British composer and impresario of musical theatre
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4 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
3 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
2 episodes with sir andrew lloyd webber
Musical theater legend Sir Andrew Lloyd Webber has seen a resurgence of his work, as creative teams both in New York and London have worked on high profile revivals of his work. Webber discusses the Broadway revival of "Sunset Boulevard," "Cats: The Jellicle Ball," the recently announced "Evita" revival, and his collaboration with director Jamie Lloyd. Plus, listeners call in with their questions about his prolific career.
It was confirmed yesterday that a revival of EVITA will be heading to the London Palladium in the West End in Summer 2025. The musical, written by Sir Andrew Lloyd Webber and Sir Tim Rice, will be directed by Jamie Lloyd (Sunset Boulevard, Romeo & Juliet) and produced by Lloyd Webber Harrison Musicals. What hasn't been confirmed is who will be starring as Eva Peron, so in today's news recap Mickey-Jo is sharing the rumoured names that he has been hearing... • 00:00 | introduction 02:03 | what we know so far 12:28 | casting rumours • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre
Sir Andrew Lloyd-Webber recently gave an interview to The Times in which he, for the first time, teased a few details about his upcoming new musical. This is to be his first new work since the ill fated CINDERELLA, which he also discussed along with some planned transfers... Check out the news recap for everything we know so far... • 00:00 | introduction 03:12 | politics / other projects 12:16 | his new musical 19:36 | the theatre climate • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre
As we await the Broadway transfer of Jamie Lloyd's recent, award winning revival of SUNSET BOULEVARD, another production has just opened - in Melbourne Australia.This production notably stars Sarah Brightman (The Phantom of the Opera) as Norma Desmond, with a score composed by Sir Andrew Lloyd Webber including such songs as 'With One Look' and 'As if We Never Said Goodbye'.But, with mixed reviews, the show has recently announced they will scale back on performances during the Melbourne run (the show will later travel to Sydney).Check out today's news recap to find out what exactly is going on and why Mickey-Jo is so interested in all of this...•00:00 | introduction03:33 | history + background 12:17 | the mixed reviews26:46 | the recent news•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre
Cats is a 2019 musical fantasy film based on the 1981 Broadway musical Cats by Sir Andrew Lloyd Webber, which in turn was based on the 1939 poetry collection Old Possum's Book of Practical Cats by T. S. Eliot. The film was directed by Tom Hooper. It features an ensemble cast, including James Corden, Judi Dench, Jason Derulo, Idris Elba, Jennifer Hudson, Ian McKellen, Taylor Swift, Rebel Wilson, and Francesca Hayward in her film debut. Music Credits: Downtown Walk by | e s c p | https://escp-music.bandcamp.com/ Music promoted by https://www.free-stock-music.com/ Creative Commons / Attribution 4.0 International (CC BY 4.0) https://creativecommons.org/licenses/by/4.0/
Hi Royal Community, Thank you for all your support during our break. We are missing you. In the meantime, we have heard from lots of you who have been asking about our archived episodes 11-71.... Well, whilst we take a break from weekly uploading, we have listened and decided to release those archived episodes that you have been asking for. So, over the coming weeks, we will be re-releasing these episodes to keep you entertained. We hope you enjoy! But....with re-released episodes comes caveats.... *Remember our opinions, beliefs and feelings may have changed on the subject since this originally aired. **The information could have been updated, social handles and/or Royal titles changed, and our dearly beloved Queen Elizabeth II may possibly still have been alive when this was recorded so please note the time difference. ***Episode 16 was recorded on the 20th June 2021 and first uploaded on the 25th June 2021. As always please leave us a comment, email us or head to Instagram and get involved there. ........................................... *Fact Check* Michelle mentions Ronaldino as the footballer with a terrible statue, this was in fact Ronaldo. ........................................... In today's Royal Round-Up: William hints at something big with a Drone video (*cough* It's The Earthshot Prize) Queen Elizabeth makes an appearance at Royal Ascot to raptuous applause Camilla reads a lots of books to children in her role as patron for Book Trust And, we see Charles and Camilla enjoying a spot of afternoon tea at Drury Lane Theatre after looking at the recent theatre renovation project with Sir Andrew Lloyd Webber. We hit 2,000 downloads and 1,000 followers on Instagram! Thanks so so much! Plus so much more… And, in our Royal News: Catherine announces her Royal Centre for Early Childhood and her Big Change Starts Small campaign The Royal Family financial report for 2021 is released and we are discussing: Are the Royal family good value for money? Did Harry and Meghan lie about financial support from Prince Charles during the Oprah Interview? Are the Buckingham Palace renovations a waste of money?
Anthony Warlow has been thrilling audiences from the moment he arrived on the theatrical scene and has successfully inhabited a diversity of roles in opera and musical theatre, his versatility gaining him an honoured place on the international stage.From his debut with the Australian Opera in Benjamin Britten's A Midsummer Night's Dream in 1980, he has left an indelible stamp on the industry both at home and abroad. Anthony's lengthy stage credits include the London National Theatre production of Guys and Dolls, making his music theatre debut with the role of Sky Masterson in 1986, creating the role of Enjolras in the Australian production of Les Misérables (1988), and the title role of the Phantom in Sir Andrew Lloyd Webber's The Phantom of the Opera (1990 and 2007-2008). In 1995 he enjoyed a joyous season in Lucy Simon's The Secret Garden as Archie Craven, and collaborated with her again in 2010, creating the role of Dr Yuri Zhivago in the Australian premiere production of Doctor Zhivago: The Musical. Other highlights include Australian tours of Annie (2000 and 2012), seasons with Opera Australia and a critically acclaimed performance as Tevye in Fiddler On The Roof in 2016.Anthony made his Broadway debut in 2013, portraying the iconic role of Oliver “Daddy” Warbucks in the 35th Anniversary production of Annie, directed by James Lapine. His performance won him several Broadway nominations (Drama Desk, Drama League, People's Choice), and in 2015 he was invited to return to the US to perform the dual roles of Miguel De Cervantes/ Don Quixote in The Shakespeare Theatre Company of Washington production of Man of La Mancha. This portrayal won him the prestigious Helen Hayes Award for Outstanding Actor in a Musical. The same year he replaced Kelsey Grammer (Frasier) in the Broadway production of Finding Neverland, playing the roles of Charles Frohman/ Captain Hook.Anthony made his Carnegie Hall debut in 2013 but is no stranger to the concert platform, performing around Australia with our Symphony Orchestras. His studio recordings have spanned more than 20 years and include solo albums, cast recordings and live performances in concert and with Opera Australia. His love of “flawed anti-heroes” continued with his portrayal of Sweeney Todd, The Demon Barber of Fleet Street. His performance was hailed by critics and was a welcome addition to his theatrical canon.Anthony has been honoured by the nation receiving the title of Living National Treasure, and his outstanding achievements acknowledged with his investiture as a Member of the Order of Australia (AM) for his services to the performing arts. He is married to Amanda and divides his time and career between Australia's capital cities and New York.Anthony Warlow is back on the boards and will step into the shoes of the cunning and charismatic lawyer Billy Flynn in audience favourite; CHICAGO. The musical opens in Perth on November 21st, prior to a national tour.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au
Anthony Warlow has been thrilling audiences from the moment he arrived on the theatrical scene and has successfully inhabited a diversity of roles in opera and musical theatre, his versatility gaining him an honoured place on the international stage.From his debut with the Australian Opera in Benjamin Britten's A Midsummer Night's Dream in 1980, he has left an indelible stamp on the industry both at home and abroad. Anthony's lengthy stage credits include the London National Theatre production of Guys and Dolls, making his music theatre debut with the role of Sky Masterson in 1986, creating the role of Enjolras in the Australian production of Les Misérables (1988), and the title role of the Phantom in Sir Andrew Lloyd Webber's The Phantom of the Opera (1990 and 2007-2008). In 1995 he enjoyed a joyous season in Lucy Simon's The Secret Garden as Archie Craven, and collaborated with her again in 2010, creating the role of Dr Yuri Zhivago in the Australian premiere production of Doctor Zhivago: The Musical. Other highlights include Australian tours of Annie (2000 and 2012), seasons with Opera Australia and a critically acclaimed performance as Tevye in Fiddler On The Roof in 2016.Anthony made his Broadway debut in 2013, portraying the iconic role of Oliver “Daddy” Warbucks in the 35th Anniversary production of Annie, directed by James Lapine. His performance won him several Broadway nominations (Drama Desk, Drama League, People's Choice), and in 2015 he was invited to return to the US to perform the dual roles of Miguel De Cervantes/ Don Quixote in The Shakespeare Theatre Company of Washington production of Man of La Mancha. This portrayal won him the prestigious Helen Hayes Award for Outstanding Actor in a Musical. The same year he replaced Kelsey Grammer (Frasier) in the Broadway production of Finding Neverland, playing the roles of Charles Frohman/ Captain Hook.Anthony made his Carnegie Hall debut in 2013 but is no stranger to the concert platform, performing around Australia with our Symphony Orchestras. His studio recordings have spanned more than 20 years and include solo albums, cast recordings and live performances in concert and with Opera Australia. His love of “flawed anti-heroes” continued with his portrayal of Sweeney Todd, The Demon Barber of Fleet Street. His performance was hailed by critics and was a welcome addition to his theatrical canon.Anthony has been honoured by the nation receiving the title of Living National Treasure, and his outstanding achievements acknowledged with his investiture as a Member of the Order of Australia (AM) for his services to the performing arts. He is married to Amanda and divides his time and career between Australia's capital cities and New York.Anthony Warlow is back on the boards and will step into the shoes of the cunning and charismatic lawyer Billy Flynn in audience favourite; CHICAGO. The musical opens in Perth on November 21st, prior to a national tour.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au
Anthony Warlow has been thrilling audiences from the moment he arrived on the theatrical scene and has successfully inhabited a diversity of roles in opera and musical theatre, his versatility gaining him an honoured place on the international stage.From his debut with the Australian Opera in Benjamin Britten's A Midsummer Night's Dream in 1980, he has left an indelible stamp on the industry both at home and abroad. Anthony's lengthy stage credits include the London National Theatre production of Guys and Dolls, making his music theatre debut with the role of Sky Masterson in 1986, creating the role of Enjolras in the Australian production of Les Misérables (1988), and the title role of the Phantom in Sir Andrew Lloyd Webber's The Phantom of the Opera (1990 and 2007-2008). In 1995 he enjoyed a joyous season in Lucy Simon's The Secret Garden as Archie Craven, and collaborated with her again in 2010, creating the role of Dr Yuri Zhivago in the Australian premiere production of Doctor Zhivago: The Musical. Other highlights include Australian tours of Annie (2000 and 2012), seasons with Opera Australia and a critically acclaimed performance as Tevye in Fiddler On The Roof in 2016.Anthony made his Broadway debut in 2013, portraying the iconic role of Oliver “Daddy” Warbucks in the 35th Anniversary production of Annie, directed by James Lapine. His performance won him several Broadway nominations (Drama Desk, Drama League, People's Choice), and in 2015 he was invited to return to the US to perform the dual roles of Miguel De Cervantes/ Don Quixote in The Shakespeare Theatre Company of Washington production of Man of La Mancha. This portrayal won him the prestigious Helen Hayes Award for Outstanding Actor in a Musical. The same year he replaced Kelsey Grammer (Frasier) in the Broadway production of Finding Neverland, playing the roles of Charles Frohman/ Captain Hook.Anthony made his Carnegie Hall debut in 2013 but is no stranger to the concert platform, performing around Australia with our Symphony Orchestras. His studio recordings have spanned more than 20 years and include solo albums, cast recordings and live performances in concert and with Opera Australia. His love of “flawed anti-heroes” continued with his portrayal of Sweeney Todd, The Demon Barber of Fleet Street. His performance was hailed by critics and was a welcome addition to his theatrical canon.Anthony has been honoured by the nation receiving the title of Living National Treasure, and his outstanding achievements acknowledged with his investiture as a Member of the Order of Australia (AM) for his services to the performing arts. He is married to Amanda and divides his time and career between Australia's capital cities and New York.Anthony Warlow is back on the boards and will step into the shoes of the cunning and charismatic lawyer Billy Flynn in audience favourite; CHICAGO. The musical opens in Perth on November 21st, prior to a national tour.The STAGES podcast is available to access and subscribe from Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au
Un ícono del Teatro Musical. Gracias a él, tenemos tantos musicales clasicos como Evita, CATS, El fantasma de la opera, José el soñador y su tunica multicolor ¡y tantos otros! Síganos en nuestras redes sociales: Instagram: https://www.instagram.com/oficialbroadwaylatino/ Facebook: https://www.facebook.com/OficialBroadwayLatino Youtube: https://www.youtube.com/channel/UCzN8P0C5FSd5oKzqA-8fFqQ
A.R. Rahman's early life, marked by personal loss and perseverance, served as a catalyst for his musical genius and set the stage for his unparalleled success as one of the most beloved musicians of our time. At the age of nine, Rahman began supporting his family by playing the keyboard in orchestras and working as a session musician. Catching the attention of renowned Indian film directors, Rahman began scoring for cinema, and his soundtracks became massive hits. Since then, Rahman has scored over 150 films, has won multiple Oscars, Grammys, numerous other awards and has collaborated with talent across the globe including Michael Jackson, Mick Jagger, and Sir Andrew Lloyd Webber. Involved with numerous charitable causes, in 2009 Rahman founded the Sunshine Orchestra, India's first youth symphony for economically and socially disadvantaged children that receive free music education from his KM Music Conservatory.
Yesterday brought the shocking news that the West End revival of ASPECTS OF LOVE would close earlier than originally planned. The show, which features a score by Andrew Lloyd Webber, Charles Hart and Don Black, currently stars Michael Ball, Laura Pitt-Pulford, Jamie Bogyo, and Danielle de Niese. Mickey-Jo discusses why this might be happening and what it means for the show, the West End and Sir Andrew Lloyd Webber... • • About Mickey-Jo: As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 60,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows both in New York, London, Hamburg, and Paris. He has also twice received accreditation from the world renowned Edinburgh Fringe Festival. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre
Come out, come out wherever you are for some jolly good fun with the Wickedest Witch of the BEST kind- Lady Dianne Pilkington! (Say what?! *faints* This week, this beautiful Dame joins AW and Matt to mend a Stitched Up Heart with their debut effort, 'Never Alone', before kicking off a match of 'The Beautiful Game', Sir Andrew Lloyd Webber's 2000 West End musical.Plus, we chat The 2023 West End revival of The Wizard of Oz, shades of Green, Witchy Charity Singles, 2023 Spice Girls, Eurovision, the Goddess Hannah Waddingham- plus, AW fears the show may be CURSED! *Witch's cackle* Don't skip on this bewitchingly hilarious episode that'll send you up the Yellow Brick Road crying with laughter! Follow Dianne on Twitter: https://twitter.com/dipilky Instagram: https://instagram.com/dipilkyThe Wizard of Oz Tickets: https://lwtheatres.co.uk/whats-on/the-wizard-of-oz/Follow Matt on Twitter: https://twitter.com/mattyoungactorCharlie/Tarzan/Hunchback tickets: https://www.tuacahn.org/All Broadway Box Office Data courtesy of https://www.broadwayleague.com/research/grosses-broadway-nyc/Juxtaposing Metal with Musicals - joined by iconic guests from the worlds of Music, Broadway, Hollywood, and more! https://www.thetonastontales.com/listen -- https://www.patreon.com/bloomingtheatricals - https://twitter.com/thrashntreasurehttps://linktr.ee/thrashntreasure*****Help support Thrash 'n Treasure and keep us on-air, PLUS go on a fantastical adventure at the same time!Grab your copy of The Tonaston Tales by AW, and use the code TNT20 when you check out for 20% off eBooks and Paperbacks!https://www.thetonastontales.com/bookstore - TNT20 ***** ★ Support this podcast on Patreon ★
Ria was born and raised in Swansea and was brought up surrounded by the rich heritage of Welsh music. Her mother was an Opera Singer and her father a successful cabaret entertainer, so it was inevitable at an early age that Ria Jones was destined for stardom. At 19 she became the youngest actress ever to play the role of Eva Peron in 'Evita', followed shortly by her West End debut in the musical 'Chess' in which she played both Svetlana and Florence. She went on to perform famed roles such as Grizabella in 'CATS', Fantine in 'Les Miserables, The Narrator in 'Joseph And His Amazing Technicolour Dreamcoat' Liz Imbrie in 'High Society' Reno Sweeney in 'Anything Goes', alongside Marti Pellow in 'The Witches of Eastwick' among many other notable roles and more recently in Victoria Wood's most iconic role as Mrs Overall in 'Acorn Antiques' which she recently reprised when requested by Victoria Wood to appear in the 'Angina Monologues' at The Haymarket Theatre, London.Ria has performed as a soloist on three Royal Variety Shows and has also sung by royal request at Buckingham Palace. She has performed as a soloist to audiences in many of the worlds' finest venues, including in numerous West End Theatres, The Millennium Centre, The Palladium, The Theatre Royal Drury Lane, The Jubilee Theatre at Raffles Hotel Singapore and regularly at The Royal Albert Hall. Ria was also honoured to be picked to perform alongside Bryn Terfel, Tom Jones and Shirley Bassey for the opening of the Welsh Assembly at Cardiff Bay.Ria's TV appearances include her own one-off special for BBC Wales entitled 'One Night Only with Ria Jones', Three televised Royal Variety Performances for the BBC, 'Wales in the West End' for HTV, a recently televised drama written by Victoria Wood, 'When Eric Met Ernie' and most recently an episode for the new series of Torchwood.She has performed frequently with the Royal Philharmonic Orchestra at The Royal Albert Hall, and has personal accolades from Sir Andrew Lloyd Webber. She has shared the stage with Tom Jones, Tony Bennett, Montserrat Caballe, Philip Schofield, Catherine Zeta-Jones Take That, Lulu, Ronnie Corbett, Angela Rippon, Aled Jones, Brian Adams, Jason Donovan, Elaine Paige, Joe Pasquale, Marti Pellow, Michael Ball....to name but a few.Ria has also released an album with the Royal Philharmonic Orchestra, 'Abbaphonic' and her first solo album 'Have You Met Miss Jones?'
Rachel Williams, a native of Wales has enjoyed a long, glittering career. Former ballet dancer, trained at the prestigious Arts Educational Schools, after a chance trip to Paris and meeting Pierre Rambert Rachel was offered the job on the spot as a 'Bluebell' at the Lido, Paris. After moving on to 'Soloist' at the world famous Moulin Rouge, she then followed her dreams of Musical Theatre and swapped bijoux for claws in Sir Andrew Lloyd Webber's long-running musical CATS in London's West End. Rachel went on to thrill crowds with her series of sell-out one-woman shows throughout Los Angeles and Las Vegas and recently back home at Cardiff's WMC. As a public speaker Rachel enjoys sharing tales of her dancer's life in her talks “Parisien High Kicks”! She also runs popular dance classes for 50s+ and believes, “It's never too late to Dance”. A first class singer and performer Rachel has also turned her hand to directing and producing. Her proudest productions are her three children! Check out the Patreon www.patreon.com/bluebellsforeverpod Follow us on Instagram and Facebook to see photos and updates www.instagram.com/bluebells_forever/ www.facebook.com/Bluebells-Forever-100660515010096
This week, LZ sits down with award-winning actress, dancer, producer, and director, the exguistist Finola Hughes. In an engaging conversation, LZ and Finola discuss the importance of community and how the pandemic shined light on what true friendship looks like; dissecting the difference between “vertical” and “horizontal” relationships.No stranger to awards, Finola won her first Daytime Emmy for Outstanding Lead Actress for her role as Anna Devane onGeneral Hospital, and was nominated numerous times in 1990, 2000 and again in 2002.Finola is also known for her highly acclaimed performance as ‘Victoria the White Cat' in the London production of the musical Cats, and continued working with Sir Andrew Lloyd Webber in 'Song and Dance'.Finola is also known as her characterLaura in the Saturday Night Fever sequel, Staying Alive, Carol Russo in Blossom, Patty Halliwel in Charmed, Dr. Alex Devane Marick in All My Children, and Anna Devane on General Hospital.Finola can also add author to her illustrious career as the co-author of Soapsuds: A Novel, and is known for her advocacy work with The Art of Elysium; a Los Angeles based organization which pairs volunteer artists with communities to support individuals struggling with illness, displacement and crisis.Finola is one of my favorite people. She is talented, beautiful, and truly an amazing mother. Enjoy!
CATS COMPOSER: Andrew Lloyd Webber LYRICIST: TS Eliot BOOK: N/A SOURCE: T.S. Eliot's book of poetry Old Possum's Book of Practical Cats (1939) DIRECTOR: Trevor Nunn CHOREOGRAPHER: Gillian Lynne PRINCIPLE CAST: Betty Buckley (Grizabella), Terrence Mann (Rum Tum Tugger), Ken Page (Old Deuteronomy), OPENING DATE: Oct 07, 1982 CLOSING DATE: Sept 10, 2000 PERFORMANCES: 7,485 SYNOPSIS: This evening is the momentous occasion when one Jellicle Cats will be selected to go to the “heavyside layer,” where they will be given a new body and be returned to Earth. In this episode, member of the original Broadway cast, Stephen Hanan, analyzes the marketing genius of Sir Cameron Macintosh, the artistic originality of Trevor Nunn, and the indelible literary capability of T.S. Eliot which led to the lasting success of Cats. A breakdown of branding and merchandising efforts highlights the ways Cats created a market for the international mega-musical. Hanan details the rigors of the unconventional process the actors and designers engaged in as the musical transferred from London's West End to Broadway, including his collaboration with Sir Andrew Lloyd Webber. Stephen Mo Hanan has worked in theater as both a performer and playwright. For creating Asparagus/Growltiger in CATS he was a Tony Award nominee, and his account of rehearsing that original production was published as A CAT'S DIARY. His Broadway debut was opposite Linda Ronstadt and Kevin Kline in THE PIRATES OF PENZANCE, and he later starred as Captain Hook opposite Cathy Rigby. He was co-author and starred as Al Jolson in two off-Broadway productions of JOLSON & COMPANY. Between engagements, he wrote and published the novel SCARPIA'S KISS SOURCES Cats: The Book Of Musical by T.S. Eliot, published by Harvest Books (1983) Cats, Original Cast Recording, Polydor (1981) Cats starring John Mills and Elaine Paige, directed by David Mallet. Universal Pictures (1972) Cats starring James Corden and Judi Dench, directed by Tom Hooper. Working Title Pictures (2019) Learn more about your ad choices. Visit megaphone.fm/adchoices
We chat to musical theatre legend (Sir) Andrew Lloyd Webber about resigning from the House of Lords, and why he might need a therapy dog post-Cats; Georgie Tunny takes on Chrissie in the teleprompter game; Guy Montgomery tells us to have fun with it, and we do; and Chrissie kills time in the school holidays. Sam remembers Gilbert Gottfried, and Browny reveals his life as accomplice to a gate crasher. A Nova Podcast Podcast Produced & Edited By Andy Zito Executive Producer: Jack Charles Producers: Victoria Wall & Brodie Pummeroy Additional Audio Production: Tim Mountford See omnystudio.com/listener for privacy information.
Fred discusses the life and career of English composer, Sir Andrew Lloyd Webber, born on this day in 1948. www.rockysealemusic.com https://rockysealemusic.com/wow-i-didn-t-know-that-or-maybe-i-just-forgot https://www.facebook.com/150wordspodcast --- Send in a voice message: https://anchor.fm/rocky-seale7/message
Join this special Director's Commentary with SIR Andrew Lloyd Webber and visionary director Tom Hooper. There is simply so much to unpack from this cultural juggernaut bringing together to twin infallible (and ineffable?) worlds of confusing musicals and CGI-heavy film-making. Hold on to your Jellicle butts because we're going up, up, up to the Heaviside Layer. Together.TWIOAT Twitter / Instagram / Facebook / Website / PatreonGUY Twitter / Instagram / Facebook / WebsiteTIM Twitter / Instagram / Facebook / Website See acast.com/privacy for privacy and opt-out information.
We watched something truly soul-crushing, and insane. Something beyond the pale, that would make the most hardened criminal repent. We watched Sir Andrew Lloyd Webber's masterpiece, Cats, 2019. Yes, these buttholes watched this butthole-less movie in an attempt to find true entertainment. These jellicle boys hope you find it in your heart to welcome them into your homes this New Years' Eve. Join our Patreon: patreon.com/garbagedaypodcast Visit our website: garbagedaypodcast.com
Are you a genius?Are you the world's best in your chosen niche?Dr Alan D. Thompson is a world expert in the fields of AI, intelligence, high performance, and personal development. He consults to families with special needs children including Bolshoi ballerinas, chess masters, abstract artists, and those with a mental age up to twice their chronological age.As chairman for Mensa International's gifted families committee, Alan served two consecutive terms sharing best practice among 54 countries. His work was recently cited in the Department of Education's High Potential policy, and he continues to consult to world leaders and facilitators in talent development. He is a co-founder of the Australia-Asia Positive Psychology Institute.Alan's best-selling parenting book, Bright, was made available to families at Elon Musk's gifted school. In 2021, a copy of the book was sent to the moon aboard the Peregrine lunar lander.Alan advises international media in the fields of exceptional ability and personal development, consulting to the award-winning series Decoding Genius for GE, Making Child Prodigies for ABC (with the Australian Prime Minister), 60 Minutes for Network Ten/CBS, and Child Genius for Warner Bros.Prior to his career as a consultant, Alan worked with many high-performing young celebrities, including Disney princess Lea Salonga (Aladdin, Mulan), the Australian Billy Elliot, Sydney Olympics star Nikki Webster, and the cast of Sir Andrew Lloyd Webber's Cats in Asia.Alan completed his Bachelor of Science (Computer Science, AI, and Psychology) at Edith Cowan University, 2004; studied Gifted Education at Flinders University, 2017; became a Fellow of the Institute of Coaching affiliated with Harvard Medical School, 2017; and received his doctorate from Emerson, 2021. Alan's dissertation was adapted into a book featuring Dr Rupert Sheldrake, Connected: Intuition and Resonance in Smart People.Alan has woken up at dawn on the great wall, chased helicopters in a jetski, stayed at 7-star hotels with gold cutlery, spoken from the general assembly podium at the UN headquarters in New York, swam with dolphins, laid on the grass at parliament house, rang the swan bells in Perth, crawled through the ceiling (and tunnels) of the Sydney Opera House, trained with firearms, undergone hypnosis, squatted twice his own bodyweight, climbed 70m+ trees and 1km+ mountains, been to the top of some of the world's tallest buildings, snorkelled off Coral Bay, rounded sheep, sent an email (in 1995), played a tabletop game using my mind (and a sensor strapped to his head), sat on the design panel for a famous building, collected post-nominals longer than his full name, detonated explosives, written a computer virus, thrown furniture out of top-floor hotel windows, and laughed a lot.Find all Alan's work here! @Dr Alan D. Thompson https://lifearchitect.ai/Steve Hardison video #TBOLITNFLhttps://youtu.be/0Tine-9dz-YBuy Laban's amazing new book, Bet on You here (With foreword by Les Brown!)https://labanditchburn.com/publications/bet-on-you/Support the show (https://www.patreon.com/labanditchburn?fan_landing=true)
Our musical mini-season kicks off to a melodramatic start with 2004's “The Phantom of the Opera,” a little indie movie straight from the deep pockets of Sir Andrew Lloyd Webber himself. Turn your face away from the garish light of day. Watch the VIDEO VERSION of this episode HERE! Click here to listen to Hannah's audio essay on the impact of The Phantom of the Opera on developing adolescent brains! Follow Sleepover Cinema on Instagram here! Follow Hannah and Audrey on Instagram here! Sleepover Cinema Tik Tok Sleepover Cinema Facebook Sleepover Cinema Twitter More about Too Pink Pictures For more details on this episode, go to www.evergreenpodcasts.com/sleepover-cinema! Learn more about your ad choices. Visit megaphone.fm/adchoices
As the classic stage plays of Agatha Christie prove, crime and the theatre can make for a great night out. But can a crime IN a theatre make for a great podcast? I am about to prove it can, as I chance upon West End wrongdoing, right next door to The Mousetrap, the long-running show which sees the audience asked to keep the secret of the play - which I can reveal is... it's not about mice. In a star-studded special, listen as I rub shoulders with Lionel Blair, overhear Sir Andrew Lloyd Webber, get bullied by Dame Maggie Smith and only lightly injure Felicity Kendal. Take your seats for THE COMPLICATED MURDER. Music and effects from www.zapsplat.com Image copyright Johan Persson
Share this episode >>> Https://thisischelseajohnson.com/197 How do you want to impact the world as an artist? You are making waves, whether you acknowledge it or not. You get to decide the nature of the waves you make. Sometimes we can underestimate our impact and power as artists to effect change, and that is one of the biggest opportunities we can potentially miss on our artistic journey. This week, Director/ Teacher/ Advocate, David Connolly reminds us that change and awareness begin when we openly communicate and try to learn how others navigate through the world instead of forcing them into a mold. Conversations lead to understanding and that is where change begins. Is the fear of failure stopping you from venturing into this new chapter in your life? Is your goal more important than the feeling of being embarrassed? Being afraid that things wouldn't work out as planned is valid. David reiterates that sometimes healthy fear is a good thing, but we shouldn't let that stop us from pursuing something we are passionate about. Use your voice as an artist and bring your life experiences to create change! In this episode: Inspiring someone means being part of the army that allows people to remember that we are more the same than we are different. Trauma is not what happened, it's how you're dealing with what happened. How having a support system impacts your success as an artist. The difference between diversity and inclusion is taking the time to break the mold and learn how others navigate the world. The importance of apprenticeship and continuously learning in improving as an artist. A little about David: David Connolly is a recipient of The Premier of Ontario's Award of Excellence in Applied Arts who holds an Honours Bachelor Degree in Musical Theatre Performance from Sheridan College. Immediately upon graduating, David made his Broadway debut and became the first and only amputee to ever perform there. Thirty years later, the double below-knee amputee remains an optimistic, highly creative idea generator of whose life Dance Magazine wrote, “demonstrates the quintessential balancing act between career and community service.” In January, 2020, David curated and moderated the first-ever disability inclusion panel at BroadwayCon in New York City to help develop actionable steps to improve disabled representation in arts. He is also an Ambassador for the Shriner's Hospital for Children, and the War Amps Child Amputee Program. For twelve-years, he served as Creative Producer for Fashion Cares in support of the AIDS Committee of Toronto, and has volunteered for the Jerry Lewis Muscular Dystrophy Telethon, Easter Seals, Project Angel Food and The Hincks-Dellcrest Centre for Children's Mental Health. As the Associate Artistic Director of Drayton Entertainment, he has led the creation and implementation of Drayton's Youth Education Program, an Actor's Fund of Canada Benefit Cabaret Series and helmed over thirty productions including the Canadian regional theatre premieres of Kinky Boots, Priscilla Queen of the Desert, Mama Mia! and Newsies. For the screen, David has directed and choreographed several series for CBC Kids as well as projects for CBS, NBC, ABC, PBS and two feature films by director, Deepa Mehta. He has collaborated with artists including Katy Perry, Sir Andrew Lloyd Webber, Elton John, Sarah Jessica Parker, kd lang, Patti LaBelle, Sarah Brightman and many others. As an Educator, he has been an Adjunct Professor and Advisor to the Musical Theatre Performance Programs at Sheridan College, Randolph College, Fanshawe College, St Lawrence College and VanderCook College. He is a recipient of The Waterloo Region Arts Award for Lifetime Achievement, and proud member of The Directors Guild of Canada, ACTRA, Equity and The Stage Directors and Choreographers Society. Follow David! Online: www.DavidWConnolly.com Facebook: DavidWConnollyTO Twitter: @DavidConnollyTO Instagram: DavidWConnolly
Wild and free Cinderella, You can laugh, you can groan, If you think I won't ignore you… We're off to Belleville this week via the Gillian Lynne Theatre - that's right, we've gone to a theatre! It's a very special, spoiler-filled episode as we discuss Sir Andrew Lloyd Webber's brand new musical Cinderella! Starring Carrie Hope Fletcher, and a phenomenal debut from Ivano Turco, we find that Beauty Has A Price, as we experience a Bad Cinderella like never before! Will Sir Andrew Lloyd Webber, responsible for so many of Danny's favourites on this Podcast, have another Moment of Triumph? Will his winning streak remain Unbreakable? Or will Danny be Unfair and say So Long to Cinderella? Download now to find out our verdict! Music: purple-planet.com
It's the Season Finale Spectacular! Brendan and Maria recount the secrets of their last days on Broadway before the shutdown, looking toward Broadway's return in the near-future! They also talk about the loads of current Broadway news involving Sutton Foster, Debra Messing, Harry Potter, and Sir Andrew Lloyd Webber. Also: an update on Whoopi Goldberg. FOLLOW THE SHOWInstagram: https://www.instagram.com/podcastanewmusical/Twitter: https://twitter.com/podanewmusicalSUPPORT OUR PODCASTBuzzsproutGet your podcast listed on Apple Podcasts and Spotify with the rest of the pros on Buzzsprout. If you choose to try a paid plan, you'll get a $20 Amazon gift card AND you'll support our podcast by joining at this link: https://www.buzzsprout.com/?referrer_id=1605625. The team at Buzzsprout is passionate about helping you succeed!FOLLOW THE HOSTSBrendan's Instagram: https://instagram.com/brendanccallahanMaria's Instagram: https://instagram.com/mariadalanno/Brendan's Twitter: https://twitter.com/b_ccallahanMaria's Twitter: https://twitter.com/mariadalanno_
This week we are blessed and truly highly favoured to have Second City’s very own (and friend of the pod) Brandon Hackett on the show! He’s one of Toronto’s most dynamic and engaging comedians and he gives us a crash course on being a theatre kid, the conception of Webber’s truly wild ideas, and being the odd one out. Brought to you By: The Sonar Network
Bill Deamer is one of Britain's leading choreographers whose extensive training is grounded in ballet, jazz and tap. He is the first-choice go-to choreographer for period choreography. He started his career when, employed as lead dancer in a production of Cabaret in the West End (choreographed and directed by his mentor Dame Gillian Lynne OBE), he was offered an opportunity to choreograph his own version of Cabaret at Salisbury Playhouse. From there he has never looked back… He was reunited with Gillian Lynne when he was invited by Sir Andrew Lloyd Webber and Sir Trevor Nunn to create the new tap choreography for the critically-acclaimed production of Cats at The London Palladium 2014 (which has subsequently run world-wide). Other notable productions include Top Hat (For which Bill won the Olivier Award for Best Choreographer), the 50th Anniversary UK Tour of The Sound of Music, Evita at the Dominion Theatre and the acclaimed Follies at The National Theatre directed by Dominic Cooke, for which Bill was nominated for his third Olivier Award. Bill is also a very successful choreographer for film & television - His keen eye for the camera has served him well, most notably for So You Think You Can Dance, ITV's All Star Musicals and the hit BBC series Strictly Come Dancing, where he continues to contribute featured group professional routines and Charlestons. Throughout his career Bill has also become an expert on Fred Astaire, one of his dance idols. He directed and choreographed the first-ever tribute to Fred at the London Palladium, and has appeared in ITV's Perspectives programme For the Love of Fred Astaire.
Right after graduating from his musical theatre and performance degree from Sheridan college, David became the only amputee to perform on Broadway. For the screen, David has directed and choreographed several series for CBC as well as projects for CBS, NBC, ABC, PBS. David has collaborated with artists including Katy Perry, Sir Andrew Lloyd Webber, Elton John, Sarah Jessica Parker, kd lang, Patti LaBelle, Sarah Brightman and many others. Currently, David Connolly, is the Associate Artistic Director at Drayton Entertainment, one of Canada’s most successful not-for-profit, professional theatre companies. This incredibly exciting and successful career began with the amputation of both of his feet. We will get to that in the episode... David has directed concerts and shows for large organizations across North America such as, The United Nations. What began with Shriner’s hospital turning a broom closet into a nursery because his mom would not take “no” for an answer that they could not care for him, turned into a journey of never taking “no” for an answer. A journey of powerful story telling through the arts that continues to change people’s lives. In this episode we talk about David going to auditions, which he nailed, and never telling anyone about his physical differences. We talk about the power of being present and the simple ‘two step’ approach in how to get there. We talk about how a leader’s job is to limit the fear and discomfort in their group. And of course, lots more in between. https://www.davidwconnolly.com/ Send me an email: info@heroicminds.live
Nathan James, in his own words... The frontman of British hard rock band Inglorious and the man who seems to be Marmite in the rock music world is this week's guest on The Road To Rock... People either love him or hate him.Nathan made a name for himself when he appeared on reality TV show's The Voice and Superstar, which was Sir Andrew Lloyd Webber's search for someone to play Jesus in the UK arena Tour of Jesus Christ Superstar.This led to Nathan touring the USA with the Trans-Siberian Orchestra, performing in The War Of The Worlds stage show and the formation of Inglorious in 2014.Over the years Inglorious have worked hard to make their mark in the rock music world, touring with bands such as The Dead Daisies and Steel Panther and playing the UK's biggest rock festivals, but it's been a rocky road that has come with it's share of drama and scandal.In October 2018, after recording their third album, Ride To Nowhere, both Inglorious guitarists and the bass player all quit the band on the same day.At the time Nathan was touring with Jeff Wayne's War Of The Worlds and was due to go out on tour with Inglorious not long after.An interview was given to Sleaze Roxx criticising Nathan, Inglorious and dismissing the band as 'Nathan's project.' A short time later a youtube video emerged of Nathan lashing out at his former bandmates, which had been leaked from an online chat by one of his colleagues.Nathan later apologised for his comments but the damage was done and his reputation in the music world was in tatters.An onslaught of online hate and abuse ensued which escalated to Nathan receiving death threats. This February Inglorious released their fourth album, We Will Ride, which went to number 1 in the Amazon Hard Rock Chart. I caught up with Nathan for a brutally honest chat about everything that went on with his former bandmates and the reaction he received from fans and the media after it all happened. We discussed how recording this new album socially distanced and with his new line up went and chatted about the pressures he felt performing live on reality TV in Superstar... and what happened after he got kicked off the show! http://inglorious.com/
We reached 10,000 downloads! Thank you to everyone who has been part of this journey so far! As a celebration in honour of this milestone, we thought we would bring you a very special episode covering ITV's All Star Musical! With John Barrowman hosting (swoon!) and Elaine Paige, Trevor Dion Nicholas and Samantha Barks as our judges, we're in for a great night at the musicals! 6 celebrities enter, but only one can leave an All Star! Listen in as we join this elite judging panel; who do we think should have won? What do we think of special guest stars Sir Andrew Lloyd Webber and Carrie Hope Fletcher? How would we turn this one off special into a full fledged series? You'll have to tune in to find out! Music: purple-planet.com
This week Maria and Brendan discuss the masterpiece that is Seussical the Musical and argue over Sir Andrew Lloyd Webber's lyric choices. They also discuss Maria's childhood kangaroo-related trauma, nocturnal sleep schedules, and the ironic nature of life through the lens of the Cat in the Hat. FOLLOW THE SHOWInstagram: https://www.instagram.com/podcastanewmusical/Twitter: https://twitter.com/podanewmusicalSUPPORT OUR PODCAST InstacartStay safe and save yourself that trip to the supermarket — Instacart delivers groceries in as fast as 1 hour! Get free delivery on your first order over $35 and support our podcast by signing up at this link: https://instacart.oloiyb.net/n9Or9BuzzsproutGet your podcast listed on Apple Podcasts and Spotify with the rest of the pros on Buzzsprout. If you choose to try a paid plan, you'll get a $20 Amazon gift card AND you'll support our podcast by joining at this link: https://www.buzzsprout.com/?referrer_id=1605625. The team at Buzzsprout is passionate about helping you succeed!FOLLOW THE HOSTSBrendan's Instagram: https://instagram.com/brendanccallahanMaria's Instagram: https://instagram.com/mariadalanno/Brendan's Twitter: https://twitter.com/b_ccallahanMaria's Twitter: https://twitter.com/mariadalanno_
Donny Osmond has been a singer, actor, triple-threat television series host (talk show, game show, variety show), best-selling author (his autobiography entered the UK bestseller chart at #1), commercial spokesman, motivational speaker, and even a racecar driver. Throughout his illustrious career, Donny has earned 33 gold records; selling over 100 million albums becoming a worldwide music legend. He has made history by celebrating almost 6 decades in show business with the release of his 61st album, One Night Only: a live album accompanied by a DVD of his sold out UK tour in January, 2017. The current Flamingo Las Vegas show with Marie, began back in September 2008 and was originally scheduled to run for six weeks. The audience response was so overwhelming that the Flamingo renamed their showroom, “The Donny & Marie Showroom.” The show ran for an unprecedented eleven years! The Donny and Marie show received many accolades during their run. They've been awarded “Best Show,” "Best Singer,” "Best Band," and "Best Dancers” throughout the years according to the Las Vegas Review Journal. Throughout his career, Donny has notably entertained a vast array of audiences with his varied career choices. He has starred on Broadway as Gaston in Disney’s Beauty and the Beast; hosted two television series on British network television; and performed at the Concert for Diana, seen worldwide by more than two billion viewers. The critically acclaimed song Captain Li Shang’s “I’ll Make a Man Out of You” from the Disney film “Mulan” was sung by Donny. The song and Donny’s singing of it received accolades from around the globe and ranks as one of the most popular and enduring Disney tunes of all time. 2008 marked the 50th year celebration of the Osmond Family in entertainment. The entire family made a historic appearance on Oprah, which set a daytime ratings record and made Oprah’s list of Top Ten Best Celebrity Moments. The family then toured the UK, Australia, and Asia for the first time in 27 years to sell-out crowds. In 2009, Donny was crowned Dancing with the Stars champion for season nine (the show garnered 37 million viewers weekly). One of Donny’s most notable appearances was his starring role as Joseph in Sir Andrew Lloyd Webber's Joseph and the Amazing Technicolor Dreamcoat, which broke records during its six-year run with more than 2,000 performances in the US and Canada. In 2013 he launched Donny Osmond Home, a home furnishings line that marks the first time he’s ever collaborated with his wife Debbie professionally. It is available on sites like Wayfair, Target, Home Depot, Amazon, RC Willey, to name a few, as well as retail outlets all across North America. In Spring of 2018, Donny wrote a customized video birthday e-card for American Greetings with more than 1,000 names to choose from. Donny does the honors by dancing and singing his way through a fun birthday song customized for whomever you choose. People of all ages have been blown away by the personalized (and hilarious!) wishes in which Donny actually sings their name and age for a truly unique birthday greeting. In August of 2018, Donny collaborated with rapper Lil Yachty for Chef Boyardee's highly successful, vintage-style commercial. This unlikely pairing proves Donny's philosophy that sometimes you need to think outside to box to score a lasting impression. Judging from the public's reactions, Donny and Yachty wrote the perfect hip-hop jingle that expertly positions Chef Boyardee to all ages. Donny’s multi-generational worldwide fan base is reflected in the 100 million plus annual hits on his official website, Donny.com, and social media sites. Donny also just announced his return to Las Vegas and the Caesars Entertainment family with his first-ever solo multi-year residency inside Harrah’s Showroom at Harrah’s Las Vegas, opening Tuesday, Aug. 31, 2021. Donny and Debbie, his wife of 40 years, have five children and ten grandchildren.
We are closing up the starring role of Yaakov Avinu (Jacob), and now shifting to his second youngest son — Yosef (Joseph, of Technicolor Dreamcoat fame of course!!!) When Yosef is introduced, he is the youngest brother of all of Yaakov's wives' children. Yosef is said to have spent his time with the children of Bilhah and Zilpah (Yaakov's 2 handmaidens, not quite at the level of full wives like Rachel and Leah). Why mention who he hangs out with? Wouldn't a “Yosef was friends with his brothers” do the trick? There are 3 most common explanations that greatly differ, but the one I like best is from Rashi. Rashi, Rabbi Shlomo Yitzchaki, explains that Yosef spent more time with the sons of Bilhah and Zilpah because the sons of Leah (again, Yaakov's other “main wife” besides Rachel) spurned these sons of “lesser” wives, and so Yosef went out of his way to befriend them. Ugh this interpretation warms my soul. Have you ever watched a show or movie where a pariah-type, outcast character is introduced? Someone who is clearly being put up to provide some sort of foil for the beautiful, charming main character? Most of the time, the beautiful and charming main character doesn't do what I want them to when they see the outcast being bullied or mistreated. I want them to stand up for the outcast!! Use their high status to raise the lower. It so rarely happens, but when the beautiful and charming main character DOES treat the outcast well at their own risk, firstly I am so happy, but secondly, their beauty and charm is multiplied by tons. At least to me! Yosef is SUCH a beautiful and charming main character and I really love this mental image of him being friends with Bilhah and Zilpah's sons. Yaakov really loves Yosef, like almost too much. Yaakov likes Yosef best for a number of reasons — Yosef is a child in Yaakov's old age, and Yosef is his only son so far from his favorite wife Rachel. So Yaakov makes Yosef a fine tunic (כתונת פסים / ketonet passim). This is of course is the Technicolor Dreamcoat from the musical retelling of Yosef's story (Joseph and the Amazing Technicolor Dreamcoat, by Sir Andrew Lloyd Webber). Yosef's brothers aren't too crazy about him, though. He tells on them when they're acting up, he gets a fancy coat, a musical by Andrew Lloyd Webber, and on top of all that, he also shares his prophetic dreams. These dreams, though eventually proven, aren't very complimentary for the future of his siblings. One day, when Yosef is sent to check on his brothers, they decide to do away with him once and for all. They throw him in a pit but then change their minds when they see a caravan of Yishmaelim (Ishmaelites), tradesmen heading toward Egypt (Mitzrayim) and decide to sell him as a slave. The Torah specifically mentions that the tradesmen were carrying spices, balms, and lotus. Why? Doesn't seem like the most relevant usage of words, and as we discuss, the Torah never uses even an extraneous letter. Rashi comments this is the reward of the righteous. Usually tradesmen in these areas would only carry tar or bad-smelling oils, but because Yosef was a tzadik, it was arranged that the caravan taking Yosef would have only beautiful smells. For full text, email me at shirajkaplan@gmail.com or join my email list here. And to watch Joseph and the Amazing Technicolor Dreamcoat :) --- Support this podcast: https://anchor.fm/shira-kaplan/support
SHOWS: The Lion King, Evita, Jesus Christ Superstar "Don't Cry For Me Argentina," "A Whole New World," "Can You Feel The Love Tonight," and many more all sprung from the mind of today's guest, lyricist Sir Tim Rice, whose credits include Joseph and the Amazing Technicolor Dreamcoat, Jesus Christ Superstar, Blondel, Evita, Chess, Beauty and the Beast, Aladdin, The Lion King, Aida, and many more. Sir Tim pulls back the curtain on his career to discuss how he first met Sir Andrew Lloyd Webber, what it was like working for Disney during its Golden Age, and why he started his very own podcast, Get Onto My Cloud: The Tim Rice Podcast. Also, Sir Tim shines the spotlight on Howard Ashman, Patti LuPone, and Hal Prince! Become a sponsor of Behind The Curtain and get early access to interviews, private playlists, and advance knowledge of future guests so you can ask the legends your own questions. Go to: http://bit.ly/2i7nWC4 Learn more about your ad choices. Visit megaphone.fm/adchoices
A South African / Angolan film is #1 on NETFLIX,MARIAH CAREY to set to lighten the Christmas Spirit this year,SIR ANDREW LLOYD WEBBER loves WAP. JABRONI is officially a word and a HOLLYWOOD star passes away too soon. SA/ANGOLAN movie is #1 on NETFLIX · SIR ANDREW LLOYD WEBBER loves WAP · JABRONI is officially a word · Website
Solid Gold Podcasts #BeHeard — A South African / Angolan film is #1 on NETFLIX,MARIAH CAREY to set to lighten the Christmas Spirit this year,SIR ANDREW LLOYD WEBBER loves WAP. JABRONI is officially a word and a HOLLYWOOD star passes away too soon. SA/ANGOLAN movie is #1 on NETFLIX · SIR ANDREW LLOYD WEBBER loves WAP · JABRONI is officially a word
Spirit, Song and Sin City with David Villella The arts have been absolutely decimated by COVID-19, or since “Ms. Corona came to the party”, as Broadway alum David Villella says. David’s long-tenured stint at Vegas! The Show was abruptly paused due to the pandemic with no return date in sight, which is the devastating case for so many artists, technicians and staff whose livelihood is dependent on an industry that relies on people gathering. In this episode we learn how gratitude is what is keeping David going through these deeply uncertain times, how art is a creative collaboration with spirit and a way to channel the divine through performance, how visioning himself on a Broadway stage with Bernadette Peters came to be, and how the temptations of Sin City became the catalyst to stepping fully into his spiritual life. Bio: David Villella is from Trenton, New Jersey and graduated from Ithaca College where he studied musical theater. He performed on Broadway in the original cast of the Tony Award winning revival of Annie Get Your Gun starring Bernadette Peters and later, Reba McEntire. Villella spent a year in Hamburg, Germany and toured the United States for another year as “Rum Tum Tugger” in Sir Andrew Lloyd Webber's Cats. He has performed at a variety of other venues ranging from theme parks like Busch Gardens to Carousel Dinner Theatre and cruise ships such as Royal Caribbean’s Nordic Empress and Legend of the Seas. Youtube: https://www.youtube.com/user/Davidvillella Learn more about Chelley and lighthouse/haven and receive the 5 Signs You're Having a Spiritual Awakening: www.chelleycanales.com/5signsofawakening
One of the world’s elite jazz pianists Stefano Bollani joins Tim to talk about music innovation, artistry, and his most recent project, “Piano Variations on Jesus Christ Superstar.” Get inside the mind of a creative improvisationist through a very relaxed and fun conversation. https://traffic.libsyn.com/secure/shapingopinion/Stefano_Bollani_Jesus_Christ_Superstar_auphonic.mp3 Stefano Bollani started learning to play the piano when he was just six years old. By the time he turned 15, he made his professional debut. He would later graduate from a conservatory in Florence in 1993, and would begin his journey to become one of the leading music artists in the world. He’s played before audiences from Rome and London, to New York and Paris. He’s collaborated with the likes of Richard Galliano, Bill Frisell, Phil Woods, Pat Metheny and Chick Corea. While Stefano is a leading jazz pianist, he’s not limited to jazz. He’s performed as a soloist and with symphony orchestras in Amsterdam, Toronto and other cities. In this episode, we have a relaxed conversation on what it’s like to perform and create at the highest of levels. In the process, we talk about why he was so captivated with the rock opera “Jesus Christ Superstar,” and his admiration for Sir Andrew Lloyd Webber and Tim Rice. Our Gratitude To Stefano Bollani for allowing us to use tracks in this episode from his album, "Piano Variations on Jesus Christ Superstar." Don Lucoff of DL Media Music for arranging this interview. Links Stefano Bollani (Website) Review of Stefano Bollani's Jesus Christ Superstar Album, London Jazz News CD Review: Stefano Bollani - Piano Variations on Jesus Christ Superstar, Jazz Blues News Stefano Bollani's Variations on Jesus Christ Superstar Review, The Guardian About this Episode’s Guest Stefano Bollani Stefano Bollani began studying piano at the age of 6 and made his professional debut at 15. After graduating from a conservatory in Florence in 1993 – and a brief experience as a session musician in the pop world with Raf and Jovanotti among others – he established himself in jazz, playing on stages such as the Town Hall in New York, the Barbican in London, the La Scala in Milan, the Salle Pleyel in Paris. The collaboration, which began in 1996 and never stopped, with Enrico Rava,is fundamental, alongside which he holds hundreds of concerts and records 13 records. The most recent: Tati (2005), The Third Man (2007) and New York Days (2008). Throughout his career he collaborated with musicians such as Richard Galliano, Bill Frisell, Gato Barbieri, Sol Gabetta, Phil Woods, Lee Konitz, Pat Metheny and Chick Corea,with whom he released the live album Orvieto (2011). In 1998 he led the group L'Orchestra del Titanic and pays homage to the Italian music of the 30s and 40s with Lower your radio,disco-show to which collaborate among others Elio, Peppe Servillo, Marco Parente, Barbara Casini, Roberto Gatto. Particularly out of the canons are works such as La gnosi dei fanfole, together with the singer-songwriter Massimo Altomare on lyrics by Fosco Maraini (1998), Cantata dei Pastori Immobili, Musical Oratory for four voices, made on lyrics by David Riondino (2004) and the record of Scandinavian songs Gleda (2005). He is the artistic producer and arranger of Bobo Rondelli's Desperate Drunken Intellectuals (2002), for which he won the Ciampi award. Between 2002 2006 he recorded four albums for the French Label Bleu: Les Fleures Bleues, Smat Smat, Concertone and The Visionaries. 2006 is also the year of Piano Solo (album of the year for "Jazz Music"). In 2007 BollaniCariocawas released in Rio De Janeiro. In December he is the second musician, after Antonio Carlos Jobim,to play a grand piano in a favela and later, in the following years, collaborates assiduously with Brazilian musicians such as Hamilton De Holanda, Chico Buarque, Caetano Veloso, Egberto Gismonti.
One of the world's elite jazz pianists Stefano Bollani joins Tim to talk about music innovation, artistry, and his most recent project, “Piano Variations on Jesus Christ Superstar.” Get inside the mind of a creative improvisationist through a very relaxed and fun conversation. https://traffic.libsyn.com/secure/shapingopinion/Stefano_Bollani_Jesus_Christ_Superstar_auphonic.mp3 Stefano Bollani started learning to play the piano when he was just six years old. By the time he turned 15, he made his professional debut. He would later graduate from a conservatory in Florence in 1993, and would begin his journey to become one of the leading music artists in the world. He's played before audiences from Rome and London, to New York and Paris. He's collaborated with the likes of Richard Galliano, Bill Frisell, Phil Woods, Pat Metheny and Chick Corea. While Stefano is a leading jazz pianist, he's not limited to jazz. He's performed as a soloist and with symphony orchestras in Amsterdam, Toronto and other cities. In this episode, we have a relaxed conversation on what it's like to perform and create at the highest of levels. In the process, we talk about why he was so captivated with the rock opera “Jesus Christ Superstar,” and his admiration for Sir Andrew Lloyd Webber and Tim Rice. Our Gratitude To Stefano Bollani for allowing us to use tracks in this episode from his album, "Piano Variations on Jesus Christ Superstar." Don Lucoff of DL Media Music for arranging this interview. Links Stefano Bollani (Website) Review of Stefano Bollani's Jesus Christ Superstar Album, London Jazz News CD Review: Stefano Bollani - Piano Variations on Jesus Christ Superstar, Jazz Blues News Stefano Bollani's Variations on Jesus Christ Superstar Review, The Guardian About this Episode's Guest Stefano Bollani Stefano Bollani began studying piano at the age of 6 and made his professional debut at 15. After graduating from a conservatory in Florence in 1993 – and a brief experience as a session musician in the pop world with Raf and Jovanotti among others – he established himself in jazz, playing on stages such as the Town Hall in New York, the Barbican in London, the La Scala in Milan, the Salle Pleyel in Paris. The collaboration, which began in 1996 and never stopped, with Enrico Rava,is fundamental, alongside which he holds hundreds of concerts and records 13 records. The most recent: Tati (2005), The Third Man (2007) and New York Days (2008). Throughout his career he collaborated with musicians such as Richard Galliano, Bill Frisell, Gato Barbieri, Sol Gabetta, Phil Woods, Lee Konitz, Pat Metheny and Chick Corea,with whom he released the live album Orvieto (2011). In 1998 he led the group L'Orchestra del Titanic and pays homage to the Italian music of the 30s and 40s with Lower your radio,disco-show to which collaborate among others Elio, Peppe Servillo, Marco Parente, Barbara Casini, Roberto Gatto. Particularly out of the canons are works such as La gnosi dei fanfole, together with the singer-songwriter Massimo Altomare on lyrics by Fosco Maraini (1998), Cantata dei Pastori Immobili, Musical Oratory for four voices, made on lyrics by David Riondino (2004) and the record of Scandinavian songs Gleda (2005). He is the artistic producer and arranger of Bobo Rondelli's Desperate Drunken Intellectuals (2002), for which he won the Ciampi award. Between 2002 2006 he recorded four albums for the French Label Bleu: Les Fleures Bleues, Smat Smat, Concertone and The Visionaries. 2006 is also the year of Piano Solo (album of the year for "Jazz Music"). In 2007 BollaniCariocawas released in Rio De Janeiro. In December he is the second musician, after Antonio Carlos Jobim,to play a grand piano in a favela and later, in the following years, collaborates assiduously with Brazilian musicians such as Hamilton De Holanda, Chico Buarque, Caetano Veloso, Egberto Gismonti.
This week we are taking on one of the true titans of musical theater: Sir Andrew Lloyd Webber. Aspects of Love was a smash success in the West End, but Broadway audiences did not fall in love with this 1990 show the same way as their British counterparts. Tune in for everything from 90s album art to a salute to Captain Tom.
Bill Deamer is one of Britain's leading choreographers whose extensive training is grounded in ballet, jazz and tap. He is the first-choice go-to choreographer for period choreography.He started his career when, employed as lead dancer in a production of Cabaret in the West End (choreographed and directed by his mentor Dame Gillian Lynne OBE), he was offered an opportunity to choreograph his own version of Cabaret at Salisbury Playhouse. From there he has never looked back… He was reunited with Gillian Lynne when he was invited by Sir Andrew Lloyd Webber and Sir Trevor Nunn to create the new tap choreography for the critically-acclaimed production of Cats at The London Palladium in 2014 (which has subsequently run world-wide). Other notable productions include The Boy Friend (Menier Chocolate Factory), Top Hat (For which Bill won the Olivier Award for Best Choreographer), the 50th Anniversary UK Tour of The Sound of Music, Evita at the Dominion Theatre, UK/European revival Saturday Night Fever and the acclaimed Follies at The National Theatre directed by Dominic Cooke, for which Bill was nominated for his third Olivier Award. Bill is also a very successful choreographer for film & television – His keen eye for the camera has served him well, most notably for So You Think You Can Dance, ITV's All Star Musicals and the hit BBC series Strictly Come Dancing, where he continues to contribute featured group professional routines and Charlestons.Throughout his career Bill has also become an expert on Fred Astaire, one of his dance idols. He directed and choreographed the first-ever tribute to Fred at the London Palladium, and has appeared in ITV Perspectives programme For the Love of Fred Astaire.
In this week’s episode, we amplify the voice of Sidonie Smith. Sidonie is an international leading lady, as well as a violinist and speaker. A multi-lingual artist, she has graced stages all around the world over the past 10 years performing in both English and German. Most recently, she welcomed the reprise of one of her most celebrated roles— Mary Magdalene in Jesus Christ Superstar on the historic Roten Tor stage in Munich. Previous to that Sidonie starred in Switzerland’s Premier run of Sister Act the musical as Deloris van Cartier—a role that she is thrilled to now have embodied in three countries. Sidonie has performed in such well-known large- scale shows as: The Bodyguard (Rachel and Nicki Marron), Jekyll & Hyde (Lucy, Germany), Legally Blonde (Pilar, Austrian Premier), Sister Act (Deloris, Germany, Austrian Premier, Switzerland Premier), AIDA (Aida, Germany), Cabaret (Sally Bowles, Germany) The Bridges of Madison County (Marian, German Premier), Sweeney Todd (Johanna, as the first woman of color to play the role in Germany), Jesus Christ Superstar (Mary Magdalene, Germany), RENT (Maureen, Germany), Little Shop of Horrors (Chiffon, European Tour), Buddy: The Buddy Holly Story Germany), and Love Never Dies (Austria, lauded by Sir Andrew Lloyd Webber as the best version of the production he had ever seen). Sidonie's unique talent of playing viola/violin and harmonizing with herself vocally has landed her on many stages of the world, including Broadway and the West End, doing concerts with composers like Scott Alan as well as Oscar/Tony/Grammy award-winning duo Pasek & Paul. Sidonie is also a composer herself, and conducted her first orchestral work, Genesis, as it saw its premier performance when she was just 17 years old. She has since composed for such charitable organizations as: Where Every Child's A Star. Sidonie more recently has turned her talent to arrangement, and you can see many of her original arrangements on YouTube, where videos she arranged have garnered well over 36 million views. Offstage, Sidonie is most proud of her work as a Mindset Mastery and Social Media Mentor coach for performers, supporting them practically in their pursuits to become the strongest versions of themselves— mind, spirit, and body. Her transformational coaching courses guide artists to heal their hearts in order to create great art. In this episode, Sidonie sets the stage into her journey into theater and how bolding taking advantage of open doors placed her center stage in some of the biggest roles in her career. We unpack what it’s like being a multi-talented black creative artist in this arena, and how she is holding space for fellow artists to bravely move into their creative passions. What you'll learn: The opportunity of a lifetime that catapulted her into international theatre. Her personal experience as a black woman breaking into the world of acting & theatre. How your own daring to be excellent as a Black creative is a form of protest Favorite roles pursued in her career. Her latest endeavor as a mindset coach devoted to empowering creatives to follow their passion and authentically connect with their audience. What's next for Sidonie and her brand? [music: "Fly" by Makaih Beats] CONNECT WITH: SidonieSmith Instagram: https://www.instagram.com/__.sidonie.__/ Website: https://www.sidoniesmith.com/ ...................................................................................................................... Are you ready to start your very own podcast? Check out our 70+ page comprehensive guide that walks you through every step to get your show launched and ready for the world. We’ve taken our professional knowledge and experience in strategy, recording, editing and presenting into this comprehensive guide so you don’t have to spend months making mistakes you can avoid before you get started. Receive full-on support ranging from mindset shifting, content development, technical setup, recording & editing, and ongoing (strategies) after launch. Let's take you from dreaming to streaming so that you can powerfully share your message while achieving your next level of success. Get your copy at: https://gum.co/launchpad-ebook This site contains affiliate links to products. We may receive a commission for purchases made through these links at no additional cost to you. OUR NARRATIVE FROM OUR PERSPECTIVE! Connect with us Click Here To Join The Melanated Conversations Collective Facebook: https://www.facebook.com/melanatedconvos/ Twitter: https://twitter.com/melanatedconvos Instagram: https://www.instagram.com/melanatedconvos/ DON’T MISS AN EPISODE OF MELANATED CONVERSATIONS! Click here to subscribe to us on Apple Podcasts. Click here to subscribe to us on Stitcher. Click here to subscribe to us on Spotify. Click here to subscribe to us on Google Podcasts. LOVE THIS EPISODE? PLEASE CLICK HERE TO LEAVE US A REVIEW ON APPLE PODCASTS! [music: "Fly" by Makaih Beats
Episodio especial con Mauricio Martinez, cantante y actor, quien actualmente reside en Nueva York y participa en Broadway en el musical biográfico de Sir Andrew Lloyd Webber llamado “Unmasked”. Mauricio es un referente de los musicales en México y un orgullo para nuestro país. @eltanktrivias_ @javierleuchter @gabbyfaure @soyrebeo @armandoguajardo @las5podcast
We didn't think we'd be doing this! Join us for a very special bonus episode during what has become our "Phantom of the Opera Week"; Does our love for this franchise never die? Just what has Sir Andrew Lloyd Webber done with our beloved cast of characters?
Listen in to Episode One of the podcast, as we watch and talk about the history of Sir Andrew Lloyd Webber's 'Joseph and the Amazing Technicolour Dreamcoat'!
In this episode, we explore our first online offering, this one being the production of "One Man, Two Guvnors" from the UK's National Theatre. In it, Easy starts changing the format to Q&A, The Critic wants to make sure you get the spelling right, and we are clearly out of practice. Damn you, Covid-19! Go here to watch "One Man, Two Guvnors" and all those that follow.nationaltheatre.org.ukAlso, Sir Andrew Lloyd Webber is broadcasting his shows on a YouTube channel here: https://www.youtube.com/channel/UCdmPjhKMaXNNeCr1FjuMvagHere's Sir Andrew's awesome plea for us to be safe: https://twitter.com/i/status/1245018777823129601Hopefully this Google Doc will be able to be updated soon (although it will still be despicable): https://bit.ly/2YAKIEY
In this episode, we explore our first online offering, this one being the production of "One Man, Two Guvnors" from the UK's National Theatre. In it, Easy starts changing the format to Q&A, The Critic wants to make sure you get the spelling right, and we are clearly out of practice. Damn you, Covid-19! Go here to watch "One Man, Two Guvnors" and all those that follow.nationaltheatre.org.ukAlso, Sir Andrew Lloyd Webber is broadcasting his shows on a YouTube channel here: https://www.youtube.com/channel/UCdmPjhKMaXNNeCr1FjuMvagHere's Sir Andrew's awesome plea for us to be safe: https://twitter.com/i/status/1245018777823129601Hopefully this Google Doc will be able to be updated soon (although it will still be despicable): https://bit.ly/2YAKIEY
The world has changed overnight. Things that only happen in the movies are playing out right before our eyes and it’s pretty surreal knowing we’re going through a major historical event. As COVID-19 continues to be a big, giant butt hole, humanity has had to learn a lot of new techniques to cope, especially when it comes to quarantine. Looking on the bright side is one of them. For instance, this pandemic may be horrible, but at least we’ve got something of our own now that we can throw in the faces of future generations like our forefathers have in the past. “Boy, you don’t know how good you got it. Back in my day, they forced us to stay indoors … in the air conditionin’ … told us we couldn’t work for weeks and all we had to occupy us was eatin’ tater chips and layin’ around in our pajamas all day watchin’ Netflix and postin’ self-righteous memes on the Facebook!” But for me, and maybe for you as well, I’ve found that finding stuff to keep myself entertained has brought me back to some things in my life I’ve neglected, namely my absolute passion for Sir Andrew Lloyd Webber’s adaptation of The Phantom Of The Opera. And that’s what this episode is about - My life with The Phantom. I’m Michael Blackston. Join me as we open an enormous theatrical curtain on my Funny Messy Life. _________________________ I grew up singing for audiences, and not just normal kid songs, either - songs like I’ve Been Working On The Railroad, Twinkle Twinkle Little Star, or I Like Big Butts And I Cannot Lie. No, while my first official solo at age five was called, Dead Eye Dick, I quickly graduated to fancier numbers like, The Rainbow Connection and Tomorrow from ANNIE. Then I pulled out the big guns. I think I was eight when I performed Memory from CATS in a competition and I would have won first place if the judges hadn’t been such push overs and gave the win to a little girl who turned a bunch of schoolyard flips to music and called herself a “tumbler”, Halfway through her act, she did something wrong, got scared and ran off the stage, and was eventually coaxed back on. I sang flawlessly, but got second place behind tumble girl. I deserved first place and I know it because my mom and my grandmother told me so. But I’m not bitter. Anyway, singing Memory was the first time I was exposed to the magic of Sir Andrew Lloyd Webber. He composed CATS and would eventually become my hero as I started writing plays and musicals. Jump forward into my teens. Fifteen to be exact. My step-father took my mother and I to New York City for the Macy’s Thanksgiving Day Parade. During the trip, my mother thought she’d surprise me with a night on Broadway - the Winter Garden Theatre, which was home to CATS. She thought I’d be elated, but alas, I was not. I was fifteen and my interests had temporarily changed from singing and performing to hunting and fishing and being the most obnoxious redneck I could possibly be. I told her I didn’t want to go see a bunch of dudes wearing tights dancing around like a bunch of sissies. I wanted to stay at the hotel while they went to the show. Mama calmly told me that the tickets had already been purchased and I would love it and I was going and if I argued about it again, she would throw me right into the Hudson river. So I went and it was magical. It changed my mind about theatre right then and my world went from wanting to fish in the rain to wanting to sing in the rain. Not long after that trip, my step-father surprised us again with a package of tickets at the Fabulous Fox Theatre in Atlanta. The shows included: The Buddy Holly Story, Annie, CATS again, and The Phantom Of The Opera. This time I WAS excited, but I didn’t know just how affected I would be after seeing Phantom. I think the finale scene where The Phantom is holding Christine’s dress and she rides away in a boat with Raoul and The Phantom wails in despair, “It’s over now - the music of the night” … that moment might have been the first time I cried at a show. It still gets me every time I hear it. It’s my favorite moment in the play because when the actor playing Erik - that’s The Phantom’s name - gets it right, it’ll tear out your heart and leaving you bleeding in the mezzanine … or the orchestra seats if you spent the big bucks. From that moment on, everything was POTO, which is what cool Phans sometimes call it and is easier to keep typing out instead of Phantom Of The Opera. Phans, by the way and in this case, is correctly spelled with a PH. First, I went out and bought the original London cast soundtrack with Michael Crawford and Sarah Brightman. I learned it note for note and walked around everywhere singing it. There was a used bookstore in town and one afternoon I found a large paperback that not only went into detail about the creation of the show, but had a step by step photo diagram of The Phantom’s makeup application and in the back was the full libretto. When that book caught my eye, I probably screamed like a fan girl, maybe cried a little, and held the book to my chest like it was an original manuscript of the Bible. You couldn’t have plucked it away from me if the entire female portion of the cast of CATS was just outside the window in their skin tight leotards, grinding away to Mr. Mistopholes. I read that book cover to cover several times before lending it to a friend who never gave it back. I should have known better. In fact, let me jot ordering it again right onto my to-do list while I’m thinking about it. For most of my adulthood, you could count on three loves in my life behind God and family. Those were Theatre in general, University of Georgia Football, and POTO. I needed nothing else. I had my Phantom picture frame, I had my official mask I bought from The Really Useful Group that wasn’t exact;y right had too much shine, but I didn’t care. I had my two revues that I performed Phantom numbers in wearing said mask … I was happy. I dressed as The Phantom every single Halloween until I overheard someone say, “Here comes Michael dressed as The Phantom - again.” After that I gave it a year off, then dressed as The Phantom the next Halloween. There’s something about becoming that character for lovers of the musical that inspires passion and intensity. I never felt that way dressed as Dracula or Batman or a Hooters girl. But there was a time that I lost my way. I had one kid, then another. I started writing plays and novels and became all consumed with those endeavors until Phantom slowly faded into the rest of the craziness around me.Instead of being a beacon lighting the path to a happy place, it was just another boat lost in the rocky sea of my life. Then the pandemic hit and suddenly I was finding extra hours that needed filling. Actually, two things happened. The pandemic, yeah, but I also finished my second novel and began my current project, which is finishing my own musical. I started composing and needed something special in the way of inspiration. One night, right at the beginning of when everyone was being told to stay home and only poke your head out the door to see how cold it is or if we’re going to have six more weeks of COVID, I saw my hero - Sir Andrew Lloyd Webber - videoing himself from quarantine, playing All I Ask Of You from Phantom. I couldn’t believe it. I was getting to see the man perform his own work from his home on his piano. It was one of the dearest things I’d ever experienced and suddenly the light was back, beckoning me to my own piano. Since this reawakening, I’ve made more progress on my show than I ever have. I joined a group on Facebook for Phantom lovers and everyone there has been amazing and helps to keep my creative juices flowing. I don’t know, I guess everyone has that one specific thing. I have other loves in my life. I can’t seem to stop watching The Office from end to end, then starting right back over again. And there are plenty of other things too, but there’s something special about The Phantom. His deep, consuming love for Christine. His secret lair on the lake beneath the Paris Opera House - a lake that really does exist. The gothic, hauntingly beautiful melodies that pierce you to the marrow from the moment the main theme erupts at the beginning of the show when the mountain of a chandelier begins to rise from the stage and hovers ominously and foreboding above the audience. The knowledge that the time will come when that chandelier will come crashing down, making good on the deadly promises of The Phantom. It’s all a perfect experience that takes you in and makes you want to be there … to really be there. So while this episode wasn’t necessarily very funny or messy, it does represent an integral part of my life. I plan to hold tightly to The Phantom from now on, because I never want it to be over - the music of the night. If you enjoyed this episode, there’s a lot more you can listen to and hopefully a lot more to come. All you have to do is subscribe. Most folks do that via Apple podcasts, but it’s available wherever you listen to your podcasts and you can even subscribe at the website, funnymessy.com. Maybe you have a Phantom or theatre story of your own … I’d truly love to hear it and we can be pals. You can get in touch with me at the website in the comments sections of the blog, from the contact page, or if you’d prefer to email me, it’s funnymessylife@gmail.com.
Folge 59: 2 tun 2 Reisen tun (WhatsApp 2) Holland, Norwegen, Schönheitsoperationen, Schiffe, Entführungen, Königskrabben, Drogen, Trolle, Sean Penn, Klippfisch, Polartaufen, Klimawandel und natürlich Sir Andrew Lloyd Webber kommen alle in unserer bisher nördlichsten und gefährlichsten Folge vor.
Eugenio Vargas, DM Jazzy Hands from @dndlastrefuge podcast, joins us to talk about Sir Andrew Lloyd Webber's bio musical Evita! The drama! The intrigue! The concept album!!! And Hermione Gingold?! Take a listen for that LAST reference.
This week things get even hotter than ever, for example In Jupiter the stage version of West Side Story, Palm Beach Gardens entertains a special evening of music featuring the music of 3 English Artists who were knighted by the Queen of England, Sir Elton John, Sir Paul McCartney & Sir Andrew Lloyd Webber, In Boca Raton see and experience the sensuous flamenco dance, see Flamenco Voices, one of the blues masters comes to Ft. Lauderdale, see Buddy Guy in concert, more music in Lake Park as Satisfaction: The International Rolling Stones Tribute-Paint It Black Tour happens, West Palm Beach welcomes Ballet Palm Beach to the Rinker Playhouse march 25th, Juno Beach celebrates "Turtle Fest", In Lake Worth Love is a Rose: the music of Linda Ronstadt will be one not to miss!Every week it gets better and better, thank you for listening and spreading the word, our innovative short entertainment and cultural podcast has been well received and is spreading quickly. Thank You!If you would like to be featured on BYRDMANSPALMBEACH.com just call 561.504.0814 or email Tim@PalmBeachlwp.com See acast.com/privacy for privacy and opt-out information.
Tracy and Reagan talk about all the things wrong with the Phantom of the Opera sequel Love Never Dies. For some reason, old man Sir Andrew Lloyd Webber decided he needed to make this thing and we decided we needed to see it. Come for the giant, dancing skeletal rat monster, stay for the take down of Christine and Phantom's star-crossed love… Anyway, Tracy doesn't agree with me (even people who are usually right can sometimes be wrong) but there is no way the original musical and this show are in the same continuity. This is alternate universe Phantom, Christine, and Raoul. That's the only way the plot works, Tracy. The only way. (Abusing my synopsis-writing privileges… Mwahahaha…) -Reagan Credits: Opening and closing music: Circus Bender by The Polish Ambassador Positivity Corner music: Oh! By Jingo! by All-Star Trio People Agree With Us music: ¡Qué Paciencia! by Los Sundayers Also, we added a couple clips in post-production that we didn't have planned, so we don't give them credit as they occur, so let's do that now. These are: The audio from the Andrew Lloyd Webber interview, which is from this video, "Andrew Lloyd Webber on Love Never Dies", from the official Love Never Dies YouTube account. The clip of two people intro-ing Love Never Dies is from this Let's Put on a Show episode.
If you asked people to tell you one of the most important things in life, it wouldn’t take long for them to say family. For me, family is a main ingredient in the stew of a happy life and I think you’ll be able to tell by the following three stories that little else comes before it. My sister and I have always been close, even when it came to fisticuffs, as you’ll see, so I think it’s a good idea to tell you some stuff about her. She’s been warned, but I can’t promise she won’t come for me after I finish with the following three stories. My name is Michael - Mr. Blackston if you’re nasty - and this is what I’ve come to know as my Funny, Messy Life. ___________________________ If you’ve listened long enough to this podcast or read the blog, you probably think you have a pretty good bead on me. One thing you may not know about me though, is that I love to cook. Like almost everything I’m interested in, I consider it an art. Baking is no exception, but I don’t dabble in it too much. I tend more toward stuff that can be fried, grilled and fried, or fried and refried to make sure it’s fried enough. My sister, however, is a different story. She’s got skills and that’s why I just ... Let Her Bake Cake I like to give credit where credit is due, especially in the world of the arts. I believe that efforts ought to be lauded, in the good way most of the time. The good way is when you congratulate the artist for a job well done, even if the outcome is ugly but a strong effort was made. The bad way is when something is so ugly, all you can say is, “Oh my Laud!” Unfortunately, for all the praise an artist might receive, the final product is rarely acceptable in their own eyes. I recently lived out this scenario with my sister. As I said, she’s a good cake baker, creating most of the ones that are the centerpieces of our family birthday get-togethers and she never disappoints. Well, that is she never disappoints us. She doesn’t own a cake makery bakery, but everything is created with love. She could run a cake makery bakery and would probably do a booming business, but I think she enjoys the art too much to taint the fun of it with annoying things like agendas and deadlines. Instead, she’d rather bless her family and friends with delicious, moist cakes baked at three in the morning because she put it off till the last minute. And I’m fine with that. What I’m not fine with is her being a complete artist about it. What I’m talking about is the insecurity that comes with being a creative person. I know the feeling. I still have a canvas that’s been sitting on an easel for ten years that only needs my signature to be considered a completed painting. There’s just something I’m not happy with and I’m convinced that if Jesus himself said to me, “Sign it Already, my son”, I would probably ask if he was sure because I’m just not happy with it. Then I would say, "Just kiddin'', and I’d sign it. Then I would try to fist bump with Jesus and he would solemnly shake his head because you don't fist bump with Jesus. Anyway, I know all about insecurity when it comes to artwork. My daughter’s birthday was in mid-April and she wanted a frozen cake. Not a cake that had spent several hours in a freezer; that would have been much easier. No, she wanted a FROZEN-ANNA-ELSA-OLAF-FOR-THE-LOVE-LET-IT-GO cake. My sister was on the case and had something dreamed up all ready to go. She had an idea, researched some stuff for reference, and planned a grandiose spectacle of a cake for my little Ice Princess. As an aside, my daughter was named Merida after the character from Brave and I can’t wait to teach her how to shoot a bow and arrow. Ay’ll beh shootin’ far me oon haahnd, duntcha knoo?! I didn’t think much about the cake as we got ready to trek across the state line to my mom’s house where we were having the party. Imagine my surprise when right before we were about to leave, I get a text message from Steph that says, “CAKE FAIL!” It came with a photo of the early stages of the frosting process, which had apparently gone wrong. It wasn’t anything like the icy flow of fun that was supposed to cascade like a frozen lake over the top and drip like perfect, beautiful ice cycles down the side. Instead it had an Elsa has a very bad cold and has sneezed all over some round, blue object kind of a thing happening. In all honesty, when I looked at the photo she texted me, I had a bad feeling about it. I showed the photo to my wife, she just said, “Oh Laud.” We shared a chuckle and carried on with the business of trying to make a little girl out of the hurricane ball that was terrorizing one of the cats in the corner. We weren’t worried about the cake. Merida wouldn’t care one way or the other as long as she had something sugary she could spread all over her face and hands and store in her diaper for us to discover later. We just wanted it to taste good. Stephanie couldn’t deal with it, however, and we learned this as soon as we walked through the door of my mom’s house. “LOOK AT IT”, she screamed and pointed toward what we considered a fine work of baking and decoration. She’d done well. It looked good and deserved the nice kind of lauding. Yes, I’d seen more magazine worthy work from Steph, but considering what she’d sent a photo of earlier, we thought she’d pulled it off. “What’s wrong with it?” “Did you look at it?!” She hissed. “Yes. Just now and it’s fine. It really looks good.” She’d worked herself up into what we classy southerners call a Tizzy over this cake and was close to pitching what we refined folk call a Hissy Fit. She had in mind something that could be featured in a bridal magazine or Cakes That Really Look Like They Are From The Set Of FROZEN Weekly. “NO! LOOK. AT. IIIITTTT! You’re not looking at it!” she screamed and used a full nelson move to force my face to within centimeters of the cake. All I could think of in that moment was that it’s a good thing Jesus wasn’t standing there saying, “It’s beautiful, my child.” I don’t think she could have handled it. “There’s nothing wrong with the stupid cake!” I screamed back and then told mom on her. “Moooooom, Stephanie’s pickin’ on me about her caaaaake!” I thought it was over, but nay. She smoldered a while and before long the subject was brought up again. One of my aunts was asked her opinion and the reply of, “Oh that turned out nice!” wasn’t what Stephanie wanted to hear. You’ve heard the sayin, “Hell hath no fury like a woman’s corn”, well I say Hell hath no fury like an artist who doesn’t believe you like what they’ve created. Steph drew in a deep breath and the room fell silent, expecting the worst. “WOULD YOU LOOK AT IT?!” No matter how hard we tried to convince my sister that, in all sincerity, it was a nicely decorated cake, she wouldn’t have it. Her mind was made up that the cake authorities would soon be breaking down the door and taking her to answer a few questions in a dim room with only a single light and a metal chair. And because it was a Disney themed cake and she loves The Mouse with all her heart, the interrogator would probably be wearing an ear hat, whether it’s the mouse ears or the Goofy headgear, we have no way of knowing. I can say that I didn’t do myself any favors later by having a little fun at her expense right after we‘d finished shoving grilled meats down our throats and watching my princess tear into her mountain of gifts like a honey badger. I couldn’t help myself and I dare say a bit of little brother justice came out as a form of revenge for the rasslin’ move she'd put on me earlier. “What’s for dessert?” I will neither confirm nor deny whether there was a smart-alecky look on my face when I asked it. “The cake,” mom answered. “I meant what’s for REAL dessert?” I couldn’t help myself. I’d hoped to catch the look on my sister’s face, but she vaulted herself at me from the top of the deck railing and I was rendered unconscious by a karate chop to the back of the neck Ricky Steamboat style. I do vaguely remember hearing, “LOOOOOK AAAAAT IIIIIT!” just before I blacked out. It really was a fine cake. And yes, I know it's "woman scorned.” __________________________ From what I can tell, especially raising a couple of children of my own, siblings tend to be different from one another. My sister and I have plenty of differences between us, but maybe the tie that binds us the closest is that we’re both artists. Steph doesn’t dabble heavily, but she could. When she takes a notion, she can turn out beautiful artwork. In fact there’s a part of me that harkens back to the child I once was - the little brother that always hoped to be as good an artist as his big sister. I guess that’s why she and I still work well together after all these years on certain projects. There’s just one problem ... We Think Too Big The Christmas parade float was finished. Stick a fork in that bad boy, he’s done. My sister and I worked on it for two and a half days and it was a winner in our eyes, especially being the first parade float we’d ever been in charge of creating. I won’t say we were as proud of it as we wanted to be, though. Don’t get me wrong, it’s everything it could have been with the budget we had. But the problem we have with the Christmas parade float for the local theatre was the same problem I have when I build sets for shows I direct at the same local theatre. I want my sets to rival shows on Broadway and I wanted our float to compare to something you’d see cross your television screen Thanksgiving morning. Simply put, I see things in my head bigger than I can make them and my Stephanie’s the same way. Put us together on a project and we dream up things it would take a six figure budget and an enormous crew of helper minions to achieve. This has been an ongoing issue ever since my first fully produced show. It was Sir Andrew Lloyd Webber’s Joseph And The Amazing Technicolor Dreamcoat. My wife and I fell in love with the show early on in our marriage and found ourselves involved with a production. We were cast in smaller roles, but we had big dreams for our own production and were soon approved to stage it in Hartwell, Ga. The cast count was nearly forty and the set, in my over-imaginative brain, was to be one of the most, if not the most, elaborate one ever built there. The problem is that the stage is the size of a postage stamp. And not the big ones either. It was the size of those stamps nobody ever wanted and always got shoved into the junk drawer. Not only would it be a challenge to build what I had in mind because of the limited room, but placing forty people on it would be nearly impossible. Did that stop me? No it did not. I have way too much imagination for anything like logic to have a say in what can be done. That’s why I enlisted the help of my set partner and sister, Stephanie. Did this mean that I would be pairing myself with someone who would be the voice of reason to my Mad Hatter of the Stage mentality? No it did not. What fun would that be? Steph was as insane as I was about trying to fit every little squirt of imagination we could into it. I needed no silly voice of reason; I needed a partner in crime. What we managed on that stage with the amount of people in the cast may have been crowded and the very small wing space may have been ripe with sweat and actor funk, but it was awesome sweat and faaaaabulous actor funk and the audience loved it. There were concessions we had to make though, notably a golden chariot that appears center stage at the end of the show with tall wings that raise and lower to each side majestically at the whim of the stage manager. It was in the plans and we built it. The Broadway show has the chariot intricately layered in gold scales, so of course I designed our chariot in the same fashion and bought the materials which ended up being a crap ton of cardboard, gold spray paint, chicken wire, zip ties, and PVC pipe. I set my sister to work on it and she was excited. She meticulously cut individual scales out of the cardboard, sprayed each one of them gold, hole punched each one of them in the top, then fixed every single one into place in perfect harmony with the others. It. Took. Her. DAYS. And it was FAAAAABULOUS!. So when the time came to set it in place at center stage, we were riddled with anxiety and glee - rich, thick, mind numbing theatre glee. You know what I mean if you’ve ever built set pieces you were proud of. We’d made it light and portable so the crew could get it on and offstage quickly. That’s why we used PVC pipe. And let me interrupt myself to suggest to any future set builders that you can build a sturdy version of almost anything out of PVC pipe. We raised it up and began to lower it into place. And VOILA! It didn’t fit. Oops. My bad. I’d measured wrong somewhere, so in quick decision pro-like director form, I stated the following: “It don’t fit. Scrap the chariot.” Stephanie blinked her eyes at me as if she were trying to clear her vision because obviously she was in some sort of dream where chariots she made don’t fit in their place. “What did you just say?” “Chariot’s too big. We’re losing the chariot,” I crossed to stage left with my nose in the air. If I’d been wearing sunglasses, a turtleneck, and a scarf, I’d have flipped the scarf from one side to the other nonchalantly with directorial swagger. “That chariot. Took. Me. Days.” “We can’t use it.” “We can fix it. I’ll make it work.” “Nope. There’s no time and I need you painting intricate hieroglyphs with mother.” Mom was over at a side stage up on a ladder with a paint brush where I’d erected tall flats (thin walls of canvas with wood frames, for you poor non-theatrey folk) and recreated the entire plot of the play from start to finish in actual Egyptian hieroglyphs. Mom was tasked with painting them. Another side note - Those walls were necessary to create dressing rooms on the side stages because of the small space we had to work with and the sheer number of cast members. There were times during the performances when there was literally five feet separating the front row and a bunch of naked people. Anyhoo, Steph wasn’t happy. She jumped at me screaming, “LOOK AT IT!!” And she hasn’t let it go to this day. Unfortunately, the lessons we’ve learned have only served to enhance our insatiable need to try bigger and bigger things. It broadened our belief that It CAN be done! That made its way to our future productions. While Steph didn’t help with Into The Woods, I still solicited the assistance of another artistic lunatic. While most who put together the set for that particular show are happy with stylized versions of the woods, even opting at times for the charming cardboard cut out trees, I could not see anything but being honest to the title. A woods effect that can be done simply? Not I! The actors must be IN the woods! I knew a business owner nearby who had recently cleared a lot for parking, so I asked for the trees. I then, after obtaining permission from theatre management, bolted actual tree trunks that rose out of sight into the fly space (that’s the rafters for you poor non-theatrey folk). There have been plenty of other sets that went the Michael’s Gone Mad route and I have other artists who help out on occasion. I recall a second production of Joseph at a different theatre when I almost came to my senses and permanently fixed a very heavy set piece to the wall, but opted for my original idea whereas I intended it to raise and lower with a pulley system. My associate, the insane David, said, “It can be done.” He then spent hours crawling dangerously among the support beams in the fly space rigging it up and the piece worked as I’d hoped, although it took half the crew to hoist it. You see, when I begin to develop a plan for a set that I intend to build, I can’t make myself see it on the stage I’ll be working with. Yes, you pious theatre set builders who may read this, I do measure the stage first. But that’s just numbers and I math not so good. My mind has its own stage inside it and that stage will handle anything I can think to throw at it. That’s the stage I do my planning on. And because of that, I’m inevitably disappointed when the final screw is in place and stand back to look at my creation. This float was like that too. Steph and I built it together and we were proud. We stood back and looked at it, complementing each other on a job well done. “Job well done, my sister. I dare say thine skill and determination hath won the day. Victory be in our grasp.” (There were prizes for the top three floats. We didn’t win.) “Abandon not, brother, thine own applause. For thou didst indeed pour forth also upon this mobile creation thy vintage of art’s wine. Thy job, too, is well met.” But I had to admit that it didn’t live up to the float that paraded valiantly past my mind’s eye - with its jubilant spray of color and sound; the one I saw causing children to shout, other floats to cower under a shadow of unworthiness, and parents to point and tell their kids, “There be the example for living up to live up to, me child.” I see that my inner voice has quickly changed from Olde English, reminiscient of Shakespeare, to that of a crusty, sweaty pirate. And Steph agreed with my assessment of the float. We both wondered if we could‘ve done something more. I didn’t mention scrapping it to Steph because I was pretty sure that even though she’s as crazy as me when it comes to this stuff, she’d be tempted to … oh, how does she put it … dot me in the eye. I’ll eventually tell you the story of how she dotted me in the eye in a piece titled, My Sister Dotted Me In The Eye. Now I ponder how to take the Christmas parade float to a higher level next time - a level beyond what’s appropriate to one that is, frankly, ridiculous: A giant helium balloon shaped like the comedy/tragedy masks – It would follow behind the float and would be tethered to twenty children dressed as elves gaily dancing and singing show tunes that mention Christmas. Also, I would insist on hand-stitching the elves’ costumes from reindeer skins. And not reindeer that had been hunted, but reindeer that had died natural deaths from an overdose of Christmas cheer. A dancing kick line - Comprised of local cheerleaders dressed as Mrs. Claus. I figure the cheerleaders are probably already in the parade, so let’s give them a reason to be there. Unfortunately, I can imagine a domino effect if we came to a sudden stop and all the ladies tumbled one by one off the back of the trailer, bowling style, into the group of elves holding the balloon. That’s a reason to think longer on that one. Thought about it. Still wanna do it. A celebrity representative – I know it might seem a bit “pie in the sky” to think I might get a big name like Robert Downey, Jr. or Pat Sajak to star on our float. But Tony Danza might be available. Circus freaks – Who wouldn’t want to see that? The 800 lb belly dancer, the tiny lady covered completely in tattoos, the pygmy prince who jump ropes through the enormous holes in his earlobes. That’s what I call entertainment! And I’m still playing the soundtrack to The Greatest Showman endlessly on my commutes. Then again, if you want to see that stuff on any given day, all you have to do is walk into a Walmart. In the end, it makes sense to come down to earth and be happy with what we accomplished with our little float. You can’t have it all, even if you believe there’s room for one more slice of spectacle pie. You just have to settle yourself down and allow reality to be your guide. I’ll have to be content to let my imagination run wild and pretend I’m surrounded by tall buildings, large balloons, and choruses of singers from Broadway shows. And waiting there at the end of the line might be someone famous to interview me. Perhaps Pat Sajak. I know, I know. I think too big. __________________________ My son is nine years older than my daughter. We had hoped that the age difference might diffuse some of the obligatory fighting that goes on between siblings, but our hopes were dashed in quick fashion. As soon as she could walk and talk, which now feels like only a couple of days after we brought her home from the hospital, the sparring began. My sister and I are closer in age by four years, so there was PLENTY of fighting between us. Steph wasn’t content with pulling hair and tattle-telling. She was a fan of pro wresting at an early age and you better stay out of arms reach of her if she’s just finished watching a Rocky movie. That’s why this last story exists. It’s why ... My Sister Dotted Me In The Eye You know those things that come to be early in life and somehow find a way to have staying power? Silly things like pet names your granddaddy called you or being an idiot. In some cases, those things can last so long that they become a an endearing side note the parties involved can share on occasion and enjoy a good laugh. I used to call you Butt Face. Remember that? I sure do, Grandpa. I sure do. Hahaha. Good times! It’s not always a fun volley of hurtful name calling, though. Sometimes an event gets a title. Let’s use the time my sister dotted me in the eye for example. While you can probably grasp the idea of what physically happened to me from that phrase, you need to know the story behind it. It was a dark and stormy night. A Saturday if I recall correctly. My mother had taken the family somewhere and we were parked outside of my aunt’s house to either put her out or pick her up, if I remember it correctly. If memory serves me right, I was in the ballpark of seven years old and my sister was in the ballpark of twelve. We fought a lot, but if I’m accurate in my recollection, my sister and I had been at each other’s throats more than usual and tensions in the car were heightened, when she said something smark-alecky and I didn’t take it well. Mama wouldn’t have been happy about it and would have warned us multiple times, in that nurturing way mother’s do when they’ve had enough. “Sit down and shut and shut up. I’ve had enough!” It’s important to mention that we probably were standing because in the 1980’s I don’t think seat belts had been invented yet and kids just tumbled to and fro with reckless abandon all about the back seat. You’re a stupid head! You’re a poopy mouth! You’re a butt face! Then mom would have to chime in. Hey! Just because your grandpa calls him that, doesn’t mean you get to. That’s the way it sort of went down, except for the butt face part. My grandpa never called anybody that as far as I can recall. The point is that whatever we were saying got serious and when I’d said one thing too many, my sister, whom I love with all my heart and have built many wonderful and beautiful masterpieces of artistic glory with, hauled off and punched me - not slapped - but full knuckle PUNCHED me right in the eye. I recall that correctly. It didn’t even hurt at first. As anyone who’s ever been punched will probably attest, getting hit isn’t that painful. It’s healing that hurts. The funny thing is that I didn’t realize how hard she’d hit me until I looked in the rear view mirror and saw an enormous bump rising just below my eye socket. She’d made her mark. She’d dotted me in the eye. I don’t know where it came from or when it started that we began calling getting punched in the eye getting DOTTED in the eye, but it seemed to fit, so it stayed. From that moment on, any time there was a mention of a fight or the threat of one, someone would be described as having been dotted in the eye. Over the years, it’s gotten to be a joke between us. I’ll say something joking, but maybe a tad mean, the way brothers do, and she’ll respond with “Ima dotchoo in tha eye.” So I give that to my readers/listeners as a little gift. Don’t make threats of knocking out teeth or laying someone out. Take the road my sister and I have paved for you. Offer to dot them in the eye. That way you can both have a good laugh all the way to the hospital. __________________________ I have stories for days about my sister and me and the stuff we got up to. There was the time she crucified herself - in a manner of speaking, the time we snuck and made a bomb that would have killed us had we set it off in a field like we intended, the time we snuck into the woods and found a monster, the time we snuck into the woods for a game of blind rock chunking with the neighbors ... a million stories and I’m certain they’ll come forth sooner or later. So sis, if you’re getting this, I love you and I can’t wait to create more stories in the years to come.
One might think that the talents behind Downtown Abbey and Phantom of the Opera would be odd choices to make a Broadway musical out of a 2003 comedy starring Jack Black. One would be correct. School of Rock, now on the San Francisco stop of its National Tour, is Julian Fellowes and Sir Andrew Lloyd Webber’s overblown take on that modest film whose charm relied mostly on one’s appreciation of its star. Dewey Finn (Rob Colletti, doing Jack Black-light) has been kicked out of his band, has no visible means of support and is months behind on the rent due his best friend Ned (Matt Bittner). After receiving an ultimatum from Ned’s girlfriend (a shrewish Emily Borromeo) to raise the money or get out, he answers a phone call seeking Ned’s services as a substitute teacher. Since subbing obviously requires no skills at all, Dewey decides he can impersonate Ned and make some quick money. Soon it’s off to the toney Horace Green Academy where Dewey takes charge of an elementary class whose students have one thing in common – their parents all ignore them. When Dewey discovers he’s got a musically gifted group of kids, he hits upon the idea of creating a band and entering them in a competition. How long can he fool the stern headmistress (Lexie Dorsett Sharp, doing Joan Cusack-light) and bring his plan to fruition? Well, almost to the end of the show’s two hour and 40 minute running time, which is about an hour longer than the film took to tell the story, albeit with less music – which isn’t a bad thing. Webber’s score is his least memorable as may be this entire production. The characters are all one dimensional. Every adult comes off poorly (except, of course, Dewey, who is not what one would think of as a role model) with every parent self-absorbed, every educator an idiot and every child a prodigy. The kids are talented musicians – yes, they play their own instruments – but when it comes to acting, not so much. To be fair, they’re on stage a lot, the choreography requires them to jump up and down a great deal, and they spend a fair amount of time moving set pieces. Maybe that’s a lot to ask of a group of pre-teens. The best parts of the show, beyond the kids’ musical performances, are drawn straight from Mike White’s film script. There are laughs, but kids deserve a better School than this. This School simply doesn’t make the grade. 'School of Rock' runs Tuesday through Sunday through July 22 at the SHN Orpheum Theatre in San Francisco. Show times vary. For more information, go to SHNSF.com
TOUCH MEEE! IT’S SO EASY TO LEAVE ME! All alone with the memory, of our days in this MEGA musical season… Hello listeners! This is the final episode in the Broadway Babies’ SUPER MEGAMUSICAL MEGASEASON, and they decided to spend it discussing Jellicle songs for Jellicle Cats! Cats by Sir Andrew Lloyd Webber is the O.G. of MEGAmusicals, and Alex and Daisha thought it wise to end at the beginning. Join them as they discuss the usual ins and outs of the musical, the weird impact Cats had on Blockbuster musicals, and who ACTUALLY deserved to ascend to Heaviside Layer. They also wrap up the season with some final thoughts on the value of MEGAmusicals. Hope you’re cat people...or fans of Michael Jackson’s “Thriller” video, because that’s what you’ve gotta work with on this episode of Broadway Babies! Podcast cover art: David Taylor Twitter: @bwaybabies Facebook: Facebook.com/broadwaybabiespodcast OBC Cast recording: Spotify | Amazon | iTunes Video recording: iTunes | Amazon | Amazon/BroadwayHD Songs: "Prologue: Jellicle Songs for Jellicle Cats" performed by Company “The Rum Tum Tugger” by John Partridge and Company "The Naming of Cats" by Tony Timberlake, Michael Gruber, and Company "Gus: The Theatre Cat" by Tony Timberlake and Susan Jane Tanner "Memory" by Elaine Page and Helen Massey Music by Andrew Lloyd Webber and lyrics by T.S. Eliot Distributed by Really Useful Films Show Notes: BBC’s “The Story of Musicals” has a segment on “Cats,” its production history and its impact on British musical theatre This retrospective by the UK Independent goes into more detail about “Cats’” branding and merchandising impact, as well as its West End and populist legacy Does “Memory” sound at all like the flute bridge solo in “California Dreamin’”? Like Ravel’s “Bolero” ballet movement? Listen and decide for yourself! I always love watching the “Who sang it best?” videos: This one is of the “Memory” climax! A fun read! The source material! The singing voice of Jemima! A side by side a fan did of Casteleyn and Massey performing Jemima Entering the gates of Hell IT WAS BETTY BUCKLEY (start at 7:25 for an example of enviable breath support, or 4:30 for the whole song, which is beautiful!)
Kait and Renata decided that this podcast didn’t have enough musical theater references, so they invited their Jellicle friends Ashley and Stacey to read Sir Andrew Lloyd Webber’s memoir Unmasked. Join us to learn more than we ever wanted to know … Continue reading →
When Sierra Boggess made her Broadway debut in 2008 in the title role of the hit Disney musical 'The Little Mermaid,' she became an overnight not just star, but also idol, role model, sensation even in a way that happens so rarely to person appearing on a Broadway stage for the first time. She, of course, went on to star in the Broadway revival of 'Master Class opposite' Tyne Daily and as Christine Daae in London’s West End production of 'Love Never Dies,' Andrew Lloyd Webber’s sequel to the Phantom of the Opera. I first got to witness the greatness that is Sierra Boggess on stage in last season’s 'It Shoulda Been You'—a show that I found to be so special for a variety of reasons that we’ll get into in this interview. She is currently starring as Rosalee Mullins, the sort of tight lipped, rulsey principal in the brand new Andrew Lloyd Webber musical 'School of Rock'—a show that frequent listeners know that I am completely obsessed with. I love this interview for a lot of reasons. Not the lease of which being that we did the interview in Sierra’s dressing room about 90 minutes prior to an evening performance and I think it really captures the bustle and energy of the backstage of a Broadway theater just before showtime. At one point we’re interrupted—good naturedly—by a stage manager, The charming Alex Brightman makes a small cameo, oh and then there was the moment Sir Andrew Lloyd Webber himself spoke over the PA system. Anyway, Sierra is a force of nature and just as brilliant as you imagine she is. It was so much fun to chat with here. Enjoy our conversation!
Hello! If "Forever Alone" and "Me Gusta" had a baby it would no doubt be a chronic masturbater... Speaking of the internets in this Fir-Internet Day episode I discuss: V-Sauce: Is your red the same as mine?, College Humour, A TED Talk and a Big Think involving Monkeys, robots, and our brains in the cloud..., Kevin Pollak's Chat Show with Guest Josh Gad, and Comedy Bang Bang with guests Sir Andrew Lloyd Webber and Sir Weird Al Yankovic.
www.DogCastRadio.comSarah Hodgson is the author of Dog Tricks & Agility For Dummies. As well as being a prolific author, Sarah is a columnist, media personality and inventor, she talks about how simple, natural canine behaviours can be taught on command and developed. Flyball is a fast and furious dog sport, involving teams of four dogs racing over four jumps to collect tennis balls. The DogCast Radio team went along to a training session with the Carry Ons flyball team and found out exactly what flyball entails, what sort of dogs it suits, and how it can give some dogs the outlet they need. In the DogCast Radio News hear how dogs can convey different meanings in their growls, how a lurcher involved in a car accident had her body rebuilt, and how Kelly Osbourne sustained an injury breaking up a dog fight. Plus how did Buddy get on when he auditioned for Sir Andrew Lloyd Webber's Wizard of Oz?
www.DogCastRadio.comSarah Hodgson is the author of Dog Tricks & Agility For Dummies. As well as being a prolific author, Sarah is a columnist, media personality and inventor, she talks about how simple, natural canine behaviours can be taught on command and developed. Flyball is a fast and furious dog sport, involving teams of four dogs racing over four jumps to collect tennis balls. The DogCast Radio team went along to a training session with the Carry Ons flyball team and found out exactly what flyball entails, what sort of dogs it suits, and how it can give some dogs the outlet they need. In the DogCast Radio News hear how dogs can convey different meanings in their growls, how a lurcher involved in a car accident had her body rebuilt, and how Kelly Osbourne sustained an injury breaking up a dog fight. Plus how did Buddy get on when he auditioned for Sir Andrew Lloyd Webber's Wizard of Oz?
Sue Lawley's guest this week is Sir Andrew Lloyd Webber. His musicals dominate London's West End, including Cats, Phantom of the Opera and Starlight Express. He traces a career which began more than 30 years ago when he teamed up with Tim Rice to write Joseph and the Amazing Technicolor Dreamcoat.[Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Some Enchanted Evening by Rossano Brazzi Book: England's Thousand Best Churches by Simon Jenkins Luxury: Herb garden
Sue Lawley's guest this week is Sir Andrew Lloyd Webber. His musicals dominate London's West End, including Cats, Phantom of the Opera and Starlight Express. He traces a career which began more than 30 years ago when he teamed up with Tim Rice to write Joseph and the Amazing Technicolor Dreamcoat. [Taken from the original programme material for this archive edition of Desert Island Discs] Favourite track: Some Enchanted Evening by Rossano Brazzi Book: England's Thousand Best Churches by Simon Jenkins Luxury: Herb garden
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