emotional force as moving as Gershwin's. And sometimes the pain is compounded by another factor - for some of Mr. Sondheim's most powerful work turns up in shows (''Anyone Can Whistle,'' ''Pacific Overtures'') that fail. Suffice it to say that both kinds of pain are abundant in ''Merrily We Roll Along,'' the new Sondheim-Harold Prince-George Furth musical that opened at the Alvin last night. Mr. Sondheim has given this evening a half-dozen songs that are crushing and beautiful - that soar, and linger, and hurt. But the show that contains them is a shambles." - By FRANK RICH, New York Times- FURTHER READING -Wiki - Musical, PlayiTunesSpotify- CELEBRITY SHOUTOUTS -Stephen Sondheim, George Furth, George S. Kaufman, Moss Hart, Jim Walton, Lonny Price, Ann Morrison, Terry Finn, Jason Alexander, Geoffrey Horne, David Loud, Liz Callaway, Tonya Pinkins, Abby Pogrebin, Giancarlo Esposito, John Rubinstein, Chip Zien, Marin Mazzie, Heather MacRae, Colin Donnell, Celia Keenan-Bolger, Lin-Manuel Miranda, Tom Burlinson, Tony Sheldon, Peta Toppano, Greg Stone, Gina Riley, Wayne BradyLike us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanonproductions.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Find out more about him at www.benedictbraxtonsmith.com
This week Zane and Patrick will chat with Naomi Mole about which of life's truths can be gleaned from Cole Porter's classic musical - Kiss Me, Kate!BOOK TICKETS TO KISS ME, KATE!Gold Coast Little Theatre - FACEBOOK, GCLT Kiss Me, Kate!- FURTHER READING -Wiki - Musical, Film, Cole PorterIMDbiTunesSpotify- CELEBRITY SHOUTOUTS -Samuel and Bella Spewack, Alfred Drake, Patricia Morison, Lisa Kirk, Harold Lang, Bill Johnson, Adelaide Hall, Julie Wilson, Marin Mazzie, Brian Stokes Mitchell, Amy Spanger, Michael Berresse, Lee Wilkof, Ron Holgate, Michael Mulheren, Brent Barrett, Kelli O'Hara, Cole Porter, Kathryn Grayson, Howard Keel, Ann Miller, Keenan Wynn, Bobby Van, Tommy Rall, Bob Fosse, Willard Parker, Ron RandellLike us on Facebook! Follow us on Twitter! Support us on Patreon!Email us: musicalstaughtmepodcast@gmail.comVisit our home on the web thatsnotcanonproductions.comOur theme song and interstitial music all by the one and only Benedict Braxton Smith. Find out more about him at www.benedictbraxtonsmith.com
Holy production budget, Batman! Get ready to hear that new music as Alex and Daisha chat about the original Broadway production of Lynn Ahrens and Stephen Flaherty’s musical "Ragtime," starring Brian Stokes Mitchell, Marin Mazzie, Peter Friedman, and Audra McDonald! Join us as we discuss life at the turn of the 20th century, the thematic representations presented by each of the characters, and how the music and over-the-top staging helped highlight the social and cultural divide of Americans, but also the internal pulse that unites us. Podcast cover art: David Taylor Twitter: @bwaybabies Facebook: Facebook.com/broadwaybabiespodcast Cast recording: iTunes | Spotify | Amazon Songs "Prologue" (performed by Ragtime company) "New Music" (by Mark Jacobi, Marin Mazzie, Steven Sutcliffe, Brian Stokes Mitchell, Audra McDonald and company) "Your Daddy's Son" (by Audra McDonald) "He Wanted to Say" (by Steven Sutcliffe and company) "Goodbye, My Love" and "Back to Before" (by Marin Mazzie) "Wheels of a Dream (reprise)" (by Brian Stokes Mitchell, Audra McDonald and company) Music composed by Stephen Flaherty; lyrics by Lynn Ahrens Show Notes A video of what is assumed to be the real Evelyn Nesbitt singing in the 1930s An edited documentary about the revival and the history of the musical Another video from the American Theatre Wing of a panel with the creative team, including troubled producer Garth Strabinsky — all white people — discussing the history of the production. Here’s a brief video history of ragtime, the musical genre itself. Police Violence Report’s 2017 report, with the findings summarized into graphics. Basically the CliffNotes of the "Ragtime" novel explaining most of the name characters.
Episode Three and the others were two hours, but my dear, you’re still here! If you haven’t guessed already, the Broadway Babies are losing our minds about this show, but it’s OK, love will see us through the intense unpacking of composer Stephen Sondheim's early-Broadway love letter, "Follies." Alex and Daisha will be focusing on the legendary 1985 concert version starring Barbara Cook, Elaine Stritch, Carol Burnett, Mandy Patinkin and many more Broadway icons. Listen to us gush over the amazingly talented cast, examine Sondheim’s genius storytelling and lyrics, and discuss Sondheim's strong older female characters. Podcast cover art: David Taylor Twitter: @bwaybabies Facebook: Facebook.com/broadwaybabiespodcast Concert film: Amazon | BroadwayHD Accompanying documentary found on YouTube (with basically the same clips from the concert videos) Cast recording: Amazon | iTunes | Spotify Songs "Broadway Baby" (performed by Elaine Stritch) "Who's That Woman?" (by Phyllis Newman and Follies girls) "Losing My Mind" (by Barbara Cook) "The Story of Lucy and Jessie" (by Lee Remick) "One More Kiss" (by Erie Mills and Licia Albanese) All music and lyrics by Stephen Sondheim Show Notes Stephen Sondheim’s Hat Box lyric book set, on Amazon On that note, probably the most honest, humble, logical explanation of music writing, courtesy of Steve, with a collection of interviews of his: what pencils, the rhyming dictionary, when he drinks, his posture, his process — he naps A fascinating read: A primer from the AV Club on the man himself, starting with the basics and working into the deep cuts Elaine Stritch’s “I’m Still Here," probably the definitive version because it feels like it was written for her Marin Mazzie’s “Losing My Mind”, which really hits you right in the gut with a full-bodied character created in less than four minutes, and it’s even sweeter because former co-star Donna Murphy grabs her hand afterward Sondheim muse Donna Murphy’s “Could I Leave You?” that just leaves you breathless (These are all from Sondheim’s 85th birthday concert) Sondheim famously will rewrite songs for famous singers who ask, like Barbra Streisand: Here’s one version of “I’m Still Here” for Carrie Fisher’s “Postcards from the Edge,” basically devoured by Shirley MacLaine (basically a proxy for Debbie Reynolds) I really just love this song, you guys: Jeremy Jordan does it justice
After 20 years together in life and onstage, Broadway Power couple, Jason Danieley and Marin Mazzie, finally bring their love of performing together, their love of life, and their love of each other to Feinstein's 54 Below in Broadway and Beyond. These guys did an awesome thing for me by giving me access to chat with them. About Marin Mazzie: http://www.marinmazzie.com/ About Jason Danieley: http://www.jasondanieley.com/ About Feinstein's 54 Below: https://54below.com/events/marin-mazzie-jason-danieley-broadway-beyond/ Keith Price's Curtain Call: http://www.keithpricecurtaincall.com On Instagram: @keithpricecurtaincall On Twitter: @kpcurtaincall ON FB: https://www.facebook.com/Keith-Prices-Curtain-Call-1380539615593807/
Frankly Speaking About Cancer with the Cancer Support Community
Broadway stars Marin Mazzie and Jason Danieley talk about their family's journey facing cancer, sharing with us their perspectives as patient and caregiver, husband and wife—in other words, as a family.
Frankly Speaking About Cancer with the Cancer Support Community
Patty & Emily talk The King and I: from Ann Sanders history-making performance to Marin Mazzie replacing. Patty convinces Emily to give The Humans a try, and they discuss Hairspray Live, Paper Mill’s next season, the Drama Book Shop, and Nerds casting. Plus, who is … Continue reading →
Patty & Emily are quickly getting into the fall season. Emily discussed Trip of Love and they both discuss seeing Jason Daniely at 54 Below. They talk about two strong ladies of Broadway, Marin Mazzie and Laura Benanti, the potentially problematic … Continue reading →
On this week's LadyWatch agenda: Ryan and Jason celebrate the release of Grace Jones' memoirs, "I'll Never Write My Memoirs", by giving a final excerpt report and detailing Jason's night at her Hollywood Bowl concert. Also: a report on Vanessa Redgrave's serious medical emergency (6 months late), a recap of Patti LaBelle's surprise cooking show, a slew of Lady Honors for Reba McEntire, Salma Hayek, Penny Marshall, and Emily Watson, a follow up on Faye Dunaway's current woes, which Brady Bunch daughter is now making a living selling paintings, well-wishes to Marin Mazzie on her fight with ovarian cancer and to Glenn Close on her battle with the media not caring about her divorce, plus why Judy Blume thinks this generation's parents are the worst, and much much more!
One of the most glamorous couples of today's Broadway stage share their latest releases and the stories behind them.
Actors Nina Arianda and Hugh Dancy discuss their roles in the play "Venus in Fur". Also, a conversation with "Carrie" composer Michael Gore and librettist Lawrence D. Cohen, joined by Marin Mazzie, star of the Off-Broadway revival.
Joe Mantello (2011 Tony Award nominee for Best Performance by an Actor in a Leading Role in a Play for his performance in “The Normal Heart”; 2004 Tony Award winner for Best Direction of a Musical for “Assassins” and 2003 Tony Award winner for Best Direction of a Play for “Take Me Out”) talks about returning to the Broadway stage as an actor after a 17-year hiatus to play the role of Ned Weeks in Larry Kramer's “The Normal Heart” -- and what it's like to play a role that the play's author has based on himself when the author is at the theatre nightly. He also talks about his acting days in school and community theatre in his hometown of Rockford, Illinois (with classmates that included Marin Mazzie); his training at North Carolina School of the Arts and why he had to relearn his idiosyncrasies when he got to New York; his work with playwright Peter Hedges and actress Mary-Louise Parker in the self-founded Edge Theatre; the opportunities offered to him by the Circle Repertory Company; why he decided to stop acting after making his Broadway debut in “Angels in America”; the development of his directing career, including the highs and lows of his first two Broadway assignments, Terrence McNally's “Love! Valour! Compassion!” and Donald Margulies' “What's Wrong With This Picture?”; his collaborations with playwrights including Jon Robin Baitz, David Mamet, Richard Greenberg, Neil Simon and Craig Lucas, among many others; the challenge of taking on a project on the scale of “Wicked” with only one previous musical directing credit and how much he remains involved with the show's many productions nationally and internationally; why he enjoys working on intimate shows; and the irony behind “Other Desert Cities'” plans for Broadway in the fall.
Joe Mantello talks about returning to the Broadway stage as an actor after a 17-year hiatus to play the role of Ned Weeks in Larry Kramer's "The Normal Heart" -- and what it's like to play a role that the play's author has based on himself when the author is at the theatre nightly. He also talks about his acting days in school and community theatre in his hometown of Rockford, Illinois (with classmates that included Marin Mazzie); his training at North Carolina School of the Arts and why he had to relearn his idiosyncrasies when he got to New York; his work with playwright Peter Hedges and actress Mary-Louise Parker in the self-founded Edge Theatre; the opportunities offered to him by the Circle Repertory Company; why he decided to stop acting after making his Broadway debut in "Angels in America"; the development of his directing career, including the highs and lows of his first two Broadway assignments, Terrence McNally's "Love! Valour! Compassion!" and Donald Margulies' "What's Wrong With This Picture?"; his collaborations with playwrights including Jon Robin Baitz, David Mamet, Richard Greenberg, Neil Simon and Craig Lucas, among many others; the challenge of taking on a project on the scale of "Wicked" with only one previous musical directing credit and how much he remains involved with the show's many productions nationally and internationally; why he enjoys working on intimate shows; and the irony behind "Other Desert Cities'" plans for Broadway in the fall. Original air date - May 18, 2011.
Joe Mantello talks about returning to the Broadway stage as an actor after a 17-year hiatus to play the role of Ned Weeks in Larry Kramer's "The Normal Heart" -- and what it's like to play a role that the play's author has based on himself when the author is at the theatre nightly. He also talks about his acting days in school and community theatre in his hometown of Rockford, Illinois (with classmates that included Marin Mazzie); his training at North Carolina School of the Arts and why he had to relearn his idiosyncrasies when he got to New York; his work with playwright Peter Hedges and actress Mary-Louise Parker in the self-founded Edge Theatre; the opportunities offered to him by the Circle Repertory Company; why he decided to stop acting after making his Broadway debut in "Angels in America"; the development of his directing career, including the highs and lows of his first two Broadway assignments, Terrence McNally's "Love! Valour! Compassion!" and Donald Margulies' "What's Wrong With This Picture?"; his collaborations with playwrights including Jon Robin Baitz, David Mamet, Richard Greenberg, Neil Simon and Craig Lucas, among many others; the challenge of taking on a project on the scale of "Wicked" with only one previous musical directing credit and how much he remains involved with the show's many productions nationally and internationally; why he enjoys working on intimate shows; and the irony behind "Other Desert Cities'" plans for Broadway in the fall. Original air date - May 18, 2011.
Marin Mazzie talks about taking on the role of Diana Goodman in Broadway's "Next to Normal" and whether she and her co-star/husband Jason Danieley take their work home with them after the show. She also talks about her early professional experiences, including The Barn Theater in Michigan and An Evening Dinner Theatre in Westchester NY; appearing in the ultimately truncated national tour of "Doonesbury"; stepping into roles in the original productions of "Big River", "Into The Woods" and "And The World Goes Round"; her first opportunity to create a role, Clara in Sondheim and Lapine's "Passion", and having it created around her; the journey of "Ragtime" from Toronto to Broadway; her foray into the classics with Charles Mee's version of "The Trojan Women" for the site-specific company En Garde Arts; the differences between appearing in both "Kiss Me, Kate" and "Spamalot" in New York and London; and her forays into non-musical roles with "A Streetcar Named Desire" at Barrington Stage and "Enron" on Broadway -- and why she wants more opportunities to do more than just musicals. Original air date - September 8, 2010.
Marin Mazzie talks about taking on the role of Diana Goodman in Broadway's "Next to Normal" and whether she and her co-star/husband Jason Danieley take their work home with them after the show. She also talks about her early professional experiences, including The Barn Theater in Michigan and An Evening Dinner Theatre in Westchester NY; appearing in the ultimately truncated national tour of "Doonesbury"; stepping into roles in the original productions of "Big River", "Into The Woods" and "And The World Goes Round"; her first opportunity to create a role, Clara in Sondheim and Lapine's "Passion", and having it created around her; the journey of "Ragtime" from Toronto to Broadway; her foray into the classics with Charles Mee's version of "The Trojan Women" for the site-specific company En Garde Arts; the differences between appearing in both "Kiss Me, Kate" and "Spamalot" in New York and London; and her forays into non-musical roles with "A Streetcar Named Desire" at Barrington Stage and "Enron" on Broadway -- and why she wants more opportunities to do more than just musicals. Original air date - September 8, 2010.
Performers Bryan Batt (Saturday Night Fever), Kristin Chenoweth (Wicked and Tony winner for You’re a Good Man, Charlie Brown), four-time Tony Winner Boyd Gaines (for The Heidi Chronicles, She Loves Me, Contact and Gypsy), Marin Mazzie (Kiss Me Kate), Tom Wopat (Annie Get Your Gun) and Deborah Yates (Contact) discuss working on preview performances, how audiences can vary wildly, the pros and cons of live music and amplification, reconceiving shows for revivals, and stories from their stage experiences.
Performers Bryan Batt ("Saturday Night Fever"), Kristin Chenoweth ("Epic Proportions"), Boyd Gaines ("Contact"), Marin Mazzie ("Kiss Me Kate"), Tom Wopat ("Annie Get Your Gun") and Deborah Yates ("Contact") discuss working on preview performances, how audiences can vary wildly, the pros and cons of live music and amplification, reconceiving shows for revivals, and stories from their stage experiences.
Episode #18: Marin Mazzie has established herself as one of Broadway's great leading ladies, and it's easy to see why: with her rangy and beautiful voice, her serious acting chops, her comic bent, and her cover girl looks, who wouldn't want to cast her? Marin made her Broadway debut in Big River, and next was Into the Woods, where we met as fellow understudies and I got to see Marin perform Cinderella, Rapunzel, and the Witch in the same week! After that came Marin's three Tony-nominated performances, as Clara in Passion, as Mother in Ragtime, and as Lilli/Kate in Kiss Me Kate. She also took over the role of Aldonza, opposite Brian Stokes Mitchell, in the revival of Man of La Mancha. Most recently, she has been wowing audiences in the staged concerts of On the Twentieth Century as Lily Garland, and Kismet as Lalume. What a resumé! (And I haven't even touched on her extensive regional, stock and television credits!)On this episode, Marin sings a song that's actually in the songbook! "Walking the Wrong Way" is a self-contained, cabaret-type song with lyrics by Libby Saines ("I Won't Mind," "I'm Free") and music by yours truly. Recorded 5/19/06.On the concert and recording front, her leading man (onstage and off) is her adorable and talented husband, Jason Danieley. Marin and Jason recently released a duet CD, appropriately titled Opposite You. They'll be appearing together with the Boston Pops on June 1st, 2nd, and 3rd. Check them out - they do a great show!
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