Podcasts about Opera

Tim Rinehart is the Principal Double Bassist of the Oregon Symphony. A graduate of Rice University's Shepherd School of Music, Tim studied with Paul Ellison while also earning a Bachelor of Science in Mathematics. He is the winner of the 2025 International Society of Bassists Orchestral Division Competition and has performed with numerous prestigious orchestras including the Boston Symphony, London Symphony, and Houston Symphony. Tim shares his journey through multiple auditions in a single season, revealing the breakthrough preparation strategies that led to winning his current. He discusses mental performance techniques, systematic practice methods, committee expectations, his education with Paul Ellison at Rice University, and his new role with the Oregon Symphony. Connect with Tim: Website Instagram YouTube Oregon Symphony profile Connect with DBHQ: Join Our Newsletter Double Bass Resources Double Bass Sheet Music Double Bass Merch Gear used to record this podcast: Zoom H6 studio 8-Track 32-Bit Float Handy Recorder Rode Podmic Sony Alpha 7 IV Full-frame Mirrorless Interchangeable Lens Camera Sony FE 16-35mm F2.8 GM Lens Sony FE 24-70mm F2.8 GM Lens   When you buy a product using a link on this page, we may receive a commission at no additional cost to you. Thank you for supporting DBHQ.   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today! Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here. Theme music by Eric Hochberg

GOOD DAY TO YOU ALL!!! It's been a minute since the last episode and I will make sure to put more out, but I wanted to make sure at least this one came out ASAP!! This is one of my favorite movies and one of the best movies of the 90's! Even though it was a box office bomb it is considered a classic of cinema and I totally agree with it. So without further ado, enjoy our episode on the Shawshank Redemption!! "Get busy livin', or get busy dyin'." Keep going with those pearls of wisdom, Red!!!INTRO: PEG & THE REJECTED -- ALL SING ALONGREFILL: SHAOLIN DUB -- SKANKING IT EASY DUBOUTRO: DISTEMPER -- HAPPY ENDEMAIL : MOVIESONTHEROCKS2020@GMAIL.COMINSTAGRAM: @moviesrockpodcast

Ayako Ohtake, a Sydney-based Japanese soprano singer, hosts monthly music segment called VIVA! Opera for SBS Japanese. For this episode, Ms Ohtake picked 'Spargi d'amaro' from 'Lucia di Lammermoor' composed by G.Donizetti. - 前回の放送に引き続き、「ランメルモールのルチア」より、正気を失ったヒロイン、ルチアの精神錯乱状態を描く”狂乱の場”を２回に分けて取り上げた後編です。オペラの一番の見せどころとも言えますが、今回は最後の部分を取り上げ、極限まで張り詰めたヒロイン、ルチアの精神状態が、どのように芸術として描かれているのか聞いてみましょう。

 Listen to the Show Right Click to Save GuestsJarrott Productions Mirror LakeForklift Dance The Way of Water - The Colorado RiverWhat We Talked About  RIP Diane Keaton The Least Problematic Woman in the World Musician & Actor Strike Jellicle Ball to B'way Latine Anne Frank Radio City Sphere Kiss ‘o The Spiderwoman film review The Bride and Goodnight Cinderella Chess in Previews (Imperial) B. Iden Payne Nominations Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)

October 12, 2025Join hosts Tony Moore, Michael Mattes, Justin Hareld, and Araceli Aviles, as they recap episodes of Days of Our Lives from the week of October 6-10, 2025. This week on Dishin' Days, Brady uncovers a huge truth, Jennifer remembers her time in Salem, and the Kiriakises make their stand.Plus, Jeremy makes his case to Stephanie, JJ considers giving up his badge, and Theo makes a connection with Ari.Be sure to follow us on all social media platforms:Facebook: DishinDaysShowInstagram: @dishindaysTwitter: dishindays

Monica Ellis has blazed a trail in "classical" music for nearly 30 years as a founding member of the historic Imani Winds ensemble. She joins Loki to talk about her career, so far, her past and upcoming work with the Gateways Music Festival, and more! Loki offers a peek into his work as the new Executive Director of the American Composers Forum. Gateways Music Festival Monica EllisLiber Tango (arr. Jeff Scott)Afro BlueRecomposing America (presented by the American Composers Forum) ★ Support this podcast ★

The Universal Monsters (also known as Universal Classic Monsters and Universal Studios Monsters) is a media franchise comprising various horror film series distributed by Universal Pictures. It consists of different horror creature characters originating from various novels, such as Dr. Jekyll / Mr. Hyde, the Phantom of the Opera, Count Dracula, Frankenstein's monster, the Mummy, and the Invisible Man, as well as original characters the Wolf Man and the Creature from the Black Lagoon.Also the review of The Monster Squad is a 1987 American horror comedy film directed by Fred Dekker, and written by Dekker and Shane Black. Peter Hyams and Rob Cohen served as executive producers. It was released by Tri-Star Pictures on August 14, 1987. The film features pastiches of the Universal Monsters, led by Count Dracula. They are confronted by a group of savvy children out to keep them from controlling the world.Hosted by Ausha. See ausha.co/privacy-policy for more information.

Celebrate the 100th anniversary of The Phantom of the Opera with film archivist Alejandra Espasande as she interviews three of the leading experts on this horror classic, including Emmy Award-winning make-up artist and the definitive biographer on Lon Chaney himself, Michael F. Blake. Set your Halloween plans now and get your tickets to The Phantom of the Opera at LAOpera.org.

In this episode, we welcome Logan Webber, the new marketing and outreach manager for Piedmont Opera. Logan shares his journey with the organization, reflecting on his long-standing affiliation with the company and his passion for the arts. He discusses his recent transition into this role and his vision for bolstering the local arts economy by engaging and hiring local artists. With a rich background in performance and community outreach, Logan emphasizes the importance of supporting the incredible talent in the Piedmont region while making opera accessible to all. Tune in to hear about his exciting initiatives, including the new Opera Lite series and educational outreach programs that aim to introduce opera to younger audiences. Whether you're a long-time opera enthusiast or curious about the world of performing arts, Logan's insights and experiences will inspire you to engage with the vibrant local arts scene.DONATE TO PIEDMONT OPERA: https://ci.ovationtix.com/36795/store/donations/51775The Triad Podcast Network is proudly sponsored by The Ginther Group Real Estate, Dewey's Bakery, and Three Magnolias Financial Advisors.

It's Halloween season, so we are looking back at Rob's conversation with "Scream" queen Neve Campbell! They talk about Neve's incredible run of 800 Phantom of the Opera performances, how great it has been to grow up acting in the Scream franchise, and the odd instance of Rob and Neve meeting at Stephen Dorff's birthday party. This episode originally aired in February 2022. Make sure to subscribe to the show on YouTube at YouTube.com/@LiterallyWithRobLowe! Got a question for Rob? Call our voicemail at 323-570-4551. Your question could get featured on the show! Hosted by Simplecast, an AdsWizz company. See pcm.adswizz.com for information about our collection and use of personal data for advertising.

When one of the most successful medical dramas of all time tried to pump up the adrenaline with a musical episode, it left some fans with an adverse reaction. Yes, Kevin and Jenna are dissecting the infamous Grey’s Anatomy Season 7 musical episode, “Song Beneath the Song.” They reveal what shocked them the most about the episode, what worked and didn’t for them, standout Sara Ramirez, and whether they think Grey’s should have done the episode at all! You’re going to want to hear this one stat! For fun, exclusive content, and behind-the-scenes clips, follow us on Instagram@andthatswhatyoureallymissedpod & TikTok @thatswhatyoureallymissedSee omnystudio.com/listener for privacy information.

Welcome back to another Spooky episode of the GGtMC!!!This week Sammy and Will dive into Visiting Hours (1982) directed by Jean-Claude Lord and Opera (1987) directed by Dario Argento!!!Emails to midnitecinema@gmail.comAdios!!!

After fans rejected the absence of Michael Myers in “Halloween III: Season of the Witch,” Dwight Little came onboard to direct “Halloween 4: The Return of Michael Myers.” Tune in to hear all about making the film that brought back this horror villain, what it was like casting and working with franchise stars Danielle Harris, Ellie Cornell, and Donald Pleasence, his thoughts on “Halloween 5” and how he would have approached that sequel, and his work on additional horror films like “The Phantom of the Opera” (1989) and “Natty Knocks.”

Em abril de 1961, um grupo de exilados cubanos anticastristas, treinados e apoiados pela CIA, tentou invadir Cuba pela Baía dos Porcos, no que ficou conhecido como uma das mais emblemáticas derrotas militares da Guerra Fria. A operação, lançada poucos meses após John F. Kennedy assumir a presidência dos Estados Unidos, pretendia derrubar o governo socialista de Fidel Castro, mas terminou em fracasso após apenas três dias de combates. As forças cubanas, preparadas e armadas pelo Bloco do Leste, rapidamente derrotaram os invasores, consolidando o poder da Revolução Cubana e ampliando as tensões entre Washington e Havana. Convidamos Vitor Soares para explicar como se deu a Invasão da Baía dos Porcos, seus desdobramentos políticos e o impacto desse episódio na consolidação do regime de Fidel Castro e no acirramento da Guerra Fria na América Latina.Financiamento coletivo do jogo Imperialismo: América CLICANDO AQUI⁠Adquira o curso História: da pesquisa à escrita por apenas R$ 49,90 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CLICANDO AQUI⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Adquira o curso A Operação Historiográfica para Michel de Certeau por apenas R$ 24,90 ⁠⁠⁠⁠⁠⁠⁠⁠⁠CLICANDO AQUI⁠⁠⁠⁠⁠⁠⁠⁠⁠Adquira o curso O ofício do historiador para Marc Bloch por apenas R$ 29,90 ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠CLICANDO AQUI⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠Colabore com nosso trabalho em ⁠⁠⁠⁠⁠⁠⁠⁠⁠apoia.se/obrigahistoria⁠⁠⁠Calor chegando, hora de usar INSIDER! Adquira com 12% de desconto com o cupom HISTORIAFM ou pelo link ⁠⁠https://creators.insiderstore.com.br/HISTORIAFM ⁠⁠#insiderstore

The legendary composer, arranger, musician and penny whistle player, David Amram, will be in conversation with Academy Award documentary filmmaker Barbara Kopple at the Woodstock Film Festival on Sunday, 10/19 12 noon. The venue is the Kleinert/James Art Center, 34 Tinker St, Woodstock. David Amram started his professional life in music as a French Hornist in the National Symphony Orchestra (Washington, D.C.) in 1951. After serving in the US Army from 1952-54, he moved to New York City in 1955 and played French horn in the legendary jazz bands of Charles Mingus, Dizzy Gillespie, Lionel Hampton and Oscar Pettiford. In 1957, he created and performed in the first ever Jazz/Poetry readings in New York City with novelist Jack Kerouac, a close friend with whom Amram collaborated artistically for over 12 years. Since the early 1950s, he has traveled the world extensively, working as a musician and a conductor in over thirty-five countries including Cuba, Kenya, Egypt, Pakistan, Israel, Latvia and China. He also regularly crisscrosses the United States and Canada.He composed the scores for many films including Pull My Daisy (1959), Splendor In The Grass (1960) and The Manchurian Candidate (1962). He composed the scores for Joseph Papp's Shakespeare In The Park from 1956-1967 and premiered his comic opera 12th Night with Papp's libretto in 1968. He also wrote a second opera, The Final Ingredient, An Opera of the Holocaust, for ABC Television in 1965. From 1964-66, Amram was the Composer and Music Director for the Lincoln Center Theatre and wrote the scores for Arthur Miller´s plays After The Fall (1964) and Incident at Vichy (1966). Appointed by Leonard Bernstein as the first Composer In Residence for the New York Philharmonic in 1966, he is now one of the most performed and influential composers of our time. For tickets & details: https://woodstockfilmfestival.org/2025-all-events?eventId=68c4216f81b8e06c5bb8c1fc

Couples therapy for Michael and Lauren; Daniel deep in love; Previews from L.A.; Jack and Diane team up against Victor!; Jill defends Cane; and We need to talk about Lily. PLUS: The Weekly Y&R Chat Poll, “Who Said It” Game, and Opening “The Chatterbox” to Read YOUR Comments! Sign up to receive private e-mail updates […]

It's a debut bonanza at Paris Fashion Week and so Jeremy and Reid take a look at the giant fashion switch-aroo. Other topics include burning the house down, going to the Opera, finding a tiny couch, and running a 5k. ◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ WEBSITE⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠YOUTUBE ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◦⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠INSTAGRAM⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ SUPPORT:⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨VIA VENMO!⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠✨ or  ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠PATREON⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ REID⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JEREMY⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ ◦ ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠JACK⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠◠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠➩ withdanceandstuff@gmail.com⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠

Episode 525: To start of the Scary Season we sit down with Opera singer and composer Chris Drago Fistonich, who one day was speaking with Librettist and friend Robert Feng and came up with the idea to write and compose an Opera rendition of Junji Ito's one shot horror manga The Enigma of Amigara Fault!Follow Chris here on Instagram!https://www.instagram.com/chrisfistonich/

Established in 2003, Inland Northwest Opera brings world-class talent to our region while providing a stage for local professionals to share their artistry with an engaged and inspired community. Mike Bullard, board member, volunteer, and performer, talks to us about this valuable organization and its return thanks to some passionate folks in our community. Inland Northwest Opera is a 501(c)(3) organization who produces opera which inspires and educates young and old, provides opportunity for local singers, and fosters access to the dramatic arts in the Inland Northwest. Be sure to join them on Sunday, October 12 at 3 pm at the First Presbyterian Church in CDA for a free afternoon performance dedicated to Menotti's extraordinary ability to blend heart, humor, and humanity in music in The Human Spirit Demands to be Heard. More events are planned with a big stage production of Die Fledermaus at North Idaho College Sept 11-13, 2026. Visit inlandnwopera.org for information, volunteer opportunities and upcoming auditions.

In this episode, we speak with composer and flutist Dr. Sarah Bassingthwaighte about her groundbreaking Concerto for Double Bass and Orchestra, recently recorded by the London Symphony Orchestra with soloist Stephen Schermer. We dig into Sarah's approach to composition, the experience of writing this piece, balancing a solo bass with a full orchestra, and much more. Enjoy, and check out the sheet music for this cool new piece in our store!   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect With Us Join Our Newsletter - https://jason-heath-llc.ck.page/double-bass-news Double Bass Resources: https://doublebasshq.com/ Double Bass Sheet Music: https://shop.doublebasshq.com/ Double Bass Merch: https://shop.doublebasshq.com/collections/merch   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today!   Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here. theme music by Eric Hochberg

Welcome back friends! We have a special episode this week with a new guest, Gregamortis from Land of the Creeps Podcast!.  We are also joined by the great Jay of the Dead!  Join us as we review Opera.

Tòa Phúc thẩm New South Wales đã ra lệnh cấm (prohibition order) đối với cuộc tuần hành ủng hộ Palestine dự kiến diễn ra cuối tuần này đến Nhà hát Opera House Sydney, với lý do nguy cơ an toàn công cộng. Ba thẩm phán xét xử vụ này cho rằng số người tham dự ước tính quá lớn, gây rủi ro cho an toàn cộng đồng, trong khi phía Nhà hát Opera House không hề được thông báo về kế hoạch này.

Cel mai nou episod LEADERS vine cu un interviu care te va ține cu sufletul la gură. Invitatul este Attila Biro, jurnalist de investigație la Context, care de peste 20 de ani duce un război cu diverse mafii. Astăzi, e în prima linie a luptei cu mafiile rusești și dezinformarea rusească — o face pe teren, alături de experți din toată Europa, folosind instrumente spectaculoase care monitorizează rețelele și arată, zi de zi, cum se propagă minciuna. Vom vorbi despre afacerile STORM, Matrioșca, despre românii care preiau știri false din Rusia, cine și cum le distribuie, ce interese financiare se ascund în spate, dar și despre ce ar trebui să facă statul român — și ce nu face. Un episod cu informații uimitoare, despre o lume invizibilă, dar care acționează chiar aici, în România. 00:03:52 Război digital din 2022 00:08:51 Operațiuni informaționale în Moldova de la începutul lui 2025 00:12:50 40,000 de tik-tok-uri/zi în Moldova; în România se estimează a fi peste 100,000/zi 00:16:45 Călin Georgescu, cea mai bună infrastructură pe Telegram 00:19:00 Infrastructura Telegram ține de Rusia 00:25:00 Manipularea algoritmului în cazul Georgescu 00:30:30 Ce înseamnă să fii ”targetat”? 00:36:30 Tik-Tok și Meta au propriile Constituții 00:41:20 În spatele operațiunilor stă Kremlinul 00:50:07 Rețeaua minciunilor/context.ro 01:05:00 Investigația Panama Papers 01:15:53 Spălătoria din Azerbaidjan 01:19:50 Ce se întâmplă la nivelul statului român 01:26:45 Anularea alegerilor din 2024 01:31:18 Prezența economică rusă în România a crescut începând cu 2014 01:39:40 Investigații în războiul hibrid 01:46:00 Incompetență sau trădare? 01:56:10 Bătălia cu marile platforme

In the 1950s, the avant-garde music scene in New York and the movie studios of Los Angeles might have seemed like opposite ends of a cultural spectrum. But they came together (and blew apart) when MGM hired Louis and Bebe Barron to write the score for the sci-fi classic Forbidden Planet. It was the first all-electronic score for a Hollywood film, but not everyone was ready for the future of film music. I talk with Louis' son David Barron, composer Dorothy Moskowitz, University of Chicago associate professor Jennifer Iverson, and broadcaster and writer John Cavanagh about how the Barrons built a Rube Goldberg-style electronic music studio long before electronic music could be generated with the push of a button -- and why it took decades for their work to be fully appreciated. Thanks to Thomas Rhea (author of Electronic Perspectives: Vintage Electronic Musical Instruments) for permission to use audio from his 1998 interview with Bebe Barron. You can learn more about the Louis and Bebe Barron archive at Forgotten Futures. Philip Shorey's orchestra is touring with his new score to the 1925 film The Phantom of The Opera. This episode is sponsored by Remi. Go to shopremi.com/IMAGINARY and use the code IMAGINARY to get up to 50% off your nightguard at checkout. Learn more about your ad choices. Visit podcastchoices.com/adchoices

Indyana Schneider—international opera singer and novelist—shares practical ways to write rhythm and desire on the page, craft scene-level tension, and shape compressed-time narratives; plus lessons from drafting her debut on the Tube.  You'll learn:How to build sentence-level cadence: vary lengths and read aloud to tune flow.A simple spine for short-timeframe novels: day-by-day beats, rising stakes, a final choice.Where to start and stop scenes so pages move (start late, leave early).Writing desire without cliché: stay in character voice; revise for rhythm and clarity.Turning musical training into prose: sensory sequencing that guides attention.When to query (and what “ready” looked like) plus handling editorial feedback.Smart ways to measure success beyond sales and keep momentum across careers. Resources and Links:

Every postcard in my collection has a story to tell, and this one takes us to Forest Park in St. Louis, Missouri. On the front, you see a lively crowd gathered at the Municipal Opera, better known today as The Muny. The seats are packed, the stage is bright, and the performance is in full swing. Just looking at the card, you can almost hear the music floating through the summer night air. On the back, the caption reads: “The fame of St. Louis's Municipal Opera has spread throughout the world, and visitors come thousands of miles to witness this glamorous spectacle. Night after night throughout the summer, distinguished stars present popular musical attractions in a beautiful al fresco theatre in the heart of Forest Park.” Printed with space for a one-cent stamp, this postcard captures an era when people took great pride in local landmarks and mailed them across the country as souvenirs. The card itself was published by E.C. Kropp of Milwaukee and distributed by the Session Merchandise Company in St. Louis. It's a classic linen card, likely dating from the 1930s or 1940s, when bold colors and textured printing were the style of choice. For me, as a collector, this card stands out because it's more than just a building—it's an experience. It shows people gathered together outdoors, enjoying music, theater, and community. That's exactly what The Muny was built for, and that's why it has lasted more than a century... Podcast notes: https://ancestralfindings.com/postcards-from-the-past-municipal-opera-st-louis/ Ancestral Findings Podcast: https://ancestralfindings.com/podcast This Week's Free Genealogy Lookups: https://ancestralfindings.com/lookups Genealogy Giveaway: https://ancestralfindings.com/giveaway Genealogy eBooks: https://ancestralfindings.com/ebooks Follow Along: https://www.facebook.com/AncestralFindings https://www.instagram.com/ancestralfindings https://www.youtube.com/ancestralfindings Support Ancestral Findings: https://ancestralfindings.com/support https://ancestralfindings.com/paypal  #Genealogy #AncestralFindings #GenealogyClips

Join Key Change for one last spin around the season six universe. Co-hosts Anna Garcia and Olga Perez Flora recall their favorite moments, including reflections on the exciting collaboration between Santa Fe Opera and the University of New Mexico.  Then, the Key Change team transports us to the first-ever libretto reading workshop for NOVA. Meet the cast of this intergalactic opera and discover how they're interpreting familiar sci-fi tropes, such as colonization, survival, and belonging, through a uniquely Indigenous lens—featuring Robert Mesa (Navajo Nation and the Soboba Band of Mission Indians), ShanDien LaRance (Hopi, Tewa, Navajo and Assiniboine), and Ehren Kee Natay (Diné/Kewa Pueblo). NOVA combines Indigenous futurism and humor with a choose-your-own-adventure ending to examine existential questions of personal responsibility and integrity. "That's very much how many Indigenous tribes are bringing up their children," explains Ehren, a multi-disciplinary artist who plays KID. "Not by telling them what to do or how to be, but to tell them these old stories that provide a moral compass of how your decisions will affect an outcome." Robert, an accomplished film and TV actor who plays Doc, a member of the NOVA crew, welcomes this era of Indigenous collaboration in opera. "It's only within the past six or seven years that there has been a big burst of Native stories finally being put in the mainstream media," he observes. "We're breaking glass ceilings so generations behind us can flourish." "To be a young Indigenous woman living in these times, I think a lot about our history, our traditions," adds ShanDien, a Native hoop dancer and instructor who plays NOVA. "But, I also carry with us that modernism and the way into the future and how we can sustain both." KEY CHANGE RECOMMENDED EPISODES NOVA: Opera After the End of the World Taking Care of the Art with Chandler Johnson, Director of the Santa Fe Opera Apprentice Program for Singers Rise to the Occasion of Your Opera Career with Chandler Johnson, Director of the Santa Fe Opera Apprentice Program for Singers True Magic from Classroom to Stage with the Santa Fe Opera Young Voices and University of New Mexico Students An Opportunity To Encounter Excellence (And Big News!) Connections Across Time and Space: Opera in the Cosmos FEATURED IN THIS EPISODE Robert Mesa - Doc ShanDien LaRance - NOVA Ehren Kee Natay - Kid MENTIONED IN THIS EPISODE Hopi Nation Navajo Nation Ohkay Owingeh Pueblo Santa Fe Opera Community Engagement University Of New Mexico Grey's Anatomy Accused Dark Winds The Men Who Built America: Frontiersmen Appian Way Productions Reservation Dogs Flash Gordon Star Trek Star Wars Alcina at Santa Fe Opera 2017 Jenůfa at Santa Fe Opera 2019 No Greater Act: Pueblo Resistance Circles: Honoring Indigenous Santa Fe Little Globe Liz Lehrman Critical Response Method *** Key Change is a production of The Santa Fe Opera, Department of Community Engagement & Education. Share your favorite opera moments and questions with Community Engagement: agarcia@santafeopera.org Produced and edited by Andrea Klunder at The Creative Impostor Studios Hosted by Anna Garcia & Olga Perez Flora Audio Engineering: Collin Ungerleider & Kabby at Kabby Sound Studios in Santa Fe Technical Director: Edwin R. Ruiz Production Support from Alex Riegler Show Notes by Lisa Widder Theme music by Rene Orth with Corrie Stallings, mezzo-soprano, and Joe Becktell, cello Cover art by Dylan Crouch This podcast is made possible due to the generous support of the Hankins Foundation, Principal Education Sponsor of the Santa Fe Opera. To learn more, visit SantaFeOpera.org/KeyChange.  

Listen to the Show Right Click to Save GuestsCity Theatre To Kill A MockingbirdScottish Rite Theatre Dulce What We Talked About Weather Girl Damn Yankees Kiss of the Spider Woman – J Lo Dolly Parton – Shows postponed (sister calls for prayers)… NBD Dylan Mulvaney Beetle Juice Opens & Queen of Versailles starts Previews Scrooge Thank you to Dean Johanesen, lead singer of "The Human Condition" who gave us permission to use "Step Right Up" as our theme song, so please visit their website.. they're good! (that's an order)

On this haunting episode of Big Trouble in Little Podcast, Andy, Joe Dubs, Zac, and Chaz descend into the shadows beneath the opera house to explore two lavish interpretations of The Phantom of the Opera: the 1945 Technicolor classic and the 2004 Andrew Lloyd Webber musical adaptation. The crew discusses how each film captures the tragedy, obsession, and spectacle of the Phantom's story — from Claude Rains' tortured genius to Gerard Butler's rock opera flair. Expect deep dives into set design, music, and performances, along with the usual banter, laughs, and maybe a few off-key notes as the guys ask: who wore the mask best?

This week on Skip the Queue, we're stepping into the turret and turning up the tension, as we explore one of the UK's most talked-about immersive experiences.Our guest is Neil Connolly, Creative Director at The Everywhere Group, who have brought The Traitors Live Experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous.So, how do you even begin to transform a TV juggernaut into a thrilling, guest-led experience? Let's find out who's playing the game… and who's about to be banished…Skip the Queue is brought to you by Rubber Cheese, a digital agency that builds remarkable systems and websites for attractions that helps them increase their visitor numbers. Your host is Paul Marden.If you like what you hear, you can subscribe on iTunes, Spotify, and all the usual channels by searching Skip the Queue or visit our website SkiptheQueue.fm.If you've enjoyed this podcast, please leave us a five star review, it really helps others find us. And remember to follow us on LinkedIn. Show references: The Traitors Live website: https://www.thetraitorslive.co.uk/Neil's LinkedIn: https://www.linkedin.com/in/neil-connolly-499054110/Neil Connolly is a creative leader of design and production teams focused on development, production and installation of live theatre, entertainment, multi-media and attractions for the themed entertainment industry worldwide.Neil began his career as a performer, writer, producer & artist in Londons alternative theatre/art scene. It was during this time Neil developed a love and passion for story telling through the platform of interactive playable immersive theatre.Having been at the vanguard of playable & immersive theatre since 2007, Neil had a career defining opportunity in 2019 when he devised, wrote & directed an immersive experience as part of Sainsbury's 150th Birthday Celebrations. Making him the only immersive theatre & game maker in the world to have HRH Elizabeth Regina attend one of their experiences.In a distinguished career spanning 20 years, Neil has brought that passion to every facet of themed entertainment in the creative direction and production of attractions such as; Handels Messiah, Snowman & The Snowdog, Peppa Pig Surprise Party, Traitors Live, The Crystal Maze Live Experience, Tomb Raider Live Experience & Chaos Karts, an AR go-kart real life battle. Other clients and activations include: Harrods, Sainsbury's, Camelot/The National Lottery, Samsung, Blenheim Palace, Land Rover and Warner Brothers.Neil has worked across 4 continents for many years with private individuals; designing, producing and delivering live entertainment on land, sea & air. A world without boundaries requires freethinking.Neil is currently working with Immersive Everywhere on creative development of show and attraction content for projects across U.K, Europe, North America & Asia. Transcriptions:  Paul Marden: This week on Skip the Queue, we're stepping into the turret and turning up the tension as we explore one of the UK's most talked about immersive experiences.Paul Marden: Our guest is Neil Connolly, Creative Director at The Everywhere Group, who've brought The Traitor's live experience to life. With over 10 million viewers watching every betrayal, backstab and banishment on the BBC show, expectations for the live version were nothing short of murderous. So how do you even begin to transform a TV juggernaut into a thrilling guest-led experience? Let's find out who's playing the game and who's about to be banished.Paul Marden: So, we're underground. Lots of groups running currently, aren't they? How did you make that happenNeil Connolly: Yeah, so now we're two floors under us. There's a lower basement and some other basement. So the building that we are in, there's a family in the 1890s who owned all of the land around Covent Garden and specifically the Adelphi Theatre.Paul Marden: Right.Neil Connolly: And they wanted their theatre to be the first theatre in the UK to have its lights powered by electricity. So they built their own private power station in this building. Like, literally like, all this, this is a power station. But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this building until the 1980s when the establishment was assumed through the important UK network.Neil Connolly: And then it was sat there empty, doing nothing for 40 years. And so the landlord that is now started redeveloping the building 10 years ago, added two floors onto the top of the building. So now what we're in is an eight-storey structure and we've basically got the bottom four floors. Two of which are ground and mezzanine, which is our hospitality area. And the lower two floors, which are all in the basement, are our experience floors. What we're looking at right now is, if you look off down this way to the right, not you people on audio, but me here.Neil Connolly: Off this side is five of the round table rooms. There's another one behind me and there's two more upstairs. And then I've got some Tretters Towers off to the left and I've got my show control system down there.Neil Connolly: On the floor above me, we've got the lounges. So each lounge is connected to one of the round table rooms. Because when you get murdered or banished, one of the biggest challenges that I faced was what happens to people when they get murdered or banished? Because you get kicked out of the game. It's not a lot of fun, is it? Therefore, for me, you also get kicked out of the round table room. So this is a huge challenge I face. But I built these lounge concepts where you go— it's the lounge of the dead— and you can see and hear the round table room that you've just left. We'll go walk into the room in a while. There's lots of interactivity. But yeah, super fun. Neil Connolly: But unfortunately for these the Savoy had taken to that moniker, so they quickly built their important institution. The family had this establishment until the 1980s when the establishment was considered through the important UK network.Paul Marden: Yeah. So we've got 10 million people tuning in to Traitors per episode. So this must be a lot of pressure for you to get it right. Tell us about the experience and what challenges you faced along the way, from, you know, that initial text message through to the final creation that we're stood in now.Neil Connolly: So many challenges, but to quote Scroobius Pip on this, do you know Scroobius Pip? Paul Marden: No. Neil Connolly: Great, he's amazing. UK rapper from Essex.Neil Connolly: Some people see a mousetrap and think death. I see free cheese and a challenge.Neil Connolly: There's never any problems in my logic, in my thinking. There's always just challenges to overcome. So one of the biggest challenges was what happens to people when they get murdered or banished. The truth of the matter is I had to design a whole other show, which happens after this show. It is one big show. But you go to the Lounge of the Dead, there's more interactivity. And navigating that with the former controller, which is O3 Media and IDTV, who created the original format in the Netherlands, and basically designing a game that is in the world and follows the rules of their game with some reasonable adjustments, because TV and live are not the same thing.Neil Connolly: It takes 14 days to film 12 episodes of The Traitors. Paul Marden: Really? Okay. Neil Connolly: So I was like, how do I truncate 14 days of somebody's life down into a two-hour experience and still deliver that same impact, that same power, that same punch?Paul Marden: Yep.Neil Connolly: But I knew from the beginning of this that it wasn't about time. There is a magic triangle when it comes to the traitors, which is time, space, atmosphere. And time was the thing that I always struggled with. I don't have a Scottish cattle show, and I don't have two weeks. No. So I'm like, 'Cool, I've got to do it in two hours.' So our format follows exactly the same format. We do a breakfast scene, then a mission, then a roundtable banishment, then there's a conclave where the traitors meet and they murder somebody. And I do that in a seven-day structure, a seven-day cycle. But it all happens within two hours around this round table.Neil Connolly: I'm the creative director for Immersive Everywhere. We're a vertically integrated structure in the sense that we take on our own venues. So we're now standing in Shorts Gardens in the middle of Covent Garden. So we've leased this building. We've got a lease that is for a number of years and we have built the show into it. But we also identify the IP, go after that ourselves, we capitalise the projects ourselves. We seek strategic partners, promoters, other people to kind of come involved in that journey. But because we're also the team that are licensing the product, we are also the producers and I'm the creative director for that company. So I developed the creative in line with while also getting the deal done. This is incredibly unusual because other producers will be like, 'Hey, I've identified this IP and I've got it.' Now I'm going to approach a creative agency and I'm going to get them to develop the product. And now I've done all of that, I'm going to find someone else to operationally put it on, or I'm going to find a venue to put it on in, and then I'm going to find my ticketing partner.  But we don't do that. We have our own ticketing platform, and we have our own database, so we mark our own shoulders.Neil Connolly: As well as other experiences too. Back, we have our own creative industry, we are the producers, we are the female workers. So we cast it, we hire all the front of house team, we run the food and beverage, we run the bars. The operations team is our operations team because they run the venue as well as the show at the same time. So that's what I mean. We're a vertically integrated structure, which means we do it, which makes us a very unusual proposition within... certainly within the UK market, possibly the world. It makes us incredibly agile as a company and makes us to be able to be adaptive and proactive and reactive to the product, to the show, to the market that we're operating in, because it's all under one roof.Neil Connolly: This show started January 24th, 2023. Right. It's very specific because I was sitting on my sofa drinking a lovely glass of Merlot and I had just watched... UK Traitors, Season One. Yep. Because it came out that Christmas. Immediately I was like, 'Oh my God, this is insane.' And then I got a text message that particular night from our head of licensing, a guy named Tom Rowe, lovely man. And he was like, Neil, I'm at a licensing event with some friends of mine and everyone's talking about this thing called Traitors. I've not watched it. Have you watched it? Sounds like it might be a good thing. And so I sat back and drank my Merlot. And about five minutes later, I text him back and I was like, Tom, get us that license.Neil Connolly: And then I sent him a bunch of other details of how the show in my head would work, both from a commercial standpoint, but also from a creative standpoint, because I'm a commercially minded creative. Right. So I instantly took out my notebook and I started writing down exactly how I thought the show was going to do, the challenges that we would face and being able to translate this into a live thing. But I literally started writing it that night. And then he watched the first episode on the train on the way home. And then he texted me the next morning and he was like, 'I love it.' What do we need to do? And I was like, 'Get us in the room.' Two days later, we were in the room with all three media who own the format globally.Paul Marden: Okay.Neil Connolly: So we sat down and then they came to see one of our other shows and they were like, 'Okay, we get it now.' And then that was like two and a half years of just building the show, getting the deal done and facing the myriad of challenges. But yeah, sometimes it just starts with the text message.Paul Marden: So they get to experience all the key parts of the TV.Neil Connolly: All the key beats. Like right now, I'm holding one of the slates. They're not chalkboard slates. Again, this is... Oh, actually, this is a good challenge. So in the TV show, they've got a piece of slate and they write on it with a chalkboard pen. This seems so innocuous and I can't believe I'm talking about this on a podcast.Neil Connolly: Slategate was like six months of my life. Not in its entirety, but it was a six month long conversation about how we do the slates correctly. Because we do... 48 shows a day, six days a week. And those slates will crack. They will bash. And they're kind of a bit health and safety standards. I was like, can't have them. Also, they write on them with chalk pens, white ink chalk pens. But in the TV show, you only do it once a night. Yeah.Paul Marden: And then you have a producer and a runner.Neil Connolly: They just clean them very, very leisurely and set them back for the next day. And I was like, no, I've got to do a whole bunch of roundtable banishments in two hours. So we talked a lot about material, about style, literal viewership, because if you take a seat at the table. Yeah. If you're sitting at the table here, you'll notice that we've got a raised bit in the middle. If I turn mine around, the other person on the other side can't see it. So I was like, 'Okay, cool.' So we had to do a whole bunch of choreography. But also, the room's quite dark. Yes. At times, atmospheric. Yeah. In that magic triangle time-space atmosphere. So anything that was darker, or even that black slate, you just couldn't read it. And then there was, and then I had to— this is the level of detail that we have to go into when we're designing this kind of stuff. I was like, 'Yeah, but I can't clean off these slates with the white ink because everyone will have to have like a wet cloth chamois. Then I've just got loads of chamois around my venue that I just don't need.' And so then we're like, 'Oh, let's use real slates with real chalk.' And I was like, 'No, because dust will get everywhere.' I'll get chalk just all over my table. It'll just ruin everything. It'll ruin the technology that's inside the table because there's lots of hidden tricks inside of it. Paul Marden: Is there really? Yeah, yeah, yeah.  Neil Connolly: There's loads of hidden tricks inside the table. So after a while, going through many different permutations, I sat down with Christian Elenis, who's my set designer and my art director. And we were, the two of us were nearly in tears because we were like, 'We need,' and this only happened like.Neil Connolly: I would say two, three weeks before we opened. We still hadn't solved how to do the slate, which is a big thing in the show. Anybody who's seen the show and loves the show knows that they want to come in, they want to write somebody's name on the slate, and they want to spell the name incorrectly.Neil Connolly: Everyone does it on purpose. But I wanted to give people that opportunity. So then eventually we sat down and we were like, Christian, Neil. And the two of us in conversation went, why don't we just get a clear piece of Perspex, back it with a light coloured vinyl. And then Christian was like, 'Ooh,' and I'll make it nice and soft and put some felt on the back of it, which is what I'm holding. And then why don't we get a black pen? And we were like, 'Yeah,' like a whiteboard marker. And then we can just write on it. And then A, I can see it from the other side of the table. Thing one achieved. Two. Every marker pen's got an eraser on the top of it. I don't know why everyone thinks this is important, but it is. That you can just rub out like that, and I'm like, 'There's no dirt, there's no mess, and I can reuse this multiple times, like dozens of times in the same show.' And I know that sounds really weird, but that's the level of design I'm going to need.Paul Marden: I was just about to say, and that is just for the chalkboard. Yeah. Now you need to multiply that. How many decisions?Neil Connolly: How many decisions in each game. But also remember that there are eight round tables in this building. Each round table seats 14 people. And we do six sessions a day. So first ones at 10 a. m. Then we do 12, 2, 4, 6, and 8 p. m. So we do 48 shows a day, six days a week.Paul Marden: I love the concept that these are shows. This is not this is not visitor attraction. This is theater repeated multiple times a day for multi audience is concurrently.Neil Connolly: And I've just spent five minutes describing a slate to you. Yeah. But like, I haven't even got— it's like the sheer amount of technology that is in the show. And again, theatrical, like, look above our heads. Yeah. You've got this ring light above every seat. It's got a pin light. There's also microphones which are picking up all the audio in the room, which again is translating to the lounge of the dead. Every single one of the round table rooms has four CCTV cameras. Can you see that one in the corner? Each one of them is 4K resolution. It's quite high spec, which is aimed at the opposite side of the table to give you the resolution in the TV. In the other room. Then you've got these video contents. This is constantly displaying secret information through the course of the show to the traitors when they're in Conclave because everyone's in blindfolds and they took them off. They get secret instructions from that. There's also a live actor in the room. A live actor who is Claudia? They're not Claudia. They're not pastiches of Claudia. They are characters that we have created and they are the host of The Traitor's Game. Right. They only exist inside this building. We never have them portrayed outside of this building in any way whatsoever.Neil Connolly: They are characters, but they live, they breathe— the game of Traitors, the world of Traitors, and the building that we have designed and constructed here. And they facilitate the game for the people. And they facilitate the game for the people. One actor to 14 people. There are no plants, even though everyone tries to tell me. Members of the public will be convinced that they are the only person that's in that show and that everyone else is a plant. And I'm like, no, because that would be insane.Neil Connolly: The only actor in the room is the host.Paul Marden: 14 people that can sit around this table. How many of them are in the same group? Are you with your friends or is it put together where there are other people that you won't know in the room? If you book together, you play together.Neil Connolly: Yes. Okay, so if you don't book 14 people... Ah, we also capped the number of tickets that you can purchase to eight. Right. So you can only purchase a maximum of eight tickets unless you do want a full table of 14, at which point you have to then purchase a VIP package because you are booking out a whole table for yourselves. The game doesn't work if there's less than 10 people at the table. So there has to be 10, 11, 12, 13 or 14 people sat at a round table for the show to actually happen, for it to work. By capping the number of tickets that you book for eight, then that guarantees that strangers will be playing together. And that is the basis of strangers. Yeah, yeah. Like, you need to be sat around a table with people you know, you don't know, that you trust and you don't trust. Yeah. Fact of the matter. And do you see people turning on the others in their own group? Every single time. People think genuinely, and I love this from the public, you would think that if you're turning up as a group of eight and a group of four and a group of two, that the bigger group would just pick everybody off to make sure that someone in their group gets through to the end game.Neil Connolly: I'm sure they think that and they probably plot and plan that before they arrive on site. As soon as this game starts, gloves are off and everyone just starts going for each other. We've been open nearly two months now. I have seen, like, children murdered of their mothers.Neil Connolly: Husbands murder their wives, wives murder their husbands. I've seen, like, three generations—like, we get, because it's so intergenerational, like our lowest, the lowest age that you can play this is 12. Right. And then it's upwards. I've seen three generations of family come in and I've seen grandkids murder their own nan.Neil Connolly: Absolutely convinced that they're a traitor. Yeah, yeah, yeah. 100%. Or they banish them. Like, it's just mental. I've also seen nans, who are traitors, murder their grandkids.Neil Connolly: Like, and this is in a room full of strangers. They're just like, 'No, I'm not going to go for Barbara, who I met two hours ago in the bar. I'm going to go for my own grandson. It's mental.'Neil Connolly: The very, very first thing that I always think about whenever I'm creating an experience or whenever I'm designing a show is I put myself in the position of 'I'm a member of the public.' I have bought a ticketNeil Connolly: What's the coolest thing that I am going to do for my money? What is my perceived value of my ticket over actually what is the value of that ticket? I wanted to give people the experience of knowing what it was like to be sitting in one of these chairs at this table and feeling their heart. The pounding in their chest and I mean, the pounding in their chest, that rush of adrenaline from doing nothing— from sitting in a chair and all you were doing was sitting in a room talking to people and your heart is going.Neil Connolly: Because you're either being accused of being a liar. And trying to defend against it. And trying to defend against it. Or you actually are lying and you're trying to whittle your way out of it. And that feeling is the most alive that you will ever feel. Not ever. Like, I'm sure they're... No, no, no. But, like, give people that opportunity and that experience, as well as, like, access to the world of traitors and the law and everything else. But also, it's like any other theme park ride. People go on roller coasters because the imminent fear of death is always there. Yeah. And you feel alive. You're like, you've got such a buzz of adrenaline. Whereas, arguably, we do exactly the same thing as roller coasters, but in a much more longer-drawn format and multiple times. Yeah. And people do feel alive. When people walk out of the show, you see them go upstairs to the bar, and they are... Yeah.Paul Marden: You've said to me already that you don't use the word 'immersive,' but you know, I'm, I'm, I'm sat. The company is called 'immersive' everywhere. I'm sat behind the scenes. Okay. I'm sat in the room and the room is hugely convincing. It's like the highest fidelity escape room type experience that I've ever sat in. It feels like I'm on set, yeah, yeah. Um, I can totally believe that, in those two hours, you can slip. I sat on a game. It was only a two-minute game at iApple, but I was being filmed by one of the team. But within 30 seconds, I'd forgotten that they were there because I was completely immersed in the game. I can believe that, sitting in here right now, you could forget where you were and what you were doing, that you were completely submerged in the reality of the land that you're in.Neil Connolly: Yeah, 100%. Like, the world does not exist beyond these worlds. And for some people, like, I have my own definition. Everyone's got a different definition of what immersive is. I've got my own definition. But... I can tell you right now, as soon as people enter this building, they're in the bar, they're kind of slowly immersed in that world because the bar is a themed bar. It's done to the same, like we designed and built that bar as well. But as soon as they start descending that spiral staircase and coming into the gameplay floors, into the show floors, they just forget the rest of the world exists. And especially when they sit down at this table, it doesn't matter. I'm sat next to you here, but you could be sat at this table with your loved one, strangers, whatever. The gloves come off and just nothing exists apart from the game that you're about to go through.Paul Marden: You've been open now for a couple of months. More success than you were anticipating, I think. So pre-sales went through the roof? Yes. So you're very happy with the results?Neil Connolly: Yeah, yeah, we were. Yeah, well, we still are.Neil Connolly: We were very confident before we'd even started building the show, like the literal structural build, because we did very well. But then that set expectations quite high because I had a lot of people that had bought tickets and I was like, 'OK, I need to put on a good show for these people. And I need to make sure that they get satisfaction relative to the tickets that they bought.' But I don't feel pressure. I do feel anxiety quite a lot. Creatively? Yeah. I mean, I meditate every day.Paul Marden: But you've created this amazing world and you're inviting people into it. And as a creative, you're opening yourself up, aren't you? People are walking into the world that you've created.Neil Connolly: Yeah, this was said to me. This is not something that I came up with myself, and I do say this really humbly, but it was something that was said to me. It was on opening day, and a bunch of my friends came to playtest the show. And they were like, 'Oh, this is your brain in a building.'Neil Connolly: And I was like, 'Yeah, I hadn't thought about that.' But yeah, it is my brain in a building. But also that's terrifying, I think, for everybody else, because I know what happens inside my brain and it's really quite chaotic.Neil Connolly: But, you know, this I am. I'm so proud of this show. Like you could not believe how proud I am of this show. But also a huge part of my job is to find people that are smarter than me at the relative thing that they do, such as the rest of my creative team. They're all so much smarter than me. My job is vision and to be able to communicate that vision clearly and effectively so that they go, 'I understand.' The amount of times that people on the creative team turn around to me and go, 'Neil, that's a completely mental idea.' If people are saying to me, 'No one's ever done that before' or 'that's not the way things are done.'Neil Connolly: Or we can do that, but we're going to have to probably invent a whole new thing. If people are saying those things to me, I know I'm doing my job correctly. And I'm not doing that to challenge myself, but everything that I approach in terms of how I build shows is not about format. It's not about blueprints. It's not like, 'Hey, I've done this before, so I'm just going to do this again because I know that's a really neat trick.' I go back to, 'I made the show because I wanted people's heart to pound in their chest while they're sitting in a chair and make them feel alive.'Paul Marden: Is that the vision that you had in your head? So you're articulating that really, really clearly. Is that the vision that you sold to everybody on, not maybe day one, but within a couple of days of talking about this? No, it was day one.Neil Connolly: It was day one. Everyone went, that's a completely mental idea. But, you know, it's my job to try and communicate that as effectively and clearly as I can. But again, I am just one man. My job is vision. And, you know, there's lighting design, sound design, art direction, there's game logic. We haven't even gotten to the technology of how this show works yet, or how this room works.Neil Connolly: Actually, I'll wander down the corner. Yeah, let's do that. But, like, there's other, like, lots of hidden tricks. Like, this is one of the games, one of the missions. In the world and the lore of the show, the round table is sacrosanct.Paul Marden: Yes.Neil Connolly: Traitors is the game. The game is in other people. I can do so many missions and there's loads of missions and they're really fun in this show. But the game is in other people. It's in the people sat on the other side of the room. But also I wanted to do a thing where people could interact directly with the set. And so I designed one of the missions to be in the round table itself.Neil Connolly: So there's a course of these moon dials, which you basically have to align through the course of it. And there are sensors built into the table so that they know when they're in the correct position. How you find out the correct position is by solving a very, very simple puzzle and then communicating effectively to a bunch of strangers that you just met.Neil Connolly: And the sensors basically read it all. And when that all gets into position, the lights react, the sound reacts, the video content reacts, the whole room reacts to you. So I wanted to give people something tangible that they can touch and they make the room react to them. Yes, it's. I mean, I've designed, I've got background in escape rooms as well, right? Um, so I've done a lot of that kind of stuff as well. So I wanted people to feel in touch, same, but like, there's more tangible props over here. Um, yeah, that is a model box of the room that we are stood in, yeah. Also, there's an exact replica of it on the other side of it. There are very subtle differences between it, and that informs one of the missions. So that is two model boxes in this roundtable room. There's one of these in every single roundtable room. So there's 16 model boxes of the show that you're stood in on the set. And again, theatre. It's a show. But it's one of the missions, because I wanted people to kind of go, 'Oh, there's a live actor in front of me.' I'm having fun. Oh, look at all these lights and all the sound. Oh, there's a model box over here. That's in theatre land and blah, blah, blah. But that is also a really expensive joke. It's a really expensive joke. And there's other, like, lots of hidden tricks.Neil Connolly: Let's go look at backstage. Yeah, yeah, yeah, absolutely.Neil Connolly: I say backstage, like how we refer to it or how I always go. I use 'I' and 'we' very interchangeably. Like right now you're on the set. Like you're on the stage. Yes. We're just wandering around a long corridor. There are round table rooms off to either side. But like, you know, there's a green room upstairs where the actors get changed, where the front of house team are, where the bar team all are. But as soon as they go out onto the show floor, they're on stage—yes, completely. We'll very quickly have a look at the gallery—yes, show control. Hi, Robbo. Do you mind if I stand in your room for the purposes of the audio? I'm talking to the technical manager, Thomas Robson. We're recording a podcast.Paul Marden: Robbo, oh yeah, okay. My mind is absolutely blown. So you've got every single room up on screen.Neil Connolly: Yeah, so that's great. There's 164 cameras—something like that. But every roundtable room has four cameras in it. Each camera is 4K resolution. So we've got cameras on all of them. We've got audio into those rooms. That's two-way, so that if show control needs to talk directly to them, they just press a button here and they can talk directly to the room itself. Mainly just like, stop misbehaving, we're watching you.Neil Connolly: We've then got cameras into all of the lounges, all of the show spaces, all the front of house, all of the bar areas, the mezzanine and back of house. And then you've got QLab running across all of the different shows. We've got backups on all of these screens. So if one... of the computers goes down, we can very quickly swap it in for a backup that's already running. We've got show control, which is, there's a company called Clockwork Dog, who, they're an amazing company. What COGS, their show control system, is doing is pulling in all of the QLab from sound, all of the QLab from lighting, and also we built our own app. to be able to run the show. So there's a whole logic and decision tree based on the decisions that the public do through the course of the game. So yes, there is a beginning, a middle, and an end in terms of our narrative beats and the narrative story of the show that we're telling people. But also that narrative can go in. Hundreds of different directions depending on the actions and the gameplay that the people do during the course of the show. So, you haven't just learned one show— you have to learn like You have to learn a world, and you have to learn a whole game.Neil Connolly: Like, there's the server, stacks, which we had to build. You had to network and cable the entire building. So we have built an entire new attraction, which didn't exist before. And also we're pulling in information from the front of house system which is also going into the show itself because again, you put your name into the iPad when you arrive on site and then you tick a box very crucially to say, 'Do you want to be selected as a trader? Yes or No.' Because in the game, it's a fundamental rule. If you say no, you cannot be selected as a traitor by the host during traitor selection. That doesn't mean you can't be recruited.Paul Marden: By the traitors later on in the game. So you could come and do this multiple times and not experience the same story because there were so many different pathways that you could go down.Neil Connolly: But also, the game is in other people. Yes. The show is sat on the opposite side of the table to you because, like, Bob and Sandra don't know each other. They'll never see each other ever again. But Bob comes again and he's now playing against Laura. Who's Laura? She's an unknown quantity. That's a whole new game. That's a whole new show. There's a whole new dynamic. That's a whole new storyline that you have to develop. And so the actors are doing an incredible job of managing all of that.Paul Marden: Thanks, Robbo. Thank you. So you've worked with some really, really impressive leading IP, Traders, Peppa Pig, Doctor Who, Great Gatsby. What challenges do you face taking things from screen to the live experience?Paul Marden: Challenges do I face? We're wandering here.Neil Connolly: So we are in... Oh, we're in the tower.Neil Connolly: Excellent. Yep, so we're now in Traitor's Tower. Good time for you to ask me the question, what challenges do I face? Things like this. We're now stood in Traitor's Tower. Paul, let me ask you the question. Without the show lights being on, so we're just stood on a set under workers, what's your opinion of the room that we're stood in?Paul Marden: Oh, it's hugely impressive. It feels like, apart from the fact you've punched the fourth wall out of the telly, it does feel like you're on set.Neil Connolly: It's a really faithful reproduction of the set. So that's kind of one of the challenges is managing the public's expectations of what they see, do and feel on site. So that I don't change the show so that people come and play the game that they're expecting to play. But making reasonable adjustments within that, because TV and live are two very, very different things. So first and foremost was making sure that we get the format right. So the game that people play, which informs the narrative of the show and the narrative structure of the show. Breakfast, mission, round table, conclave. Breakfast, mission, round table, conclave. I've designed a whole bunch of new missions that are in this, taken some inspiration from missions that people know and love from the TV shows, whether that's the UK territory or other territories around the world. And also just other stuff is just clear out of my head. So there's original content in there. paying homage and respect to the world that they've built and allowing ourselves to also play and develop and build out that world at the same time. Other challenges.Neil Connolly: This is not a cheap project. No, no. I mean, the production quality of this is beautiful. Yeah, yeah, thank you. It is stunning. When people walk in here, they're like, 'Oh my God, this is... High end.' I am in a luxury event at a very affordable price.Paul Marden: Thank you. And then we're going back upstairs again. Yes. And in the stairwell, we've got the crossed out photos of all of those that have fallen before us.Neil Connolly: No, not quite. All of the people that are in this corridor, there's about 100 photos. These are all the people who built the show.Neil Connolly: So this is David Gregory. He's the sound designer. This is Kitty, who is Immersive Everywhere's office manager. She also works in ticketing. That is Tallulah and Alba, who work in the art department. Elliot, who's our lighting designer. So all of these people are the people who brought the show to life.Paul Marden: Amazing.Neil Connolly: And we wanted to pay homage to them because some of them gave years of their lives to building the show from literally the inception that I had in 2023. Through to now and others are the people who literally spent months of their life underground in these basements building hand-building this set and so we wanted to pay homage to them so we got all of their photos we did the iconic red cross through it yeah and we stuck them all up in the corridor just because we thought it'd be a nice thing to do.Paul Marden: You're in the business of trading and experiences and that ranges from art exhibitions to touring shows. There's always going to be a challenge of balancing innovation and profitability. What is the formula? What is the magic formula?Neil Connolly: I believe, first and foremost, going back to what I was telling you earlier about us being a collaborative organisation. We are not a creative crack that has been used for the show. We are also the producers of the show. And to make my point again, I'm a commercially minded creative. So I actually sit down with the producers and go, 'Okay, cool.' There are 112 seats in the show.Paul Marden: Yep.Neil Connolly: Therefore, how many shows do we need to do per day? How many shows do we need to do per week? How many shows do we need to do per year? Therefore, let's build out a P &L. And we build a whole business plan based around that.Paul Marden: By having everybody— that you need in the team— makes it much easier to talk about that sort of stuff. It makes it much easier for you to design things with the end result in mind. You don't have a creative in a creative agency going off— feeding their creative wants without really thinking about the practicalities of delivering on it.Neil Connolly: Exactly. So you've got to think like, literally, from the very, very beginning: you've got to think about guest flow. You've got to think about throughput. You've got to think about your capacities. Then you've got to basically build out a budget that you think— how much, hey, how much really is this going to cost? Yeah. Then you build out an entire business plan and then you go and start raising the money to try and put that on. And then you find a venue. I mean, like the other magic triangle, like the traitor's magic triangle is, you know, time, space, atmosphere. That's how you do a show. Like with my producer's hat on, the other magic triangle is show, money, venue.Neil Connolly: The truth of the matter, like I make no bones about it, I can design shows till the cows come home, but I'm always going to need money to put them on and a venue to put them in. Also, I want to stress this really important. I use the words 'I' and 'we' very interchangeably.Paul Marden: It's a team effort.Neil Connolly: You can see that in that corridor. I am not a one-man band. I am the creative director of a company. I am a cog that is in that machine, and everybody is doing... We are, as a team... I cannot stress this enough. Some of the best in the business are doing what we do. And everyone is so wildly talented. And that's just us on the producing side. That's immersive everywhere, limited. Then I've got a whole other creative team. Then we've got operations. Then we've got... It's just mad. It's just mad, isn't it? This is a job. Who would have thought, when you were at school, this was an opportunity? Not my principal or my maths teacher.Neil Connolly: So, sorry, just to balance the kind of economies of scale. That was the question, wasn't it?Paul Marden: Well, we were talking about what is the formula for making that an investment, but you know, the authority here is the effort you've put in to do this feels high, but at the same time, you have to find this thing. There is a lot of investment that goes into the front.Neil Connolly: But that comes back to creatives. Caring and I'm not saying the creatives don't, but I care. I care about building businesses. Yeah, not necessarily like building my own CV, like there's so many projects that across our desks. I'll be like, 'Yeah, that'd be really fun to work on.' But do I think that I can make that a touring product? Can it be a long-running location-based entertainment sit-down product? Can it be an art shop? Like you've kind of got a balance with what do you think is just creatively cool versus what can we do as a company that is a commercially viable and financially stable product? And so all that comes through in terms of the creative, but also in terms of the activities of how we run the building, how this model realizes. Because if you think about it, let's make Phantom of the Opera run in the West End. Yes. The show is very obvious, with many casts on a room, away, fruit team away, terrace, it's a big activity. If they haven't sold half that away, they have to use the whole show and play all those people.Neil Connolly: But if they haven't sold half that away from one of my shows... I only have to activate four of my rooms, not eight of them. Therefore, I don't have to call in four actors. I don't have to call in a bunch of the other front of house team and I can scale in the operations on the back. It's an entirely scalable process. Flexible, yeah, yeah, yeah. Oh, 100%. But also, like, we've got eight rooms here. If we decide to take this to another territory, and that territory demands a much higher throughput, then instead of eight rooms, I can do 20 rooms, 30 rooms. As long as we know that the market is there to be able to kind of get people through it.Neil Connolly: I love this show and I'm so proud of it. The main reason why I'm proud of it is when the show finishes, let's go into one of the lounges. Have you been into one of the lounges?Paul Marden: I've had a nose around a lounge.Neil Connolly: There are different shapes and sizes. We won't go into that one. We'll go into this one down here. That one, that one. It's always such a buzz when you're stood in the bar and the shows kick out, and you see tables and tables of 14 people going up into the bar.Neil Connolly: Area and before they've even gotten a drink, they will run straight over to their friends, families, strangers, whoever they were playing with in that table of 14, and instantly be like, 'Right, I need to know everything that was going on inside your head, your heart, and your soul over the last two hours of my life because this was my experience.'Neil Connolly: And they'll just go, and they'll be like, 'And this is what I was thinking.' And then I thought it was you because you did this and you touched your nose in a weird way. And then I thought you were sending secret signals. And then everyone's like, 'No, that's not what I was doing.' I was just trying to be a normal person. And they were like, 'Well, why did you say that thing?' It sounded super weird. And they're like, 'That's just what I do.' And it's just totally mental. And then they all get a drink from the bar. And we call it the bar tab chat.Neil Connolly: It's another revenue stream.Neil Connolly: I do talk about this like it's a show. And it is a show. You've walked around, do you think it's a show? Completely. I talk to established houses all the time. Like, you know, the big theatres of the land. Organisations that are national portfolio organisations who receive a lot of Arts Council funding. The thing that they want to talk to us about all the time is new audiences. They're like, 'How do I get new audiences through my door?' What can I do? And I'm like, 'Well, firstly, make a show that people want to go and see.'Neil Connolly: Again, they're like, 'But I've got this amazing writer and he's a really big name and everyone's going to come because it's that name.' And I'm like, 'Yeah, that's wicked. That's cool.' And they can all go pay reverence to that person. That's really wonderful. Whereas when you look at the attractions landscape or the immersive theatre landscape or like anything like... Squid Game, or The Elvis, Evolution, or War of the Worlds, which has also laid reality, or any of that kind of stuff, across the landscape, it is nothing but new audiences. Yeah, yeah, yeah. It is nothing but actual ticket-buying audiences.Neil Connolly: And they come from all different walks of life. And what I love is that they do come in to this experience and we hit them with this like secret theatre.Neil Connolly: And they're like, 'Oh my God.' And often it's a gateway to them being like, 'Oh, I didn't realise that.' Maybe I'll go see a Western show or maybe I will go to the National Theatre and see something. Because that's the level of archery. Because those organisations, I love them and I've worked in a few of them, but those buildings can be quite austere, even though they're open and porous, but it's still very difficult to walk through that threshold and feel a part of it.Paul Marden: Whereas coming in here, coming into an event like this, can feel like a thing that they do.Neil Connolly: Because it's the same demographic as theme park junkies. People who love going to theme parks love going to stuff like this because it's an experience, it's an otherness, it's an other nature kind of thing. Because modern audiences want to play and do, not sit and watch. But we all exist in the kind of same ecosystem. I'm not taking on the National Theatre.Paul Marden: Gosh, no. I always talk about that. I think the reason why so many attractions work together in the collaborative way that they do is they recognise that they're not competing with each other. They're competing with sitting on your backside and watching Netflix.Paul Marden: Yeah, yeah.Paul Marden: Our job for all of us is to drag people away from their screens and drag people off of their sofas to do something. And then that's the biggest challenge that we all face.Neil Connolly: I think then that kind of answers the question that you asked me earlier, which I didn't answer. And I'm very sorry.Neil Connolly: is about identifying different pieces of IP. Like, yes, we largely exist in the world of licensing IP. And how do we identify that kind of IP to be able to translate? Not just how do we do it, but like, actually, how do we identify the right thing that's going to... How do you spot the winner? Yeah, exactly. Yeah. And that is one of the biggest challenges to your point of we're talking directly to people who consume arts, culture and media and technology in a slightly more passive way, whether that's just at home and watching Netflix and then bringing that to life. In a very, very different way. If you have a very clear marketing campaign that tells people what it is that they're buying and what they're expected to see or do on their particular night out, because that's what modern people really care about, what they do with their money. Yeah. And they want to have a good night out. And I'm in the business of giving people a good night out. We also happen to be murdering a lot of people in the course of the show.Neil Connolly: Still a good night out. Still a good night out. But I'm in a place where the dead sit. Yeah, exactly. Lounge of the dead. And like, you know, this is a really cool space. Oh, it's just beautiful. You know, we've got the telephone really works. There's lots of information that comes through that. The radio works, that does different things. The TV screen on the wall, that has the actual live feed into the round table room that you've just left. And there's other little puzzles and hints and tricks in this room, which means that after you've been murdered or banished and you come to the Lounge of the Dead, you're still engaged with the game to a degree. You just don't directly influence the outcome of the game. But you're still involved in it. You're still involved in it. It's super fun. Oh, and you can have a drink in here.Paul Marden: I don't let people drink in the round table. Even more important. What's this?Neil Connolly: The dolls, the creepy dolls. What this is, this is the void. Creatively speaking, this is where all the gold goes when people win or lose it. And the creepy dolls are from the TV show. Ydyn nhw'r un gwirioneddol o'r sioe? Felly, gafodd studio Lambert, sy'n gwneud y sioe tebyg, llawer o brops o'r sioe tebyg i ni eu rhoi ar y ddispleiddio yma. Felly, mae gennych chi'r Dolls Creepy o'r lles 3 yno. Rydyn ni'n mynd i fyny. Yn ôl yma, mae'r peintiwch Deathmatch.Paul Marden: Which is from season three.Neil Connolly: And they get the quill and they write the names and got the quill upstairs. We've also got over here, the cards that they used to play the death match with. Excellent.Paul Marden: So you began your career in theatre. How did that evolve into the world of immersive live experiences?Neil Connolly: Life story. I am the son of a postman and a cook. And if you haven't noticed already, I'm from Ireland. There was no theatre in our lives, my life, when I was growing up. And I stumbled into a youth theatre. It's called Kildare Youth Theatre. And the reason why I joined that is because there was a girl that I really fancied.Neil Connolly: She had just joined this youth theatre and I was like, 'Oh, I'm gonna join that as well' and that kind of opened the world of theatre for me. At the same time, I then got spotted by this guy, his name's Vijay Baton, his real name's Om, but he converted to Hare Krishnanism in the 90s. And he set up a street theatre company in Ireland. He just taught me street theatre. So he taught me stilt walk, he taught me juggling, he taught me how to build puppets. And so I spent years building puppets with him and going around Ireland doing lots of different street theatre while I was a teenager. And doing street theatre and doing my youth theatre and then kind of all of that kind of came to a head when I had to decide what I was going to do with my life. I applied to go to drama school. And I applied to two drama schools. One was Radha. Didn't get in. Didn't even get an audition. And the other one was Rose Bruford. And they took me. And the reason why they took me— I probably wasn't even that good. But on the day that I was auditioning to get into Rose Bruford was the same day as my maths exam for my final exams at school. You call them your A-levels, we call them the leaving certificate.Neil Connolly: And while all of my friends were back in Ireland doing their maths exam, I was in an audition room pretending to be a tree or the colour black.Neil Connolly: Who knows? And they kind of went, 'Well, if I fail my maths exam, I don't get into university in Ireland.' Like, it's just a blanket thing. And so I was like, 'I literally sat across the panel' and I was like, 'eggs, basket.' And they were like, 'cool.' So they let me in based off of that. So I got a classical training. Then what happened is I came out of university. I was living with two of my friends, Natalie and Joe. And we had our own little production company called The Lab Collective. And we just started making shows. In weird ways, we joined a company called Theatre Delicatessen. Let's get away from this. Yeah, yeah, yeah.Neil Connolly: So Theatre Deli was a company set up to take over disused spaces in London and convert them into art spaces.Neil Connolly: Basically legalised squatting. It's the same as like a guardianship. But we weren't living in the buildings. We were just putting on shows and we put on art shows, we put on theatre shows. We did Shakespeare for a while. We wrote our own work and we just did lots of really, really cool stuff. And I worked in music festivals, classically trained actor. So I was trying to do shows. I did a lot of devising. I also joined an improvisation group. And kind of through all that mix, like those years at Delhi, which was making these weird shows in these weird buildings, were very, very formative years for us. The Arts Council wouldn't support the kind of work that we were making. We were like, 'Cool, how do we get space?Neil Connolly: How do we get or make money to support ourselves? And what are the shows? There's the magic triangle all over again. Space, show, money. And that's your apprenticeship, I guess, that brings you to here. Yeah, yeah, yeah. And like, again, I make no bones about it. 10 years ago, I was selling programs on the door of the Royal Festival Hall while doing all of that stuff. So in one of the Theatre Daily buildings, we did a show called Heist, which is you break into a building and steal stuff. That's what the public do.Neil Connolly: And a bunch of us did that. I mean, it's so much fun— kind of doing it. And off the back of that, somebody else basically tried to chase down the crystal maze. And then they went away, and then they called me up and they were like, 'Hey, I've got the rights. Do you want to make the crystal maze?' And I was like, 'Yeah, sounds like fun.' So I got involved with that, did that for a while. And then, from there, this is the end of a very long story. I'm so apologised. Yeah, from there, all of those different things that I've done through the course of my life in terms of operations, designing experiences, being a creative, understanding business.Neil Connolly: Building a P&L, building a budget, talking to investors, trying to convince them to give you money. All of that stuff kind of basically came together. And over the last few years, like the wildest ride is that pre-2020.Neil Connolly: We were just a bunch of people doing a bunch of weird things, making weird shows and weird attractions in kind of different ways. And then that year happened. And I don't know what happened, but literally every single major studio, film, TV production, game designer, licensor in the world, suddenly just went— brand extensions, world extensions, and they all just started calling us. And they were like, 'Hi, I've got this thing.' Can you develop it into a thing? Because I need to extend my brand or I want to build a world and extend that for the public. And we were like, 'Yeah, okay, cool.' And we were just lucky, serendipitously, to be in the right place at the right time. To be those people that people can approach. And we're always, we're very approachable.Neil Connolly: As you can tell, I talk a lot. And, you know, so the last five years, it's just been a mad ride.Paul Marden: So look, Neil, it's been amazing. I have had the most fun. Last question for you. What's next? Are you putting your feet up now because you finished this? Or on to the next? Neil Connolly: Very much on to the next thing. So we're already in production with our new show, which is called Peppa Pig Surprise Party. And that is opening at the Metro Centre in Gateshead next year. Oh, how exciting is that? It's very exciting.Paul Marden: So quite a different demographic.Neil Connolly: The demographic for Peppa Pig is two to five year olds. It's been a really fun show to design and create. To go back to a question that you asked me very early on, there is no blueprint, there is no format. I have embraced the chaos tattooed on my arm. And always when I approach things, any new show or any new creative, I am thinking of it from a ticket buying perspective: 'I have paid my money.' What is the coolest thing that I can possibly do with that money? And so therefore, I'm now looking at families and, like, what's the coolest thing that they can do for that ticket price in the world of Peppa Pig?Paul Marden: Let's come back in the new year, once you've opened Peppa Pig, let's go to Gateshead and see that. That sounds pretty awesome to me. I reckon there's a whole new episode of Designing Worlds for two to five-year-olds that we could fill an hour on.Neil Connolly: Oh yeah, 100%. It's a totally different beast. And super fun to design.Paul Marden: Oh mate. Neil, it has been so wonderful having a wander around the inside of your crazy mind.Paul Marden: If you've enjoyed today's episode, please like it and leave a comment in your podcast app. It really does make it so much easier for other people to find us. This episode was written by Emily Burrows from Plaster, edited by Steve Folland, and produced by Sami Entwistle from Plaster and Wenalyn Dionaldo. Thanks very much. See you next week.  The 2025 Visitor Attraction Website Survey is now LIVE! Dive into groundbreaking benchmarks for the industryGain a better understanding of how to achieve the highest conversion ratesExplore the "why" behind visitor attraction site performanceLearn the impact of website optimisation and visitor engagement on conversion ratesUncover key steps to enhance user experience for greater conversionsTake the Rubber Cheese Visitor Attraction Website Survey Report

In this episode, veteran broadcast journalist Gail Eichenthal of Classical California KUSC sits down once again with Maestro James Conlon for the second episode of our miniseries, "20 Years with Maestro Conlon." This time, they transport us to the Classical period, with special emphasis on Maestro's legacy conducting Beethoven and Mozart—including Beethoven's only opera, "Fidelio," and Mozart's final opera, "The Magic Flute," which is the wonderful conclusion to this LA Opera season. From "La Bohème" to "The Magic Flute," get your tickets for this glittering LA Opera season at LAOpera.org.

Top Stories for October 7th Publish Date: October 7th From The BG AD Group Studio, Welcome to the Gwinnett Daily Post Podcast. Today is Tuesday, October 7th and Happy Birthday to John Mellencamp I’m Peyton Spurlock and here are your top stories presented by KIA Mall of Georgia Fox Theatre continues Coca-Cola Film Series with screening of 'The Phantom of the Opera' Iconic Italian tenor Andrea Bocelli reflects on 30 years of music ahead of Gwinnett concert Gwinnett honors Jimmy Carter's life on his 101st birthday All of this and more is coming up on the Gwinnett Daily Post podcast, and if you are looking for community news, we encourage you to listen and subscribe! Break 1: Kia MOG STORY 1: Fox Theatre continues Coca-Cola Film Series with screening of 'The Phantom of the Opera' The Fox Theatre is bringing a little magic—and a lot of nostalgia—to its Coca-Cola Film Series with a special screening of the 1925 silent classic The Phantom of the Opera on Oct. 29. Here’s the twist: the film will be accompanied live by organist Ken Double on the Mighty Mo, the Fox’s legendary 1929 Möller pipe organ. If you’ve never heard it, you’re in for a treat—it’s massive, intricate, and honestly, a masterpiece in itself. But that’s not all. Expect Phantom-inspired photo ops, a peek into the Fox’s own history with the film, and, for Marquee Club guests, custom watercolor portraits by Lexi Brite’s team. Exclusive, artsy, and unforgettable. Tickets? Head to foxtheatre.org. STORY 2: Iconic Italian tenor Andrea Bocelli reflects on 30 years of music ahead of Gwinnett concert For over three decades, Andrea Bocelli has been enchanting audiences worldwide with his voice—one that feels like it was made to stir souls. At 67, the legendary tenor from Italy, has sold over 90 million albums, but it’s his live performances that truly leave people breathless. On Saturday, Oct. 11, Bocelli will bring his magic to Gas South Arena in Duluth, performing a mix of operatic arias, crossover hits, and selections from his album A Family Christmas. With Maestro Steven Mercurio conducting and surprises promised, it’s a night not to miss. STORY 3: Gwinnett honors Jimmy Carter's life on his 101st birthday Even though former President Jimmy Carter wasn’t there in person last Wednesday, Tiffany Parks felt his presence everywhere. As volunteers hammered and sawed away at what will soon be her new home in Lilburn, she couldn’t help but think of the man who championed Habitat for Humanity for decades. “This is special—for him, his family, his legacy,” Parks said. Wednesday would’ve been Carter’s 101st birthday, and Gwinnett County honored him in every way imaginable: a Habitat build, a mural at Best Friend Park, blue lights on Jimmy Carter Boulevard, and heartfelt tributes. “He showed the world that everyone deserves a home,” said Habitat’s Eric Miller. We have opportunities for sponsors to get great engagement on these shows. Call 770.874.3200 for more info. We’ll be right back Break 2: CITY OF SUGAR HILL STORY 4: Gwinnett road closures Oct. 4-10 Here’s what’s happening with Gwinnett road closures for Oct. 4-10, courtesy of the Department of Transportation: Albion Farm Rd: Lane closures through October for utility work. Ballpark Ln: Closed until November for construction. Detour via Rock Springs Rd and Buford Dr. Beaver Ruin Rd over I-85: Lane closures through April 2026 for bridge work. Buford Dam Rd: Lane closures for improvements. Info: 678.231.3190. Lakeview Rd: Closed for bridge replacement. Detour via Grayson Pkwy. For the full list or questions, email DOT Community Relations at dotcommunityrelations@gwinnettcounty.com. Stay safe out there! STORY 5: EXPLORING GWINNETT'S HISTORY: Your Parcel ID and the 1820 Land Lottery Ever wonder where your property’s parcel ID comes from? Turns out, it’s not random—it’s rooted in history, all the way back to Georgia’s 1820 Land Lottery. Back then, the state divided up land taken from Native Americans through treaties and forced removal, creating opportunities for white settlers to claim plots. Gwinnett County, established in 1818, was part of this process. Surveyors carved the county into districts and 250-acre lots. The first digit of your parcel ID? That’s your lottery district. The next three? Your original land lot. The last three? Your slice of that lot today. Curious who won your land? Visit the Gwinnett Historical Society in Lawrenceville! We’ll be right back. Break: LILBURN DAZE STORY 6: The Lights Fest coming to Lanier Islands Resort On Oct. 25, the night sky over Lake Lanier will come alive with thousands of glowing lanterns as The Lights Fest makes its Atlanta-area debut at Lanier Islands Resort. Picture it: a lakeside evening filled with music, dancing, and the quiet magic of lanterns drifting into the dark. Hosted at PineIsle, the event invites people to release biodegradable lanterns—simple rice paper, bamboo, and string—symbolizing hope, remembrance, or just letting go. Some come to honor loved ones, others to dream, and some just to soak in the beauty. A portion of proceeds supports the Georgia Mountain Food Bank. Want to stay the night? Lanier Islands is offering a special package with tickets and accommodations. Details at lanierislands.com. STORY 7: Georgia Tech Switching to Under Armour from Adidas for Uniforms, Apparel Big news for Georgia Tech fans: starting July 1, 2026, Under Armour will officially take over as the Yellow Jackets’ provider for uniforms, apparel, footwear, and accessories. Yep, the same brand outfitting Notre Dame, Maryland, and Wisconsin is coming to Atlanta. This partnership isn’t just about gear—it’s about innovation. Under Armour’s investment includes NIL opportunities for student-athletes and even hands-on roles in product design. Fans? Expect more Tech merch hitting stores soon. Fun fact: Georgia Tech was Under Armour’s first collegiate client back in 1996. Now, nearly 30 years later, they’re reuniting. Full-circle moment, right? Stay tuned for uniform reveals! We’ll have closing comments after this. Break 4: Ingles Markets Signoff – Thanks again for hanging out with us on today’s Gwinnett Daily Post Podcast. If you enjoy these shows, we encourage you to check out our other offerings, like the Cherokee Tribune Ledger Podcast, the Marietta Daily Journal, or the Community Podcast for Rockdale Newton and Morgan Counties. Read more about all our stories and get other great content at www.gwinnettdailypost.com Did you know over 50% of Americans listen to podcasts weekly? Giving you important news about our community and telling great stories are what we do. Make sure you join us for our next episode and be sure to share this podcast on social media with your friends and family. Add us to your Alexa Flash Briefing or your Google Home Briefing and be sure to like, follow, and subscribe wherever you get your podcasts. Produced by the BG Podcast Network Show Sponsors: www.ingles-markets.com  www.kiamallofga.com #NewsPodcast #CurrentEvents #TopHeadlines #BreakingNews #PodcastDiscussion #PodcastNews #InDepthAnalysis #NewsAnalysis #PodcastTrending #WorldNews #LocalNews #GlobalNews #PodcastInsights #NewsBrief #PodcastUpdate #NewsRoundup #WeeklyNews #DailyNews #PodcastInterviews #HotTopics #PodcastOpinions #InvestigativeJournalism #BehindTheHeadlines #PodcastMedia #NewsStories #PodcastReports #JournalismMatters #PodcastPerspectives #NewsCommentary #PodcastListeners #NewsPodcastCommunity #NewsSource #PodcastCuration #WorldAffairs #PodcastUpdates #AudioNews #PodcastJournalism #EmergingStories #NewsFlash #PodcastConversations See omnystudio.com/listener for privacy information.

Com mais de 20 anos de experiência na polícia de São Paulo Jorge Lordello é delegado, escritor e apresentador, ficou conhecido por sua atuação na área de segurança pública e ganhou notoriedade ao comandar o programa "Operação de Risco" na RedeTv onde mostra os bastidores do trabalho policial. É reconhecido por sempre traduzir temas complexos da segurança para o público em geral, priorizando o foco em prevenção, cidadania e conscientização.

Deltan Dallagnol é advogado e ex-procurador da República, reconhecido nacionalmente por sua liderança na Operação Lava Jato. Formado em Direito pela Universidade Federal do Paraná (UFPR) e com mestrado em Direito pela Harvard Law School, Deltan dedicou sua carreira à luta contra a corrupção no Brasil. Ele se destacou como coordenador da força-tarefa da Lava Jato, uma das maiores investigações de corrupção da história do país, que resultou em importantes avanços no combate à impunidade e à corrupção no setor público. Além disso, Deltan é autor de livros e palestrante, compartilhando sua experiência sobre justiça, combate à corrupção e integridade no serviço público.Disponível no YouTube:Link: https://youtu.be/69_UCEgb0Qk00:00 - Introdução E Trajetória Na Lava Jato05:25 - Propósito, Sistemas E Disciplina Pessoal10:12 - Educação E Mentoria Dos Filhos22:27 - Desafios Pessoais E Resiliência Durante A Lava Jato32:27 - STF, Política E A Reação Contra A Lava Jato41:31 - Críticas Internacionais E Sanções Dos EUA53:13 - Cultura, Narrativas E Domínio Ideológico01:07:02 - Visão De Estado, Sociedade E Responsabilidade Individual01:12:09 - Atuação Atual No Partido Novo E Desafios Políticos01:28:41 - Excelência Pessoal E Encerramento InspiradorSiga o Deltan no Instagram: https://www.instagram.com/deltandallagnolNos Siga:Marcelo Toledo: https://instagram.com/marcelotoledoInstagram: https://instagram.com/excepcionaispodcastTikTok: https://tiktok.com/@excepcionaispodcast

It's 1970 and Nora Costello is a gifted young soprano who longs to sing on Broadway despite her parents' disapproval and her chronic stage fright. When her brother Liam dies in Vietnam, she spirals into grief, wondering how she'll embrace her goals without him who's always been her cheerleader and north star. At a summer theater near Cohoes, New York, Nora meets her soulmate, Bart Wheeler, a washed-up Broadway baritone with problems of his own-and great advice about singing. Nora also reunites with her best friend Liz, a troubled nun with secrets about Liam. As Nora struggles with family, romantic, and vocal issues, she wonders if she'll ever feel whole again. But when she finds a unique way to honor Liam's love for their hometown waterfall, she finally starts to heal. Become a supporter of this podcast: https://www.spreaker.com/podcast/arroe-collins-unplugged-totally-uncut--994165/support.

October 5, 2025Join hosts Tony Moore, Michael Mattes, Justin Hareld, and Araceli Aviles, as they recap episodes of Days of Our Lives from the week of September 29-October 3, 2025.This week on Dishin' Days, Sophia causes chaos for Johnny and Chanel, several duos make use of the blackout, and Jeremy Horton's return to Salem puts Stephanie on edge. And while the blackout brought many people together, it solidified a dark rift between Theo and JJ.Be sure to follow us on all social media platforms:Facebook: DishinDaysShowInstagram: @dishindaysTwitter: dishindays

on this episode we have music composer and orchestra conductor Philip Shorey on.  Philip and his orchestra will be performing at the Ted Mann Concert Hall in Minneapolis this Halloween. They will be providing the music and scoring for the 1925 "Phantom of The Opera" silent film as it being shown.  A TRULEY ONCE IN A LIFETIME EVENT.    We talk about the history of the story of "The Phantom of the Opera" and how Philip got involved with doing live orchestra music while the film is being shown as well as other silent films he also work with.      We also talk a little about Philip's passion of puppetry and traveling.     ****** IF YOU ARE INTERESTED IN PURCHASING TICKETS FOR THE HALLOWEEN EVENT**** "THE PHANTOM OF THE OPERA" click here. https://curseofthevampire.com/en/curse-of-the-vampire/   CHECK OUT THE TRAILER OF THE EVENT HERE https://www.youtube.com/watch?v=Pwxq8tuIlP0&t=23s CHECK OUT PHILIP SHOREY'S youtube channel. https://www.youtube.com/philipshorey   Check out E.H. DRAKE's web sight for her books. Order one today! https://www.ehdrake.com/   Check out host Nick Palodichuk's film reviews https://stpaulfilmcast.reviews/  

David Fuentes, Periodista de El Universal, autor del libro Narco CDMX

The Phantom of the Opera (1925) - The 31 DAYS OF DREAD 2025

Operação Míscaros: o plano montado em segredo por um comandante da Força Aérea para desviar aviões e reagir ao 25 de novembro, levando ao recuo de Álvaro Cunhal. A descoordenação com os comandos de Jaime Neves no ataque à Polícia Militar. E a desilusão com o ex-ministro do Trabalho que o PCP enviou para Cuba e Angola. Parte II da entrevista ao General Vaz Afonso: “O PCP esteve muito próximo de sair vitorioso, mas nunca mereceu as palavras de Melo Antunes. Nunca foi democrático.”See omnystudio.com/listener for privacy information.

It wouldn't be spooky season without representing Phantom of the Opera in some way, and we have Phantom expert Arianna back to talk about this Korean production of the Kopit/Yeston musical. Jon also has a personal story to share that he hopes y'all don't judge him too harshly after hearing it.Arianna's Socials -Instagram/TikTok: @ladyaria_Website: www.ariannaarmon.comPodcast Socials -Email: butasongpod@gmail.comFacebook: @butasongpodInstagram: @butasongpodThreads: @butasongpodNext episode: The Paul Lynde Halloween Special!

Na África do Sul, o movimento Operação Dudula está a reforçar o sentimento xenófobo entre o povo. Em Moçambique, arranca hoje a auscultação pública nacional face ao diálogo político. O partido ANAMOLA critica exclusão e anuncia auscultação paralela. Em Angola, sectretário da ATROMA deixa um conselho ao Governo para tentar diminuir as mortes na estrada.

Jill boards the Cane train; Victor and Jack team up; Lauren busts Michael; Claire breaks up with Kyle; Audra asks Nate for forgiveness; Sally tries to saves the day; and Tessa tells Sharon she’s off on a mission! PLUS: The Weekly Y&R Chat Poll, “Who Said It” Game, and Opening “The Chatterbox” to Read YOUR […]

Emmet Kennedy is joined by Adam Mills (Total Performance Data), Georgia Cox, Jamie Wrenn, and Jack Veitch to preview one of the biggest days in world racing: Arc Day at Paris Longchamp. After landing winners at 16/1, 14/1, and 12/1 in recent weeks, the panel return with big-priced fancies, confident NAPs, and insider angles for the Qatar Prix de l'Arc de Triomphe (Group 1) and the five other Group 1s on the card.

This week's episode is a panel discussion that was recorded live at our Opera Prep series, which brings secondary school groups to the Dorothy Chandler to experience a dress rehearsal. Hosted by Ashley Faatoalia, this West Side Story panel features Maestro James Conlon, Assistant Director Andrea Beasom, Assistant Choreographer Courtney Ortiz, and a very special guest, George Chakiris, who won the Academy Award AND Golden Globe for playing Bernardo in the original motion picture of West Side Story. Enjoy this special bonus episode and get your tickets to West Side Story at LA Opera.org

Y'all…you are sick and we hope you never get well.This week we wanted to highlight some of our favorite moments from people's princess and Emmy award winning writer Guy Branum, people's princess and star of stage and Twitch stream Alice Wetterlund, and people's menace and certified snack Ronald Young, Jr. Honorable mention and pre-emptive RIP to Meagan's Emo-Meter

In this episode, Charles Gambetta introduces his innovative bass position system that addresses traditional limitations in fingerboard comprehension. His method combines Roman numerals with Arabic numbers to provide contextual information that enhances physical and mental connections during play. Charles explains how starting students at the 'primary lock' position and focusing on finger placement and shift intervals improves intonation. He also demonstrates how this approach benefits various playing styles and has transformed his teaching approach. Enjoy, and be sure to check out Charles' article on this approach in the New York ASTA Journal.   Subscribe to the podcast to get these interviews delivered to you automatically!   Connect with us all things double bass double bass merch double bass sheet music   Thank you to our sponsors! Upton Bass - From Grammy Award winners and Philharmonic players like Max Zeugner of the New York Philharmonic, each Upton Bass is crafted with precision in Connecticut, USA, and built to last for generations.  Discover your perfect bass with Upton Bass today!   Carnegie Mellon University Double Bass Studio is a valued part of an innovative fine arts community in a top research university. Students receive weekly private lessons and solo classes with Micah Howard, and Peter Guild teaches weekly Orchestral Literature and Repertoire. They encourage students to seek lessons and guidance from local bassists. Members of the Symphony, the Opera, and the Ballet provide annual classes and individual attention. Visit Micah's website to sign up for a free online trial lesson here.   theme music by Eric Hochberg

Come light the Black Flame Candle with us to kick off a new session of SWIMFANS: BLOODBATH! This week on the show, we contrast different voyeurisms, celebrate grass-based endings and dive into the brain of Argento in 1987's OPERA! linktr.ee/swimfans patreon.com/swimfans Theme by Padlock: http://padlock.bandcamp.com/

Nebuchadnezzar II, king of the Neo-Babylonian empire, most powerful man in the world, was brought low by divine madness. Who was this king who lived in the shadow of Etemenanki, whose visions were revealed by a prophet, and whose apex in pop culture is as a wealthy zucchini?

September 30, 1791. Mozart's masterpiece, The Magic Flute, opens in Vienna.Support the show! Join Into History for ad-free listening and more.History Daily is a co-production of Airship and Noiser.Go to HistoryDaily.com for more history, daily.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.