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4 episodes with shubert theatre
3 episodes with shubert theatre
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2 episodes with shubert theatre
2 episodes with shubert theatre
4 episodes with shubert theatre
2 episodes with shubert theatre
2 episodes with shubert theatre
2 episodes with shubert theatre
Peter Filichia, James Marino, and Michael Portantiere talk about Buena Vista Social Club, Othello, Purpose, Love Life @ Encores!, Vanya @ Lucille Lortel, Scott Siegel’s Broadway By The Season: 1934/35 & 1946/47 @ Merkin Hall, and 11th Anniversary High School Theatre Festival for NYC Public Schools @ the Shubert Theatre read more The post This Week on Broadway for March 30, 2025: Buena Vista Social Club appeared first on BroadwayRadio.
(00:00) Comedian DUSTY SLAY joins Toucher & Hardy to promote his upcoming show at the Shubert Theatre. (17:40) It’s TIIIIME for the Email Bit. Use the link below to email any of us. After that, we’ll dive into the stories we missed earlier in The Stack! CONNECT WITH TOUCHER & HARDY: linktr.ee/ToucherandHardy For the latest updates, visit the show page on 985thesportshub.com. Follow 98.5 The Sports Hub on Twitter, Facebook and Instagram. Watch the show every morning on YouTube, and subscribe to stay up-to-date with all the best moments from Boston’s home for sports!
James and Al Live from The Shubert Theatre in Boston with guest Doris Kerns Goodwin. Its 2 days before the election of a lifetime, Jams, AL and Doris have something to say, about the future and the past. Focusing on the upcoming election, the significance of polling data, and the implications for democracy. The speakers reflect on the qualities of effective leadership, drawing parallels between historical figures like Lincoln and Roosevelt, and emphasize the importance of character in leadership. They discuss the challenges facing voting rights today and the role of history in understanding contemporary politics, ultimately calling for greater political engagement among young people. In this engaging conversation, Simon Sidi reflects on the importance of storytelling in history, the political landscape surrounding Vietnam, and the future of the Attorney General's office. He discusses the impact of Trump's rhetoric on voter sentiment, the significant role of women in the upcoming election, and the historical context of political divisiveness. The conversation also delves into the evolution of the Republican Party, insights on historical biographies, the legacy of Teddy Roosevelt, voting rights issues, and the shifting dynamics within the Democratic coalition. Email your questions to James and Al at politicswarroom@gmail.com or tweet them to @politicon. Make sure to include your city– we love to hear where you're from! More from James and Al Watch Politics War Room & James Carville Explains on YouTube @PoliticsWarRoomOfficial Get text updates from Politics War Room and Politicon. Watch Politics War Room & James Carville Explains on YouTube @PoliticsWarRoomOfficial CARVILLE: WINNING IS EVERYTHING, STUPID hits theaters November 1st at the Angelika in D.C. Get tickets now at CarvilleDoc.com/tickets. You can also get updates and some great behind-the-scenes content by following James on Twitter @jamescarville and his new TikTok @realjamescarville James Carville & Al Hunt have launched the Politics War Room Substack
Marion takes us out on the campaign trail this week where things got very weird very fast. We look back on a week of tough questions, town halls and challenging moments for both candidates. Rumours have swirled about Donald Trumps sudden mental decline this week. Could he be facing a Joe Biden-like decrease in capacity or is he just a bored entertainer becoming increasingly cranky with his old worn out material? Are the polls reliable or are they being conservative in their estimates? Marion takes out her crystal ball to answer the question, "What will he do if he loses?" Obviously, this time, he does not need to be shown from the building but will riots break out in swing states. One things is for sure the dialogue is changing or ramping up as the big day draws near. Hear some of the highlights in this week's episode and get in touch with your questions for Marion in the comments section or by emailing irishmanabroadpodcast@gmail.com & make sure to come over to www.patreon.com/irishmanabraod to hear the full conversation, support the show and more. (Jarlath is off to America next week but not before he drops 3 more episodes for you. You can find him this weekend in Dundalk at the Spirit Store and next weekend at The Shubert Theatre in Boston. Tickets for all tour dates available at www.jigser.com/gigs )
Marion takes us out on the campaign trail this week where things got very weird very fast. We look back on a week of tough questions, town halls and challenging moments for both candidates. Rumours have swirled about Donald Trumps sudden mental decline this week. Could he be facing a Joe Biden-like decrease in capacity or is he just a bored entertainer becoming increasingly cranky with his old worn out material? Are the polls reliable or are they being conservative in their estimates? Marion takes out her crystal ball to answer the question, "What will he do if he loses?" Obviously, this time, he does not need to be shown from the building but will riots break out in swing states. One things is for sure the dialogue is changing or ramping up as the big day draws near. Hear some of the highlights in this week's episode and get in touch with your questions for Marion in the comments section or by emailing irishmanabroadpodcast@gmail.com & make sure to come over to www.patreon.com/irishmanabraod to hear the full conversation, support the show and more. (Jarlath is off to America next week but not before he drops 3 more episodes for you. You can find him this weekend in Dundalk at the Spirit Store and next weekend at The Shubert Theatre in Boston. Tickets for all tour dates available at www.jigser.com/gigs )
Join your favorite podcast hosts Jason A. Coombs and Samantha Tuozzolo , on the latest episode of Survival Jobs, as they chat with the mega talented, charming and kind Jakeim Hart who is starring as “Q” in the hit Broadway musical ‘Hell's Kitchen', which is nominated for thirteen Tony Awards including Best Musical this season. Jakeim shares why both audience and critics are loving the show, what it's like working with the legendary Alicia Keys and why he chose to share that he is on the autism spectrum in his bio for “Hell's Kitchen”. Before closing out with a fun game of Song Association, Jakeim dives into some of his favorite and not so favorite gigs he had before making his Broadway debut in ‘Almost Famous',his dream project that he would like to bring to the big screen in the future and behind the scene of his ‘Hell's Kitchen' opening night red carpet outfit styled by Osh Ashruf! Tickets for ‘Hell's Kitchen' are available at the Shubert Theatre or online here. The episode opens with Samantha and Jason chatting about Pride Month, Tony nominee Jonathan Groff and the upcoming Bridgeport Film Fest, of which Jason is the co-founder and executive director! Lastly, the exclusive video interview can be found here on Broadway World, while the audio-only version of the episode is available on popular platforms such as Apple Podcasts, Spotify, Audible or any of your other favorite podcast apps. Tune in now for insights, inspiration, and entertainment! Info on Your Hosts: Broadway World Article on our Season 3 Launch Party Follow Samantha: Instagram | Samantha's Official Website here Follow Jason on Instagram | Twitter. Check out Jason's Official Website here Check out and support The Bridgeport Film Fest Info on Guests: Follow Jakeim on Instagram Tickets to 'Hell's Kitchen' on Broadway Jakeim covers "Foxy Lady" by Jimi Hendrix Jakeim covers "Shallow" by Lady Gaga with Gabrielle Mariella at 54 Below Mic Check Links: Info on the Bridgeport Film Fest [save 30% by using the code: BFFSURVIVALJOBS2024] Adele and her Pride Heckler Jonathan Groff celebrates Pride Important Links: Support the citizens of Gaza CAIR Shares Resources to Support Students Protesting the War and Genocide in Gaza Native Land Map US Interior Indian Affairs NPR: "How To Help Puerto Rico" Article How to Help the People of Florida Article Abortion Funds Website Plan C Pills Website National Write Your Congressman Link How to help Uvalde families NPR Article Where to Donate to Support Access to Abortions Right Now Support Us... Please! If you're feeling generous, Buy Us A Coffee HERE! Please don't become complacent: Support the Black Mamas Matter Alliance Support Families Detained and Separated at the Border. Support the AAPI Civic Engagement Fund. Support Black Trans Folx here Donate to the Community League of the Heights (CLOTH) Support the People of Palestine How to be an Ally to the AAPI Community 168 Ways to Donate in Support of Black Lives and Communities of Color The New York Times: On Mexico's Border With U.S., Desperation as Migrant Traffic Piles Up PBS: How to help India during its COVID surge — 12 places you can donate Covid quarantine didn't stop antisemitic attacks from rising to near-historic highs Opening and Closing Theme Music: "One Love" by Beats by Danny | Game Music: "Wake Up" by MBB. Learn more about your ad choices. Visit megaphone.fm/adchoices
Join your favorite podcast hosts Jason A. Coombs and Samantha Tuozzolo , on the latest episode of Survival Jobs, as they chat with the iconic Broadway veteran and Tony Nominee Kecia Lewis in the hit Broadway musical ‘Hell's Kitchen', which is nominated for thirteen Tony Awards including Best Musical this season. Kecia shines a spotlight on her 40+ year career which includes starring in the original Broadway runs of ‘Dreamgirls', ‘Once On This Island' and ‘The Drowsy Chaperone' to such iconic television shows such as ‘Mad About You', ‘Law and Order: SVU', ‘The Unbreakable Kimmy Schmidt, “Passages” and more! Kecia also dives into the joy of working with her powerful female co-stars Shoshana Bean and Maleah Joi Moon and Lead Producer and Composer Alicia Keys in ‘Hell's Kitchen' and why audiences and critics are praising the production! Before closing out with a fun game of Fill in the Lyric…Alicia Keys Edition, Kecia dives into the many surprising gigs she's had over the years as a working actor! Tickets for ‘Hell's Kitchen' are available at the Shubert Theatre or online here. The episode opens with Samantha and Jason chatting about the Stephen Sondheim Awards at the Shubert Theatre in New Haven, Connecticut where Jason was a presenter! Lastly, the exclusive video interview can be found here on Broadway World, while the audio-only version of the episode is available on popular platforms such as Apple Podcasts, Spotify, Audible or any of your other favorite podcast apps. Tune in now for insights, inspiration, and entertainment! Info on Your Hosts: Broadway World Article on our Season 3 Launch Party Follow Samantha: Instagram | Samantha's Official Website here Follow Jason on Instagram | Twitter. Check out Jason's Official Website here Check out and support The Bridgeport Film Fest Info on Guests: Follow Kecia on Instagram Tickets to 'Hell's Kitchen' on Broadway "Mad About You" Revival Trailer "The Passage" on Fox Trailer Mic Check Links: Info on the Bridgeport Film Fest [save 30% by using the code: BFFSURVIVALJOBS2024] Tony Award Nominations article by Broadway World Important Links: Support the citizens of Gaza CAIR Shares Resources to Support Students Protesting the War and Genocide in Gaza Native Land Map US Interior Indian Affairs NPR: "How To Help Puerto Rico" Article How to Help the People of Florida Article Abortion Funds Website Plan C Pills Website National Write Your Congressman Link How to help Uvalde families NPR Article Where to Donate to Support Access to Abortions Right Now Support Us... Please! If you're feeling generous, Buy Us A Coffee HERE! Please don't become complacent: Support the Black Mamas Matter Alliance Support Families Detained and Separated at the Border. Support the AAPI Civic Engagement Fund. Support Black Trans Folx here Donate to the Community League of the Heights (CLOTH) Support the People of Palestine How to be an Ally to the AAPI Community 168 Ways to Donate in Support of Black Lives and Communities of Color The New York Times: On Mexico's Border With U.S., Desperation as Migrant Traffic Piles Up PBS: How to help India during its COVID surge — 12 places you can donate Covid quarantine didn't stop antisemitic attacks from rising to near-historic highs Opening and Closing Theme Music: "One Love" by Beats by Danny | Game Music: "Wake Up" by MBB. Learn more about your ad choices. Visit megaphone.fm/adchoices
In this episode, we discuss the new Tony nominated best musical HELL'S KITCHEN. Please note that this episode will contain spoilers about the show. If you haven't seen the show yet, you can catch HELL'S KITCHEN playing at the Shubert Theatre. Follow and connect with all things @HalfHourPodcast on Instagram, and YouTube. Please share your thoughts on HELL'S KITCHEN on our podcast cover post. Learn more about your ad choices. Visit megaphone.fm/adchoices
[REBROADCAST FROM November 16, 2023] In the 1980s and '90s, Alicia Keys was a girl living with her mother in a small apartment off Times Square, with a dream of being a professional musician. Of course, we know how her life turned out. Keys is one of the creators of a new Broadway musical inspired by her early life in Manhattan, featuring original music and lyrics. "Hell's Kitchen" tells the story of Ali (Maleah Joi Moon), a 17-year-old who wants to make it big. To discuss the show, we're joined by director Michael Greif, book writer Kristoffer Diaz, and music supervisor Adam Blackstone. "Hell's Kitchen" is running at Shubert Theatre. "Hell's Kitchen" is nominated for a Lucille Lortel Award for outstanding musical this year.
Ebro in the Morning sits down with the talented Alicia Keys for a conversation surrounding her upcoming musical, some of her philanthropy, tackling new challenges in her career, new music, and the legacy of the hit track "Empire State of Mind." The new track '"Kaleidoscope" featuring Maleah Joi Moon is available now. HELL'S KITCHEN The Musical will begin performances on Thursday, March 28, 2024 at Broadway's Shubert Theatre. For tickets visit HellsKitchen.com. See omnystudio.com/listener for privacy information.
“I was obsessed at 7 years old...I saw Cats at the Shubert Theatre in Chicago and .there wereadults dressed as cats, jumping and singing and dancing around life-sized trash and it lookedlike fun and I thought ‘that's a job!?' I wanna do that!” - Kate BaldwinPals for over a decade and a half, it was nothing but a joy to catch up with Broadway's KateBaldwin. Audiences will know her from starring roles on Broadway in Hello, Dolly!, Finian'sRainbow (TONY nominated for both), and Big Fish...Off-Broadway in John and Jen, Giant(DRAMA DESK nominated for both), Superhero, Songbird and Babes in Arms. A darling of theregional theater circuit for decades, Kate and I chat about our time with Barry Manilow andBruce Sussman's Harmony, being mother to a Pokemon expert, her formative time working intheatres across the country and the puzzle of creating and marketing art to a contemporary,post-pandemic audience.
This week we are joined by veteran of stage and screen Adam Heller, current and original cast member of the Tony Award-winning Broadway musical Some Like It Hot, now in performances at the Shubert Theatre in New York City. Heller reflects on his journey with the show, from early readings to its soon-to-be year-long run on Broadway, delves into his theater-going parents that introduced him to theater as a born and raised New Yorker, and how the industry has changed, for worse or for better, since he started his career. “Teachers always told us, ‘if there's anything else you can do, please do it.' YOu're gong to experience so many peaks and valleys and always be looking for work, but this is something that's chronic in our business and it never ends. But those hills and valleys are something you become accustomed to and you have to surround yourself with a support team of friends and family,” he shared. “The pandemic was interesting because we all had to unplug. Civilization was forced to sit back and it was peculiar to know that the acting profession was what was the most aggressive way of transmitting this virus. What an irony!” Some Like It Hot is in performances at the Shubert Theatre now through December 30th.
CHICAGO Book by Peter Stone | Music & Lyrics by Sherman Edwards | Based on a concept by Sherman EdwardsWorks Consulted & Reference :1776 (Original Libretto) by Peter Stone & Sherman Edwards"The Making of America's Musical - 1776: The Story Behind the Story" by Jeffrey KareMusic Credits:"Overture" from Dear World (Original Broadway Cast Recording) | Music by Jerry Herman | Performed by Dear World Orchestra & Donald Pippin"The Speed Test" from Thoroughly Modern Millie (Original Broadway Cast Recording) | Music by Jeanine Tesori, Lyrics by Dick Scanlan | Performed by Marc Kudisch, Sutton Foster, Anne L. Nathan & Ensemble"Why God Why" from Miss Saigon: The Definitive Live Recording (Original Cast Recording / Deluxe) | Music by Claude-Michel Schönberg, Lyrics by Alain Boublil & Richard Maltby Jr. | Performed by Alistair Brammer"Back to Before" from Ragtime: The Musical (Original Broadway Cast Recording) | Music by Stephen Flaherty, Lyrics by Lynn Ahrens | Performed by Marin Mazzie"Chromolume #7 / Putting It Together" from Sunday in the Park with George (Original Broadway Cast Recording) | Music & Lyrics by Stephen Sondheim | Performed by Mandy Patinkin, Bernadette Peters, Judith Moore, Cris Groenendaal, Charles Kimbrough, William Parry, Nancy Opel, Robert Westenberg, Dana Ivey, Kurt Knudson, Barbara Bryne"What's Inside" from Waitress (Original Broadway Cast Recording) | Music & Lyrics by Sara Bareilles | Performed by Jessie Mueller & Ensemble"Sit Down, John" from 1776 (Original Broadway Cast Recording) | Music & Lyrics by Sherman Edwards | Performed by Sherman Edwards, William Daniels, 1776 Ensemble, Peter Howard"Maria" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Evadne Baker, Anna Lee, Portia Nelson, Marni Nixon"My Favorite Things" from The Sound of Music (Original Soundtrack Recording) | Music by Richard Rodgers, Lyrics by Oscar Hammerstein II | Performed by Julie Andrews"Corner of the Sky" from Pippin (New Broadway Cast Recording) | Music & Lyrics by Stephen Schwartz | Performed by Matthew James Thomas“What Comes Next?” from Hamilton (Original Broadway Cast Recording) | Music & Lyrics by Lin-Manuel Miranda | Performed by Jonathan Groff
Our guest todays are Nick Bussett and A. Rey Pamatmat!Nick is the co-host of Gay Talk 2.0 and the Director of Development at the Shubert Theatre. Rey is an award winning playwright and writer. He is a GLAAD and Lambda nominee and the co-Director of the Ma-Yi Writers Lab.We're talking about the play that saved Nick's life: Edith Can Shoot Things and Hit Them by A. Rey Pamatmat.Edith Can Shoot Things and Hit Them is about three kids - Kenny, his sister Edith, and their friend Benji – who are all but abandoned on a farm in remotest Middle America. With little adult supervision, they feed and care for each other, making up the rules as they go.We're going to talk about seeing yourself represented on stage for the first time, having too grow up to fast, and rebuilding relationships with our family.Connect with Nick and ReyInstagram: @NbussettInstagram: @gaytalk2.0website: gaytalk20.comTwitter: @AReyPInstagram: @a_rey_pBuy Edith Can Shoot Things and Hit ThemVisit our Bookshop or buy directly: https://bookshop.org/a/82376/9780573700163Become an Associate Producer!Become an Associate Producer of our podcast through a $20/month sponsorship on Patreon! A professionally recognized credit, you can gain access to Associate Producer meetings to help guide our podcast into the future! Get started today: patreon.com/thisqueerbookCreditsHost/Founder: J.P. Der BoghossianExecutive Producer: Jim PoundsAssociate Producers: Archie Arnold, Natalie Cruz, Paul Kaefer, Nicole Olila, Joe Perazzo, Bill Shay, and Sean SmithPatreon Subscribers: Awen Briem, Stephen D., Thomas Michna, and Gary Nygaard.SponsorsUntil August 1st, the Spectacle Shoppe is offering you $250 off as a Pride special. For locations, visit: https://spectacleshoppe.com M Health Fairview is the presenting sponsor of Living Well Park at Twin Cities Pride Festival. Visit Living Well Park to learn more about M Health Fairview's commitment to a healthy and equitable future for all––and talk with specialists from our Comprehensive Gender Care Program. Join Me In Supporting Lambda LiteraryAs a Lambda Literary Fellow, I hope you can donate to Lambda's Writers Retreat for Emerging LGBTQ Voices. They're raising $56k to ensure every fellow attend!You can donate to the scholarship fundraising campaign by visiting lambdaliterary.org/writers-retreat & clicking on SUPPORT EMERGING WRITERS or by texting LITVOICES to 44-321. Support the show
Heute vor 70 Jahren wurde das Musical "Can Can" im Shubert Theatre in New York uraufgeführt.
Celia Keenan-Bolger (IG:@celiakb)(TW:@celiakb) is currently in The Gilded Age on HBO. She was born on January 26, 1978 in Detroit, Michigan and is a Tony Award winner and Broadway favorite. Celia Keenan-Bolger will return to To Kill a Mockingbird at the Shubert Theatre from October 5, 2021. Keenan-Bolger trained at both the Mosaic Youth Theatre of Detroit and the Detroit School of Arts and graduated from the University of Michigan with a BFA in musical theatre. She began her stage career in regional theatres such as the Goodman Theatre in Chicago and Theatre Works in Silicon Valley, and she made her Off-Broadway debut as Aggie in Summer of '42 in December 2001. During the Kennedy Center's Sondheim Celebration in 2002, she starred as Johanna in Sweeney Todd: The Demon Barber of Fleet Street, and she would then perform again off Broadway in January 2003 in Second Stage Theatre's production of Michael John LaChiusa's Little Fish. Also in 2003, she would originate the role of Clara Johnson in the celebrated musical The Light in the Piazza at both Seattle's Intiman Theatre and Chicago's Goodman Theatre. She originated the role of Olive Ostrovsky in William Finn and Rachel Sheinkin's The 25th Annual Putnam County Spelling Bee at the Barrington Stage Company in the summer of 2004, reprised her performance off Broadway at Second Stage Theatre in January 2005, and did so again on Broadway, marking her Broadway debut in April 2005. She was nominated for her first Tony Award for her performance as Olive and received a Theatre World Award and a Drama Desk Award for Outstanding Ensemble Performance. She remained with the production until September 17, 2006. Her next Broadway venture would be to originate the role of Éponine in the 2006 revival of Les Misérables, playing the role from October 2006 to January 2008, earning a Drama Desk nomination in 2007. Keenan-Bolger returned off Broadway for her next productions, starring as Mary in the musical Saved at Playwrights Horizons from May to June 2008, as Katie in Bachelorette for Second Stage Theatre from July to August 2010, and as Jenny Bridges in A Small Fire from December 2010 to January 2011, once again at Playwrights Horizons. She then landed the role of Molly in New York Theatre Workshop's acclaimed production of Peter and the Starcatcher, which played the Off-Broadway venue from February to April 2011, resulting in yet another Drama Desk Award nomination, and transferred to Broadway in March 2012, leading to her second Tony Award nomination. Ahead of the Broadway premiere, Keenan-Bolger also starred as Mary Flynn in New York City Center's Encores! production of Sondheim's Merrily We Roll Along in February 2012. In the fall of 2013, she took on the role of Laura Wingfield in the Broadway revival of Tennessee Williams' The Glass Menagerie from September 2013 to February 2014. She garnered great acclaim for her performance, winning a Drama Desk Award, earning her third Tony Award nomination, and receiving the Theatre World Dorothy Loudon Award for Excellence in 2014. Keenan-Bolger followed this performance with her Lincoln Center Theater debut, starring as Mother in an Off-Broadway production of Sarah Ruhl's The Oldest Boy from October to December 2014. She was next seen on Broadway as Varya, opposite Diane Lane, in Roundabout Theatre Company's 2016 revival of Chekhov's The Cherry Orchard, and she was last seen off Broadway in Second Stage Theatre's 2017 production of A Parallelogram. Keenan-Bolger returned to Broadway on November 1, 2018, taking on the role of Scout in Aaron Sorkin's new stage adaptation of the classic Harper Lee novel To Kill a Mockingbird. She won her first Tony Award in the category of Best Performance By An Actress In A Featured Role In A Play for her portrayal, and she ended her year-long run in the production on November 3, 2019. She leads the reopening cast of the play once more starting in October 2021. Although primarily known for her career on stage, Ms. Keenan-Bolger has also appeared in a number of high-profile television shows over the years, including Law & Order (2007), Law & Order: Special Victims Unit (2014), Nurse Jackie (2014), The Good Wife (2015), Elementary (2015), Good Behavior (2016), Blue Bloods (2017), NCIS: New Orleans (2017), and Bull (2018). Her film credits include Mariachi Gringo (2012), The Visit (2015), Breakable You (2017), and Diane (2018).
On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again. But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films. For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast. We're talking about 1985's Into the Night. But, as always, before we get to Into the Night, some backstory. John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life. After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The 7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around. In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight. Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film. The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker. The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money. Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed. The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future. Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before. An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar. In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies. And then, as previously mentioned, there was the accident during the filming of The Twilight Zone. Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident. Which brings us to Into the Night. While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller. Landis would agree to make the film, if he were allowed some leeway in casting. For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character. While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour. Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr. The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison. The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone. During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter. I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood. The reviews, like with many of Landis's films, were mixed. Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights. But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room. After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget. Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life. I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school. I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis. Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
On this episode, we do our first deep dive into the John Landis filmography, to talk about one of his lesser celebrated film, the 1985 Jeff Goldblum/Michelle Pfeiffer morbid comedy Into the Night. ----more---- TRANSCRIPT From Los Angeles, California, the Entertainment Capital of the World, it's The 80s Movies Podcast. I am your host, Edward Havens. Thank you for listening today. Long time listeners to this show know that I am not the biggest fan of John Landis, the person. I've spoken about Landis, and especially about his irresponsibility and seeming callousness when it comes to the helicopter accident on the set of his segment for the 1983 film The Twilight Zone which took the lives of actors Vic Morrow, Myca Dinh Le and Renee Shin-Yi Chen, enough where I don't wish to rehash it once again. But when one does a podcast that celebrates the movies of the 1980s, every once in a while, one is going to have to talk about John Landis and his movies. He did direct eight movies, one documentary and a segment in an anthology film during the decade, and several of them, both before and after the 1982 helicopter accident, are actually pretty good films. For this episode, we're going to talk about one of his lesser known and celebrated films from the decade, despite its stacked cast. We're talking about 1985's Into the Night. But, as always, before we get to Into the Night, some backstory. John David Landis was born in Chicago in 1950, but his family moved to Los Angeles when he was four months old. While he grew up in the City of Angels, he still considers himself a Chicagoan, which is an important factoid to point out a little later in his life. After graduating from high school in 1968, Landis got his first job in the film industry the way many a young man and woman did in those days: through the mail room at a major studio, his being Twentieth Century-Fox. He wasn't all that fond of the mail room. Even since he had seen The 7th Voyage of Sinbad at the age of eight, he knew he wanted to be a filmmaker, and you're not going to become a filmmaker in the mail room. By chance, he would get a job as a production assistant on the Clint Eastwood/Telly Savalas World War II comedy/drama Kelly's Heroes, despite the fact that the film would be shooting in Yugoslavia. During the shoot, he would become friendly with the film's co-stars Don Rickles and Donald Sutherland. When the assistant director on the film got sick and had to go back to the United States, Landis positioned himself to be the logical, and readily available, replacement. Once Kelly's Heroes finished shooting, Landis would spend his time working on other films that were shooting in Italy and the United Kingdom. It is said he was a stuntman on Sergio Leone's The Good, The Bad, and The Ugly, but I'm going to call shenanigans on that one, as the film was made in 1966, when Landis was only sixteen years old and not yet working in the film industry. I'm also going to call shenanigans on his working as a stunt performer on Leone's 1968 film Once Upon a Time in the West, and Tony Richardson's 1968 film The Charge of the Light Brigade, and Peter Collinson's 1969 film The Italian Job, which also were all filmed and released into theatres before Landis made his way to Europe the first time around. In 1971, Landis would write and direct his first film, a low-budget horror comedy called Schlock, which would star Landis as the title character, in an ape suit designed by master makeup creator Rick Baker. The $60k film was Landis's homage to the monster movies he grew up watching, and his crew would spend 12 days in production, stealing shots wherever they could because they could not afford filming permits. For more than a year, Landis would show the completed film to any distributor that would give him the time of day, but no one was interested in a very quirky comedy featuring a guy in a gorilla suit playing it very very straight. Somehow, Johnny Carson was able to screen a print of the film sometime in the fall of 1972, and the powerful talk show host loved it. On November 2nd, 1972, Carson would have Landis on The Tonight Show to talk about his movie. Landis was only 22 at the time, and the exposure on Carson would drive great interest in the film from a number of smaller independent distributors would wouldn't take his calls even a week earlier. Jack H. Harris Enterprises would be the victor, and they would first release Schlock on twenty screens in Los Angeles on December 12th, 1973, the top of a double bill alongside the truly schlocky Son of The Blob. The film would get a very good reception from the local press, including positive reviews from the notoriously prickly Los Angeles Times critic Kevin Thomas, and an unnamed critic in the pages of the industry trade publication Daily Variety. The film would move from market to market every few weeks, and the film would make a tidy little profit for everyone involved. But it would be four more years until Landis would make his follow-up film. The Kentucky Fried Movie originated not with Landis but with three guys from Madison, Wisconsin who started their own theatre troop while attending the University of Wisconsin before moving it to West Los Angeles in 1971. Those guys, brothers David and Jerry Zucker, and their high school friend Jim Abrahams, had written a number of sketches for their stage shows over a four year period, and felt a number of them could translate well to film, as long as they could come up with a way to link them all together. Although they would be aware of Ken Shapiro's 1974 comedy anthology movie The Groove Tube, a series of sketches shot on videotape shown in movie theatres on the East Coast at midnight on Saturday nights, it would finally hit them in 1976, when Neal Israel's anthology sketch comedy movie TunnelVision became a small hit in theatres. That movie featured Chevy Chase and Laraine Newman, two of the stars of NBC's hit show Saturday Night Live, which was the real reason the film was a hit, but that didn't matter to Zucker, Abrahams and Zucker. The Zucker/Abrahams/Zucker team decided they needed to not just tell potential backers about the film but show them what they would be getting. They would raise $35,000 to film a ten minute segment, but none of them had ever directed anything for film before, so they would start looking for an experienced director who would be willing to work on a movie like theirs for little to no money. Through mutual friend Bob Weiss, the trio would meet and get to know John Landis, who would come aboard to direct the presentation reel, if not the entire film should it get funded. That segment, if you've seen Kentucky Fried Movie, included the fake trailer for Cleopatra Schwartz, a parody of blaxploitation movies. The guys would screen the presentation reel first to Kim Jorgensen, the owner of the famed arthouse theatre the Nuart here in Los Angeles, and Jorgensen loved it. He would put up part of the $650k budget himself, and he would show the reel to his friends who also ran theatres, not just in Los Angeles, whenever they were in town, and it would be through a consortium of independent movie theatre owners that Kentucky Fried Movie would get financed. The movie would be released on August 10th, 1977, ironically the same day as another independent sketch comedy movie, Can I Do It Till I Need Glasses?, was released. But Kentucky Fried Movie would have the powerful United Artists Theatres behind them, as they would make the movie the very first release through their own distribution company, United Film Distribution. I did a three part series on UFDC back in 2021, if you'd like to learn more about them. Featuring such name actors as Bill Bixby, Henry Gibson, George Lazenby and Donald Sutherland, Kentucky Fried Movie would earn more than $7m in theatres, and would not only give John Landis the hit he needed to move up the ranks, but it would give Zucker, Abrahams and Zucker the opportunity to make their own movie. But we'll talk about Airplane! sometime in the future. Shortly after the release of Kentuck Fried Movie, Landis would get hired to direct Animal House, which would become the surprise success of 1978 and lead Landis into directing The Blues Brothers, which is probably the most John Landis movie that will ever be made. Big, loud, schizophrenic, a little too long for its own good, and filled with a load of in-jokes and cameos that are built only for film fanatics and/or John Landis fanatics. The success of The Blues Brothers would give Landis the chance to make his dream project, a horror comedy he had written more than a decade before. An American Werewolf in London was the right mix of comedy and horror, in-jokes and great needle drops, with some of the best practical makeup effects ever created for a movie. Makeup effects so good that, in fact, the Academy of Motion Pictures Arts and Sciences would make the occasionally given Best Makeup Effects Oscar a permanent category, and Werewolf would win that category's first competitive Oscar. In 1982, Landis would direct Coming Soon, one of the first direct-to-home video movies ever released. Narrated by Jamie Lee Curtis, Coming Soon was, essentially, edited clips from 34 old horror and thriller trailers for movies owned by Universal, from Frankenstein and Dracula to Psycho and The Birds. It's only 55 minutes long, but the video did help younger burgeoning cineasts learn more about the history of Universal's monster movies. And then, as previously mentioned, there was the accident during the filming of The Twilight Zone. Landis was able to recover enough emotionally from the tragedy to direct Trading Places with Eddie Murphy and Dan Aykroyd in the winter of 1982/83, another hit that maybe showed Hollywood the public wasn't as concerned about the Twilight Zone accident as they worried it would. The Twilight Zone movie would be released three weeks after Trading Places, and while it was not that big a hit, it wasn't quite the bomb it was expected to be because of the accident. Which brings us to Into the Night. While Landis was working on the final edit of Trading Places, the President of Universal Pictures, Sean Daniels, contacted Landis about what his next project might be. Universal was where Landis had made Animal House, The Blues Brothers and American Werewolf, so it would not be unusual for a studio head to check up on a filmmaker who had made three recent successful films for them. Specifically, Daniels wanted to pitch Landis on a screenplay the studio had in development called Into the Night. Ron Koslow, the writer of the 1976 Sam Elliott drama Lifeguard, had written the script on spec which the studio had picked up, about an average, ordinary guy who, upon discovering his wife is having an affair, who finds himself in the middle of an international incident involving jewel smuggling out of Iran. Maybe this might be something he would be interested in working on, as it would be both right up his alley, a comedy, and something he'd never done before, a romantic action thriller. Landis would agree to make the film, if he were allowed some leeway in casting. For the role of Ed Okin, an aerospace engineer whose insomnia leads him to the Los Angeles International Airport in search of some rest, Landis wanted Jeff Goldblum, who had made more than 15 films over the past decade, including Annie Hall, Invasion of the Body Snatchers, The Big Chill and The Right Stuff, but had never been the lead in a movie to this point. For Diana, the jewel smuggler who enlists the unwitting Ed into her strange world, Landis wanted Michelle Pfeiffer, the gorgeous star of Grease 2 and Scarface. But mostly, Landis wanted to fill as many of supporting roles with either actors he had worked with before, like Dan Aykroyd and Bruce McGill, or filmmakers who were either contemporaries of Landis and/or were filmmakers he had admired. Amongst those he would get would be Jack Arnold, Paul Bartel, David Cronenberg, Jonathan Demme, Richard Franklin, Amy Heckerling, Colin Higgins, Jim Henson, Lawrence Kasdan, Jonathan Lynn, Paul Mazursky, Don Siegel, and Roger Vadim, as well as Jaws screenwriter Carl Gottlieb, Midnight Cowboy writer Waldo Salt, personal trainer to the stars Jake Steinfeld, music legends David Bowie and Carl Perkins, and several recent Playboy Playmates. Landis himself would be featured as one of the four Iranian agents chasing Pfeiffer's character. While neither Perkins nor Bowie would appear on the soundtrack to the film, Landis was able to get blues legend B.B. King to perform three songs, two brand new songs as well as a cover of the Wilson Pickett classic In the Midnight Hour. Originally scheduled to be produced by Joel Douglas, brother of Michael and son of Kirk, Into the Night would go into production on April 2nd, 1984, under the leadership of first-time producer Ron Koslow and Landis's producing partner George Folsey, Jr. The movie would make great use of dozens of iconic Los Angeles locations, including the Beverly Wilshire Hotel, the Shubert Theatre in Century City, the Ships Coffee Shot on La Cienega, the flagship Tiffanys and Company in Beverly Hills, Randy's Donuts, and the aforementioned airport. But on Monday, April 23rd, the start of the fourth week of shooting, the director was ordered to stand trial on charges of involuntary manslaughter due to the accident on the Twilight Zone set. But the trial would not start until months after Into the Night was scheduled to complete its shoot. In an article about the indictment printed in the Los Angeles Times two days later, Universal Studios head Sean Daniels was insistent the studio had made no special plans in the event of Landis' possible conviction. Had he been found guilty of involuntary manslaughter, Landis was looking at up to six years in prison. The film would wrap production in early June, and Landis would spend the rest of the year in an editing bay on the Universal lot with his editor, Malcolm Campbell, who had also cut An American Werewolf in London, Trading Places, the Michael Jackson Thriller short film, and Landis's segment and the Landis-shot prologue to The Twilight Zone. During this time, Universal would set a February 22nd, 1985 release date for the film, an unusual move, as every movie Landis had made since Kentucky Fried Movie had been released during the summer movie season, and there was nothing about Into the Night that screamed late Winter. I've long been a proponent of certain movies having a right time to be released, and late February never felt like the right time to release a morbid comedy, especially one that takes place in sunny Los Angeles. When Into the Night opened in New York City, at the Loews New York Twin at Second Avenue and 66th Street, the high in the city was 43 degrees, after an overnight low of 25 degrees. What New Yorker wants to freeze his or her butt off to see Jeff Goldblum run around Los Angeles with Michelle Pfeiffer in a light red leather jacket and a thin white t-shirt, if she's wearing anything at all? Well, actually, that last part wasn't so bad. But still, a $40,000 opening weekend gross at the 525 seat New York Twin would be one of the better grosses for all of the city. In Los Angeles, where the weather was in the 60s all weekend, the film would gross $65,500 between the 424 seat Avco Cinema 2 in Westwood and the 915 seat Cinerama Dome in Hollywood. The reviews, like with many of Landis's films, were mixed. Richard Corliss of Time Magazine would find the film irresistible and a sparkling thriller, calling Goldblum and Pfeiffer two of the most engaging young actors working. Peter Travers, writing for People Magazine at the time, would anoint the film with a rarely used noun in film criticism, calling it a “pip.” Travers would also call Pfeiffer a knockout of the first order, with a newly uncovered flair for comedy. Guess he hadn't seen her in the 1979 ABC spin-off of Animal House, called Delta House, in which she played The Bombshell, or in Floyd Mutrix's 1980 comedy The Hollywood Knights. But the majority of critics would find plenty to fault with the film. The general critical feeling for the film was that it was too inside baseball for most people, as typified by Vincent Canby in his review for the New York Times. Canby would dismiss the film as having an insidey, which is not a word, manner of a movie made not for the rest of us but for the moviemakers on the Bel Air circuit who watch each other's films in their own screening room. After two weeks of exclusive engagements in New York and Los Angeles, Universal would expand the film to 1096 screens on March 8th, where the film would gross $2.57m, putting it in fifth place for the weekend, nearly a million dollars less than fellow Universal Pictures film The Breakfast Club, which was in its fourth week of release and in ninety fewer theatres. After a fourth weekend of release, where the film would come in fifth place again with $1.95m, now nearly a million and a half behind The Breakfast Club, Universal would start to migrate the film out of first run theatres and into dollar houses, in order to make room for another film of theirs, Peter Bogdanovich's comeback film Mask, which would be itself expanding from limited release to wide release on March 22nd. Into the Night would continue to play at the second-run theatres for months, but its final gross of $7.56m wouldn't even cover the film's $8m production budget. Despite the fact that it has both Jeff Goldblum and Michelle Pfeiffer as its leads, Into the Night would not become a cult film on home video the way that many films neglected by audiences in theatres would find a second life. I thought the film was good when I saw it opening night at the Aptos Twin. I enjoyed the obvious chemistry between the two leads, and I enjoyed the insidey manner in which there were so many famous filmmakers doing cameos in the film. I remember wishing there was more of David Bowie, since there were very few people, actors or musicians, who would fill the screen with so much charm and charisma, even when playing a bad guy. And I enjoyed listening to B.B. King on the soundtrack, as I had just started to get into the blues during my senior year of high school. I revisited the film, which you can rent or buy on Apple TV, Amazon and several other major streaming services, for the podcast, and although I didn't enjoy the film as much as I remember doing so in 1985, it was clear that these two actors were going to become big stars somewhere down the road. Goldblum, of course, would become a star the following year, thanks to his incredible work in David Cronenberg's The Fly. Incidentally, Goldblum and Cronenberg would meet for the first time on the set of Into the Night. And, of course, Michelle Pfeiffer would explode in 1987, thanks to her work with Susan Sarandon, Cher and Jack Nicholson in The Witches of Eastwick, which she would follow up with not one, not two but three powerhouse performances of completely different natures in 1988, in Jonathan Demme's Married to the Mob, Robert Towne's Tequila Sunrise, and her Oscar-nominated work in Stephen Frears' Dangerous Liaisons. Incidentally, Pfeiffer and Jonathan Demme would also meet for the first time on the set of Into the Night, so maybe it was kismet that all these things happened in part because of the unusual casting desires of John Landis. Thank you for joining us. We'll talk again soon, when Episode 108, on Martha Coolidge's Valley Girl, is released. Remember to visit this episode's page on our website, The80sMoviePodcast.com, for extra materials about Into the Night. The 80s Movies Podcast has been researched, written, narrated and edited by Edward Havens for Idiosyncratic Entertainment. Thank you again. Good night.
Listen: Lauren Class Schneider talks to Angie Schworer, cast member of “Some Like It Hot” at the Shubert Theatre. “Class Notes” actively covers New York's current theater season on, off, and off-off Broadway. For a transcript of this episode, please email transcripts@broadwayradio.com and include the episode name. The post Class Notes: Angie Schworer from “Some Like It Hot” appeared first on BroadwayRadio.
Celia Keenan-Bolger (IG:@celiakb)(TW:@celiakb) is currently in The Gilded Age on HBO. She was born on January 26, 1978 in Detroit, Michigan and is a Tony Award winner and Broadway favorite. Celia Keenan-Bolger will return to To Kill a Mockingbird at the Shubert Theatre from October 5, 2021. Keenan-Bolger trained at both the Mosaic Youth Theatre of Detroit and the Detroit School of Arts and graduated from the University of Michigan with a BFA in musical theatre. She began her stage career in regional theatres such as the Goodman Theatre in Chicago and Theatre Works in Silicon Valley, and she made her Off-Broadway debut as Aggie in Summer of '42 in December 2001. During the Kennedy Center's Sondheim Celebration in 2002, she starred as Johanna in Sweeney Todd: The Demon Barber of Fleet Street, and she would then perform again off Broadway in January 2003 in Second Stage Theatre's production of Michael John LaChiusa's Little Fish. Also in 2003, she would originate the role of Clara Johnson in the celebrated musical The Light in the Piazza at both Seattle's Intiman Theatre and Chicago's Goodman Theatre. She originated the role of Olive Ostrovsky in William Finn and Rachel Sheinkin's The 25th Annual Putnam County Spelling Bee at the Barrington Stage Company in the summer of 2004, reprised her performance off Broadway at Second Stage Theatre in January 2005, and did so again on Broadway, marking her Broadway debut in April 2005. She was nominated for her first Tony Award for her performance as Olive and received a Theatre World Award and a Drama Desk Award for Outstanding Ensemble Performance. She remained with the production until September 17, 2006. Her next Broadway venture would be to originate the role of Éponine in the 2006 revival of Les Misérables, playing the role from October 2006 to January 2008, earning a Drama Desk nomination in 2007. Keenan-Bolger returned off Broadway for her next productions, starring as Mary in the musical Saved at Playwrights Horizons from May to June 2008, as Katie in Bachelorette for Second Stage Theatre from July to August 2010, and as Jenny Bridges in A Small Fire from December 2010 to January 2011, once again at Playwrights Horizons. She then landed the role of Molly in New York Theatre Workshop's acclaimed production of Peter and the Starcatcher, which played the Off-Broadway venue from February to April 2011, resulting in yet another Drama Desk Award nomination, and transferred to Broadway in March 2012, leading to her second Tony Award nomination. Ahead of the Broadway premiere, Keenan-Bolger also starred as Mary Flynn in New York City Center's Encores! production of Sondheim's Merrily We Roll Along in February 2012. In the fall of 2013, she took on the role of Laura Wingfield in the Broadway revival of Tennessee Williams' The Glass Menagerie from September 2013 to February 2014. She garnered great acclaim for her performance, winning a Drama Desk Award, earning her third Tony Award nomination, and receiving the Theatre World Dorothy Loudon Award for Excellence in 2014. Keenan-Bolger followed this performance with her Lincoln Center Theater debut, starring as Mother in an Off-Broadway production of Sarah Ruhl's The Oldest Boy from October to December 2014. She was next seen on Broadway as Varya, opposite Diane Lane, in Roundabout Theatre Company's 2016 revival of Chekhov's The Cherry Orchard, and she was last seen off Broadway in Second Stage Theatre's 2017 production of A Parallelogram. Keenan-Bolger returned to Broadway on November 1, 2018, taking on the role of Scout in Aaron Sorkin's new stage adaptation of the classic Harper Lee novel To Kill a Mockingbird. She won her first Tony Award in the category of Best Performance By An Actress In A Featured Role In A Play for her portrayal, and she ended her year-long run in the production on November 3, 2019. She leads the reopening cast of the play once more starting in October 2021. Although primarily known for her career on stage, Ms. Keenan-Bolger has also appeared in a number of high-profile television shows over the years, including Law & Order (2007), Law & Order: Special Victims Unit (2014), Nurse Jackie (2014), The Good Wife (2015), Elementary (2015), Good Behavior (2016), Blue Bloods (2017), NCIS: New Orleans (2017), and Bull (2018). Her film credits include Mariachi Gringo (2012), The Visit (2015), Breakable You (2017), and Diane (2018).
The new musical “Some Like it Hot” - based on the 1959 MGM classic directed and co-written by Billy Wilder and starring Jack Lemmon, Tony Curtis, and Marilyn Monroe - is steaming up the stage at Broadway's Shubert Theatre in New York City. Actor Kevin Del Aguila joins us.
Selina Fillinger is the playwright behind renowned theatrical works like POTUS: Or, Behind Every Great Dumbass are Seven Women Trying To Keep him Alive; Something Clean; Faceless; and the Armor plays: Cinched/Strapped. The former marked her Broadway debut at the Shubert Theatre in 2022; was directed by Broadway legend, Susan Stroman; and led to three Tony Award nominations, including Best Performance by an Actress in a Featured Role nods for both Julie White and Rachel Dratch. She also wrote for Season 3 of the acclaimed Apple TV+ program, The Morning Show (Jennifer Aniston; Billy Crudup; Reese Witherspoon), set to premiere in 2023. In our conversation, we discussed her Oregon upbringing; the juxtaposition of light and dark themes in her plays; juggling multiple projects at once; and her journey to being one of the most unique, talented and versatile artists in the landscape of television and theatre.Opening Credits: Checkie Brown - Clooney (CB 232); HoliznaPATREON - Feels; Closing Credits: Ketsa - A Little Bit
Today on Boston Public Radio: David Leonard joined the show to talk about book-banning attempts across the country. Leonard has been president of the Boston Public Library since 2016. We opened our phone lines and heard from listeners about their thoughts on former President Donald Trump's new line of NFTs — like this one that imagines him dressed as a wrestler, going for $99. Callie Crossley discussed Harvard's new president Claudine Gay, a settlement for Breonna Taylor's boyfriend and more. Crossley is the host of GBH's Basic Black and Under the Radar with Callie Crossley. Tony Williams and Khalid Hill from “Urban Nutcracker” joined the show to talk about the 2022 edition of their show and gave us a very special tap-dancing performance. The show runs from December 17th to the 23rd at the Shubert Theatre in Boston. Sue O'Connell dug into the signing of the Respect for Marriage Act by President Joe Biden, a hot-mic moment for New Zealand's prime minister and more. O'Connell is the co-publisher of Bay Windows and South End News, and contributor to Current on NBC LX and NECN. The Handel and Haydn Society joined us for this week's edition of Live Music Fridays. The Handel and Hayden Society will be performing “A Baroque Christmas” this weekend. We ended the show by talking with listeners about re-gifting.
Today's WPMT premiere is a celebration of the Broadway musical "Here's Love" which was inspired by the film classic "Miracle on 34th Street." "Miracle on 34th Street" was originally broadcast on Lux Radio Theatre in December 1947 and "Here's Love" debuted at the Shubert Theatre in 1963. Tune in on all major platforms to launch your holiday spirit like a sleigh being pulled by eight tiny reindeer.
Connor and Dylan are joined by Casey Garvin (Some Like It Hot, Mrs. Doubtfire). The boys mention it ALL. Currently performing his heart out in Some Like It Hot at the Shubert Theatre, this trio chat all about the new musical, “Let's Be Bad” from Smash, and the incredible original score by Marc Shaiman and Scott Wittman. They learn about Casey's coming out journey, getting REAL about relationships, writing a fantasy book series in his free time, and his side hustle as a fitness instructor. The guys get into the tour of West Side Story, the gayest production of Joseph and the Amazing Technicolor Dreamcoat ever with Clay Aiken, Casey's Broadway debut in Bullets Over Broadway directed by Susan Stroman, the athleticism of King Kong, bare: a pop opera vs. bare: the musical, AHS: New York, pet peeves, Mario Kart drinking games, queer fantasy novels, and truly everything under the sun. Get ready to fall in love with Casey.Follow Casey on InstagramFollow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanLAST CHANCE to get your DRAMA merch (t-shirts, stickers, and more) HERE! SUBSCRIBE TO OUR PATREON HERE! Bonus episodes, Instagram Close Friends content, and more!
Mary Radzinski is one of my longest friends in stand-up and I'm truly convinced we share the same brain when it comes to comedy. We talk about our early days starting out together in Philly, being funny as a child, nightmare casino gigs, touring with big-name comics, and since Mary saw one of the worst sets of my entire life - we talk about my epic bomb at the Boston Comedy Festival. Pat House is a nationally-touring comedian based out of Philadelphia. A regular performer in comedy clubs, casinos, and theaters all over the country, Pat has been a choice opener for Sebastian Maniscalco, Tom Segura, and Dan Cummins. He recorded his first album Biggest Thing in 2013, and his latest album Heard Enough Yesterday, hit #1 on the iTunes comedy charts. Both can be heard on iTunes, Amazon, and Pandora.Mary Radzinski is a regular feature at Helium, Goodnights, Cap City, and Punch Line comedy clubs. She's been fortunate to frequently open for comics including; Marc Maron, Dave Attell, Jim Norton, and Sarah Colonna — along with many other national acts. Mary was honored to open Marc Maron's 2019 sold-out shows at the Kennedy Center, Merriam Theater, and Shubert Theatre. She opened for Jim Norton's "Contextually Inadequate" comedy special taping at the Somerville Theater, as well as Rosie O'Donnell's most recent HBO comedy special at Levity Live. Mary can also be seen on TruTV's new series, Greatest Ever.See Privacy Policy at https://art19.com/privacy and California Privacy Notice at https://art19.com/privacy#do-not-sell-my-info.
[REBROADCAST FROM MAY 9, 2022] A new comic play tells the story of seven women who work closely with the President of the United States, attempting to help alleviate a massive global crisis he inadvertently caused. Playwright Selina Fillinger joins us to discuss, "POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive," which is playing now on Broadway at the Shubert Theatre. "POTUS" is nominated at the 75th Tony Awards this Sunday for Best Performance by an Actress in a Featured Role in a Play for Rachel Dratch and Julie White, and for Best Scenic Design of a Play for Beowulf Boritt.
Featuring a Star-Studded cast, "POTUS: Or, Behind Every Great Dumbass Are Seven Women Trying To Keep Him Alive" makes its Broadway Debut at the Shubert Theatre on Broadway in NYC. In this episode, Jeff and Richie discuss the impact this very poignant play makes on our current society, and why there is no better time than now to have this farce grace the Broadway Stage. Should we be seeing more plays like this on Broadway? And how well does it hold up in the current TONY-Award season? Listen today to hear all about it!Share with us, your thoughts, on POTUS on our Instagram page. @halfhourpodcast*This podcast will include spoilers*Thanks for listening! Please leave us a review with what you think about the podcast. Follow us on Instagram: @halfhourpodcastFollow us on TikTok: @halfhourpodcastVisit our website: www.twoworldsentertainmentllc.com
A new comic play tells the story of seven women who work closely with the President of the United States, attempting to help alleviate a massive global crisis he inadvertently caused. Playwright Selina Fellinger joins us to discuss, "POTUS: Or, Behind Every Great Dumbass are Seven Women Trying to Keep Him Alive," which is playing now on Broadway at the Shubert Theatre.
Arts Respond with Lucy Gellman: The Shubert Theatre by WNHH Community Radio
The best SNL. Ever. Broadway News: The Broadway cast of A STRANGE LOOP will feature Jaquel Spivey, in his Broadway debut, as Usher. He joins original cast members Antwayn Hopper (Thought 6), L Morgan Lee (Thought 1), John-Michael Lyles (Thought 3), James Jackson, Jr. (Thought 2), John-Andrew Morrison (Thought 4), and Jason Veasey (Thought 5). A Strange Loop follows Usher: a Black, queer writer writing a musical about a Black, queer writer writing a musical about a Black, queer writer. The Pulitzer prize winning play is written by Michael R. Jackson. Previews will begin at Broadway's Lyceum Theatre on Wednesday, April 6, 2022, and opening night is set for Tuesday, April 26, 2022. To Kill A Mockingbird ended its run this past Sunday at the Shubert Theatre and plans to move to the Belasco Theatre this June. The move follows the news that Girl from the North Country will close at the Belasco Theatre on Jan. 23, with plans for spring return at another theater. To Kill a Mockingbird begins performances at the Belasco on June 1, with Greg Kinnear returning as Atticus Finch. The Off-Broadway hit The Wrong Man from Ross Golan has become the world's first non-fungible token (NFT) musical. The digital collectibles available to buy will be a mix of music, graphics, and film, including the full animated musical, vinyl, posters featuring artwork from the musical, and a previously unreleased track from Golan. In addition, a new production of the musical is in the works for a 2023 premiere. The Kite Runner, a new play with music based on Khaled Hosseini's internationally best-selling novel, will play a limited run at Broadway's Hayes Theater this summer. The production comes to New York from two seasons in London's West End where it was called "a cultural phenomenon" by The Sunday Express and "an enthralling tale beautifully told" by The Daily Telegraph. Performances will begin on July 6; opening night is July 21 and it will run through October 30. Jack Viertel has retired as senior vice president of Jujamcyn Theaters after 34 years with the company. Lyricist Tim Rice said on his podcast, Get Onto My Cloud that a Broadway revival of Chess, his 1986 musical written with composers Benny Andersson and Björn Ulvaeus, is on its way and a team is in place. Casting: Shoshana Bean will join the Broadway cast of Mr. Saturday Night, producers announced last week. The production will start previews on March 29, 2022, ahead of an April 27 opening. Broadway's Tony-winning Moulin Rouge! The Musical welcomes Eric Anderson as Harold Zidler beginning this week! Danny Burstein, who earned Tony and Outer Critics Circle Awards as well as the Drama League Award for Distinguished Performance, played his final performance last week. Nick Rashad Burroughs will take over the role of Ike in the Broadway company of Tina. Burroughs is currently in the musical's ensemble and will play the role starting this week. Daniel J. Watts, who originated the role, played his final performance last week. Burroughs has previously appeared on Broadway in “Kinky Boots” and “King Kong.” John Earl Jelks will join the Broadway cast of “Birthday Candles,” starring alongside Debra Messing. John replaces Andre Braugher, who had been set to make his Broadway debut with the show in 2020. Follow @BwayPodNetwork on Twitter. Find co-hosts on Twitter at @AyannaPrescod, @CLewisReviews, and @TheMartinAcuna. Subscribe To BPN's newsletter HERE. Learn more about your ad choices. Visit megaphone.fm/adchoices
“BREWS, POURS And SIPS” From AmericaOnCoffee sharing eventful happenings
[It was] a groundbreaking, Pulitzer Prize-winning musical, A Chorus Line, set a Broadway standard when it debuted in 1975 and [yet, it still] remains relevant today. A Chorus Line is a musical with a book by James Kirkwood Jr. and Nicholas Dante, music by Marvin Hamlisch, and lyrics by Edward Kleban. It shows an insider's view of the casting and audition process that goes in a Broadway show, centering around seventeen Broadway dancers auditioning for spots on a chorus line. The show won nine Tony Awards, along with a Special Tony Award for becoming Broadway's longest-running musical in 1984, and a Pulitzer Prize for Drama in 1976. Production History A Chorus Line was formed from several taped workshop sessions with Broadway dancers known as “gypsies.” The taping for the first session was at the Nickolaus Exercise Center in January 1974, with lead dancers hoping they could form a professional dance company for workshops for Broadway dancers. Original Broadway productions The show opened off-Broadway at The Public Theater on April 15, 1975. It was directed by Michael Bennett and co-choreographed by Bob Avian and Bennett. Word about the show quickly spread, creating a demand for tickets that the entire run sold out immediately. A Chorus Line premiered on Broadway in July 1975 at the Shubert Theatre, where it ran until April 1990 for 6,137 performances. The original cast included: Robert Lupone as Zach Clive Clerk as Larry Donna McKechnie as Cassie Ron Kuhlman as Don Kay Cole as Maggie Wayne Cilento as Mike Baayork Lee as Connie Michel Stuart as Greg Carole Bishop as Sheila Thomas J. Walsh as Bobby Nancy Lane as Bebe Trish Garland as Judy Ronald Dennis as Richie Don Percassi as Al Renee Baughman as Kristine Pamela Blair as Bal Cameron Mason as Mark Sammy Williams as Paul Priscilla Lopez as Dianna Most of the original cast went on to perform in the Los Angeles production. The new cast of the “New” New York Company included Ann Reinking, Christopher Chadman, Sandahl Bergman, Justin Ross, and Barbara Luna. When the show closed, it became the longest-running show in Broadway history until 1997, when Cats surpassed it. Original West End production A London production of A Chorus Line opened in the West End at the Theatre Royal Drury Lane in 1976. Initially, the international cast from the US retained their roles, including Jane Summerhays as Sheila. The original British cast took over the next year. It included: Jean-Pierre Cassel as Zach Jack Gunn as Larry Elizabeth Seal/Petra Siniawski as Cassie Lance Aston as Don Veronica Page as Maggie Michael Howe as Mike Cherry Gillespie as Connie Stephen Tate as Greg Geraldine Gardner as Sheila Leslie Meadows as Bobby Susan Claire as Bebe Judy Gridley as Judy Roy Gayle as Richie Jeff Shankley as Al Vicki Spencer as Kristine Linda Williams as Val Peter Barry as Mark Michael Staniforth as Paul Diane Langton as Dianna Plot Overview A tribute and celebration of the unsung heroes of the musical theatre, the chorus dancers, A Chorus Line examine a day in the lives of seventeen dancers all vying for a spot in a chorus line of a Broadway musical. Chorus dancers are often over-dedicated, highly trained, but are underpaid, and when they back up the star, they make him or her look more talented than they really are. For the most part, the characters portrayed in the show are based on the real-life experiences of Broadway dancers. The story takes the audience to a roller coaster of emotions as a group of potential Broadway performers is put through a dynamic series of dance numbers. Their numbers are gradually reduced from whom Zach, the director, must make his final choice. www.acriticsrant.com Image: Pinterest.com --- Support this podcast: https://anchor.fm/brewspoursandsipsdotcom/support
WBZ's Matt Shearer spoke to the Founder and Artists Director
I mean, who doesn't love Cynthia Erivo and Arianna Grande!? Broadway News: Patrick Page returns to Hadestown on November 9, 2021. The newly imagined Harry Potter and the Cursed Child will return to the Lyric on Friday, November 12th. Harry Potter and the Cursed Child originally cast a spell over the world as an epic two-part event. Now, the show has been boldly restaged as one singular performance by the award-winning creative team for its return to North America. With just one ticket in hand, audiences will enjoy all the adventure the continuation of Harry's story entails in one magical afternoon or evening. Due to popular demand, both Dana H. and Is This A Room running in rep at the Lyecum are extending their previously announced early closing date. They will both run through the Thanksgiving holiday. Is This A Room will now play through November 27, and Dana H. will now run through November 28. Kristin Chenoweth is heading to Lincoln Center. The Tony and Emmy Award winner will headline a one-night-only concert at the Metropolitan Opera December 13. NYC will welcome back spectators to the Macy's Thanksgiving Day Parade. The November 26 televised special will see performances from the Broadway casts of Six, Moulin Rouge!, and Wicked, plus NBC's upcoming Annie Live!. The parade will be broadcast 9 AM–noon EST on NBC. Additional performers include Kristin Chenoweth and Darren Criss, both of whom have new holiday albums out this year, along with Jordan Fisher, The Rockettes, Ballet Hispánico, and the cast of Girls5Eva. Casting: Ciara Renée is headed to Waitress on Broadway! She will take over the role of Jenna on Thursday, November 25, 2021. Jennifer Nettles, as previously announced, will play her final performance on Wednesday, November 24, 2021. Waitress is back on Broadway for a limited engagement now through January 9, 2022 at the Ethel Barrymore Theatre. Also two-time Tony Award nominee Joshua Henry will take over the role of Dr. Pomatter and current cast member Tyrone Davis, Jr. will take over the role of Ogie on Monday, November 29. The New Group announced that Ephraim Sykes will join the cast of the world premiere production of Black No More. This new musical, inspired by George S. Schuyler's 1931 novel of the same name, features Book by John Ridley, Music and Lyrics by Tariq Trotter, Choreography by Bill T. Jones, Music Supervision, Orchestrations and Vocal Arrangements by Daryl Waters and Direction by Scott Elliott. A strictly limited engagement will play January 11 through February 27, 2022 at The Pershing Square Signature Center with Opening Night on Tuesday, February 8. Oscar nominee and two-time Emmy winner Greg Kinnear will make his Broadway debut as Atticus Finch in Aaron Sorkin's stage adaptation of To Kill a Mockingbird beginning January 5, 2022, at the Shubert Theatre. Kinnear will succeed Tony nominee and Emmy winner Jeff Daniels, who will play his final performance January 2. The complete cast is set for Wild: A Musical Becoming. Idina Menzel will headline the world premiere production at the American Repertory Theater's Loeb Drama Center in Cambridge, Massachusetts. Performances begin December 5, with the run scheduled through January 2, 2022. Menzel, Jabvier Munoz and YDE from Nickelodeon's The Haunted Hathaways and School of Rock will star as a mother-daughter pair in the musical, penned by V (formerly Eve Ensler) and musicians Justin Tranter and Caroline Pahnell. The environmentalism-themed story follows the family as they grapple over the future of their family farm. Follow @BwayPodNetwork on Twitter. Find co-hosts on Twitter at @AyannaPrescod, @CLewisReviews, and @TheMartinAcuna. Tickets for Is This A Room and Dana H. playing in rep at the Lyceum Theatre on Broadway are on sale NOW! Purchase HERE! Learn more about your ad choices. Visit megaphone.fm/adchoices
This applies to anyone attending a show at the Wang or Shubert Theatre in downtown Boston.
Opening tonight on Broadway at the Shubert Theatre, singing her heart out like a like a caveman with bronchitis, like a Honda without a muffler, like a guard dog with a tracheotomy, is Lauren Bacall. With a wardrobe that will make you want to order The Bedazzler and a heroine WAY scarier than the villain, “The Fan” will blow you like a chorus boy.
Today on Boston Public Radio: Chuck Todd updates us on the latest political headlines, from President Joe Biden's upcoming meeting with Vladimir Putin at the G7 Summit to Vice President Kamala Harris' trips to Guatemala and Mexico. Todd is the moderator of “Meet The Press” on NBC, host of “Meet The Press Daily” on MSNBC and the political director for NBC News. Then, we ask listeners whether they supported imposing tax hikes on millionaires. Andrea Cabral discusses the firing of former Boston Police Commissioner Dennis White, and shares her thoughts on growing public distrust of the Boston Police Department. Cabral is the former Suffolk County sheriff and Massachusetts secretary of public safety. She's currently the CEO of the cannabis company Ascend. Joe Spaulding talks about the struggles facing performing arts venues due to the pandemic, and updates us on the Boch Center's upcoming shows. Spaulding is the president and CEO of Boston's Boch Center, overseeing both the 3,500-seat Wang Theatre and the 1,500-seat Shubert Theatre on Tremont Street. He is also a member of Governor Baker's advisory board on re-opening. Paul Reville weighs in on the resignations of two Boston School Committee members after their disparaging texts about West Roxbury families were published by the Boston Globe. He also talks about Verda Tetteh, a Harvard-bound graduate who asked her high school to give her $40,000 award to a student attending community college. Reville is the former Massachusetts secretary of education and a professor at Harvard University's Graduate School of Education, where he also heads the Education Redesign Lab. His latest book, co-authored with Lynne Sacks, is “Collaborative Action for Equity and Opportunity: A Practical Guide for School and Community Leaders.” Corby Kummer shares his thoughts on Connecticut's consideration of a law that would allow self-pour alcohol machines in restaurants and bars, and other venues. He also talks about the stress put on grocery workers to quickly fulfill online orders. Kummer is the executive director of the Food and Society policy program at the Aspen Institute, a senior editor at The Atlantic and a senior lecturer at the Tufts Friedman School of Nutrition Science and Policy. We end the show by asking listeners how far they're willing to go beyond food expiration dates.
Arts Respond with Lucy Gellman: Summer Camp At The Shubert Theatre by WNHH Community Radio
Episode Summary Kim Criswell, Broadway and West End star tells us about some of her early auditions to get her equity card, as well as what it was like auditioning for Andrew Lloyd Webber to land the role of Grizabella in Cats. My "Thank You 5” segment is about how memorizing a deck of cards can help you in your acting career. In “Professor’s Corner” this week, three-time Olivier Award winner and Tony-nominated choreographer for Mary Poppins, Stephen Mear, gives his advice not only for auditions but for the rehearsal process as well. Intro to this Episode In this episode of “In The Holding Room” we are thrilled to be joined by the amazing Kim Criswell. Kim’s Broadway credits include starring as Lucy, opposite Sting, in The Threepenny Opera directed by John Dexter, and appearing in the original Broadway cast of the 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Stardust. On the West Coast, she was the original Grizabella in Cats, singing “Memory” at the Shubert Theatre in Los Angeles, and also appeared as Lalume in Kismet for Opera Pacific. She starred in the original West End productions of Elegies for Angels, Punks and Raging Queens and The Slow Drag, as well as the revival of Dames At Sea, and as the Mother Abbess in the acclaimed production of The Sound of Music at the Théâtre du Châtelet in Paris. Critically acclaimed for playing Annie Oakley in Annie Get Your Gun at London’s Prince of Wales Theatre, for which she earned an Olivier Award nomination for Best Actress in a Musical, and for her role as The Old Lady in Robert Carsen’s productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She was most recently seen in the US starring as Sally Adams in Call Me Madam at the Goodspeed Opera House, singing the role of The Old Lady in Candide at Chicago’s Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU’s Skirball Center in New York. Recently, she played the Italian opera singer Mrs. Castellari in the feature film Hysteria (2013) opposite Maggie Gyllenhaal, Hugh Dancy, and Jonathan Pryce. In “Thank you 5” this week, I talk about a silly game you can play to improve your ability as a performer. This one game will sharpen your mind and help you with imagination, association, and memorization. Stephen Mear C.B.E. is joining us in “Professor’s Corner” this week to offer his advice not only on auditioning, but for the rehearsals process as well. Honorary Doctor of Arts and three-time Olivier Award Winner, Tony Nominated Stephen Mear has been described by the Daily Telegraph as “The old-style master of the modern chorus line.” Stephen’s prolific career has taken him in all directions from musical theater on Broadway and the West End to opera at the ENO, Paris and the Met in New York. His varied and sought-after talent extends to well know TV programs as well, such as So You think You Can Dance, and The Tracy Ullman Show. Resources: For all your audition needs including sheet music, tracks, monologues, advice and so much more visit: https://performerstuff.com/ Engage with the show: Facebook: Facebook/IntheHoldingRoom Instagram: In_the_holding_room Website: https://intheholdingroom.com/ Kim Criswell: kimcriswell.net Stephen Mear: https://www.stephenmear.com/
Episode Summary Kim Criswell, Broadway and West End star tells us about some of her early auditions to get her equity card, as well as what it was like auditioning for Andrew Lloyd Webber to land the role of Grizabella in Cats. My "Thank You 5” segment is about how memorizing a deck of cards can help you in your acting career. In “Professor’s Corner” this week, three-time Olivier Award winner and Tony nominated choreographer for Mary Poppins, Stephen Mear, gives his advice not only for auditions but for the rehearsal process as well. Intro to this Episode In this episode of “In The Holding Room” we are thrilled to be joined by the amazing Kim Criswell. Kim’s Broadway credits include starring as Lucy, opposite Sting, in The Threepenny Opera directed by John Dexter, and appearing in the original Broadway cast of the 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Stardust. On the West Coast, she was the original Grizabella in Cats, singing “Memory” at the Shubert Theatre in Los Angeles, and also appeared as Lalume in Kismet for Opera Pacific. She starred in the original West End productions of Elegies for Angels, Punks and Raging Queens and The Slow Drag, as well as the revival of Dames At Sea, and as the Mother Abbess in the acclaimed production of The Sound of Music at the Théâtre du Châtelet in Paris. Critically acclaimed for playing Annie Oakley in Annie Get Your Gun at London’s Prince of Wales Theatre, for which she earned an Olivier Award nomination for Best Actress in a Musical, and for her role as The Old Lady in Robert Carsen’s productions of Candide at La Scala and the Théâtre du Châtelet, she has also won a Helen Hayes Award for her work in Side by Side by Sondheim. She was most recently seen in the US starring as Sally Adams in Call Me Madam at the Goodspeed Opera House, singing the role of The Old Lady in Candide at Chicago’s Ravinia Festival, and co-starring with Joseph Fiennes and Charles Edwards in Happy Days in the Art World at NYU’s Skirball Center in New York. Recently, she played the Italian opera singer Mrs. Castellari in the feature film Hysteria (2013) opposite Maggie Gyllenhaal, Hugh Dancy, and Jonathan Pryce. In “Thank you 5” this week, I talk about a silly game you can play to improve your ability as a performer. This one game will sharpen your mind and help you with imagination, association, and memorization. Stephen Mear C.B.E. is joining us in “Professor’s Corner” this week to offer his advice not only on auditioning, but for the rehearsals process as well. Honorary Doctor of Arts and three-time Olivier Award Winner, Tony Nominated Stephen Mear has been described by the Daily Telegraph as “The old-style master of the modern chorus line.” Stephen’s prolific career has taken him in all directions from musical theater on Broadway and the West End to opera at the ENO, Paris and the Met in New York. His varied and sought-after talent extends to well know TV programs as well, such as So You think You Can Dance, and The Tracy Ullman Show. Resources: For all your audition needs including sheet music, tracks, monologues, advice and so much more visit: https://performerstuff.com/ Engage with the show: Facebook: Facebook/IntheHoldingRoom Instagram: In_the_holding_room Website: https://intheholdingroom.com/ Kim Criswell: kimcriswell.net Stephen Mear: https://www.stephenmear.com/
Episode Summary Ria Jones, West End star and leading lady tells us about some of her auditions, including auditioning for Hal Prince to become the youngest Eva Peron at just 19 years of age. My "Thank You 5” segment is about the importance of journaling. In “Professor’s Corner” this week, Broadway powerhouse, Kim Criswell gives advice on song selections for auditions and being brave enough to be yourself. Intro to this Episode In this episode of “In The Holding Room” we are thrilled to be joined by the incomparable Ria Jones. Ria is an internationally renowned West End star of the highest caliber. She has performed leading roles in numerous West End musicals and sung in theaters and concert halls worldwide. As well as performing as a soloist on three Royal Variety Shows, she has also sung, by Royal request at Buckingham Palace. At 19 she became the youngest actress ever to play the role of Eva Peron in the musical Evita followed shortly by her West End debut in the musical Chess, in which she played the roles of both Svetlana and Florence. She then went on to play Grizabella in Cats at the New London Theatre, (where she stayed for two years). Her next role was as Fantine in Les Misérables, at Manchester's Palace Theatre, followed by the national tour, and the West End. Then came the role of the Narrator in Joseph and the Amazing Technicolor Dreamcoat at the Apollo Hammersmith, and the national tour. Most recently Ria was seen performing the role of Norma Desmond in the West End production of Sunset Boulevard, a role that she originally created in the workshop production. In “Thank you 5” this week, I talk about the importance of journaling for performers. Yes we all know to take notes during rehearsals, but those notes can lead to some exceptional journal entries. Kim Criswell is going to be with us in “Professors Corner” this week to talk about song selection and making brave and bold choices. Kim’s Broadway credits include starring as Lucy, opposite Sting, in The Threepenny Opera directed by John Dexter, and appearing in the original Broadway cast of the 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Stardust. On the West Coast, she was the original Grizabella in Cats, singing “Memory” at the Shubert Theatre in Los Angeles, and also appeared as Lalume in Kismet for Opera Pacific. She starred in the original West End productions of Elegies for Angels, Punks and Raging Queens and The Slow Drag, as well as revivals of Annie Get Your Gun and Dames at Sea, and as the Mother Abbess in the acclaimed production of The Sound of Music at the Théâtre du Châtelet in Paris. And those are just some of her incredible credits! Resources: For all your audition needs including sheet music, tracks, monologues, advice and so much more visit: https://performerstuff.com/ Engage with the show: Facebook: Facebook/IntheHoldingRoom Instagram: In_the_holding_room Website: https://intheholdingroom.com/ Ria Jones: riajones.co.uk Kim Criswell: kimcriswell.net
Episode Summary Ria Jones, West End star and leading lady tells us about some of her auditions, including auditioning for Hal Prince to become the youngest Eva Peron at just 19 years of age. My "Thank You 5” segment is about the importance of journaling. In “Professor’s Corner” this week, Broadway powerhouse, Kim Criswell gives advice on song selections for auditions and being brave enough to be yourself. Intro to this Episode In this episode of “In The Holding Room” we are thrilled to be joined by the incomparable Ria Jones. Ria is an internationally renowned West End star of the highest caliber. She has performed leading roles in numerous West End musicals and sung in theaters and concert halls worldwide. As well as performing as a soloist on three Royal Variety Shows, she has also sung, by Royal request at Buckingham Palace. At 19 she became the youngest actress ever to play the role of Eva Peron in the musical Evita followed shortly by her West End debut in the musical Chess, in which she played the roles of both Svetlana and Florence. She then went on to play Grizabella in Cats at the New London Theatre, (where she stayed for two years). Her next role was as Fantine in Les Misérables, at Manchester's Palace Theatre, followed by the national tour, and the West End. Then came the role of the Narrator in Joseph and the Amazing Technicolor Dreamcoat at the Apollo Hammersmith, and the national tour. Most recently Ria was seen performing the role of Norma Desmond in the West End production of Sunset Boulevard, a role that she originally created in the workshop production. In “Thank you 5” this week, I talk about the importance of journaling for performers. Yes we all know to take notes during rehearsals, but those notes can lead to some exceptional journal entries. Kim Criswell is going to be with us in “Professors Corner” this week to talk about song selection and making brave and bold choices. Kim’s Broadway credits include starring as Lucy, opposite Sting, in The Threepenny Opera directed by John Dexter, and appearing in the original Broadway cast of the 1982 Best Musical Tony winner Nine, first as Francesca, then taking over the leading role of Claudia. Other Broadway original cast credits include The First, Baby and Stardust. On the West Coast, she was the original Grizabella in Cats, singing “Memory” at the Shubert Theatre in Los Angeles, and also appeared as Lalume in Kismet for Opera Pacific. She starred in the original West End productions of Elegies for Angels, Punks and Raging Queens and The Slow Drag, as well as revivals of Annie Get Your Gun and Dames at Sea, and as the Mother Abbess in the acclaimed production of The Sound of Music at the Théâtre du Châtelet in Paris. And those are just some of her incredible credits! Resources: For all your audition needs including sheet music, tracks, monologues, advice and so much more visit: https://performerstuff.com/ Engage with the show: Facebook: Facebook/IntheHoldingRoom Instagram: In_the_holding_room Website: https://intheholdingroom.com/ Ria Jones: riajones.co.uk Kim Criswell: kimcriswell.net
Heather Tepe shares her remarkable Broadway story on this week’s episode of LITTLE ME! Heather sits down with Broadway Workshop director, Marc Tumminelli and tells LITTLE ME listeners her dream of performing in the Macy’s Thanksgiving Day Parade as a young girl, dressing up as Annie and singing “Tomorrow” in beauty pageants, the heartwarming story of her third grade classmates decorating their classroom when she booked the role of Baby June in Gypsy, working alongside the incomparable Bernadette Peters, the wonderful experience of learning from Sam Mendes and Jerry Mitchell, and having fun backstage with her young costars Heather talks about getting to play the title role in the musical Ruthless! in Sarasota, Florida, booking the workshop of Dr. Seuss’ How the Grinch Stole Christmas!, originating the role of Annie Who, perfecting her baton twirling skills in The Grinch after learning for the role of Baby June, beginning her long journey as a Broadway swing while performing in the second year of The Grinch, the excitement of learning multiple roles, and getting the chance to perform in her school shows between Broadway gigs. Heather shares her incredible story of persevering and booking the role of a swing in Billy Elliot, the wild experience of auditioning for Matilda and rehearsing for a production of The Grinch at Madison Square Garden at the same time at Chelsea Studios, the excitement of getting cast as a swing in Matilda, developing close friendships with the kids in the show, why training and teaching new kids who were joining the show was her favorite part of the experience, meeting her future husband, Scott Difford while in Matilda, the adorable story of Scott proposing to her at her second home—the Shubert Theatre, leaving a time capsule in the Shubert after Gypsy and finding it again during Matilda, performing in Hairspray Live!, the experience of being on Spartan: Ultimate Team Challenge, and her new journey as a personal trainer. Produced by the Broadway Podcast Network @teepes @marctumminelli @littlemepodcast Heather Tepe https://youtu.be/VikHQBeGfsM Learn more about your ad choices. Visit megaphone.fm/adchoices
A special live edition of The Moth recorded at the Shubert Theatre in Boston. A New York City cop looks into the death of a kid he grew up with, a jazz musician dreams of playing with James Brown, and a woman falls in love over the protestations of her family. Hosted by The Moth Radio Hour Producer, Jay Allison. The Moth Radio Hour is produced by The Moth and Jay Allison of Atlantic Public Media. Storytellers: Steve Osborne, Christian McBride, and Mary Lou Pieland.
Welcome to the 21st episode of Broadway Babies! This week Noelle and Stephanie welcome the delightful Jason Graae! The New York Times recently said, "Nowadays, probably no other performer could infuse (that song) with the manic mischief that Jason Graae, a frisky clown with a real tenor, pumped into it..." Jason Graae has starred on Broadway in "A Grand Night For Singing", "Falsettos", "Stardust", "Snoopy!", "Do Black Patent Leather Shows Really Reflect Up?". Off- Broadway shows include "Forever Plaid", "Olympus on My Mind", "All in the Timing", "Hello Muddah, Hello Fadduh" (Drama Desk Nomination- Best Actor in a Musical) and many more. Jason is currently playing the Wonderful Wizard of Oz across America in the National Tour of "Wicked." Jason made his Metropolitan Opera House debut as the male vocalist in Twyla Tharp's "Everlast" with American Ballet Theatre. Jason has performed his one man show all over the country from Rainbow and Stars and Birdland in NYC to Feinstein's and the Plush Room in L.A. and San Francisco, winning 4 Bistro Awards and a N.Y Nightlife Award, also making TimeOut NY's Top Cabaret shows of the year. His critically acclaimed show with Faith Prince, "The Prince and the Showboy" played at 54 Below and the pair won a 2nd Nightlife Award for Best Duo. In Los Angeles, Jason won the L.A. Drama Critics Circle Award - the Joel Hirschorn Award for Outstanding Achievement in Musical Theatre. Jason originated the role of "Houdini" in the L.A. production of "Ragtime" at the Shubert Theatre and won an Ovation Award for "Forbidden Broadway Y2KLA!". At the Hollywood Bowl, he played Benny Southstreet in "Guys and Dolls'" and Marcellus in "The Music Man". With the 42nd Street Moon Theatre Co. in San Francisco, he played the 7 Sid Caesar roles in "Little Me" and most recently played Scrooge in the world premiere of "Scrooge in Love", winning the Theatre Bay Area Award for Best Actor in a Musical. On television, Jason has appeared on many shows including "Six Feet Under", "Rude Awakening", "Friends", "Frasier", "Sabrina the Teenage Witch", "Living Single", "Caroline in the City", "Providence", etc. On PBS, he was a guest soloist twice with the Boston Pops and once with Marvin Hamlisch and the National Symphony on "Holiday for the Troops at The Kennedy Center" and in "Words and Music by Jerry Herman". Movie appearances include the title role in "Sunshine Barry and the Disco Worms" (2008 Toronto and London Film Festivals), Disney's "Home on the Range", "On Edge", "Gepetto", "The Dukes of Hazzard in Hollywood", and "Awakening of Spring" . He has been heard on many cartoons and for 5 and 1/2 years he was the voice of "Lucky, the Leprechaun" for Lucky Charms Cereal, a balanced part of your complete breakfast. He made his Los Angeles Opera debut as "Njegus" in "The Merry Widow", repeating the role with Dallas , New Orleans, Houston Grand Opera, and Michigan Opera Theatre (Oscar Wilde Award nomination). Also with L.A. Opera he was featured as "Offenbach" in "The Grand Duchess" , directed by Garry Marshall. He has played "Frosch" in "Die Fledermaus" with the Washington National and San Francisco Operas, the Manhattan School of Music, and most recently with Houston Grand Opera. Jason has recorded over 45 CDs, including original cast albums, concerts, compilations, and his 3 solo CDs, "You're Never Fully Dressed Without a Smile - Jason Graae Sings Charles Strouse", and "Jason Graae LIVE at The Cinegrill" (Fynsworth Alley), and "Perfect Hermany-the songs of Jerry Herman." --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app Support this podcast: https://anchor.fm/broadway-babies/support
The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim's Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed.
The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim’s Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed. Learn more about your ad choices. Visit megaphone.fm/adchoices
The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim's Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed.
The 30th Annual Tony Awards were held at the Shubert Theatre, current home of A Chorus Line. As opposed to the usual June ceremonies we are used to, the ceremony took place in April 18, 1976 and broadcast by ABC television. The show featured six hosts, including Richard Burton and Jane Fonda It should be noted that while revivals of My Fair Lady and Hello, Dolly! (featuring Pearl Bailey) ran this season, there was no category for Best Revival or Best Revival of a Musical. Heading into the April ceremony, the original productions of A Chorus Line and Chicago were virtually tied for nominations, with 12 and 11 respectively. Also nominated for Best Musical were Stephen Sondheim’s Pacific Overtures and a revue called Bubbling Brown Sugar. But the night went to A Chorus Line, winning 9 Awards, The awards for Set and Costume Designer going to Pacific Overtures and Chicago going home empty handed. Learn more about your ad choices. Visit megaphone.fm/adchoices
Since South Pacific, we’ve had two more musicals win the Pulitzer Prize: How To Succeed in Business Without Really Trying and Fiorello!. But in 1975, a new musical came on the scene that would truly change musicals for the next fifty years. A Chorus Line. Without question, this show changed how ensembles were written, cast and perceived by audiences. Opening on Broadway in 1975 after a sold-out run downtown at the Public Theatre, it ran an unprecedented 16 years at the Shubert Theatre, as well as tours and companies around the world before coming back to Broadway in 2006. On this episode, we dive into the legacy of A Chorus Line - how exactly it took the ensemblist experience and made it so universal, and how it became one of the most popular and best loved musicals in history. Learn more about your ad choices. Visit megaphone.fm/adchoices
Good morning theater fans! This is Caryn Robbins with The Broadway Scoop for Wednesday, February 26th. Actor Greg Kinnear will make his Broadway debut as Atticus Finch in the hit Broadway production of TO KILL A MOCKINGBIRD. The Oscar nominee will take over the role from Ed Harris, who takes his final bow at the Shubert Theatre on April 19. Kinnear earned an Oscar nomination for his performance in the 1997 romantic comedy, As Good As It Gets. In other TO KILL A MOCKINGBIRD news, the current Broadway cast of the production will take the stage of Madison Square Garden tonight, for a free, one-night-only performance of the show before a crowd of 18,000 New York City public school students. The event marks the first time a Broadway play will be performed at the Manhattan arena. And a host of Broadway favorites are among the nominees for the 34th Annual MAC Awards, honoring achievement in cabaret, comedy and jazz in New York City. This year's nominees include Sherie Rene Scott and Norbert Leo Butz for their duo act entitled, Twohander ,and Donna McKechnie and Andrea McArdle, for their tribute to Marvin Hamlisch and Stephen Sondheim. Others receiving nods include playwright and cabaret entertainer Charles Busch, Tony winner Joanna Gleeson and Tony nominee Max von Essen. Winners will be announced on March 30 at New York City's Sony Hall. And that's The Broadway Scoop for Wednesday, February 26th.
“Hell on Earth” premiered on April 2, 2012 (Happy...April Fools?). It was written by Scott Burkhardt and directed by Paul McGuigan. The episode was viewed by 6.03 million viewers, which is again down, this time by .11 million. Oof. Featured Songs? Again, no Bombshell music, unless you count the snippet of the “Arthur Miller Medley” that Brian d’Arcy James sang at the piano, but we did get an original song by Shaiman and Whitman from Heaven on Earth, called “The Higher you Get, the Farther you Fall.” We also get a Times Square cover of “Cheers (Drink to That)” by Rihanna. Everybody seems to be moving on after Bombshell workshop. Karen is picking up serving shifts and booking orange juice commercials. Ivy is back in Heaven on Earth, probably forever. But she is definitely not enjoying it, as she rolls her eyes and marks her way through performances and taking prescription pills on the side. Julia’s husband Frank finds sheet music to a song she wrote about former flame Michael Swift. She admits to her affair but Frank storms out, telling her “sorry doesn’t cut it.” Frank confronts Michael, who tells Frank this isn’t the first time they had had an affair. Frank leaves him punched and lying on the sidewalk in front of New York Theatre Workshop, and walks out on Julia and their son Leo. Out at a Glasshouse Tavern-type doppelganger, the Marilyn cast laments the production’s need to court a star. Jessica leads the charge, stating “Chasing a star is lame. It’s a musical. It’s a new American musical. Why can’t the songs be the star?” Ivy takes it one step further, digging at Karen that “she walks in with the Midwestern moonface and lands everything.” Tom, Julia and Derek discuss stars to replace Ivy in the role of Marilyn, as well as a title for the musical about her. But unknown to Derek, Eileen is also meeting with potential new directors of the Marilyn musical, where she is spotted by New York Post columnist Michael Reidel. Derek fumes when he reads Reidel’s column, but agrees to stay on the project as long as Eileen “finds him a star.” Ellis ends up connecting Eileen with an unseen movie star named Rebecca Duvall. After taking a mysterious prescription at her dressing room station, Ivy takes the Heaven on Earth stage under the influence, falling center stage and getting yelled at by Norbert Leo Butz to “get off the freaking stage.” In what is the official jumping the shark of Smash, Ivy Lynn storming out of the Shubert Theatre in costume, wig and mic into Times Square. When Karen, who just happens to there to drop off Ivy’s misplaced sunglasses, follows her out Ivy lashes out at her, Ivy yells “You’re nothing special. There are thousands of girls just like you, millions of girls just like you.” Karen then follows Ivy into a liquor store, giving her $20 for a bottle of booze and drinking in public on their way into Duffy Square. They then sing an impromptu duet accompanied by a busker on an electronic keyboard, a drummer on five gallon buckets and two guitarists. Tom and Sam end up at an all-night diner until 5am, on what may or may not be a date. But on the bright side, the episode ends with a title for the new Marilyn musical: Bombshell. Learn more about your ad choices. Visit megaphone.fm/adchoices
Mary Bensel (Executive Director) came to the Van Wezel in December of 2007 and is entering her twelfth season at the theatre. Under her leadership, the Hall went from a projected City subsidy of $1,800,000 to earning a surplus that has reached over $1,250,000 and operates on an unrivaled 94 to 6% earned / non-earned income ratio. She credits this to her hardworking staff, creative and diverse booking, target marketing for each production and tighter fiscal controls. Prior to that, she was Director of Touring and Sales for Troika Entertainment, a Broadway touring company, where she directed the booking of such Broadway tours as: CATS, JESUS CHRIST SUPERSTAR, MOVIN’ OUT, CHICAGO and EVITA. Before that, Mary spent ten years as General Manager of the Barbara B Mann Performing Arts Hall in Ft. Myers, FL. Prior to coming to Florida, Mary spent fifteen years in Philadelphia as General Manager for the Walnut Street Theatre and the Merriam (former Shubert) Theatre. She received her BA from Mansfield University in Speech, Theatre and English and her MA from the University of Pittsburgh in Acting and Directing. Mary was a founding member of the Pittsburgh Public Theatre and served as Marketing Director/Press Agent for the Pittsburgh Ballet Theatre, the Arizona Theatre Company and Stage West. Mary was a member of Leadership Lee County, served on the Steering Committee and was a member of their Foundation Board of Directors. She received the award for Arts Management from the Cultural Alliance of Sarasota, the Horizon Council Award for Tourism, the Video Archive Award and Business Partner of the Year from the Lee County Foundation for Public Schools. Mary was President of the Florida Facilities Managers, is a member of their Board of Directors and is a member of the Florida Presenters. Mary is a Tony Voter and is a member of the Broadway League, the Van Wezel Foundation Board of Directors and the Sarasota Woman’s Alliance. Bensel accepted a Congressional Proclamation from Congressman Vern Buchanan for the Hall’s dedication to the Arts and Arts Education. The Van Wezel has been voted the number one tourist attraction in Sarasota County in the recent past. Under her leadership, the Hall has made a number of capital improvements including the Van Wezel Sunset Terrace, all new seating for the Hall, a new Sound System, the Hearing Loop, a new orchestra pit lift and has renovated its restrooms, installing a new orchestra shell and new carpet. Continuing community programs include Total Access, Family Nights at the Theatre, Senior Access and Military Access. Since Mary has been here, she has booked the following stars for the Gala and Anniversary shows: Ringo Starr, Sheryl Crow, Barry Manilow, Il Divo, Jerry Seinfeld, Jay Leno, Tony Bennett, Sarah McLachlan, Josh Groban, Steve Martin and Martin Short and Diana Ross among others!
The critically-acclaimed Broadway hit “To Kill a Mockingbird” is nominated for nine Tony Awards. Playwright Aaron Sorkin and actor Gbenga Akinnagbe, who plays Tom Robinson, join Errol for a powerful conversation about their efforts and challenges to reimagine Harper Lee’s beloved novel about racial injustice set in 1930s Alabama. And they talk about the importance of opening the Shubert Theatre’s doors to New York City public school students. Sorkin, who is behind “A Few Good Men,” “The Social Network” and the hit TV show “The West Wing,” discusses his writing process and touches on the Trump presidency. And Akinnagbe talks about his role as Chris Partlow on the series “The Wire” and his social activism clothing brand, Liberated People, which raises funds for the Trayvon Martin Foundation. Weigh in on Twitter with the hashtag #NY1YouDecide or give us a call at 212-379-3440 and leave a message.
On this week's episode, Rob, and Jamie sit down with Mark Swartz, the Archive Director of The Shubert Archive. Since the mid-'70s, The Shubert Archive has processed and cataloged over one hundred years of theater history, including costume and set designs, scripts, music, publicity materials, photographs, correspondence, business records, and architectural plans. Mark discusses the history of the archive, how things get processed, some of his favorite items, and why the Shubert Organization is truly the heart of Broadway. And, finally, Rob gives us more information on the Shubert brothers and the legendary Shubert Theatre. Learn more about your ad choices. Visit megaphone.fm/adchoices
This BCR episode started at Gabriela's Tequila Bar on W. 93rd Street talking about favorite shot glass and the experience of watching the top of Jeff Daniels' head -- during his performance of Atticus Finch in "To Kill a Mockingbird" from the "angel's view" in the Shubert Theatre.We then crawled over to Gebhard's Beer Culture Bar on W. 72nd Street and had two wonderful conversations, First with the founder of Paracademia -- Milica Paranosic. We met this prolific, multi-talented arts, teacher and community organizer at her street event "Make Music Harlem." Since then we interviewed her for "UWS Neighbors" and recorded her musical tribute to Pia Gilbert at her "Ladies First-Pioneer" concert for "UWS LIVE" - both shows are scheduled on Upper West Side Radio - uwsradio.nyc -- For BCR23 we focused on Milica's upcoming film festival "Add a Movie" and her early inspirations in Serbia.We also talked to three of the members of the all-female, a cappella singing ensemble -- ROSA ["dew" in Serbian] about their individual careers and their efforts to bring traditional Serbian-Croatian music to the world. Hear a couple of examples of their work recorded at Gebhards Beer Culture Bar on W. 72nd Street. See a sample of the work at the 2018 "Make Music Harlem" street event. See acast.com/privacy for privacy and opt-out information.
Hosts Jacque Borowski and James Lott Jr. discuss A Chorus Line. A Chorus Line is a musical with music by Marvin Hamlisch, lyrics by Edward Kleban and a book by James Kirkwood, Jr.and Nicholas Dante. Centered on seventeen Broadway dancers auditioning for spots on a chorus line, the musical is set on the bare stage of a Broadway theatre during an audition for a musical. A Chorus Line provides a glimpse into the personalities of the performers and the choreographer as they describe the events that have shaped their lives and their decisions to become dancers. Following several workshops and an Off-Broadway production, A Chorus Line opened at the Shubert Theatre on Broadway July 25, 1975, directed and choreographed by Michael Bennett. An unprecedented box office and critical hit, the musical received twelve Tony Award nominations and won nine, in addition to the 1976 Pulitzer Prize for Drama. The original Broadway production ran for 6,137 performances
A special live edition of The Moth recorded at the Shubert Theatre in Boston. A New York City cop looks into the death of a kid he grew up with, a jazz musician dreams of playing with James Brown, and a woman falls in love over the protestations of her family. Storytellers: Steve Osborne, Christian McBride, and Mary Lou Piland To learn more about listener data and our privacy practices visit: https://www.audacyinc.com/privacy-policy Learn more about your ad choices. Visit https://podcastchoices.com/adchoices
House Manager Brian Gaynair handles the day-to-day operations of the Shubert Theatre, is the primary liasion between the production and the theatre owner, and coordinates between all the front of house departments. His career path started in security and brought him to the Shubert Theatre where he has been house manager since March 1995 during the run of "Crazy For You". Over the years he has handled challenging situations such as emergency evacuations and the First Family's recent visit to "Memphis". Gaynair shares how audiences evolve over the run of a show, and the most interesting part about being a Broadway house manager.
House Manager Brian Gaynair handles the day-to-day operations of the Shubert Theatre, is the primary liasion between the production and the theatre owner, and coordinates between all the front of house departments. His career path started in security and brought him to the Shubert Theatre where he has been house manager since March 1995 during the run of "Crazy For You". Over the years he has handled challenging situations such as emergency evacuations and the First Family's recent visit to "Memphis". Gaynair shares how audiences evolve over the run of a show, and the most interesting part about being a Broadway house manager.
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