Podcasts about Rondi Reed

Seinfeld Podcast Interview With Rondi Reed (Mary). We welcome Rondi Reed. Rondi is a veteran stage and screen actress. She played Mary in the Season 6 Seinfeld episode “The Kiss Hello.” Rondi won a TONY award in 2008 for Best Performance by a Featured Actress in a Play. You know her from “Mom,” “How we Roll” and “Mike and Molly.” We talk in-depth with Seinfeld guest stars, cast, crew, and writers. Hear the stories about your favorite Seinfeld scenes from those who were there. This Podcast Is Making Me Thirsty is a podcast dedicated to Seinfeld, the last, great sitcom of our time. We are The #1 Destination for Seinfeld Fans. We talk to those responsible for making Seinfeld the greatest sitcom in TV history. Our guests are Seinfeld writers, Seinfeld actors and actresses and Seinfeld crew. We also welcome well-known Seinfeld fans from all walks of life including authors, entertainers, and TV & Radio personalities. We analyze Seinfeld and breakdown the show with an honest insight. We rank every Seinfeld episode and compare Seinfeld seasons. If you are a fan of Seinfeld, television history, sitcoms, acting, comedy or entertainment, this is the place for you. Official Website: http://www.seinfeldpodcast.com iTunes: https://apple.co/2RGC89m Spotify: https://spoti.fi/3tqDVh6 List of Podcast Episodes and Sponsors: https://bit.ly/3rn0PUp Seinfeld Episode Rankings: https://bit.ly/3ic8mEi Social: https://linktr.ee/ThisThirsty Twitter: https://twitter.com/ThisThirsty Instagram: https://www.instagram.com/thisthirsty/ "This Podcast Is Making Me Thirsty" is The #1 Destination Seinfeld Fans. --- Send in a voice message: https://anchor.fm/thisthirsty/message

In this week's episode we interviewed Tony Award winner, Rondi Reed! She is best known for playing Madame Morrible in the Broadway hit, Wicked, along with Peggy in the CBS sitcom Mike and Molly. Find out how she got the role of Madame Morrible, what it was like working with Melissa McCarthy and another epic celebrity, more spooky stories and more! Follow us on our social media: Facebook: Once Upon A Stage Podcast Instagram: @onceuponastagepodcast Twitter: @OUAStagePodcast Email: onceuponastagepodcast@gmail.com

Join me as we talk to television star and Tony Award Winner Rondi Reed. Such great stories and great fun! --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/triple-threats--beyond/message Support this podcast: https://anchor.fm/triple-threats--beyond/support

On this week's LadyWatch agenda: Ryan and Jason recount their outing to Joan Collins' auction block/garage sale, sing the praises of Netflix for their reunion of Bette Midler, Goldie Hawn, and Diane Keaton in a new musical project, celebrate the rebirth of 'The Color Purple' on Broadway, give Judith Light all the attention she deserves for her 'Transparent' bathtub scene, give Rondi Reed all the attention she WANTS for her 'Mike and Molly' scene, go through the consensual terms of Melanie Griffith's uncoupling settlement (and what it means for the house in Aspen, the Picassos, and the Porches), and say goodbye to all the many Ladies of HBO's 'Getting On'. PLUS, Lady Golden Globe and SAG nominations, Paula Pell's 'Sisters' and her post-it joke formula, Barbra Streisand's call for more female mice torture and more the Hollywood Reporter's Power 100 Women breakfast, Roseanne Barr's old idea for a new webseries, Sarah Brightman's old idea for a new album release, Jane Fonda's letter to herself and her ancestor's letter to the organizers of the Boston Tea Party, and much much more!

On this week's podcast, cast members John Mahoney, Rondi Reed and Tom Cox join Anne Nicholson Weber to talk about Northlight Theatre's hit show, The Outgoing Tide, by Bruce Graham. They discuss how they create believable family relationships on stage, why they love to act in Chicago, and how audiences are reacting to the content and tone of the piece.

The "resident character woman" of Chicago's Steppenwolf Theatre Company, Rondi Reed, talks about her current stint as Madame Morrible in the Broadway juggernaut "Wicked", a role she originated in the musical's Chicago company, including why we're suddenly seeing her in a big Broadway musical for the first time, after 30 years in Chicago's best-known theatre ensemble. She also discusses her college years at Illinois State University, where she first met the team who would become the founders of Steppenwolf; why after graduation she decamped for Minnesota; when the invitation to join Steppenwolf actually came; why she didn't journey to New York for the famed production of "Balm in Gilead"; her directing debut with John Guare's "Lydie Breeze"; her extended tenure in the original production of "Picasso at the Lapin Agile" and the brief Broadway run of "The Rise and Fall of Little Voice"; whether she has the opportunity at Steppenwolf to ask for plays to be done specifically based on her interest; why the company seems to have so many meetings and how they've sustained that over the years; her reasons for initially declining the role of Mattie Faye, written by Tracy Letts with her in mind, in "August: Osage County", as she sets the record straight about whether or not the company resisted bringing the show to New York; the remarkable experience of returning to "August" for its final performance at the last minute, playing the role she created for a single performance with a company of actors she didn't know, including Phylicia Rashad, why she's only in recent years begun appearing in roles outside of Steppenwolf; and how long we can expect her to stay in the magical world of "Wicked". Original air date - March 10, 2010.

The "resident character woman" of Chicago's Steppenwolf Theatre Company, Rondi Reed (2008 Tony Award winner for Best Performance by an Actress in a Featured Role in a Play for “August: Osage County”), talks about her current stint as Madame Morrible in the Broadway juggernaut “Wicked”, a role she originated in the musical's Chicago company, including why we're suddenly seeing her in a big Broadway musical for the first time, after 30 years in Chicago's best-known theatre ensemble. She also discusses her college years at Illinois State University, where she first met the team who would become the founders of Steppenwolf; why after graduation she decamped for Minnesota; when the invitation to join Steppenwolf actually came; why she didn't journey to New York for the famed production of “Balm in Gilead”; her directing debut with John Guare's “Lydie Breeze”; her extended tenure in the original production of “Picasso at the Lapin Agile” and the brief Broadway run of “The Rise and Fall of Little Voice”; whether she has the opportunity at Steppenwolf to ask for plays to be done specifically based on her interest; why the company seems to have so many meetings and how they've sustained that over the years; her reasons for initially declining the role of Mattie Faye, written by Tracy Letts with her in mind, in “August: Osage County”, as she sets the record straight about whether or not the company resisted bringing the show to New York; the remarkable experience of returning to “August” for its final performance at the last minute, playing the role she created for a single performance with a company of actors she didn't know, including Phylicia Rashad, why she's only in recent years begun appearing in roles outside of Steppenwolf; and how long we can expect her to stay in the magical world of "Wicked".

The "resident character woman" of Chicago's Steppenwolf Theatre Company, Rondi Reed, talks about her current stint as Madame Morrible in the Broadway juggernaut "Wicked", a role she originated in the musical's Chicago company, including why we're suddenly seeing her in a big Broadway musical for the first time, after 30 years in Chicago's best-known theatre ensemble. She also discusses her college years at Illinois State University, where she first met the team who would become the founders of Steppenwolf; why after graduation she decamped for Minnesota; when the invitation to join Steppenwolf actually came; why she didn't journey to New York for the famed production of "Balm in Gilead"; her directing debut with John Guare's "Lydie Breeze"; her extended tenure in the original production of "Picasso at the Lapin Agile" and the brief Broadway run of "The Rise and Fall of Little Voice"; whether she has the opportunity at Steppenwolf to ask for plays to be done specifically based on her interest; why the company seems to have so many meetings and how they've sustained that over the years; her reasons for initially declining the role of Mattie Faye, written by Tracy Letts with her in mind, in "August: Osage County", as she sets the record straight about whether or not the company resisted bringing the show to New York; the remarkable experience of returning to "August" for its final performance at the last minute, playing the role she created for a single performance with a company of actors she didn't know, including Phylicia Rashad, why she's only in recent years begun appearing in roles outside of Steppenwolf; and how long we can expect her to stay in the magical world of "Wicked". Original air date - March 10, 2010.

BOY, DO WE HAVE a jam up show for you this week. IT's the pre-Tony-Tony-Nominee-Special. We rounded up some of the best of the best of the nominees this year. We sit down with the Orchestrators of IN THE HEIGHTS to chat about the show and how they revitalized the Broadway sound to fit this uptempo new show. We also talk to Rondi Reed about her performance in AUGUST: OSAGE COUNTY and Steppenwolf. Daniel Breaker drops in to talk to us about PASSING STRANGE and Shakespeare. We also have set designer, Michael Yeargan, from SOUTH PACIFIC in the studio. We hear some great music from PASSING STRANGE as well as IN THE HEIGHTS, too.

Ranging from their start in a church basement in 1976 to their current Broadway production of "August: Osage County", Steppenwolf Theatre Company Co-Founder Jeff Perry and Steppenwolf Ensemble Members Laurie Metcalf, Amy Morton and Rondi Reed discuss their formative years as a rebel theatre group in Chicago, what they did in those early years to attract audiences, how the ensemble has evolved, how Steppenwolf transformed from upstart to institution, the development of "August: Osage County", and the challenges that a New York success like "August" places on their work back home in Chicago.

Ranging from their start in a church basement in 1976 to their current Broadway production of August: Osage County, Steppenwolf Theatre Company (the 1985 recipient of the Regional Theatre Award) Co-Founder Jeff Perry and Steppenwolf Ensemble Members Laurie Metcalf, Amy Morton and Rondi Reed (who won a Tony for her role in August: Osage County) discuss their formative years as a rebel theatre group in Chicago, what they did in those early years to attract audiences, how the ensemble has evolved, how Steppenwolf transformed from upstart to institution, the development of August: Osage County, and the challenges that a New York success like August places on their work back home in Chicago.