Podcast appearances and mentions of Susan Stroman

This week, we're joined by Shannon Lewis, the choreographer behind the new musical Just In Time. Shannon talks about her early days as a dancer, how she developed her style, and what it's like working with Alex Timbers and Jonathan Groff. We get into the unique aspects of immersive theater and how choreography changes when the audience is part of the action. Shannon also shares what she learned from Susan Stroman and offers advice for performers. Follow and connect with all things @HalfHourPodcast on Instagram and YouTube. Share your thoughts with us on Just In Time on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

In Episode 34, Mark-Eugene and David preview their conversation with entertainment icons Julian Schlossberg and Susan Stroman. Julian shares highlights from his memoir Try Not to Hold It Against Me, reflecting on his six-decade career in film, TV, and Broadway. He's later joined by five-time Tony winner Susan Stroman, who discusses her celebrated work on The Producers, Contact, The Scottsboro Boys, and more. Together, they offer a rare glimpse into the creative forces behind some of theatre's most iconic works. Learn more about your ad choices. Visit megaphone.fm/adchoices

"Let me give you the lowdown, we're K-razy for 'Lew!'" This week we're covering a game changing musical based on a game changing musical (get ready for Jeff's "Expired Ketchup" metaphor) featuring the Broadway debut of a performer who's now enjoying her Broadway debut as a choreographer! It's CRAZY FOR YOU with Shannon Lewis! Shannon (JUST IN TIME, FOSSE, CURTAINS, SWEET CHARITY, and so many more...) never forgets a count of choreo, so there's nobody better to talk about this "dance-tastic" musical that not only left audiences floating out of the theater but rolled out the red carpet for legendary director/choreographer Susan Stroman. For more Shannon, get your tickets now to see her choreographic work in the brand-new musical JUST IN TIME starring Jonathan Groff, and follow her on Instagram at @realshanlew If you enjoyed this conversation, listen to another incredible artist discuss the legacy of Broadway dance in our SWEET CHARITY episode with Dylis Croman! Join our ever-growing community on PATREON! Starting at only $1 a month, you can gain access to membership tiers, trivia competitions, bonus episodes and voting polls! Don't forget to like and share our episodes on Instagram and TikTok. We have fun playlists on Spotify to keep you company in between episodes. And be sure to check out our TeePublic Store where our profits from the designs are donated to Broadway Cares/Equity Fights AIDS. Most importantly, thank you for being part of this wonderful podcasting community! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is the three-time Tony award-winning Broadway orchestrator Doug Besterman, whose 31 Broadway musicals include The Producers, Fosse, Thoroughly Modern Millie, and his very first show, the 1991 revival of Damn Yankees, to name only a few. During this current Broadway season, Besterman will achieve something unheard of in his field: he will have three big musicals — Death Becomes Her, Boop!, and Smash — all running simultaneously on Broadway. Making it even more remarkable, two of those shows began previews on the same night and now open on Broadway in the same week. Besterman's film credits include the live-action version of Beauty and The Beast and Frozen. TV credits include the Marc Shaiman/Scott Witman compositions for Smash, ABC's version of Annie, The Sound of Music Live, and Peter Pan Live. As Tony Award-winning choreographer Susan Stroman's orchestrator of choice, his work has been heard on Little Dancer (co-orchestrator with Larry Hochman) at The 5th Avenue Theatre and the Kennedy Center and Crazy for You at Chichester Festival and on the West End. His most recent regional work was the World Premiere of Schmigadoon at the Kennedy Center and Midnight in The Garden of Good and Evil at the Goodman Theatre. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members such as Andy Wigginton. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is Joshua Rosenblum, author of Closer than Ever — The Unique Six-Decade Songwriting Partnership of Richard Maltby, Jr. and David Shire. This terrific new book chronicles the sixty-six-year (and counting) partnership of two of the most gifted songwriters of our time, giving full behind-the-scenes accounts of their musicals interspersed with deep-dive analyses of standout individual numbers. Among the well-known Broadway figures who feature prominently in the Maltby/Shire story are Stephen Sondheim, Hal Prince, Michael Stewart, Francis Ford Coppola, Susan Stroman, John Weidman, Charles Strouse, Garth Drabinsky, Jason Robert Brown, and Jonathan Tunick. Using his experiences as a Broadway conductor, music journalist, and professor of musical theater composition, as well as his long-term personal and professional acquaintance with both Maltby and Shire, Joshua Rosenblum is uniquely suited to chronicle their lives, careers, and creative output. The songwriters, both of whom are engaging and articulate in describing what they do, are quoted liberally throughout the book in exclusive interviews, creating the impression that one is spending time with two inspiring creative artists who happen to be great company.   Joshua Rosenblum teaches Composing for Musical Theater at Yale University and Conducting at New York University. As a composer/lyricist, he wrote the scores to the off-Broadway musicals Fermat's Last Tango, Bush is Bad, and Einstein's Dreams (four Drama Desk Nominations). He has conducted fourteen Broadway and off-Broadway shows and has performed as pianist with the New York Pops at Carnegie Hall, the City Center Encores! Orchestra, and the American Symphony. A longtime contributor of reviews and features to Opera News, Rosenblum is a summa cum laude graduate of Yale College and holds a master's degree in Piano from the Yale School of Music. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members such as John Schroeder. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nora: A Doll's House follows Nora, the perfect wife and mother. She is dutiful and beautiful and always has everything in its proper place. But when a secret from her past comes back to haunt her, Nora's life quickly unravels. Over the course of three days, Nora must fight to protect herself and her family or risk losing everything.Smith's adaptation takes place in distinct time periods across 100 years of history, highlighting how women's struggles for independence have evolved but remain connected. Each version of Nora faces challenges within her marriage and personal life, confronting the limits imposed by the societal norms in each of the three eras. The overlapping narratives reveal the parallels and contrasts between our collective past and present, illustrating the complex nature of a woman's freedom and choice. As the story unfolds, the audience witnesses how Nora navigates love, power, and identity in her quest for self-discovery and autonomy.Following a recent run in the Broadway production of Susan Stroman's New York, New York, regional actor Angel Sigala (they/he) makes their Hedgerow debut playing Daniel, a family friend of Nora and her husband Thomas.FOR TICKETS AND INFORMATION:https://www.hedgerowtheatre.orgABOUT ANGEL SIGALABorn and raised in Mexico City, Mexico until coming to the United States at age 11, Angel has always had the itch to be a performing artist with his biggest dream to perform on Broadway.Angel always wanted to follow in his father's footsteps (who also shares a love for dance) and began dancing at the age of 6. With training in various dance styles including latin, Mexican folklore, jazz, tap, and ballet, dance has always been one of Angel's first loves. He has performed as a dancer for Grammy and 5-time Latin Grammy winning artist Lila Downs, as well as dancing in the Philadelphia Mexican Independence Day Festival, among various other dance performances. Angel began singing at age 12 in his middle school choir. His love for singing and musicals both blossomed at that age, and Angel continued to perform with theatre camps and school musicals. In 2018, Angel graduated from Temple University's Musical Theatre and Acting programs, and has been professionally performing, choreographing, and teaching since graduation. Angel has worked at various regional theatres including Arden Theatre Company, People's Light, Theatre Exile, and InterAct Theatre Company.FOR MORE ABOUT ANGEL SIGALAhttps://www.angelsigala.com

In this episode, LEFT ON TENTH, the new Broadway production at the James Earl Jones Theatre. Based on Delia Efron's memoir, this romantic comedy promises love and laughter in later life. We dissect the performances of Peter Gallagher and Julianna Margulies, analyze Susan Stroman's direction, and debate whether this adaptation successfully brings Efron's story to life. From set design simplicity to audience distractions, we leave no curtain undrawn. Is LEFT ON TENTH a heartwarming hit or does it stumble on its way to romance? Tune in for our candid review and what it reveals about adapting personal stories for the Broadway stage. Follow and connect with all things @HalfHourPodcast on Instagram, and YouTube. Share your thoughts with us on LEFT ON TENTH on our podcast cover post on Instagram. Learn more about your ad choices. Visit megaphone.fm/adchoices

This week on You Are What You Read, we have the talk of the town with us… Delia Ephron's bestselling memoir, Left on Tenth, is now on Broadway starring Julianna Margulies and Peter Gallagher and directed by Susan Stroman. Delia Ephron is a bestselling author, screenwriter, essayist, and playwright. Her novels include Siracusa and The Lion Is In, and her movie credits…You've Got Mail, The Sisterhood of the Traveling Pants, This is My Life, Michael, and Hanging Up (based on her novel). Her play, “Love, Loss, and What I Wore,” written with her sister Nora Ephron (based on the book by Ilene Beckerman), ran for two years off Broadway. In this conversation, Delia chronicles the events that led to her late-in-life love story. After losing her sister, Nora, and then her husband, Jerry, both to cancer, Delia struggled through years of heartbreak…but it turned out romance was the healer when a man named Dr. Peter Rutter came into the picture. Learn more about your ad choices. Visit megaphone.fm/adchoices

On Episode 255 of Jake's Happy Nostalgia Show, we interview writer and playwright John Weidman! John's work in the theatre world consists of collaborating with the late Stephen Sondheim on several musicals, including Pacific Overtures, Assassins and Road Show and also worked with theatre director and choreographer Susan Stroman. He also wrote for the National Lampoon magazine. As a television writer, John wrote a number of episodes, inserts and segments for Sesame Street for several decades. Recently, he updated the book for the musical I Can Get It for You Wholesale, originally written by his father Jerome Weidman!

For over a decade, Jennifer Dunne Keeney has razzle dazzled audiences in Chicago The Musical on Broadway. U Guys, this week's BroadwayWorld Recap has some very exciting Bway news, brought to you by BroadwayWorld.com. Then I am joined by Broadway veteran Jennifer Dunne Keeney to talk about her incredible 13-year run as a swing in Chicago The Musical on Broadway. Before joining Chicago, Jenn started her career doing national tours, eventually making her Broadway debut in the ensemble of Susan Stroman and Trevor Nunn's revival of Oklahoma!, understudying the role of Ado Annie. She then went on to join the original Broadway company of Curtains, understudying the role of Bambi. Jenn shares about her incredible work as a swing in Chicago, having performed thousands of times in more than six different roles. We also talk about her experience as a mother of two working on Broadway, and what it takes to keep a long running show fresh every single night. Jenn is truly the best, U don't wanna miss this episode! Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

Today, I'm thrilled to announce my interview with legendary director and choreographer Susan Stroman. Tune in to hear all about her upcoming projects LEFT ON TENTH, ANGEL OF ARKANSAS, and SMASH, as well as some of the stories of her great career, including the lessons she learned from John Kander and Fred Ebb, the choreographic journey of THE MUSIC MAN, why CRAZY FOR YOU felt like it was in her blood, the art of partnering in STEEL PIER, why Hal Prince credits SHOWBOAT for his entire career, staging tryouts from Hunter College to Japan, watching Nathan Lane and Stephen Sondheim collaborate on THE FROGS, how an experience in a club and an offer from Andre Bishop led to CONTACT, finding the structure of NEW YORK, NEW YORK, her collaborations with dance arrangers including Glen Kelly and Peter Howard, the similarities and differences between Mel Brooks and Woody Allen, using visual inspiration for LITTLE DANCER, working on THOU SHALT NOT during 9/11, how research influenced her choreography for OKLAHOMA, the joys and challenges of directing POTUS right after the pandemic, and more. You won't want to miss this interview with a true master of the American theater.

Today, I'm thrilled to announce the second part of Backstage Babble's 200th episode celebration—a conversation with two of my favorite former guests, two friends, two mentors, two veteran performers, two Tony nominees--Lee Roy Reams and Brandon Maggart. Tune in to hear some of the stories of their parallel lives in the theater, including what it was like sharing a dressing room during APPLAUSE, the difference between Lauren Bacall and Carol Channing, their unusual experience arriving in Oklahoma City with LORELEI, how Tamara Long influenced the cast of that show and what made Jule Styne decide to keep her in it, what it was like for Lee Roy to teach Madeline Kahn the humor of HELLO, DOLLY!, how Susan Stroman convinced Brandon not to quit MUSICAL CHAIRS, how Lee Roy almost directed a revival of ANNIE 2, and Brandon's run-in with Howard Keel during South Pacific. Plus, they talk about Ron Field, Karen Morrow, Oric Bovar, and Jane Powell, and both of them answer the James Lipton questionnaire! You won't want to miss this episode with two super talents and very special people.

We talked about: Finding community, doing The Stump, Not doing Chandler on “Friends”, the wonderful and difficult friendship of Matthew Perry, doing theater as a kid, “easy” comics who took their time, playing villains, lying about knowing how to ride horses and almost dying on the horse, auditioning by “being that guy” to set you apart, The Great David Pressman, kind hearted Richard Kind, staring in broadway, fear of going out. my writing advice “how much pain can you take?”, always seeking connection. Saying “yes” to opportunities, Craig's dog boo.  Rye New York. Somehow Craig thinks I project warmth and kindness. Windows in school that go all the way to the ground that give kids the confidence to be on the world. Bullies who don't think they are bullies, the gain and loss of choice, and the idea that the journey we are all on must contain random gifts and failures to get us where we are now.  Bio: Craig Bierko made his Tony-nominated Broadway debut as “Professor Harold Hill” in Susan Stroman's Broadway revival of Meredith Willson's The Music Man. A familiar face to Broadway audiences, Craig most recently appeared in Conor McPherson's Girl from the North Country featuring songs by Bob Dylan; as “Sky Masterson” in Des McAnuff's revival of Guys & Dolls, and in Lincoln Center's Thou Shalt Not featuring music by Harry Connick. Craig recently completed the darkly comic feature film D(e)ad. Other film work includes starring opposite Russell Crowe in Ron Howard's Cinderella Man, The Long Kiss Goodnight with Samuel Jackson and Geena Davis, Larry David's cult classic Sour Grapes and Terry Gilliam's Fear and Loathing in Las Vegas. Craig has appeared in numerous TV shows, most recently on the hit Netflix series Sex/Life as well as on the Peabody Award-winning UnREAL. Craig appeared as Carrie Bradshaw's love interest “Ray ‘The Jazz Guy' King” on HBO's iconic Sex and the City.  Craig bathed John Malkovich in his online talk show “Bathing with Bierko” and offers no apologies.

Carly Anderson most recently starred as Polly in Susan Stroman's revival of Crazy For You. The production opened at the Chichester Festival Theatre before transferring to the Gillian Lynne Theatre for an acclaimed West End run. Some of Carly's early theatre credits include The Sound of Music (UK Tour), South Pacific (Barbican Centre & National Tour), My Fair Lady (Sheffield Crucible Theatre), Avenue Q (Seoul), Candide (Menier Chocolate Factory) and Sunset Boulevard (ENO London Coliseum). Carly originated the role of Gwen in the premiere of Sunny Afternoon at the Hampstead Theatre which subsequently transferred to the Harold Pinter Theatre in the West End, winning the 2015 Olivier Award for Best New Musical. Carly starred as Clio/Kira in the UK premiere of Xandu at the Southwark Playhouse and as Glinda in the 2016-17 international tour of Wicked. Some of Carly's screen credits include Traces (Alibi) and Trust Me (BBC). Follow Carly on Instagram: @anderson_carly Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Welcome to the Season 5 premiere of the Why Care? podcast! In this episode, host Nadia Nagamootoo sits down with the incredibly talented Tegan Summer, a distinguished writer, producer, and lyricist whose work has graced Broadway and the West End. Get ready for an inspiring and thought-provoking conversation about the transformative power of theatre and the importance of diversity and representation in the arts. Highlights: Tegan's Journey: From his roots in the East End of London to becoming a prominent figure in the theatrical world, Tegan shares his unique path and the experiences that shaped his career. The Magic of Theatre: Discover how sneaking into West End rehearsals as a child ignited Tegan's passion for theatre and how this magic continues to drive his work today. Representation Matters: Tegan discusses the challenges he faced as a Black writer and producer in a predominantly white industry and the importance of creating space for diverse voices. The Impact of Music: Learn about the power of songs in theatre, especially the "I Want" song, and how they can inspire and empower audiences. Behind the Curtain: Get a glimpse into Tegan's research process for his latest project, "Mozart: Her Story," a musical about Wolfgang Amadeus Mozart's overlooked sister, Nan Mozart. Upcoming Projects: Exciting details about Tegan's future works, including shows on James Dean, Malcolm X, and Harvey Milk, and his collaboration with Tony Award-winning director Susan Stroman. Key Takeaways Theatre as an equaliser and its role in fostering empathy and understanding across diverse audiences. The importance of representation in the arts and how Tegan's work is breaking barriers and setting new standards. The intersection of creativity and social change, and how theatre can be a powerful tool for activism and inclusion. Guest Bio Tegan Summer is a celebrated writer, producer, and lyricist with a rich history in theatre. His work spans various genres and mediums, from Broadway to the West End, and he is known for his dedication to bringing underrepresented stories to the stage. Tegan's upcoming projects continue to push the boundaries of traditional theatre, highlighting his commitment to diversity, equity, and inclusion. Key Links Tegan Summer Theatricals: Tegan Summer Theatricals Website Tegan Summer Instagram: @tegansummer Buy tickets to Mozart: Her Story at the Lyric theatre, London on Monday 18th November Nadia Nagamootoo: LinkedIn | Instagram Avenir Consulting: https://linktr.ee/avenirconsultingservices

Natalie Kassanga is back In The Frame! Natalie most recently starred as Irene Roth in Susan Stroman's West End revival of Crazy For You (Gillian Lynne Theatre). Natalie started  working professionally as a child, appearing in Oliver! (Drury Lane) and Chitty Chitty Bang Bang (UK Tour) in addition to starring as Young Nala in the West End production of The Lion King (Lyceum Theatre). She then ventured into music and was a member of girl group Alien Uncovered who appeared on the live finals of The X Factor in 2015. Natalie returned to theatre to star as Diana Ross in the closing cast of Motown (Shaftesbury Theatre) before joining the original London cast of Dear Evans Hansen (Noel Coward Theatre) as the standby for Zoe and Alana. After the pandemic, Natalie starred as Deena Jones in the first ever UK & Ireland tour of Dreamgirls and played Bella in the premiere of Berlusconi (Southwark Playhouse). Natalie was last on the podcast in 2020; four years later she's back to discuss all things Dreamgirls and Crazy For You, as well as looking after her health and where she's at right now in her career. Follow Natalie on Instagram: @natkassanga Hosted by Andrew Tomlins  @AndrewTomlins32  Thanks for listening! Email: andrew@westendframe.co.uk Visit westendframe.co.uk for more info about our podcasts.  

Natalie Kassanga is a professional actress and singer from England, and she is best known as a musical theatre performer. A 10-year-old Natalie was first seen in the West End as Young Nala in The Lion King, a role she portrayed for about a year. Later, she joined Oliver! In its original cast as Fagin alongside the renowned Rowan Atkinson. Most recently Natalie was seen playing Irene Roth in Susan Stroman's West End Revival of Crazy For You!  For the first time, Natalie returned to the West End ever since she was a child, to pick up the lead role. She has been in the West End for about a decade. Her first work as the leading lady happened in Motown: The Musical at the Shaftesbury Theatre, where she portrayed the character of Diana Ross.   Awards: Natalie was nominated for the Best Female Performer Award in the 8th annual Mousetrap Awards. Theatre: Credits include her role as Diana Ross in the West End's Motown: The Musical (Shaftesbury Theatre); Dear Evan Hansen (Noel Coward Theatre) where she is a part of the original West End cast and understudies Zoe Murphy and Alana Beck. She also plays Young Nala in The Lion King (Lyceum Theatre). She is an original cast member of Cameron Mackintosh's Oliver! At the Theatre Royal, Drury Lane. Want to try working with your own Broadway fitness coach? www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

Natalie Kassanga is a professional actress and singer from England, and she is best known as a musical theatre performer. A 10-year-old Natalie was first seen in the West End as Young Nala in The Lion King, a role she portrayed for about a year. Later, she joined Oliver! In its original cast as Fagin alongside the renowned Rowan Atkinson. Most recently Natalie was seen playing Irene Roth in Susan Stroman's West End Revival of Crazy For You!  For the first time, Natalie returned to the West End ever since she was a child, to pick up the lead role. She has been in the West End for about a decade. Her first work as the leading lady happened in Motown: The Musical at the Shaftesbury Theatre, where she portrayed the character of Diana Ross.   Awards: Natalie was nominated for the Best Female Performer Award in the 8th annual Mousetrap Awards. Theatre: Credits include her role as Diana Ross in the West End's Motown: The Musical (Shaftesbury Theatre); Dear Evan Hansen (Noel Coward Theatre) where she is a part of the original West End cast and understudies Zoe Murphy and Alana Beck. She also plays Young Nala in The Lion King (Lyceum Theatre). She is an original cast member of Cameron Mackintosh's Oliver! At the Theatre Royal, Drury Lane. Want to try working with your own Broadway fitness coach? www.builtforthestage.com Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second half of my conversation with author Liza Gennaro, whose fascinating book is titled: Making Broadway Dance.  If you missed part one you may want to catch up on that episode before listening to this one. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and she also has had a very active and successful career as a dancer and choreographer. Interestingly, she is closely related to this subject matter of her book because her father was the Tony Award winning choreographer and star dancer, Peter Gennaro. He is profiled in the book as well as in this episode. By the end of Part 1, we had made it to the late 1940s when Agnes de Mille was dominating the field of Broadway choreography. Between 1943 and 1945, De Mille had four hits in a row – Oklahoma!, One Touch of Venus, Bloomer Girl, and Carousel – and three of them choreographed in her signature “Americana” style. This unprecedented string of successes made her the most powerful choreographer in the commercial theater, and soon led to her becoming the first director-choreographer of the “Golden Age” with Rodgers & Hammerstein's Allegro. De Mille's most significant contribution to the Broadway Musical was breaking the mold of the traditional Broadway chorus girl by insisting on hiring actor/dancers who could fully embody the characters that they were playing.  This new approach to Broadway dance, and this new kind of Broadway dancer, would be adopted by everyone who followed in her footsteps – especially Jerome Robbins – who years later would write, “Agnes broke the conception of what the Broadway dancer could be in the Broadway Musical. What they looked like, what was desired of them, and what their contribution to the show was.” And, as you will hear, Robbins took that idea and ran with it, just as De Mille's “Americana” style was starting to lose its luster. That's just the beginning Later in the episode Liza and I discuss Michael Kidd, Bob Fosse, Gower Champion, Michael Bennett, Graciela Daniele, Susan Stroman, Kathleen Marshall, Bill T. Jones, Stephen Hoggett, Lorin Latarro, Kelly Devine, Sergio Trujillo, Jerry Mitchell and more! Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as John Schroeder and Alan Brodie whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Ever wonder what it takes to choreograph Broadway's biggest hits? Step into the creative world of Susan Stroman, a five-time Tony Award-winning director and choreographer. Susan joins us to share her life's work, from her recent projects like the Broadway musical New York, New York and the play POTUS or Behind Every Great Dumbass, to her future plans of authoring a book. Hear her unfiltered journey as she navigates the world of storytelling and collaboration, drawing on her rich background in English literature and her collaborations with notable directors and composers.We'll then move through the labyrinth of Susan's artistic process and her unique way of blending research and preparation with the creative inputs of her actors. We'll discuss how her diverse range of inspirations and her flexibility with different dance styles has allowed her to create some of Broadway's most loved stories. You'll also learn how she recharges her creative batteries by immersing herself in global art experiences – a daily routine that helps keep her innovative spirit alive.Lastly, be inspired as Susan opens up about her personal battles - her fight against COVID-19 and the challenges she faced creating a show in the aftermath of 9/11. Listen to her touching reflections on the highs and lows of her career, including her bold decision to knock on the doors of renowned composers Kander and Ebb. Learn how being present, listening, and pursuing her dreams with determination and resilience paved her way to become one of Broadway's most respected figures. Don't miss out on this captivating episode!Support the showTAKE YOUR MINDFULNESS & INSIGHTS ONE STEP FURTHER WITH PREMIUM MEDITATIONSSubscribe to premium content today and have access to bonus episodes worksheets and meditations. Whether you are looking to relax, recenter, reduce stress, increase motivation, fall asleep peacefully or wakeup ready to take on the day, these meditations and visualizations are for you. You will also have the opportunity to connect directly with me via email to let me know what kind of meditations you are looking for, share your episode insights and suggest guests that you might be interested in hearing from so that I can create content for you!Subscriptions begin at $3/month and subscribers who choose $10 a month subscription also receive a monthly coaching exercise from my client workbook.Interested in finding out more about working with Lisa Hopkins? Visit www.wideopenstages.comFollow Lisa https://www.instagram.com/wideopenstages/

The double Olivier nominee on dancing the hardest work of his life in Susan Stroman's extraordinary production of Crazy For You, starring in the world-famous London Palladium pantomime three times and why he's an all-or-nothing sorta guy. Plus, we talk the unexpected challenges of Broadway, backstage chats with Sarah Jessica Parker and why it all comes back to his love of dance. Host: William J Connolly Produced by: William J Connolly/Darren Bell crazyforyoumusical.com Welcome to eleven. The official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. Follow eleven on social media via @elevenpodcast and via elevenpodcast.com. Learn more about your ad choices. Visit megaphone.fm/adchoices

Peter Friedman - has been in the original New York productions of works by Wendy Wasserstein, Simon Gray, C.P. Taylor, Charles Fuller, Annie Baker, Amy Herzog, Max Posner, Greg Pierce, Jennifer Haley, Deborah Zoe Laufer, The Debate Society, Rachel Bonds, Lauren Yee, Will Eno, Michael Mitnick, Kim Rosenstock, Will Connolly, Gunnar Madsen, Joy Gregory, John Lang, Susan Stroman, David Thompson, John Kander, Terrence McNally, Lynn Ahrens, and Stephen Flaherty. He's performed in NYC revivals of plays by Paddy Chayefsky, Reginald Rose, Donald Margulies, Chekhov, and Shakespeare. Film: The Savages, Safe, Single White Female. TV: “Brooklyn Bridge,” “High Maintenance,” “The Muppet Show,” “The Affair,” “The Path,” “Succession.” Sydney Lemmon - Off-Broadway debut. Broadway: Beau Willimon's The Parisian Woman. Film: TÁR, Firestarter, Velvet Buzzsaw. Television: “Helstrom,” “Succession,” “Fear the Walking Dead” (Saturn Award Nomination). She can next be seen alongside Halle Berry in the forthcoming feature film The Mothership. Sydney is a graduate of Boston University, LAMDA and the Yale School of Drama. Learn more about your ad choices. Visit podcastchoices.com/adchoices

The effervescent Julian Ramos is back on the podcast! He was first on back in 2018, when he and Fergie Philippe came on together during rehearsals for the Philip Tour. Julian spent over four years touring with Hamilton, and his story with the show is incredible. He recently made his Broadway debut in New York, New York and is truly living his dreams, which all started with a certified meet-cute with living legend Susan Stroman.   This week, Julian tells me about growing up in Indiana, falling in love with musical theatre, and then moving to New York City to pursue his career. He even worked as a host at The Public Theater when Hamilton was there, seating people like Lin-Manuel Miranda, Thomas Kail, and Oskar Eustis. /// Episode 107 Episode 108 Julian on Instagram Gillian's Website The Hamilcast on Twitter The Hamilcast on Instagram Join the Patreon Peeps

Today, I'm thrilled to announce my episode with Peter Friedman, who is currently starring in the sold-out hit play Job off-Broadway. Tune in today to hear some of the stories of his legendary career, including a visit with E. L. Doctorow, working with older vaudevillians on The Tenth Man, coming into Twelve Angry Men late in the process, experiencing a career renaissance with Annie Baker and Sam Gold, why Susan Stroman is a great director, bonding with cast members of Ragtime, and so much more.

West End and Broadway stars Charlie Stemp and Tom Edden join us to chat about the critically acclaimed musical Crazy For You. Charlie says it's "the hardest thing" he's ever done due to the many elements involved, including performing extremely physical choreography and comedy in perfect timing. They also discuss the challenges of their hilarious Marx Brothers-inspired mirror scene, and reveal what it was like working with Tony award-winning theatre director Susan Stroman.We review the National Theatre's Bristol Old Vic Production of Dr Semmelweis at the Harold Pinter Theatre. It's written by Stephen Brown, directed by Tom Morris and starring Mark Rylance, who you'll know from the BBC's adaptation of Hilary Mantel's Wolf Hall and Christopher Nolan's Second World War epic Dunkirk.Plus, we discuss Grenfell: in the words of survivors. A verbatim play, created from interviews with the residents at the heart of the Grenfell Tower fire, which killed 72 people. It's written by Gillian Slovo, stars Pearl Mackie and is on at the National Theatre.Also in this episode, we pay tribute to Tara Theatre AD and CEO Abdul Shayek, discuss Spirited Away coming to London Coliseum in 2024, and the Edinburgh Festival Fringe: what theatre and comedy to book... Hosted on Acast. See acast.com/privacy for more information.

Gregory Landes is a versatile musician, excelling as a drummer, percussionist, composer, educator, and arranger. His impressive orchestral credits include serving as a timpanist and percussionist for esteemed ensembles such as The New Jersey Symphony, Garden State Philharmonic, The New Haven Symphony, The American Symphony Orchestra, New York Chorale Society, The Brooklyn Philharmonic, Princeton Symphony, Albany Symphony, Little Orchestra Society of New York, Greenwich, Stamford, and Westchester Symphonies, Masterwork Chorale Orchestra, Goldman Band, and The New Jersey Wind Symphony.For the past three decades, Gregory has demonstrated his musical prowess as both a drummer and percussionist in over 50 Broadway and Off-Broadway productions. Notable mentions include his involvement in the 2019 Lyrics and Lyricists show "Live and in Living Color" at the 92nd St. Y, with Andy Einhorn and Rob Berman as musical supervisors, as well as his contributions to the 2018 musical "The Beast in the Jungle" by John Kander, directed and choreographed by Susan Stroman. He has also been involved in Director John Doyle's productions of "Pacific Overtures" and John Kander's "Kid Victory." Gregory played a crucial role in creating the drum and percussion book for John Kander's musical "The Landing."Gregory has an extensive list of credits in the world of theater, having performed as the original drummer and percussionist in productions of "How The Grinch Stole Christmas" on Broadway, in Chicago, Boston, and Madison Square Garden. He has also showcased his drumming and percussion skills in various other productions, including "Avenue Q," "Newsies," "In The Heights," "Curtains," "Wicked," "42nd Street," "Play Without Words," "Ragtime," "Les Miserables," "Falsettos," "Putting It Together" (with Julie Andrews), and many more.Additionally, Gregory Landes is a founding member of The Pit Stop Players, a chamber ensemble composed of highly sought-after freelance musicians in New York City. The group is dedicated to performing new works by emerging composers. Gregory's arrangements and pieces written for percussion ensemble can be found in publications by Bachovich Music Publications. He held the position of director of percussion studies at The Calhoun School in New York City and was involved with The Calhoun Percussion Ensemble. Furthermore, he serves as a drum and percussion instructor in the Encore Program at Ridgewood High School in New Jersey and has taught General Music and Percussion at The Pingry School.Gregory's talent has gained recognition from renowned musical instrument manufacturers, as he is endorsed by Paiste cymbals and is an Innovative Percussion artist. Since 1997, he has been performing alongside his brother Garah Landes, a pianist, as the duo Synchronicity. To learn more about their extensive performance history, interested individuals can visit their Facebook page, watch their videos on YouTube, or explore their website at www.synchronicitymusic.com. Get full access to Broadway Drumming 101 at broadwaydrumming101.substack.com/subscribe

Welcome to the latest episode of our thrilling podcast! We kick things off with the brand new British musical Then, Now & Next at Southwark Playhouse, composed by Christopher J Orton and Jon Robyns and starring West End sensation Alice Fearn, all under the masterful direction of Julie Atherton.Get ready to be transported back in time with 80s Live, the ultimate retro concert featuring iconic hits by legends like Wham!, Madonna, Duran Duran, and Bon Jovi, and many others, live on stage.For all the Quentin Tarantino fans out there, don't miss Tarantino Live, a pulsating rock experience celebrating the films and soundtracks of this legendary director, playing for a limited time at Riverside Studios.Next up, the Chichester Festival Theatre's west end transfer of Crazy for You, featuring the incredible talents of Charlie Stemp and Carly Anderson, directed by Broadway legend Susan Stroman.Last but not least, we explore the thought-provoking play Secret Thoughts at the Omnibus Theatre as part of their AI festival, and delve into the creative process with an exclusive interview with director Paloma Jacob-Duvernet.Join us as we uncover the magic of these captivating productions, filled with stunning performances, nostalgic tunes, and thought-provoking themes. Don't miss a moment of our latest episode!

A love letter to old school American showbiz - we review Crazy for You, which is now on at the Gillian Lynne Theatre. This feet-tapping musical features the songs of George and Ira Gershwin, and it's directed and choreographed by Susan Stroman.Cherrelle Skeete, star of Harry Potter and the Cursed Child and the Amazon original, Hanna, joins Nick Curtis to talk about her role in Beneatha's Place, which is written and directed by Kwame Kwei-Armah. The show's now on at the Young Vic.Plus, we discuss Michael R. Jackson's A Strange Loop which is now on at the Barbican Theatre. You can hear our interview with Michael here.And what's been happening this week? Which “rubbish” Shakespeare scene is going to be rewritten by comedian Stewart Lee for the RSC? Also, Cabaret is going to Broadway in spring 2024 and will be on at the August Wilson Theatre. Hosted on Acast. See acast.com/privacy for more information.

Mickey-Jo was recently invited to review the West End transfer of CRAZY FOR YOU to the Gillian Lynne Theatre in London, after loving the show's regional revival last summer at Chichester Festival Theatre. This production is directed and choreographed by Susan Stroman, featues a score of Gershwin classics with a book by Ken Ludwig and stars Charlie Stemp and Carly Anderson. Check out Mickey-Jo's review to find out what exactly makes this show so special... • 00:00 | introduction 02:29 | what is this show about? 06:28 | why is this revival so special? 12:00 | which moment is a highlight? 13:54 | how are the performances? • 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

Justin Elizabeth Sayre is currently in residency at Joe's Pub at the Public with their new variety show, Assorted Fruit. Sayre also appeared on HBO's The Comeback with Lisa Kudrow. They are NYCLU artist ambassador and a 2023 MacDowell Fellow. Follow on Instagram: justinelizabethsayre C'mon Get Happy: The Making of Summer Stock is now on presale and will be published by the University Press of Mississippi in mid-October. It also contains her iconic number “Get Happy” number and Gene Kelly's all-time personal favorite solo dance number. The Foreword was written by Tony Award-winning dancer and choreographer Savion Glover and authors David Fantle and Tom Johnson have received book jacket endorsements from Lorna Luft, Tommy Tune, Michael Feinstein, Rob Marshall, Susan Stroman, David Shire and Richard Maltby Jr. Preorder on Amazon: https://www.amazon.com/Cmon-Get-Happy-Making-Summer/dp/1496838394 Debbie Wileman has also become a social media singing sensation during the global pandemic, capturing worldwide attention as a modern-day Judy Garland phenomenon.  Debbie received standing ovations before sold-out audiences in Fort Lauderdale, FL, Orlando, FL, New York City's iconic Carnegie Hall, Provincetown, MA, and Los Angeles, CA. Debbie was born and raised as a working-class Londoner. As the only child of a professional rock musician father and her school teacher mother, she excelled musically and artistically as a young girl.  At 12, she started performing Judy for her nana and an ever-growing world. Following her secondary education, Debbie attended The University of Salford in Salford, Greater Manchester, England, where she completed her performing arts degree. Follow Debbie on Facebook: https://www.facebook.com/debbie.saloman

Beowulf Boritt is currently represented on Broadway by the Tony Award® winning set for Susan Stroman's production of New York, New York. He designed the Tony Award® winning set for James Lapine's Act One. He has received four additional Tony Award® nominations for his designs of The Scottsboro Boys, POTUS, Therese Raquin, and Flying Over Sunset, for which he won a Drama Desk award. His book about set design, Transforming Space Over Time, is available on Amazon. He is the founder and manager of The 1/52 Project which provides financial support to encourage early career designers from historically excluded groups, with the aim of diversifying and strengthening the Broadway design community. Beowulf designed Harold Prince's final Broadway shows: Prince of Broadway and LoveMusik. In addition, he designed the sets for Sondheim on Sondheim, The Twenty-Fifth Annual Putnam County Spelling Bee, Steve Martin's Meteor Shower, A Bronx Tale, August Wilson's The Piano Lesson, Come From Away. Freestyle Love Supreme, Ohio State Murders, Mike Birbiglia's The New One and The Old Man and The Pool. Other highlights include the New York and Russian productions of Chaplin, the revival of On The Town, Rob Askins' Hand To God and the long running hit Rock of Ages. Off-Broadway, he has designed over one hundred shows, including Much Ado About Nothing, Merry Wives, and Coriolanus for Shakespeare in the Park, Fiddler on The Roof (in Yiddish), The Last Five Years, Mike Birbiglia's The New One, Sleepwalk With Me, My Girlfriend's Boyfriend, Thank God For Jokes and Strindberg's Miss Julie. His designs are in the permanent collections of The Smithsonian Museum of American History and the New York Public Library for the Performing Arts as well as several private collections. In addition to a Tony Award he has been honored with an 2007 OBIE Award for Sustained Excellence in Set Design, an Audelco Award, a Barrymore award, a Live Design Award for Innovation in Scenic Design, a Broadway Beacon Award, and a St. Louis Theater Circle Award. He has been nominated for four Drama Desk Awards, three Lucille Lortel Awards, four NY Outer Critic's Circle Awards, an LA Ovation Award, an LA NAACP Award, a San Francisco Critic's Circle Award and six Henry Hewes Awards. 

Connor and Dylan are joined by Broadway star Anna Uzele (New York New York, Six). These become fast friends during Anna's podcast debut! This is an unforgettable first time, as they learn all about her love story with her gorgeous tattoo artist husband Glenn, her Evangelical upbringing, and the journey from Delaware to NYC. Anna tells the twins about her self-described “feral child” artsy self, along with the fateful high school production of Aida alongside & Juliet's Ben Jackson Walker. We reminisce on the long-gestating opening night of Six, the unique audition process for Catherine Parr, and when she knew to pass down the crown. Anna spills on Connie Britton, the church of Broadway, Colton Ryan the godsend, and working with John Kander and Susan Stroman, while Connor reports back from seeing Oscar Isaac in The Sign in Sidney Brustein's window, and Dylan calls out for theatre tattoo ideas. You must see Anna in New York, New York on Broadway! Follow Anna on InstagramFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by Dylan

Coming live from the Big Apple, hosts Joshua and Dan.... you know how some days are hard and you don't always think you can come up with terrific pithy descriptions? today is one of those days. we discuss the new Broadway musical New York, New York. John Kander wrote it. the man is a level above National Treasure and attention must be paid, if one has to quote Arthur Miller. Fred Ebb, as ever, is present. Lin Manuel Miranda contributed too. production by Susan Stroman. i think the episode is funny. it's also elegiac and celebratory and somber and excited. it's a series of contradictions, which in a way is exactly what musical theatre is. it's worth giving a listen, i think it might be one of our better eps. Tune in to next week's episode when we discuss Hello, Dolly!; specifically, the Broadway revival performance from June 28th, 2017! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast

Actor Craig Bierko's film roles include Timothy in the 1996 action film The Long Kiss Goodnight which he credits for being cast in darkly humorous roles such as Max Baer in Cinderella Man opposite Russell Crowe, Tom Ryan in Scary Movie 4 (spoofing Tom Cruise throughout the film), Fear and Loathing in Las Vegas, and The Thirteenth Floor. In 2000 Bierko made his Broadway debut as Professor Harold Hill in Susan Stroman's critically acclaimed revival of Meredith Willson's The Music Man. He played “the jazz guy” Ray King, a love interest for Carrie Bradshaw in the fourth season of Sex and the City, attorney Jeffrey Coho on season three of the ABC television series Boston Legal and one of four newly divorced friends on Fox's short-lived Unhitched. He was cast as Dave Lister in the pilot for the American TV version of the British show Red Dwarf and has appeared twice on TV's Law & Order: Special Victims Unit - first as Andy Eckerson, a United States Deputy Marshal who is working with the SVU (and ex-flame Det. Olivia Benson) to recapture an escaped convict and several years later, a serial rapist. He also appeared for four seasons in the Peabody Award-winning series UnREAL as Chet Wilton, the eccentric, drug addicted, womanizing creator of a reality dating show. Recently, he appeared on The Blacklist as The Chairman, the coldly sociopathic head of an underground stock market for criminals and will be seen on season two of the hit Netflix show Sex/Life as a superstar literary agent. Craig would love you to donate to Loma Linda University Children's Hospital: https://lluch.org/ways-give

Tiler Peck is a Principal Dancer with the New York City Ballet and is also an actor and author. Tiler has been seen on Broadway in The Music Man, On The Town, and Little Dancer. This episode, Tiler discussed the differences between dancing in a Broadway show and being part of the New York City Ballet. She shares how she felt making her Broadway debut at the age of 11, in the 2000 revival of The Music Man with Susan Stroman, explains the musicality and speed required to dance in the George Balanchine style, and details her efforts to care for her mind and body off stage.  New York City Ballet RAGTIME concert with the BSO Tiler on TikTok Neuro Gum Link for 20% off Stages listeners Strip Makeup link for 25% off Stages listenersSupport the show: http://www.stagespodcast.netSee omnystudio.com/listener for privacy information.

Selina Fillinger is the playwright behind renowned theatrical works like POTUS: Or, Behind Every Great Dumbass are Seven Women Trying To Keep him Alive; Something Clean; Faceless; and the Armor plays: Cinched/Strapped. The former marked her Broadway debut at the Shubert Theatre in 2022; was directed by Broadway legend, Susan Stroman; and led to three Tony Award nominations, including Best Performance by an Actress in a Featured Role nods for both Julie White and Rachel Dratch. She also wrote for Season 3 of the acclaimed Apple TV+ program, The Morning Show (Jennifer Aniston; Billy Crudup; Reese Witherspoon), set to premiere in 2023. In our conversation, we discussed her Oregon upbringing; the juxtaposition of light and dark themes in her plays; juggling multiple projects at once; and her journey to being one of the most unique, talented and versatile artists in the landscape of television and theatre.Opening Credits: Checkie Brown - Clooney (CB 232); HoliznaPATREON - Feels; Closing Credits: Ketsa - A Little Bit

Rick Elice co-wrote Jersey Boys (winner 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award for Best Musical) with the great Marshall Brickman; The Addams Family; Peter and the Starcatcher (winner of five 2012 Tony Awards); and The Cher Show (currently on tour in the UK). In the pipeline: The Princess Bride for Disney; Smash for Robert Greenblatt, Neil Meron and Steven Spielberg, music and lyrics by Marc Shaiman and Scott Wittman, directed by Susan Stroman. Rick is also adapting Sara Gruen's novel Water for Elephants; the popular film, Silver Linings Playbook; and writing an original musical, Treasure, with 2021 Ed Kleban Award-winner Benjamin Scheuer. Rick's book, Finding Roger, An Improbably Theatrical Love Story, is published by Kingswell. Heartfelt thanks to those whose theatre work makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Nunn, Laurents, Stone, Taymor, Papp, Schumacher, Schneider, David, Strong, Gaudio, Valli, McAnuff, Trujillo, Timbers, Coyne, Brickman, and, eternally, Roger Rees. Rick thinks about them a lot. He never thought about Jersey much. He does now.

Rick Elice co-wrote Jersey Boys (winner 2006 Tony Award, 2007 Grammy Award and 2009 Olivier Award for Best Musical) with the great Marshall Brickman; The Addams Family; Peter and the Starcatcher (winner of five 2012 Tony Awards); and The Cher Show (currently on tour in the UK). In the pipeline: The Princess Bride for Disney; Smash for Robert Greenblatt, Neil Meron and Steven Spielberg, music and lyrics by Marc Shaiman and Scott Wittman, directed by Susan Stroman. Rick is also adapting Sara Gruen's novel Water for Elephants; the popular film, Silver Linings Playbook; and writing an original musical, Treasure, with 2021 Ed Kleban Award-winner Benjamin Scheuer. Rick's book, Finding Roger, An Improbably Theatrical Love Story, is published by Kingswell. Heartfelt thanks to those whose theatre work makes him grateful for the day he was born: Sondheim, Stoppard, Bennett, Prince, Fosse, Robbins, Nichols, Nunn, Laurents, Stone, Taymor, Papp, Schumacher, Schneider, David, Strong, Gaudio, Valli, McAnuff, Trujillo, Timbers, Coyne, Brickman, and, eternally, Roger Rees. Rick thinks about them a lot. He never thought about Jersey much. He does now.

Work on season 5 continues and we promise it will be out in early 2023. But in the meantime, for the next few works we have something special. Enjoy listening to some of the musical themed episodes of 'The Cup' which are from our host and producer Mackenzie's other theatrical venture, Cup of Hemlock Theatre. For this week we have Review episode where we cover the 1998 West End revival of Rogers and Hammerstein's Oklahoma!, directed by Trevor Nunn, choreographed by Susan Stroman, and starring Hugh Jackman in the role of Curly McLain. Enjoy as Mackenzie and his fellow panelists examine the star turning performance of Hugh Jackman and they work through their thoughts on the perplexing and mix toned climax of this iconic musical. We hope you enjoy this bonus episode and stay tuned for upcoming announcements on season 5! To watch the video version here's the link...https://youtu.be/WFrbIqB6jRY To subscribe to the podcast here's the link...https://apple.co/3OYiejt Don't forget to leave us a review and share your thoughts on this episode on our social media pages. Follow the links below to reach our pages. Facebook Instagram Twitter

[REBROADCAST FROM September 23, 2022] If you love theater, you've likely seen a set designed by Tony Award-winner Beowulf Boritt, from "Come From Away" to "Flying Over Sunset" to "Merry Wives" to "POTUS." Now he's drawn back the curtain on his process, and the importance of set design, in his new book, Transforming Space Over Time: Set Design and Visual Storytelling with Broadway's Legendary Directors. Boritt joins to reflect on his career, and his collaboration with directors like James Lapine, Kenny Leon, Hal Prince, Susan Stroman, Jerry Zaks, and Stephen Sondheim. You can currently see Boritt's work onstage in "The Piano Lesson" (through January 29), "Mike Birbiglia: The Old Man & The Pool" (through January 15), and "Ohio State Murders" (through late February).   Mecca: A Conversation with Stephen Sondheim Setting: Stephen Sondheim's Turtle Bay town house: the holiest of holies for several generations of theater artists. We're in a ground-floor living room, sprawling and cluttered, spreading from a small front entrance foyer through the main chamber to a back conservatory that opens into a community garden. The room's salient visual feature is Steve's collection of antique puzzles, displayed in frames and vitrines and arrayed on tables. Beowulf Boritt: I'm sure you hear this from a lot of people, but your shows, more than any others, are what convinced me to pursue theater. I grew up thinking musicals were frilly and silly, but when I started being exposed to your shows—first Sunday, then Into the Woods and Sweeney Todd—I thought, This is what I want to do. Stephen Sondheim: So you're blaming me? BB: Just placing blame where it's due, Steve! I asked various directors, “What productions made a strong impression on you when you were young?” Both James [Lapine] and Susan Stroman credited Sweeney Todd and its design as the show that made them think, This is what theater can be. Of course, Hal directed it, and the set was famously a real, and enormous, Victorian factory reassembled onstage by Eugene Lee. But that set isn't inherent in the writing; in fact, the action is never literally in a factory. When you were developing the show with Hugh Wheeler, it wasn't with a factory setting in mind, was it? SS: No, no. That came afterward. That was Hal's idea. I don't know how he came to it. For me, Sweeney Todd is not really a story of how the Industrial Revolution manufactured vengeful Sweeney Todds. That had nothing to do with what I wrote at all—though I did ultimately put one line in the lyrics about machines, to make Hal happy. I wanted to do it as a small, scary show. I told Hal that if we were going to do it at a big theater, I'd like to drape the entire place in black, have gaslit lampposts all around, and have the cast all around,too: on top of you, beside you, in the aisles, and so on. I wanted the whole theater to look like the inside of a coffin. I wanted an organ and an organist onstage for that opening prelude—a loud organsound to start the show. BB: You said you have no part in designing the show, but that's a very clear visual image you just described—your initial thoughts about it. SS: I have no visual imagination to say, “The costumes should be red.” But of course I have some ideas about staging the numbers. The director can throw them out, but I do go on record with what I am thinking. BB: I'm going to rewind to early in your career, to one of my favorite musicals and one I have not yet hada chance to design. Did you have any visuals in mind as you wrote West Side Story with Arthur Laurents and Leonard Bernstein? SS: Where is Puerto Rico? No, I don't think I had anything in mind, but I'll tell you an anecdote, one of those things that one never forgets. Oliver Smith, who designed it, wanted to show us the model of the setso we went out to his house in Brooklyn. He showed it to us and there was concern over the scene with the highway bridge, for the rumble at the end of the first act. Jerry Robbins—or maybe it was Lenny or Arthur—turned to me and said, “What do you think?” I was twenty-five years old! “I agree,” I said. “It just doesn't seem quite right.” Oliver turned on me and said, “Who cares what you think? You don't know anything about the theater!” He was really ugly. He was upset that they didn't like it, but he couldn't lash out at Jerry, Lenny, or Arthur, so— BB: And you were the new guy. SS: Yes. You know , I understand why he did it. BB: Did you ever work with him again? SS: No. BB: When you're the new kid, and an old hand lashes out at you, it's amazing how much it stings. You remember it forever. On my first Broadway show, Spelling Bee, that happened to me. Someone involved in the show, not James, really went after me because I was the new kid. To be honest, I had probably donesomething stupid—but it was unpleasant, and I will never forget it. BB: Last question, and it isn't really a question. I'm going to shorten the quote, but you've said, “Lyric writing has to exist in time. You have to lay the sentences out so there's enough air for the ear to take them in. There's music, there's costumes, there's lighting. There's a lot of things to listen to and look at. And therefore, the lyric must be in that sense simple.” SS: The experience of a musical is so rich that it's like you're getting two kinds of dessert. You're getting the pecan cake and the caramel ice cream, so you don't want to overdo it with either one. SS: All art is about economy of means. It's about finding the part that is necessary and getting rid of the unnecessary. That's the hard part, but once you know it, if you're ruthless, you'll get rid of the extra and keep the great. In general, in art, less is more. Although you must remember, there is also Tolstoy!

Shuler Hensley is a multi-award winning star of film, television, who is currently starring on Broadway in the hit musical, The Music Man. Beginning his career in the Theatre, Shuler was cast by Susan Stroman and Trevor Nunn as Jud Fry in London in the National Theatre's revival of Oklahoma!. Shuler wowed critics and theatre-goers alike for his haunting interpretation of Jud, and he received the coveted Olivier Award–London theatre's equivalent of the Tony–for Best Supporting Performance in a Musical. Shuler subsequently made his Broadway debut in November 2000 portraying the relentless Inspector Javert in Les Misérables. In February 2002, the Trevor Nunn version of Oklahoma! was transferred to Broadway, and with it the opportunity for Shuler to reprise his critically acclaimed performance of Jud Fry. Shuler again became a proud award winner, this time of Broadway's “Triple Crown”--the Tony, the Drama Desk, and the Outer Critics' Circle.

Connor and Dylan are joined by Casey Garvin (Some Like It Hot, Mrs. Doubtfire). The boys mention it ALL. Currently performing his heart out in Some Like It Hot at the Shubert Theatre, this trio chat all about the new musical, “Let's Be Bad” from Smash, and the incredible original score by Marc Shaiman and Scott Wittman. They learn about Casey's coming out journey, getting REAL about relationships, writing a fantasy book series in his free time, and his side hustle as a fitness instructor. The guys get into the tour of West Side Story, the gayest production of Joseph and the Amazing Technicolor Dreamcoat ever with Clay Aiken, Casey's Broadway debut in Bullets Over Broadway directed by Susan Stroman, the athleticism of King Kong, bare: a pop opera vs. bare: the musical, AHS: New York, pet peeves, Mario Kart drinking games, queer fantasy novels, and truly everything under the sun. Get ready to fall in love with Casey.Follow Casey on InstagramFollow DRAMA. on Twitter & InstagramFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanLAST CHANCE to get your DRAMA merch (t-shirts, stickers, and more) HERE! SUBSCRIBE TO OUR PATREON HERE! Bonus episodes, Instagram Close Friends content, and more!

Happy Birthday to Doris Humphrey, Susan Stroman, Rita Hayworth, Susan Marshall, and Rob Marshall (no relation)! --- Support this podcast: https://podcasters.spotify.com/pod/show/dawn-davis-loring/support

Broadway veteran David Benoit works all over the country, including the current Chicago Lyric Opera production of Fiddler on the Roof and the recent world premiere musical Bruce at Seattle Rep. David discusses the various paths he's taken to some of his favorite roles; how he considers the audition the job; learning lessons from Susan Stroman; how to partner in the dance between actor and director; the importance of avoiding cutesy pogroms; manifesting roles as far back as third grade; and how Jaws nerdery leads to work! (Length 21:33) The post Actor/Singer David Benoit appeared first on Reduced Shakespeare Company.

If you love theater, you've likely seen a set designed by Tony Award-winner Beowulf Boritt, from "Come From Away" to "Flying Over Sunset" to "Merry Wives" to "POTUS." Now he's drawn back the curtain on his process, and the importance of set design, in his new book, Transforming Space Over Time: Set Design and Visual Storytelling with Broadway's Legendary Directors. Boritt joins to reflect on his career, and his collaboration with directors like James Lapine, Kenny Leon, Hal Prince, Susan Stroman, Jerry Zaks, and Stephen Sondheim. Mecca: A Conversation with Stephen Sondheim Setting: Stephen Sondheim's Turtle Bay town house: the holiest of holies for several generations of theater artists. We're in a ground-floor living room, sprawling and cluttered, spreading from a small front entrance foyer through the main chamber to a back conservatory that opens into a community garden. The room's salient visual feature is Steve's collection of antique puzzles, displayed in frames and vitrines and arrayed on tables. Beowulf Boritt: I'm sure you hear this from a lot of people, but your shows, more than any others, are what convinced me to pursue theater. I grew up thinking musicals were frilly and silly, but when I started being exposed to your shows—first Sunday, then Into the Woods and Sweeney Todd—I thought, This is what I want to do. Stephen Sondheim: So you're blaming me? BB: Just placing blame where it's due, Steve! I asked various directors, “What productions made a strong impression on you when you were young?” Both James [Lapine] and Susan Stroman credited Sweeney Todd and its design as the show that made them think, This is what theater can be. Of course, Hal directed it, and the set was famously a real, and enormous, Victorian factory reassembled onstage by Eugene Lee. But that set isn't inherent in the writing; in fact, the action is never literally in a factory. When you were developing the show with Hugh Wheeler, it wasn't with a factory setting in mind, was it? SS: No, no. That came afterward. That was Hal's idea. I don't know how he came to it. For me, Sweeney Todd is not really a story of how the Industrial Revolution manufactured vengeful Sweeney Todds. That had nothing to do with what I wrote at all—though I did ultimately put one line in the lyrics about machines, to make Hal happy. I wanted to do it as a small, scary show. I told Hal that if we were going to do it at a big theater, I'd like to drape the entire place in black, have gaslit lampposts all around, and have the cast all around,too: on top of you, beside you, in the aisles, and so on. I wanted the whole theater to look like the inside of a coffin. I wanted an organ and an organist onstage for that opening prelude—a loud organsound to start the show. BB: You said you have no part in designing the show, but that's a very clear visual image you just described—your initial thoughts about it. SS: I have no visual imagination to say, “The costumes should be red.” But of course I have some ideas about staging the numbers. The director can throw them out, but I do go on record with what I am thinking. BB: I'm going to rewind to early in your career, to one of my favorite musicals and one I have not yet hada chance to design. Did you have any visuals in mind as you wrote West Side Story with Arthur Laurents and Leonard Bernstein? SS: Where is Puerto Rico? No, I don't think I had anything in mind, but I'll tell you an anecdote, one of those things that one never forgets. Oliver Smith, who designed it, wanted to show us the model of the setso we went out to his house in Brooklyn. He showed it to us and there was concern over the scene with the highway bridge, for the rumble at the end of the first act. Jerry Robbins—or maybe it was Lenny or Arthur—turned to me and said, “What do you think?” I was twenty-five years old! “I agree,” I said. “It just doesn't seem quite right.” Oliver turned on me and said, “Who cares what you think? You don't know anything about the theater!” He was really ugly. He was upset that they didn't like it, but he couldn't lash out at Jerry, Lenny, or Arthur, so— BB: And you were the new guy. SS: Yes. You know , I understand why he did it. BB: Did you ever work with him again? SS: No. BB: When you're the new kid, and an old hand lashes out at you, it's amazing how much it stings. You remember it forever. On my first Broadway show, Spelling Bee, that happened to me. Someone involved in the show, not James, really went after me because I was the new kid. To be honest, I had probably donesomething stupid—but it was unpleasant, and I will never forget it. BB: Last question, and it isn't really a question. I'm going to shorten the quote, but you've said, “Lyric writing has to exist in time. You have to lay the sentences out so there's enough air for the ear to take them in. There's music, there's costumes, there's lighting. There's a lot of things to listen to and look at. And therefore, the lyric must be in that sense simple.” SS: The experience of a musical is so rich that it's like you're getting two kinds of dessert. You're getting the pecan cake and the caramel ice cream, so you don't want to overdo it with either one. SS: All art is about economy of means. It's about finding the part that is necessary and getting rid of the unnecessary. That's the hard part, but once you know it, if you're ruthless, you'll get rid of the extra and keep the great. In general, in art, less is more. Although you must remember, there is also Tolstoy!

“The story of Jazz Dance is the story of America.” My guests today are the creators of the acclaimed new film documentary: Uprooted – The Journey of Jazz Dance, which has been winning awards at film festivals around the world, and in the US can currently be seen on HBO Max.   All three of the film's creators are from the UK, they all have extensive training and backgrounds in dance, and with this movie they are all making their feature length film debuts. The film's director is Khadifa Wong who trained as a dancer and actress but became frustrated by the lack of opportunities for performers of color, and then realized that her true passion lay behind the camera. Producer, Lisa Donmall-Reeve, migrated to film following a very successful twenty year career as a performer that included playing many leading roles on London's West End. And dancer, choreographer and educator, Zak Nemorin - who conceived the film - has appeared in seventeen West End musicals and is the Head of Jazz Dance at Millennium Performing Arts in London. To create the film they interviewed 70 experts - dancers, choreographers, educators and historians - regarding the history of Jazz dance as well as the evolution of its many roots and branches, including Debbie Allen, Josh Bergasse, Al Blackstone, Andy Blankenbuehler, Bob Boross, Camile Brown, Warren Carlyle, Graciela Danielle, George Faison, Thomas De Frantz, Karen Hubbard, Saleemah Knight, Bonnie Langford, Martine Mattox, Jerry Mitchell, Mandy Moore, Walter Painter, Travis Payne, Arlene Phillips, Chita Rivera, Susan Stroman, and Chet Walker to name only a few. Along the way they explore where Jazz dance originated and how it became the dance language of Broadway.  I highly recommend it! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second half of my recent conversation with author Liza Gennaro, whose fascinating new book is titled: Making Broadway Dance.  If you missed part one you may want to catch up on that episode before listening to this one. Liza is currently the Dean of Musical Theater at the Manhattan School of Music and she also has had a very active and successful career as a dancer and choreographer. Interestingly, she is closely related to this subject matter of her book because her father was the Tony Award winning choreographer and star dancer, Peter Gennaro. He is profiled in the book as well as in this episode. By the end of Part 1, we had made it to the late 1940s when Agnes de Mille was dominating the field of Broadway choreography. Between 1943 and 1945, De Mille had four hits in a row – Oklahoma!, One Touch of Venus, Bloomer Girl, and Carousel – and three of them choreographed in her signature “Americana” style. This unprecedented string of successes made her the most powerful choreographer in the commercial theater, and soon led to her becoming the first director-choreographer of the “Golden Age” with Rodgers & Hammerstein's Allegro. De Mille's most significant contribution to the Broadway Musical was breaking the mold of the traditional Broadway chorus girl by insisting on hiring actor/dancers who could fully embody the characters that they were playing.  This new approach to Broadway dance, and this new kind of Broadway dancer, would be adopted by everyone who followed in her footsteps – especially Jerome Robbins – who years later would write, “Agnes broke the conception of what the Broadway dancer could be in the Broadway Musical. What they looked like, what was desired of them, and what their contribution to the show was.” And, as you will hear, Robbins took that idea and ran with it, just as De Mille's “Americana” style was starting to lose its luster. That's just the beginning Later in the episode Liza and I discuss Michael Kidd, Bob Fosse, Gower Champion, Michael Bennett, Graciela Daniele, Susan Stroman, Kathleen Marshall, Bill T. Jones, Stephen Hoggett, Lorin Latarro, Kelly Devine, Sergio Trujillo, Jerry Mitchell and more! Learn more about your ad choices. Visit megaphone.fm/adchoices

Andy Blankenbuehler, Susan Stroman, Chita Rivera, Debbie Allen, Graciela Daniele and more in Khadifa Wong's directorial debut tracing Jazz dance from Africa to America today. Connect with Tonya via her community phone number at +1 917-724-8998! Produced by Dori Berinstein and Alan Seales, edited by Catherine Devine, music by Cat Dail. A proud member of the Broadway Podcast Network. Learn more about your ad choices. Visit megaphone.fm/adchoices

“I think with mistakes and failure, you really learn who the other person is. Sometimes failure and mistakes are more informative to who your people are because then you really see who you're working with – the real people – and how they handle high stakes, handle drama, and handle problem solving.” Ry Myers is a brilliant, accessible and adorable host and producer who somehow appears to be in more than one place in the industry at once. His brain moves a mile a minute, as do his words, and his effervescent energy is enough to lasso you in. This episode is all about opportunities and creating your own path, which is the basis of multi-hyphenating. Plus, get sneak peak insight of the new musical Paradise Square, coming to Broadway starting March 15th.  Myers is a graduate of Multi-Hype, Michael's Multi-Hyphenate workshop (also created and led by Ashley Kate Adams and Kimberly Faye Greenberg) which he attributes to opening up his mind to anything being possible in this industry.  He has a very optimistic outlook about this industry, which is needed – and his point of view regarding mistakes is also positive. Could the industry benefit from more forgiveness? Possibly so. Mistakes can be made, and they are informative – acknowledgement and moving forward is key to growth in this industry.  Myers has his own show in Manhattan called Live with Rye & Friends on Broadway. Many fans and listeners of Dear Multi-Hyphenate often ask HOW do you start something? In this episode, Rye is chock full of knowledge on HOW to start a project. We cover finances, marketing, sponsorship, audience sizes, negative voices in our heads, and of course WHY he is producing and hosting this show.  “How I've set it up – I say the internet is a beautiful thing – I wanted shows to sponsor me,” says Myers. “I asked who works on X Broadway show and what is the marketing or advertising person for this show? And then it was just an email.” Rye Myers is a talk show Host, Producer, and “Your Broadway & Entertainment BFF!”. He is the Founder of Rye Entertainment, LLC and RyeTheNewsGuy.com, the latter of which he has run for over six years. Rye's infectious, energetic, and compassionate style to connect with people has landed him interviews with OSCAR, GRAMMY, EMMY, and TONY Award winners and big names in the industry, including Nathan Lane, Billy Porter, Susan Stroman, George Takei, David Hyde Pierce, Laura Benanti, Matthew Broderick, and many others! Rye has produced and hosted numerous video interviews, behind-the-scenes segments, award show round-ups, red carpet coverage, live events, and cabarets. Rye also works with other creatives in helping them interview celebrities, produce their dream projects, discover their passions, build their networks, and more.  He is also the Host and Exec Producer of Live with Rye & Friends on Broadway; the popular FREE Broadway-themed variety talk show at BAR 9 on Thursdays at 7:30 pm. The new talk show has taken the theater district by storm and is THE place to be on Thursday nights! Rye also Hosts and Producers “Live with Rye!” his digital streaming talk show series on YouTube that premieres new episodes every Tuesday at 6 pm. You can see all of his Hosting and Producing endeavors at www.RyeTheNewsGuy.com and www.RyeEntertainment.com. He also has an active social media presence so be sure to follow @rye_myers on Instagram, Twitter, and TikTok and LIKE /OfficialRyeMyers on Facebook. Learn more about your ad choices. Visit megaphone.fm/adchoices

Taylor Mac (who uses “judy”—lowercase sic—as a gender pronoun) is the author of The Hang (composed by Matt Ray); Gary: A Sequel to Titus Andronicus; A 24-Decade History of Popular Music; The Fre; Hir; The Walk Across America for Mother Earth; The Lily's Revenge; The Young Ladies Of; Red Tide Blooming; The Be(A)st of Taylor Mac; and the revues Comparison is Violence; Holiday Sauce; and The Last Two People on Earth: an Apocalyptic Vaudeville (created with Mandy Patinkin, Susan Stroman and Paul Ford). Mac is the first American to receive the International Ibsen Award, is a MacArthur Fellow, a Pulitzer Prize Finalist, a Tony nominee for Best Play, and the recipient of the Kennedy Prize (with Matt Ray), the Doris Duke Performing Artist Award, a Guggenheim, the Herb Alpert Award, a Drama League Award, the Helen Merrill Playwriting Award, the Booth, two Helpmann Awards, a NY Drama Critics Circle Award, two Obie's, two Bessies, and an Ethyl Eichelberger award. Philanthropic/Activist Causes: The LGBT Asylum Task Force