Podcasts about new line theatre

Rerun: Edgy, gritty and sexy, the Broadway production of ‘Grease' opened at the Broadhurst Theatre on 7th June, 1972, beginning what would become a record-breaking eight-year run.  Despite NOT featuring some of the most well-known hits from the movie - including ‘Grease Is The Word', ‘You're The One That I Want' and ‘Hopelessly Devoted To You' - the production attracted an unusually high proportion of blue-collar audiences, keen to see working-class and ethnic immigrant subculture portrayed in a musical. In this episode, Olly, Arion and Rebecca reveal the origin of the word ‘greasers', explain why ‘50s nostalgia played little part in the original success of the show, and consider whether the Grease Megamix is an appropriate choice for 10 year olds to sing at a Summer Ball… Further Reading: • The Playbill from the original production: https://www.playbill.com/article/playbill-archives-grease-1972-com-143094 • ‘It's The Longest-Running Show on Broadway' - a 1970s TV commercial for the show: https://www.youtube.com/watch?v=Phxb5K7jUUw • The original dialogue from ‘Grease' c/o New Line Theatre: http://www.newlinetheatre.com/grease-dialogue.html ‘Why am I hearing a rerun?' Each Thursday and Friday we repeat stories from our archive of 800+ episodes, so we can maintain the quality of our independent podcast and bring you fresh, free content every Monday-Wednesday…  … But

IT'S HAPPENING IN YOUR REFRIGERATOR: Deutero-Fung, a mold spore with big ideas, attempts to rally his fellow mold spores into blooming immediately and take over the apartment-verse, but Hyphae-Fung, a mold spore with even bigger ideas, warns the community that blooming early will be a mistake. Look out! Cuz it's Happening in your Refrigerator! Written by Greg Kotis Directed by Jonathan Cook Performed by Sol Baird as "Deutero-Fung"; Brad King as "Hyphae-Fung"; and the cast of Urinetown the Musical at Le Chat Noir Theatre as the mold spore community. Intro/Outro music: JK/47 About the writer: GREG KOTIS is a two time Tony™ Award winning author of many plays and musicals including Urinetown (Book/Lyrics), The End of All Flesh, I Am Nobody, The Truth About Santa, The Sting (Lyrics), Lunchtime, Give the People What They Want, Michael von Siebenburg Melts Through the Floorboards, Yeast Nation (Book/Lyrics), Pig Farm, Eat the Taste, and Jobey and Katherine. His work has been produced and developed in theaters across the country and around the world, including Actors Theatre of Louisville, American Conservatory Theater, American Theater Company, The Apollo (West End), The Brick, the Eugene O'Neill National Theater Conference, The Geva Center, Goodspeed, Musicals, Henry Miller's Theatre (Broadway), Manhattan Theatre Club, New York Stage and Film, New Line Theatre, The Old Globe, Perseverance Theatre, Roundabout Theatre Company, Soho Rep, South Coast Rep, The Saint James (Off West End), The Tank, and Village Theatre, among others. Future projects include ZM, an original musical about teenaged fast-food workers trying to survive a zombie plague. Greg co-founded Theater of The Apes with his wife Ayun Halliday (www.theater-of-the-apes.com), and is a member of the Neo-Futurists, the Cardiff Giant Theater Company, ASCAP, and the Dramatists Guild. He grew up in Wellfleet, Massachusetts, lives in New York City, and is the proud father of India and Milo. You can watch the full video of this episode at https://www.youtube.com/@GatherbytheGhostLight Gather by the Ghost Light merch is available at www.ghostlightpubs.com (Ghost Light Publications) If you would like to further support this podcast, please visit Gather by the Ghost Light is increasing public knowledge of emerging writers and actors (buymeacoffee.com) If you enjoy this podcast, please please please leave a rating on your preferred podcast app! For more info or if you wish to contact us, please visit www.gatherbytheghostlight.com Learn more about your ad choices. Visit megaphone.fm/adchoices

"Skimbleshanks is in 13 and that's really kind of fun for me as a musician." This episode features Scott Miller who is the author of a CATS parody book called Theatre Cats. Hear about Scott's first time experiencing the US National Tour 3 of CATS in Boston, the writing process of crafting a parody book, his experience watching the new movie, and his first experience thinking about the Jellicle decision. Plus, hear Scott give his secret agenda for why he wrote his parody book of poems. Check out Scott's author page on Amazon: www.amazon.com/author/millerscott Check out New Line Theatre: www.newlinetheatre.com Check out Scott's blog: www.newlinetheatre.blogspot.com Produced by: Alan Seales & Broadway Podcast Network Instagram & Twitter: @TheWrongCatDied Learn more about your ad choices. Visit megaphone.fm/adchoices

Edgy, gritty and sexy, the Broadway production of ‘Grease' opened at the Broadhurst Theatre on 7th June, 1972, beginning what would become a record-breaking eight-year run. Despite NOT featuring some of the most well-known hits from the movie - including ‘Grease Is The Word', ‘You're The One That I Want' and ‘Hopelessly Devoted To You' - the production attracted an unusually high proportion of blue-collar audiences, keen to see working-class and ethnic immigrant subculture portrayed in a musical.In this episode, Olly, Arion and Rebecca reveal the origin of the word ‘greasers', explain why ‘50s nostalgia played little part in the original success of the show, and consider whether the Grease Megamix is an appropriate choice for 10 year olds to sing at a Summer Ball…Further Reading:• The Playbill from the original production:https://www.playbill.com/article/playbill-archives-grease-1972-com-143094• ‘It's The Longest-Running Show on Broadway' - a 1970s TV commercial for the show: https://www.youtube.com/watch?v=Phxb5K7jUUw• The original dialogue from ‘Grease' c/o New Line Theatre:http://www.newlinetheatre.com/grease-dialogue.html For bonus material and to support the show, visit Patreon.com/RetrospectorsWe'll be back tomorrow! Follow us wherever you get your podcasts: podfollow.com/Retrospectors The Retrospectors are Olly Mann, Rebecca Messina & Arion McNicoll, with Matt Hill.Theme Music: Pass The Peas. Announcer: Bob Ravelli. Graphic Design: Terry Saunders. Edit Producer: Emma Corsham.Copyright: Rethink Audio / Olly Mann 2021. See acast.com/privacy for privacy and opt-out information.

Guest Scott Miller, Artistic Director of the New Line Theatre, talks about the founding of the company as well as their work with local talent to keep musical theater edgy.

I talk with playwright-lyricist Tom Jones (The Fantasticks, 110 in the Shade, I Do! I Do!), about his show Celebration and his 2016 revision, produced by New Line Theatre.

Guest Scott Miller, Artistic Director of New Line Theatre, discusses alternative theater and why St. Louis is ideal for ambitious productions.

Reviews of (1) A MIDSUMMER NIGHT’S DREAM, by William Shakespeare, at Shakespeare Festival St. Louis, (2) ARIADNE ON NAXOS, by Richard Strauss & Hugo von Hofmannsthal, at Opera Theatre of St. Louis , (3) MACBETH, by Giuseppe Verdi, at Opera Theatre of St. Louis, (4) PASTIME, by Cecil McKinnon & Jack Marsh, at Circus Flora , (5) BROKEN BONE BATHTUB, by Siobhan O’Loughlin, at That Uppity Theatre Co. & The Drama Club STL, and (6) ATOMIC, by Danny Ginges & Philip Foxman, at New Line Theatre.

I talk with lyricist-bookwriter Danny Ginges and composer-lyricist Philip Foxman, about their rock musical Atomic, which debuted in Australia, then moved to off Broadway, and then was produced by two regional theatres, Meadow Brook Theatre in Rochester, Michigan, and then New Line Theatre in St. Louis.

Bob Wilcox and Gerry Kowarsky review (1) MOLLY'S HAMMER, by Tammy Ryan, at the Repertory Theatre of St. Louis, (2) IF/THEN, by Tom Kitt and Brian Yorkey, at the Fox Theatre, (3) AMERICAN IDIOT, by Green Day, Billie Joe Armstrong, & Michael Mayer, at New Line Theatre, (4) THE MURDER ROOM, by Jack Sharkey, at the Kirkwood Theatre Guild, (5) IL TROVATORE, by Giuseppe Verdi, at Winter Opera Saint Louis, (6) THE WOMEN, by Clare Boothe Luce, at Clayton Community Theatre, and (7) THE UNDERPANTS, by Carl Sternheim, adapted by Steve Martin, at the Theatre Guild of Webster Groves.

Bob Wilcox and Gerry Kowarsky review (1) THE SUNSHINE BOYS, by Neal Simon at the New Jewish Theatre; (2) THE KISS, by Ger Thijs, at Upstream Theater; (3) HEATHERS, by Kevin Murphy & Laurence O'Keefe, at New Line Theatre; (4) TALKIN' TRASH, by Nicholas Kryah, at Metro Theater Company; (5) DOGFIGHT, by Benj Pasek, Justin Paul, & Peter Duchan, at Stray Dog Theatre and the Webster Univ. Conservatory; (6) COMPANY, by Stephen Sondheim & George Furth, at Washington Univ; (7) TWELFTH NIGHT, by William Shakespeare, at St. Louis Shakespeare; and (8) TRASH MACBETH, by William Shakespeare, at Saint Louis University.

Bob Wilcox and Gerry Kowarsky review (1) SMOKEY JOE’S CAFE, by Jerry Leiber & Mike Stoller, at Stages St. Louis, (2) LA RONDINE, by Giacomo Puccini, at Opera Theatre of St. Louis, (3) ONE SUMMER ON SECOND STREET, Circus Flora, (4) RICHARD THE LIONHEART, by George Frederic Handel, at Opera Theatre of St. Louis, (5) THE THREEPENNY OPERA, by Bertolt Brecht & Kurt Weill, at New Line Theatre, (6) THE PILLOWMAN, by Martin McDonagh, at Theatre Lab, (7) DOG SEES GOD: CONFESSIONS OF A TEENAGE BLOCKHEAD, by Bert V. Royal, at Stray Dog Theatre., (8) DISNEY’S THE ARISTOCATS, by Michael Bernard, Bryan Louiselle, et al., at Stages St. Louis, (9) IS THIS REALLY HAPPENING RIGHT NOW?, by Mollie J. Ambugey & Will Bonfiglio, at GoodPeople Theatre Co.

Bob Wilcox and Gerry Kowarsky review (1) BUYER AND CELLAR, by Jonathan Tolins, at the Rep Studio Theatre, (2) JERRY SPRINGER THE OPERA, by Richard Thomas & Stewart Lee, at New Line Theatre, (3) PAUL ROBESON, by Phillip Hayes Dean, at The Black Rep, (4) RADIUM GIRLS, by D.W. Gregory, at the Kirkwood Theatre Guild, (5) SIGHT UNSEEN, by Donald Margulies, at the New Jewish Theatre, (6) THE PHANTOM OF THE OPERA, by Andrew Lloyd Webber, et al., at the Fox () Theatre, (7) YOU CAN'T TAKE IT WITH YOU, by George S. Kaufman, at the Theatre Guild of Webster Groves, (8) OTELLO, by Verdi & Boito, at Winter Opera Saint Louis, and (9) THE LITTLE PRINCE, by John Scoullar & Rick Cummins, adapted from Antoine de Saint-Exupery, at COCA Presents.

Bob Wilcox and Gerry Kowarsky review (1) THE DIARY OF ANNE FRANK, by Frances Goodrich, Albert Hackett, & Wendy Kesselman, at the New Jewish Theatre, (2) ANTIGONE, by Sophocles, at Upstream Theater, (3) AND THEN THERE WERE NONE, by Agatha Christie, at Stray Dog Theatre, (4) BONNIE AND CLYDE, by Ivan Menchell, Frank Wildhorn, & Don Black, at New Line Theatre, (5) SIDE SHOW, by Bill Russell & Henry Krieger, at Over Due Theatre Co., (6) STOP KISS, by Diane Son, at the Webster Univ. Conservatory, (7) NICE WORK IF YOU CAN GET IT, by George & Ira Gershwin & Joe DiPietro, at the Peabody Opera House, (8) ANON(YMOUS), by Naomi Iisuka, at Washington Univ., and (9) BUS STOP, by William Inge, at Saint Louis Univ.

Bob Wilcox and Gerry Kowarsky review (1) THE ELIXIR OF LOVE, by Gaetano Donizetti & Felice Romani, at Opera Theatre of St. Louis, (2) THE PAWN, at Circus Flora, (3) THEY'RE PLAYING OUR SONG, by Marvin Hamlisch, Carole Baker Sager, & Neil Simon, at Stages St. Louis, (4) OLIVER!, by Lionel Bart, at Insight Theatre Co., (5) HANDS ON A HARDBODY, by Trey Anastasio, Amanda Green, & Doug Wright, at New Line Theatre, and (6) THE RIVER, Elizabeth Heffron, and THIS IS NOWHERE, by Caitlin McCommis, at Tesseract Theatre Co.

Bob Wilcox and Gerry Kowarsky review (1) WE WILL ROCK YOU, by Queen & Ben Elton, at the Fox; (3) SOUPS, STEWS AND CASSEROLES: 1976, by Rebecca Gilman, at the Repertory Theatre of St. Louis; (3) RED LIGHT WINTER, by Adam Rapp, at HotCity Theatre; (4) RENT, by Jonathan Larson, at New Line Theatre; (5) THE AWAKENING, by Kate Chopin, adapted by Henry I. Schvey, at St. Louis Actors' Studio; (6) LUCIA Di LAMMERMOOR, by Donizetti, at Winter Opera St. Louis; (7) MUSICAL COMEDY MURDERS OF 1940, by J. Bishop, at Kirkwood Theatre Guild; THE CEMETERY CLUB, by I. Menchell, at Alpha Players; and ANGEL STREET, by P. Hamilton, at Theatre Guild of Webster Groves; and (8) PETER AND THE STARCATCHER, by Rick Elice & Wayne Barker, at the Peabody Opera House.

Bob Wilcox and Gerry Kowarsky review THE GOOD DOCTOR, by Neil Simon, at the New Jewish Theatre; DIARY OF A MADMAN, by Nicolai Gogol, adapted by David Holman, at Upstream Theater; EVITA, by Andrew Lloyd Weber & Tim Rice, at the Fox Theatre; EVIL DEAD: THE MUSICAL, by George Reinblatt, Frank Cipolla, Christopher Bond & Melissa Morris, at Stray Dog Theatre; NIGHT OF THE LIVING DEAD, by Stephen Gregory Smith & Matt Conner, at New Line Theatre; PLAYHOUSE CREATURES, by April De Angelis, at Saint Louis Univ.; and ALICE IN WONDERLAND, by Lewis Carroll, Chris Byron Pratt, Doug Finlayson and Ensemble, at Webster Univ. Conservatory.

Bob Wilcox and Gerry Kowarsky review (1) THE WIZ, by Charlie Smalls & William F. Brown, at The Black Rep, (2) ALWAYS . . . PATSY CLINE, by Ted Swindley et al., at Stages St. Louis, (3) SIX DEGREES OF SEPARATION, by John Guare, at Stray Dog Theatre, (4) IL TABARRO & PAGLIACCI, by Puccini & Leoncavallo, at Opera Theatre of St. Louis, (5) CHAPTER TWO, by Neal Simon, at Insight Theatre Co., (6) KING LEAR, by William Shakespeare, at St. Louis Actors' Studio, (7) A TRIP TO THE MOON, at Circus Flora, (8) BUKOWSICAL, by Spencer Green & Gary Stockdale, at New Line Theatre, and (9) THE CHERRY SISTERS REVISITED, by Dan O'Brien, at R-S Theatrics.

On this episode, Bob Wilcox and Gerry Kowarsky review (1) BOEING BOEING, by Marc Camoletti, trans. by Beverley Cross, at Dramatic License Productions, (2) NEXT TO NORMAL, by Tom Kitt & Brian Yorkey, at New Line Theatre, (3) THE BOOK OF MORMON, by Trey Parker, Matt Stone, & Robert Lopez, at the Fox Theatre, (4) LILIES OF THE FIELD, adapted by F. Andrew Leslie from William E. Barrett, at Kirkwood Theatre Guild, (5) BRIEFS: A FESTIVAL OF SHORT LGBT PLAYS, at That Uppity Theatre Co. & The Vital Voice, (6) THE 25TH ANNUAL PUTNAM COUNTY SPELLING BEE, by William Finn & Rachel Scheinkin, at St. Louis Univ., and (7) UNCOMMON WOMEN AND OTHERS, by Wendy Wasserstein, at Webster Univ. Conservatory.

Bob Wilcox and Gerry Kowarsky review (1) BLOODY ANDREW JACKSON, by Michael Friedman & Alex Timbers, at New Line Theatre, (2) THE DROWSY CHAPERONE, by Lisa Lambert & Greg Morrison,Bob Martin & Don McKeller, at The Alpha Players, (3) A MIDSUMMER NIGHT'S DREAM, by William Shakespeare, at St. Louis Shakespeare, (4) TO KILL A MOCKINGBIRD, adapted by Christopher Sergel, at Insight Theatre Co., (5) THE CHILDREN'S HOUR, by Lillian Hellman, at Webster Univ. Conservatory, and (6) TONY AND LIZ TIE THE KNOT, by Susan Berardi & Vanessa Roman, at Inspired Productions.

1) AIN'T MISBEHAVIN', by Murray Horwitz, Richard Maltby, Jr., et al., at Stages St. Louis (2) COSI FAN TUTTE, by W. A. Mozart & Lorenzo Da Ponte, at Opera Theatre of St. Louis (3) THE WIZARD, at Circus Flora (4) HIGH FIDELITY, by Tom Kitt, Amanda Green, & David Lindsay-Abaire, at New Line Theatre (5) 9 CIRCLES, by Bill Cain, at R-S Theatrics (6) TRAVELS WITH MY AUNT, by Graham Greene, adapted by Giles Havergal, at ACT Inc. (7) THE DAMASK CHEEK, by John Van Druten & Lloyd Morris, at ACT Inc.

Bob Wilcox and Gerry Kowarsky review (1) THE GLASS MENAGERIE, by Tennessee Williams, at Dramatic License Productions, (2) CRY-BABY, by David Javerbaum, Adam Schlesinger, Mark O'Donnell & Thomas Meehan, at New Line Theatre, (3) WAKE UP, CAMERON DOBBS, by Stephen Peirick, at West End Players Guild, (4) AMERICAN IDIOT, by Michael Mayer & Billie Joe Armstrong, at the Peabody Opera House, (5) LA BOHEME, by Giacomo Puccini, at Winter Opera St. Louis, (6) BAT BOY: THE MUSICAL, by Keythe Farley, Brian Flemming & Laurence O'Keefe, at St. Louis Univ., and (7) BRIEFS: A FESITVAL OF SHORT LESBIAN AND GAY PLAYS, at That Uppity Theatre Co. & Vital VOICE Media.

Bob Wilcox and Gerry Kowarsky review (1) THE ADDAMS FAMILY, by Marshall Brickman, Rick Elice, & Andrew Lippa, at the Fox Theatre, (2) HENRY V, by William Shakespeare, at St. Louis Shakespeare, (3) PASSING STRANGE, by Stew & Heidi Rodewald, at New Line Theatre, (4) TOP GIRLS, by Caryl Churchill, at Webster University Conservatory, (5) REASONS TO BE PRETTY, by Neil LaBute, at The NonProphet Theater Co., (6) THE VIOLINIST, by Susan Berardi, at Inspired Productions, (7) RABBIT HOLE, by David Lindsey-Abaire, at Insight Theatre Co., (8) SOUTH PACIFIC, by Richard Rodgers & Oscar Hammerstein II, & Joshua Logan, at The Alpha Players, and (9) THE HOT L BALTIMORE, by Lanford Wilson, at Soundstage Productions.

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

A regular feature that parts the curtain on St. Louis' small theater groups, "In the Spotlight" profiles New Line Theatre, a fun group that calls itself "The Bad Boy of Musical Theatre."