Podcasts about Transport Group

For the latest Whisper in the Wings from Stage Whisper, we welcomed on the actress Delphi Borich to talk about the latest reinterpretation on the classic play, Bus Stop. This production being presented by NAATO, Classic Stage Company, and Transport Group, was fascinating to learn all about. And even more fascinating was learning all about our fabulous guest. So make sure that you hit play and get your tickets for this wonderful production, today!NAATCO, Class Stage Company, and Transport Group Present:Bus StopNow- June 8th@ CSC StageTickets and more information are available classicstage.orgAnd be sure to follow Delphi to stay up to date on all her upcoming projects and productions:@delphiborich

Jacob is joined by Jack Cummings III, director of Classic Stage Company's co-production of William Inge's Bus Stop with NAATCO and Transport Group. Mr. Cummings and Jacob discuss Inge's legacy and his unique portraits of American loneliness. They also discuss Cummings' upcoming production, which begins previews on May 8, 2025. This production of Bus Stop begins on May 18 and runs through June 8. Get your tickets to Bus Stop here: https://www.classicstage.org/choose-seats/?eid=busstop2025 ------------------------------ Please consider supporting us on Patreon. For as low as $1/month, you can help to ensure the No Script Podcast can continue.  https://www.patreon.com/noscriptpodcast  ----------------------------- We want to keep the conversation going! Have you read this play? Have you seen it? Comment and tell us your favorite themes, characters, plot points, etc. Did we get something wrong? Let us know. We'd love to hear from you. Find us on social media at:  Email: noscriptpodcast@gmail.com Facebook: https://www.facebook.com/No-Script-The-Podcast-1675491925872541/ Instagram: https://www.instagram.com/noscriptpodcast/ Twitter: https://twitter.com/noscriptpodcast/ ------------------------------ Thanks so much for listening! We'll see you next week.

Japan's Defense Ministry held an inaugural ceremony for a new Self-Defense Forces unit focused on maritime transportation at the Maritime SDF's Kure base in Hiroshima Prefecture, western Japan, on Sunday.

Initially an actress ('Les Miserables', 'Aspects of Love', et al.), Merri found herself out West some years back where she quickly made a name for herself at Liberman/Hirschfeld Casting, then Liberman/Patton Casting, working on such shows as Seinfeld, Party of Five, HBO's Band of Brothers, the feature film My Big Fat Greek Wedding and the Miramax feature film "Playing By Heart", starring Sean Connery and Angelina Jolie.  In 2000, Merri moved to Dreamworks Studios as the Casting Executive in charge of TV Pilots and Series- including "Spin City", “Freaks and Geeks” and the critically acclaimed "The Job", starring Denis Leary. She was then offered a position as the Director of Casting for Dramas and Movies at ABC Television, overseeing the casting of the series "Alias", "NYPD Blue", "The Practice" and the made for television movies "Gilda Radner - It's Always Something" and "The Music Man", starring Matthew Broderick and Kristin Chenoweth, to name just a few.  Merri then returned to the East Coast to teach and coach actors – something she still does (and loves) as time permits, when Tara Rubin offered her a Senior Casting Director position where she's been happily ensconced ever since, working on, among many others - the Broadway, touring and international companies of THE WHO'S TOMMY, COMPANY, AIN'T TOO PROUD, JERSEY BOYS,THE PHANTOM OF THE OPERA, LES MISERABLES, SCHOOL OF ROCK, MISS SAIGON, A BRONX TALE, CLUELESS the Musical, TREVOR the Musical (2023 Artios Award) and FIDDLER ON THE ROOF (2024 Artios Award) The TRC office is also responsible for the casting of Billy Crystal's series “Before” for Apple TV and the Broadway productions of The Outsiders, SIX and Death Becomes Her, just to name a few  Merri also casts for many theaters regionally – including The Papermill Playhouse, Lyric Opera of Chicago,  The Old Globe, Seattle Rep, The Goodman and The La Jolla Playhouse.  She is the very proud Casting Director of the critically acclaimed web series SUBMISSIONS ONLY and also boasts having cast many other independent TV & film projects, workshops and readings. In 2024, Merri took on some passion projects on the side, as well. These include the highly acclaimed and starry concert production of “FOLLIES” at Carnegie Hall for Transport Group's annual benefit gala, and a reading of a new play at The Actors Studio written by Lyle Kessler (“Orphans”) and directed by Academy Award winner Bobby Moresco – starring Chazz Palminteri, Tim Blake Nelson and Gina Gershon. In addition, Merri is now also the Casting Director at The South Carolina New Play Festival. Learn more about your ad choices. Visit podcastchoices.com/adchoices

In this week's episode of The FreightCaviar Podcast, we sit down with Cameron Ramsdell, the CEO of Armstrong Transport Group. He's worked at Variant, Emerge, and spent more than a decade at Coyote Logistics. Last year he became the CEO of Armstrong. Cameron shares insights on how the company grew by 60% in 2024, offers his predictions on the impact of AI on the industry, and talks strategies for protecting your business against fraud. This week's episode is sponsored by Epay Manager, Happyrobot.ai, Highway and ShipperCRM. Interested in sponsoring our podcast? Send us an email at pbj@freightcaviar.com.

In this week's episode of The FreightCaviar Podcast, we sit down with Cameron Ramsdell, the CEO of Armstrong Transport Group. He's worked at Variant, Emerge, and spent more than a decade at Coyote Logistics. Last year he became the CEO of Armstrong. Cameron shares insights on how the company grew by 60% in 2024, offers his predictions on the impact of AI on the industry, and talks strategies for protecting your business against fraud.This week's episode is sponsored by Epay Manager, Happyrobot.ai, Highway and ShipperCRM.Interested in sponsoring our podcast? Send us an email at pbj@freightcaviar.com.Support the show

In this episode, our guest is Jamie Leather, Director of the Transport Group at the Asian Development Bank. Jamie shares insights on the progress and challenges in accelerating electric vehicle adoption across Asia. He discusses the role of strong government policies, financing, and partnerships in driving the transition from internal combustion engines to electric vehicles, with a focus on public transport and infrastructure development. He also highlights some of ADB's interesting projects and explains the sources of grants and concessional funding for which such projects can qualify. Link to ADB's Transport site.  Please join to find more. Connect with Sohail Hasnie: Facebook @sohailhasnie Twitter @shasnie LinkedIn @shasnie ADB Blog Sohail Hasnie

Harry Potter and the Cursed Child on Broadway's next Ginny Potter, Sarah Killough is here! U Guys, this week's BroadwayWorld Recap has all the latest Bway updates, including a tribute to Ken Page and Gavin Creel. Then I am joined by Broadway performer Sarah Killough! Sarah has been seen on Broadway in four critically acclaimed plays, most recently taking over the role of Eva full-time in Tom Stoppard's Leopoldstadt. Her other Broadway credits include The Lehman Trilogy, Travesties, and Long Day's Journey Into Night with Jessica Lange. Sarah was also seen off-broadway in Once Upon A Mattress with the Transport Group. We talk about her experience working as a reader for casting offices in New York City, as well as working in regional theaters across the country. Her next Broadway endeavor is taking on the role of Ginny Potter in Harry Potter and the Cursed Child starting November 12th. Sarah is an absolute delight, U don't wanna miss this episode! Follow Sarah on Instagram: @rhymeswithpillow Follow the pod on Instagram: @ohmypoduguys Learn more about your ad choices. Visit megaphone.fm/adchoices

Carmel is a composer/lyricist, arranger, music supervisor/director, conductor of musical theatre, based in NYC. Composition credits include Renascence, produced Off-Broadway by Transport Group in 2018. Music director/arranger credits include the Broadway productions of Funny Girl (revival), If/Then, Hands on a Hardbody, American Idiot, The 25th Annual Putnam County Spelling Bee, as well as Broadway's The Notebook. Well Behaved Women What would Ruth Bader Ginsburg, Harriet Tubman, Frida Kahlo, and Malala Yousafzai sound like if you heard them sing? Find out in “Well- Behaved Women,” a new collection of songs by Carmel Dean (Broadway musical director/arranger, and composer of the award-winning Off-Broadway musical Renascence). These women - and more - will be brought to life by some of Broadway's leading ladies, and through these powerful and often hilarious songs will celebrate the ways in which their bad-ass behavior helped them make history.

Connor and Dylan are joined by three-time Tony Award nominee Mary Testa (Oklahoma!, Xanadu). After dishing on the recent lab presentation of SMASH, the twins meet the icon herself, and dive into Mary's fabulous career. She's done it all, y'all! Mary reflects on her long and wonderful relationship with The Transport Group, especially her cherished leading role in Queen of the Mist. Mary shares memories from working on Marilyn the Musical with Kenny Ortega, learning from Chita Rivera, and the magic of Xanadu alongside Jackie Hoffman. We get into her creative collaborations with Michael John LaChiusa and Graziela Daniele, including Marie Christine, The Gardens of Anuncia, and more. Listen in for a touching story from when Mary's parents saw her go on for Liza Minnelli in The Rink, as well as insights into her knack for standing up against injustice (particularly in show business). Naturally, we get into Sexy Oklahoma, being directed by Daniel Fish, and the modern unruly audiences at the theater. This trio even chats about Wicked (the movie trailer too), Beyonce's foray into country, and Mary's Tiktok addiction. Mary is a truly authentic, distinguished force onstage and off. You'll be drawn into this episode with this legendary star.Follow Mary on InstagramFollow DRAMA. on Twitter & Instagram & TiktokFollow Connor MacDowell on Twitter & InstagramFollow Dylan MacDowell on Twitter & InstagramEdited by DylanSupport the podcast by subscribing to DRAMA+, which also includes bonus episodes, Instagram Close Friends content, and more!

fWotD Episode 2483: Donald Hardman Welcome to featured Wiki of the Day where we read the summary of the featured Wikipedia article every day.The featured article for Wednesday, 21 February 2024 is Donald Hardman.Air Chief Marshal Sir James Donald Innes Hardman, (21 February 1899 – 2 March 1982) was a senior Royal Air Force commander. He began his flying career as a fighter pilot in World War I, achieving nine victories to become an ace. During World War II, Hardman held senior staff and operational posts. He was Chief of the Air Staff (CAS) of the Royal Australian Air Force (RAAF) from 1952 to 1954, after which he served as a member of the British Air Council until retiring in 1958.Born in Lancashire, Hardman joined the Royal Flying Corps in 1917 and was posted to the Western Front the following year. He flew Sopwith Dolphins with No. 19 Squadron, earning the Distinguished Flying Cross for his fighting skills. Between the wars he served with No. 31 Squadron in India and No. 216 Squadron in Egypt. A wing commander at the outbreak of World War II, Hardman was attached to the Air Ministry for several years before being posted in 1944 to South East Asia, where he commanded No. 232 (Transport) Group during the Burma campaign. He was appointed an Officer of the Order of the British Empire in 1940 and a Companion of the Order of the Bath in 1945, and was also mentioned in despatches.Finishing the war an air commodore, Hardman served successively as Assistant Chief of the Air Staff, Commandant of RAF Staff College, Bracknell, and Air Officer Commanding-in-Chief of Home Command, before becoming RAAF CAS in January 1952. He was appointed a Knight Commander of the Order of the Bath the same year. As CAS he was responsible for reorganising the RAAF's geographically based command-and-control system into a functional structure. Returning to Britain, he became Air Member for Supply and Organisation in May 1954, and was promoted to air chief marshal the following year. He was raised to Knight Grand Cross of the Order of the British Empire in January 1958, shortly before his retirement.This recording reflects the Wikipedia text as of 01:27 UTC on Wednesday, 21 February 2024.For the full current version of the article, see Donald Hardman on Wikipedia.This podcast uses content from Wikipedia under the Creative Commons Attribution-ShareAlike License.Visit our archives at wikioftheday.com and subscribe to stay updated on new episodes.Follow us on Mastodon at @wikioftheday@masto.ai.Also check out Curmudgeon's Corner, a current events podcast.Until next time, I'm Stephen Neural.

Fresh out of the oven and straight to you, it's a brand new Whisper in the Wings. And on this episode we sat down to talk with director Jack Serio and playwright Joey Merlo about their new work, On Set With Theda Bara. This was such an exciting conversation full of insight behind the play's making and message, as well as what inspires our artists. So be sure to tune in, and get your tickets fast for this incredible experience!Transport Group and Lucille Lortel Theatre Present On Set With Theda BaraNow- March 9th @ The BrickTickets and more information are available at transportgroup.org and lortel.orgAnd be sure to follow our guests to stay up to date on all their upcoming projects and productions:Jack: jackserio.com and @jackserioJoey: joeymerlo.com and @joejoemerlo

Six months into his role as Director Jason talks about the work of the Urban Transport Group and his hopes for this General Election year and beyond.

REGIONS: Bacolod transport group to hold strike on Wednesday | December 12, 2023Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein #TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

In this episode of Broadway Gives Back we talk about Transport Group and their mission of crafting risk-taking and thoughtful productions of theatre that widen the lens on our American experience. Their works create space for new American perspectives that deepen our shared capacity for empathy and understanding. My guests are two incredible human-beings. Jack Cummings III is the co-founder and artistic director at Transport Group, and has been nominated for Drama Desk and Obie awards. Donna Murphy is on the Artistic Advisory Board at Transport Group and she is a Five time Tony Award nominee and two time Tony winner. Her career spans film, television, and of course, theatre. Donna has starred in shows like: Passion, The King & I, Wonderful Town, and Into the Woods to name a few. For her contribution to the arts, she has received numerous special honors and she donates her time to many different organizations.  Learn more about about the worthy causes discussed in this episode and how you can donate and/or help: Website: transportgroup.org Instagram: @transportgrp Connect with Donna Murphy: Instagram: @officialdonnamurphy Connect with The Broadway Gives Back Podcast: Facebook: @broadwaygivesbackpodcast Instagram: @broadwaygivesbackpodcast Twitter: @broadwaygives Hosted & Executive Produced by Jan Svendsen. A proud member of the Broadway Podcast Network. Special thanks to Dori Berinstein, Alan Seales, and Kimberlee Garris from BPN; Julian Hills from The Bulldog Agency; and Eric Becker from Broderick Street Music. Learn more about your ad choices. Visit megaphone.fm/adchoices

Tune in to this special Broadway Spotlight series, brought to you by Peter Eyers, host of the STAGES podcast. In January 2024, Peter will be leading a 10-day tour to sample the best of Broadway and New York - alongside a host of cultural experiences at museums and galleries populating The Big Apple.In this episode, Peter chats with Carmel Dean. Carmel a composer/lyricist, arranger, music supervisor/director, and conductor of musical theatre, based in NYC. Her composition credits include Renascence, produced Off-Broadway by Transport Group in 2018.  Carmel's Music director/arranger credits include the Broadway productions of Funny Girl, If/Then, Hands on a Hardbody, American Idiot, The 25th Annual Putnam County Spelling Bee, and ….. The Notebook ….. coming to New York in the near future.Academy Travel is a leading specialist in small-group cultural tours, allowing you to travel with like-minded companions and learn from internationally renowned experts. Like our podcast, our tours are designed to appeal to travellers with a strong interest in history, archaeology, architecture, the visual arts and the performing arts.Learn more here - https://academytravel.com.au/

Tune in to a Broadway Spotlight edition of the STAGES podcast. A Spotlight replay brought to you by Academy Travel - a leading specialist in small-group cultural tours.In January 2024, Academy Travel will be leading a 10 day tour to sample the best of Broadway and New York - alongside a host of cultural experiences at museums and galleries populating The Big Apple.Find further information at the Academy Travel website … academytravel.com.au and search Theatre in New York - Best of Broadway tour.To whet the appetite, STAGES will be revisiting conversations with Australian artists who have conquered The Great White Way in a series of Broadway SPOTLIGHT episodes - brought to you by Academy Travel.Carmel Dean is a composer/lyricist, arranger, music supervisor/director, and conductor of musical theatre, based in NYC. Carmel's composition credits include Renascence, produced Off-Broadway by Transport Group in 2018. Her Music director/arranger credits include the Broadway productions of Funny Girl, If/Then, Hands on a Hardbody, American Idiot, The 25th Annual Putnam County Spelling Bee, and ….. The Notebook ….. coming to New York in the near future.Carmel Dean joined the STAGES podcast in June 2020.

After a bumpy ride, what's in store for air cargo?Tom Crabtree of Trade and Transport Group dives into the OEM approaches to building freighters and the outlook for the market.  Tom talks 767F, 777F, A330F, A350F, 757P2F replacements and the outlook for the A321P2F.

MINDI DICKSTEIN is an award-winning writer of plays and musicals best known as the lyricist for Broadway's LITTLE WOMEN (licensed by MTI, Original Broadway Cast album released by Ghostlight/Sh-k-boom Records), which continues to be performed worldwide, including recent premieres in Tokyo and London.  Current projects include book and lyrics for MAIDEN VOYAGE (New Works Provincetown), lyrics for WITNESSES (California Center for the Arts, 2022 San Diego Critics award for Best Production), lyrics for BEYOND WHAT CAN BE SEEN, based on The Little Prince and the life of Saint-Exupery, and lyrics for BENNY & JOON, based on the MGM film, which had its world premiere at The Old Globe (2017 San Diego Critics nominee for Best Musical), east coast premiere at Paper Mill Playhouse, and which has been developed at Transport Group, NAMT, Theatreworks Silicon Valley, and the Goodspeed Johnny Mercer and Rhinebeck retreats. Her work has been commissioned, produced, and developed widely, including by Disney (book for TOY STORY, based on the animated film), Second Stage (lyrics for SNOW IN AUGUST, based on the novel by Pete Hamill), Playwrights Horizons (book and lyrics for TRIP, based on Rip Van Winkle; Harold & Mimi Steinberg Commission), Theatreworks USA, Two River Theater, and the ASCAP Workshop. Her songs have been performed at The Kennedy Center, 54 Below, The Cutting Room, Gotham Hall (The Dramatists Guild's “Great Writers Thank Their Lucky Stars”) and Lincoln Center (“Hear and Now: Contemporary Lyricists”), among others. Honors include a Larson Foundation Award, New York Foundation for the Arts and Massachusetts Artists Foundation Playwriting Fellowships, Jane Chambers Award (for her play, THE EXISTENTIAL GOURMET), and a Second Stage Constance Klinsky Award for Excellence in Musical Theater. Education: MFA, Tisch School of the Arts Graduate Musical Theater Writing Program (where she was an Oscar Hammerstein Fellow); BFA, NYU's Department of Undergraduate Drama.  Member of ASCAP and The Dramatists Guild.

NEWS: Transport group apologizes to BBM | July 15, 2023Subscribe to The Manila Times Channel - https://tmt.ph/YTSubscribe Visit our website at https://www.manilatimes.net Follow us:Facebook - https://tmt.ph/facebookInstagram - https://tmt.ph/instagramTwitter - https://tmt.ph/twitterDailyMotion - https://tmt.ph/dailymotion Subscribe to our Digital Edition - https://tmt.ph/digital Check out our Podcasts:Spotify - https://tmt.ph/spotifyApple Podcasts - https://tmt.ph/applepodcastsAmazon Music - https://tmt.ph/amazonmusicDeezer: https://tmt.ph/deezerStitcher: https://tmt.ph/stitcherTune In: https://tmt.ph/tunein #TheManilaTimes Hosted on Acast. See acast.com/privacy for more information.

Last time we spoke about the drive towards Salamaua. New Guinea was about to see a large scale offensive launched at Salamaua, but in order for it to be pulled off, the allied high command decided to produce many feints to distract the Japanese. Codenamed Operation Postern, General Blamey directed his subordinate to launch offensives around Salamaua, but not to attack kit directly. Battles began to break out over the Pimple, Green Hill, observation hill and bobdubi ridge. It was costly warfare for both sides, but the strategy was working as the Japanese were beginning to believe the allies were targeting Salamaua, rather than the actual target which was Lae. We also talked about the tragic tale of the fate of the surviving doolittle POW's and the sinking of the hospital ship Centaur. The Japanese would perform many more war crimes during this war. But today we are venturing back to the frigid north pacific. This episode is the battle of Attu Welcome to the Pacific War Podcast Week by Week, I am your dutiful host Craig Watson. But, before we start I want to also remind you this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Perhaps you want to learn more about world war two? Kings and Generals have an assortment of episodes on world war two and much more  so go give them a look over on Youtube. So please subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry for some more history related content, over on my channel, the Pacific War Channel you can find a few videos all the way from the Opium Wars of the 1800's until the end of the Pacific War in 1945.  It is May of 1943, almost a year has passed since the battle of Midway. The battle of Midway, though as you have heard me say probably a hundreds times by now, not the turning point of the pacific war, nonetheless has captivated people since it occurred. There is something about Midway that just makes it a great story, its full of everything, deception, foreshadowing, underdog victory, its on the level of Herodotus to be brutally honest with you. But while thats all good and fun it really overshadows other events in the Pacific War. One thing that gets really overshadowed is the Aleutian campaign, which ironically was born from the battle of Midway. As we have seen throughout this series, the Japanese invasion of the islands of Attu and Kiska were incredibly important aspects of the war, hell it was the first time American territory had been seized since the war of 1812, a war in which my nation of Canada defeated America, haha jokes jokes, trust me I know quite a lot about the war of 1812 and its by no means as simple as that and is honestly one of the most misunderstood wars in history. The invasions of Attu and Kiska were a large shock for the American public and their liberation was demanded from the offset.  Now to backtrack only a tiny bit for coherency's sake, last time we talked about Admiral Kinkaid's plan to attack Kiska. The plan became a major item debated at the Casablanca conference. The allied commanders liked the plan and sent it over the the Joint chiefs of staff to try and hammer out the details to form it into a real operation that got the codename Operation landcrab. When it was presented to General John DeWitt, he recommended using the 35th infantry division, but the War department decided to use the 7th motorized division instead. They had of course been trained for desert warfare in north africa, but General Rommel had just been defeated and thus the division's expertise in that area was no longer needed.  Vice Admiral Francis Rockwell received overall command of Operation Landcrab and when he looked over the plan, he quickly pointed out some major problems. Number one, they simply did not have enough naval assets to pull it off. Going back to the drawing board, Kinkaid suggested they switch their target for Attu, believing the island only held a garrison of around 500 Japanese. Attu would turn out to have closer to 3000 men. Regardless, Kinkaid argued bypassing Kiska for Attu might result in the Japanese abandoning Kiska.  The idea was approved and the 10,000 strong 7th division commanded by Major General Albert Brown would receive a crash course in amphibious landings and tundra warfare. The initial lands were set for May 7th, but the finer details of the plan were only finalized on April 1st at the San Diego military conference. As mentioned before, shipping was the most crippling issue facing the North Pacific as they really only received hand me downs so to say. Thus Operation Landcrab would be forced to use five terribly-overcrowded transports: the Harris, Heywood, Zeilin, Perida and Kane escorted by Task Force 51's Destroyers Dewey, Dale, Monaghan, Aylwin; minelayers Sicard, Pruitt and the Minesweeper group Perry, Elliot, Chandler and Long. They were to depart on April 24th.  Now to preserve secrecy for the operation, the 7th division who were training in California were told they were going to deploy in the Solomon Islands. Kind of a nasty surprise when you think about it, your training for a tropical climate only to be shipped off to one of the coldest and most miserable places in the world haha. A key element in the plan consisted of the provisional scout battalion, commanded by Captain William Willoughby. This unit was made up of the physically toughest men out of the 7th division and would prove to be the finest American fighting forces on Attu. Captain Willoughby would have 410 men who were given very little time to train. Willoughby secured massive firepower for his men, getting rid of half their rifles and all their submachine guns and replacing them with automatic rifles, machine guns and exchanging their soft lead ammunition for armor piercing rounds, which was a big necessity so they did not ricochet on the ice. He also filled his mens packs with grenades to the brim. The men left San Francisco on april 24th at 1pm, completely ignorant of their true destination. In the meantime the Americans wanted to keep their actual target a mystery from the Japanese and began a bombardment campaign against Kiska and Attu, tossing most of the bombs at Kiska. The bombardment campaign was heavily hampered by tremendous storms for the first half of april, seeing winds up to 115 mph and gusts over 127 mph. The Americans managed to better Kiska with 1175 sorties during April second half, then on May 1st they switched focus to Attu where their bombers hammered it with over 200,000 pounds of bombs. The pilots unfortunately were bombing blind as Attu was covered in a thick fog, thus there was no way to know the effectiveness of their campaign.  Of the entire invasion force, only Willoughby's provisional scout battalion would get training ashore in the Aleutians prior to deployment. While the rest of the 7th division came ashore at Cold Bay, they would be forced to stay aboard their ships as there were no accommodations ashore, a shivering and crammed mess to be sure. Only Captain Willoughby's men would carry on over to Dutch Harbor where they embarked on a week's last minute training in snow and muskeg. While the 7th division boys were shivering their asses off in Cold Bay, General Butler signaled the bombardment campaign to lay down the hammer of Attu, tossing Admiral McMorris force into the mix. McMorris led the Light cruisers Richmond, Detroit and Santa Fe; and destroyers Coghlan, Bancroft, Caldwell, Edwards, Frazier and Gansevoort to bombard Attu with naval gunfire. Over in Attu, Colonel Yamasaki Yasuyo who had been appointed to command the 2nd district force of the North Seas Garrison had arrived to the island in April and was given orders to hold Attu without any additional help until at least May. In May he was to receive reinforcements. Until then he had the 83rd and 103rd infantry battalion; the Aota battalion which was a provisional anti-aircraft battalion;  the 302nd Independent Engineer Company and 2nd Company of the 6th Ship Engineer Regiment; and  the 6th Independent Mountain Artillery Company. In all 2630 men, with just a few coastal guns, some flak guns and small arms to defend themselves. Yamasaki decided to keep the garrison at Chichagof Harbor, while at Holtz and Massacre Valleys he had the men abandon the low ground to instead dig pits, trenches and bunkers of the high, rugged ground overlooking the valleys. Rockwell and Brown spent May the 1st and 2nd discussing the landing plans against Attu. Characteristically the Aleutian weather was to be bleak, furious storms raged thus postponing the operation. D-day had to be pushed from may 7th to the 11th. Rockwell called for landing the entire 7th division at Sarana Bay as he didn't believe he could maintain full-scale supply of 2 different landing points. But Brown favored making 3 landings. One at Holtz bay by Colonel Frank Cuilin's northern force; the 1st battalion of the 17th regiment; another in Massacre Bay by Colonel Edward Earle's southern force consisting of the 2nd and 3rd battalions of the 17th regiment and the 2nd battalion of the 32nd regiment; and Captain Willoughby's  Scout battalion was to land at Beach Scarlet; lastly a reserve force consisting of the 1st and 3rd battalions of the 32nd regiment and the 1st battalion of the 4th regiment  ready to depart at any moment from Adak. The key to the plan was to have all three forces join up in the mountain pass  called Jarmin Pass which lay between Holtz and Massacre Valleys. Converging there would basically trap the Japanese at Chichagof Valley, leaving them open to naval bombardments and aerial bombing as the 7th division's advanced upon the high ground. Willoughby's scouts would have an extremely dangerous task having to land from two large submarines at night, the USS Narwhal and Nautilus. They would have to creep up in complete silence to achieve the element of surprise. This was easier said than done however. When jumping into their rubber boats, their equipment would clank and some of their heavy weapons would rip holes in the fragile boats. Thus Willoughby instead planned to come topside, inflate the rubber boats on the afterdecks and try to quietly crowed the boats while they were still high and dry. The submarines would submerge under them, so the boats would float without a ripple. Pretty smart stuff and very innovative for the day. Once a beachhead was established, the destroyer USS Kane would bring the remaining 165 men to Attu.  Admiral Kinkaids Task Force 16 would provide the naval support, consisting of two groups:  the Southern Covering Force of Admiral McMorris consisting of Light cruisers Richmond, Detroit and Santa Fe; and destroyers Coghlan, Bancroft, Caldwell, Frazier and Gansevoort; and the Northern Covering Force of Admiral Giffen  consisting of Heavy cruisers Louisville, San Francisco and Wichita; and destroyers Balch, Hughes, Morris and Mustin. They would have the task of naval bombarding the enemy positions and would receive the support from Admiral Rockwell's Task Force 51 consisting of the escort carrier Nassau, 3 old battleships the Nevada, Idaho and Pennsylvania; and destroyers Edwards, Meade, Ammen, Phelps, Hull, MacDonough, Aylwin and Monaghan, a Transport Group covered by three destroyers Dale, Dewey and Farragut and a Minesweeper Group of two minesweepers Chandler and Long.They were to be the largest American naval force assembled since the invasion of Guadalcanal and their guns would hammer the enemy on Attu to support the ground forces. On the 3rd of May, the assault force finally departed Cold Bay en route to Attu, despite the fact their intelligence indicated the Japanese knew they were coming. The convoy cut across the Chain at Amukta pass making a wide circle north of Kiska to avoid detection. By the 6th, they had reached their launch point, 100 miles north of Attu, but a storm began to smash them during the evening. The surf became too dangerous for landings, forcing Rockwell to postpone yet again. Rockwell took his transports and had them perform circles while his battleships headed west incase the Japanese tried to send reinforcements from the Kuriles. By the 11th, the storm had ended, leaving a soupy fog over the ocean. Because of the fog the destroyer USS Macdonough accidentally cut across the destroyer USS Sicard's course causing a collision. No one was injured, but the collision breached Macdonough's hull, forcing Sicard to tow her back to Adak. Sicard was one of the control ships for the landings, thus the landings would now be more difficult. Meanwhile, Colonel Yamasaki received warning of the incoming American invasion by May 4th and set to work ordering his men into combat alert positions. He kept the men on edge for a week, but by the 10th he had exhausted them and it looked like perhaps the weather and stopped the invasion from coming. Thus Yamasaki decided to leave the beaches unguarded, as his small force could not possibly guard every inch of them. His force was made up of, what we call the b-teamers, older men and raw recruits, primarily drawn from Hokkaido. The only advantage they enjoyed was the fact they were used to colder climates and knew the terrain and weather. Giving up the beaches to occupy the high ground was the only sensible defensive posture Yamasaki could hope for. Thus a major component of the defensive strategy would be to draw the enemy further in towards the mountains and away from their supplies on the shore. Yamasaki organized his forces into two sectors; the Chichagof harbor sector and the  Holtz Bay sector. Lt COlonel Yonegawa Isamu defended the Holtz Bay sector with his Yonegawa force of 420 men, 526 men of the Aota provisional anti-aircraft battalion led by Major Aota Seiji, 270 men of the 6th independent month artillery led by Captain Ono CHinozo, 270 men of the 6th ship engineers led by Captain Kobayashi and 183 men of the field hospital unit.  Chichagof Harbor sector was defended by Major Watanabe Tokuji who had 664 men of the 303rd independent infantry battalion. Willoughby and his scouts moved ashore first at 1am on May 11th, marking the start of a struggle that would carry on for 19 days. It was not going to be the 3 day adventures Admiral Kinkaid had promised them. Willoughby and 244 of his scouts clambered out of the large submarines Narwhal and Nautilus into their inflatable boats and made their way 3 miles to the western shore of Attu. They successfully landed on Beach Scarlet after two hours and immediately headed for an icy little creek that climbed up a ravine towards some ridges, there was no sign of the Japanese anywhere. Disaster struck immediately when some naval Wildcats swept in low over Scarlet Bay and began strafing their boats, narrowing missing 3 guards left behind with the boats. The Wildcats had come from the USS Nassau, there to support them, not destroy their escape vehicles. The friendly fire was certainly a bad omen to start their mission. With 36 hours worth of rations in their packs and no ability to retreat the scouts made their way climbing a snow covered mountain ridge. Willoughby and his soldiers spent the first night at the bitterly cold summit. A B-24 would be sent to drop additional ammunition and rations to them, but the powerful snow filled winds hurled the parachute supply crates deep in some crevasses. Over in the south, the old battleships delivered a bombardment of Chichagof harbor. After this the largest of the three assault bodies had arrived aboard their transports to Massacre Bay in the early morning. However the fog was so intense the allied aircraft couldn't see a glimpse of the ground from their altitude of 20,000 feet. In fact both the Japanese and allies bombers would be spending the majority of the battle grounded because of weather. The americans yet again had to postpone, this time until the afternoon. General Brown had had enough and ordered the southern force of Colonel Edward Earle to make the landings regardless. At 3:30 the first wave began to hit the Massacre beach unopposed. An hour later the second wave landed at 5pm. The soldiers came ashore to a eerily silent beach, greeted allegedly by a solitary raven, whose croaking echoed eerily off the foggy ridges until the bird flew away. Meanwhile the Northern force led by Colonel Frank Culin landed on Beach Red, meeting no immediate Japanese resistance as they formed their beachhead. Beach Red proved to be a narrow strip only a hundred yards long or so, surrounded by 250 feet heights. It was a highly unlikely landing area and thus the Japanese had never set up defenses there. Instead the Japanese set up positions, intending to hit the allies at Moore ridge using two 75mm mountain guns. By midafternoon, Culin had 1500 men ashore and climbing with no sign of the enemy. During this period however Culin succumbed to hypothermia forcing Lt Colonel Albert Hartl to take command. Hartl began his command by tossing out a screen of Aleut scouts, some who originally came from Attu, over the ravines and mountain ridges. By 6pm a US patrol encountered 4 Japanese, they killed one man, wounded and captured a second, but the other 2 managed to escape and raised the alarm. The Japanese began digging in on the high ground overlooking Holtz Valley. The days deep silence unnerved the men more than an outpouring of gunfire.  Lt H.D Long described the eerie silence followed by a sparrow that quote “ He sat on a bump above the beach and sang his lungs out, and an explosive gasp shushed out of hundreds of throats. The spell was broken, the world hadn't died around us. The first DSC from Attu should go to that bird. He saved lives that day. His song changed us from a tight, tense, hypnotized, unrelated group of human beings to a relaxed, laughing, cohesive fighting force” Back over in Massacre Valley, Colonel Early decided to toss one battalion up the valley floor and another up a parallel ridge. The two-pronged maneuver was slow going because of the muck of snow, mud and muskeg. They would soon come upon a chain of Japanese machine gun nests and mortar positions held by men of the 303rd infantry battalion. They were led by Lt Goto and Honna who told the men to wait silently for the enemy. Their position lay in some thick fog, but they could see the Americans clearly below them, struggling forward up the valley through a wet layer of snow and sucking mud. They had orders from the Northern Imperial Army headquarters at Paramushiro  “Destroy the enemy. We pray and hope for your successful battle.”   However the first shots of the battle would be fired at around 6pm by Brigadier General Archibald Arnolds 3 105mm field artillery. The pieces of artillery had been brought ashore with the southern force, but immediately got stuck in mud. A scouting force led by Lt James west had found a Japanese mortar positions and called its location down to the artillery men at the beach. Their first shell missed, but the Japanese mortar crew walked right into the next two shells which destroyed their guns and blasted the crews to pieces. They were the first casualties of the battle of Attu.   While those shells were being lobbed at the ridge-lines, Japanese snipers opened up fire taking long range shots at the US troops struggling up the valley throughout the day. By 7pm Earle led hundreds of men forward in an attack on the pass at Massacre Valley's inland end, soon to be dubbed Jarmin Pass. Japanese machine gun fire and mortar explosions caught the Americans on open ground. The men fell back, rallied, tried to again and were driven back once more.   The Japanese had prepared their battlefield expertly, choosing defensive positions that provided cover and concealment. Their snipers were positioned at right angles to cover the approaches from the enemy upon their machine gun nests. The grenade launchers covered depression where the Americans might take cover. A system of tunnels and trenches allowed them quick and easy movement. Telephone wires strung along the ground provided them communication. Caches of food and supplies were easily moved around throughout the combat. Low hanging fog along the ridges and mountain sides concealed their positions while also providing them good observation of the Americans huddling in their water filed foxholes down below. While the Japanese watched their enemy, the enemy could only see mist above them.   Earle tossed countless assaults, each bloodily repulsed. Sergeant Louis Adami of G company, 32nd infantry described one of the failed assaults. “The attack pushed off early in the morning at about 0630 and immediately the Japs opened up. The first casualties were being hit in the back by guns high on the mountain to our left. It was demoralizing because we couldn't spot them. […] They had machine guns all over the place, and knee mortars were systematically blasting holes in our advancing lines”. At nightfall, Earle would thus be forced to regroup behind a defensive perimeter, digging foxholes in the cold snow.    Further north, battleship Nevada was hammering the Japanese positions with her 14 inch guns as the Americans watching severed arms, legs and entire Japanese corpses pop out of their trenches, flopping grotesquely down the steep slopes after each salvo. The salvo's were chewing great chunks of mountain and inflicting heavy casualties. The Northern force meanwhile had reached high ground when the Japanese artillery had opened up on them, pounding Beach Red. By 10pm the americans were two miles inland and less than a mile from their first objective, designated Hill X. Hill X was a hilltop dominating Holtz Valley. The Americans would have to stop for the night as they could not see where they were going, unfortunately this gave the Japanese ample time to build up defensive positions on Hill X. At 4am, Willoughby got his half frozen men off their feet and they marched over the final ridges of Attu's western mountains and emerged to the rear of the Japanese positions on the high ground overlooking Holtz Bay and the Northern force. The scouts quickly took up positions sliding on their back down long snow slopes. The Japanese saw them and launched a preemptive attack. Willoughbys men, exhibiting professionalism, took cover and demolish the attack with machine gun and mortars. The scouts doctor, Captain David Kelin went to work setting up aid stations with extreme speed that would save the lives of 15 badly wounded men on the 12th and 13th. On the 13th the Americans pushed within 2 miles of the Jarmin Pass, fighting every step they took. Willoughby and his elite scouts fought so furiously, the Japanese defenders estimated their strength to be a full division worth instead of 410. On the 14th a trio of F4F wildcats tried to support them courageously fighting the bad weather, but incredible wind gusts smashed them against a mountainside killing all of the pilots. Willoughbys men carried on their costly struggle that was necessary to stop the enemy from turning their full might down upon the Northern force. At 9am, as the fog lifted, Colonel Earle ordered his 3rd battalion to assault the Jarmin pass, but yet again it failed. His men only made it a few yards before they were crawling back under heavy fire. Earle himself was visiting the front lines early that afternoon and was a victim of sniper fire. His death was a grave loss, prompting General Brown to send his chief of staff Colonel Wayne Zimmerman to take command of the southern force.  At the same time Colonel Culin's men were attacking the right flank of the Japanese defenders at Jarmin Pass, being met with machine gun fire, rifle fire and mortars. Pinned down one of Culin's companies would be unable to move forward or back and had to be rescued. After beach artillery, Phelps naval guns and Nassaus Wildcats made a bombardment, the Northern force was able to push forward and link with the isolated company. By the late afternoon, Hill X was captured by Culins men who had to overrun Japanese positions to do so. The Japanese soon regrouped and counterattacked causing heavy casualties, but did not manage to dislodge the Americans. At this point, casualties were shockingly high, General Brown pressed Rockwell to land two reserve battalions, but unbeknownst to him the Perida had suffered an accident. As she was edging towards Massacre Beach to land her reinforcements and supplies, the transport ran into a pinnacle rock. Water gushed into her forward hull destroying radio equipment needed ashore. Perida backed off, listing and staggered until she beached at the mouth of the bay and now was undergoing repairs. Rockwell only had 4 more vessels for shipping. On May 13th, Zimmerman picked up where Earle had left off tossing men at Jarmin Pass. The soldiers struggled uphill through snow and Japanese lead, managing to get within 200 yards of the summit before triple crossfire tossed them back. After this defeat, Brown pressed again for reinforcements and was told two battalions would arrive early in the afternoon. By midafternoon, the 1st battalion of the 32nd regiment successfully landed and immediately marched up hill to fill the front lines. The 3rd battalion of the 32nd regiment however were prevented by steady Japanese anti-aircraft guns from landing.  Brown asked Rockwell to get Nevada to fire upon the Holtz Bay area. As Nevada steamed back and forth firing her 14 inch guns against the Japanese anti-aircraft positions in Holtz Bay, suddenly an officer on the bridge alerted everyone an enemy submarine was in the area. Rockwell snapped “Screw the torpedoes, slow speed ahead”. The IJN submarine I-31 lined herself up with the Neveda and fired a torpedo, but the old battleship managed to dodge it narrowly and her destroyer escorts Edwards and Farragut began firing upon the submarine, managing to trap her and sinking her with naval gunfire. Nevada silenced the Japanese flak guns giving the boys on the ground a fighting chance. Willoughbys scouts who had not eaten for 2 days drove the Japanese from the high ground, securing the summit and settling in for the night. To the east of them, Culins 1st battalion managed to drive the Japanese from a hilltop with the assistance of Nassau's wildcats. Culin called up for reinforcements as his men dug in. For in 36 hours a full scale assault towards the mountain pass and enemy camp in Holtz Bay was going to begin.   I would like to take this time to remind you all that this podcast is only made possible through the efforts of Kings and Generals over at Youtube. Please go subscribe to Kings and Generals over at Youtube and to continue helping us produce this content please check out www.patreon.com/kingsandgenerals. If you are still hungry after that, give my personal channel a look over at The Pacific War Channel at Youtube, it would mean a lot to me. The fighting for Attu was turning into carnage. The frigid weather combined with flying lead in all forms would take a horrifying toll on the poor souls who had the unfortunate job of dying in a remote part of the world, few people ever venture.

In Auckland, a lobby group trusts the new mayor to focus on transport projects Aucklanders really want. Wayne Brown's number one campaign issue was transport with a particular target on the council organisation in charge, Auckland Transport. On Saturday, hours after the election result came out, Auckland Transport's chair, Adrienne Young-Cooper, resigned because it was obvious Brown wanted a "clear runway". Public Transport Users Association national coodinator Jon Reeves spoke to Guyon Espiner.

Mike Isaacson, Currently in his ninth season and only the third person to hold this position in The Muny's 103-year history. To date, he has produced 56 Muny shows, 23 of which had never been on the Muny stage before. He has collaborated at The Muny with many Tony award winners and breakthrough talents, including Christian Borle, Colin Donnell, Marcia Milgrom Dodge, Gary Griffin, Heather Headley, Jennifer Holliday, Denis Jones, Laura Michelle Kelly, Dan Knecht- ges, Beth Leavel, Norm Lewis, Beth Malone, Kathleen Marshall, Patti Murin, Josh Rhodes, Emily Skinner and Ken Page. The Riverfront Times wrote, “Under the leadership of executive producer Mike Isaacson, the quality of Muny productions rose like the proverbial phoenix.” The St. Louis Post-Dispatch named him “Theatre Artist of the Year,” noting that by “staging one impressive production after another, he made The Muny simultaneously hip and – be- lieve it – important to our community.” During Isaacson's tenure, The Muny has produced new developmental productions of Irving Berlin's Holiday Inn, Lerner and Loewe's Paint Your Wagon and The Unsinkable Molly Brown. During its record-breaking 100th season, The Muny became the first theatre in the world to produce the legendary Jerome Robbins' Broadway, doing unprecedented archival work on both the artistic and business side. During that same season, The Muny produced the U.S. regional premiere of Jersey Boys. Isaacson has changed the look and feel of a Muny production, overseeing a transformation in every aspect of pro- duction that culminated in 2019 with the arrival of the theatre's extraordinary James S. Mc- Donnell stage, a state-of-the art stage house that includes revolutionary LED technology, automated sets and a host of other innovations. During the summer of 2020, when The Muny was closed due to COVID-19, Mike produced and created The Muny 2020 Variety Hour Live!, an online show that reached more than a worldwide audience of over 400,000.   With Kristin Caskey, Isaacson has produced more than 23 Broadway musicals and plays, national tours, off-Broadway and London productions. All told, his productions have received more than 122 Tony nominations and 34 Tony Awards. Last year, he produced the highly ac- claimed David Byrne's American Utopia, which made every major “Top 10” list, and became a highly acclaimed film by Spike Lee on HBO, for which he also served as an executive produc- er. Just as the COVID-19 shutdown of Broadway began, he was awaiting the first preview of Neil Simon's Plaza Suite, starring Mathew Broderick and Sarah Jessica Parker.   Also, during the shutdown, Isaacson served as a supporting producer of the acclaimed re- vival of The Unsinkable Molly Brown at New York's Transport Group. Other career highlights include: Fun Home (2015 Tony Award, Best Musical; 2018 Olivier nominee for Best Musical), Legally Blonde the Musical (2011 Olivier Award, Best Musical), Thoroughly Modern Millie (2002 Tony Award, Best Musical), Red (2010 Tony Award, Best Play), The Humans (2016 Tony Award, Best Play), If/Then, starring Idina Menzel, Lanford Wilson's Burn This, starring Adam Driver and Kerri Russell (2019 Tony nomination for Best Revival of a Play), Bring It On: The Musical (2013 Tony nomination for Best Musical), A Doll's House 2 (2017 Tony nomination for Best Play), You're a Good Man, Charlie Brown (1999 Tony nomination for Best Revival of a Musical), The Seagull, starring Kristin Scott Thomas, Carey Mulligan and Peter Sarsgaard, Caroline, or Change (Tony nomination for Best Musical); One Flew Over the Cuckoo's Nest (2001 Tony Award, Best Revival of a Play) and Death of a Salesman (1999 Tony Award, Best Revival of a Play). For the Independent Presenters Network, Isaacson served as producer for Spamalot (2005 Tony Award, Best Musical), Ragtime (revival) and The Color Purple (2006 Tony nomination for Best Musical).   He has received the St. Louis Arts and Education Council's Award for Excellence in the Arts and has been awarded The Broadway League's and Theatre Development Fund's Commercial Theater Institute “Robert Whitehead” Award for excellence in producing. He has served on the board of governors and executive committee of The Broadway League and received the Samuel J. L'Hommedieu Award. He has also received the Equality Award from the St. Louis Chapter of Human Rights Campaign.

This amazing episode features an incredible live panel from BroadwayCon 2022, featuring some of the leading multi-hyphenates in the Broadway, television, and film communities. Topics include process and product, boundaries, and so much more.  John Cariani – Broadway: Caroline, or Change; The Band's Visit; Something Rotten! (Outer Critics Circle Award nom.); Fiddler on the Roof (Tony Award nom.; Outer Critics Circle Award). Off-Broadway: The Atlantic, The Public, Transport Group. Regional: Williamstown Theatre Festival, The Old Globe, Center Theatre Group, Barrington Stage Company, Hudson Valley Shakespeare Festival. Several films. Television includes The Marvelous Mrs. Maisel, Blacklist, The Good Wife, Homeland; recurring roles on Law & Order (CSU Tech Beck), Numb3rs, and The Onion News Network. Playwright: Almost, Maine; Last Gas; LOVE/SICK; cul-de-sac. Jen Waldman has been working in the Broadway community for over two decades, first as an actor (Wicked and Titanic) and now as a coach to some of Broadway's brightest stars. She is the founder and artistic director of Jen Waldman Studio (JWS), and her clients have appeared in nearly every single Broadway musical for the last 15 years. In addition to her work at JWS, her hypens include: director, choreographer, artistic director, keynote speaker, leadership coach, speaking coach, podcaster, actor, teacher, and mentor. Jen co-hosts the podcast The Long and the Short of It, with listeners in over 100 countries. JenWaldman.com Kaisha S. Huguley is a New York based actor, singer, entrepreneur, creative, & educator originally born and raised in Washington, D.C. Most recently, Kaisha performed in solo cabaret, @kaishacreates, A One Woman Showcial making her Green Room 42 Debut. When Kaisha is not on the stage, she's creating content for her online fanbase on her TikTok, Podcast: A Kaisha Story, YouTube Channel, and Blog. Additionally, Kaisha is the Director of Diversity & Cultural Creative Initiatives as well as a Faculty Member at The American Musical & Dramatic Academy in New York. She develops curriculum and teaches courses on the business of the arts & entertainment industry. Kaisha is committed to giving back to the next generation of artists & creatives. To follow Kaisha's journey to her dreams, simply follow her on Instagram @KaishaCreates to join her Gram Fam :) Jennifer Ashley Tepper is producer of the musicals Be More Chill, Broadway Bounty Hunter, and Love In Hate Nation. She is also the Creative and Programming Director at Feinstein's/54 Below, and the author of The Untold Stories of Broadway book series. She is the creator of The Jonathan Larson Project and historian consultant on the upcoming film version of tick, tick...BOOM! Tepper was recently named recipient of a 2020 Lincoln Center Emerging Artist Award. Learn more about your ad choices. Visit megaphone.fm/adchoices

Mike Isaacson, Currently in his ninth season and only the third person to hold this position in The Muny's 103-year history. To date, he has produced 56 Muny shows, 23 of which had never been on the Muny stage before. He has collaborated at The Muny with many Tony award winners and breakthrough talents, including Christian Borle, Colin Donnell, Marcia Milgrom Dodge, Gary Griffin, Heather Headley, Jennifer Holliday, Denis Jones, Laura Michelle Kelly, Dan Knecht- ges, Beth Leavel, Norm Lewis, Beth Malone, Kathleen Marshall, Patti Murin, Josh Rhodes, Emily Skinner and Ken Page. The Riverfront Times wrote, “Under the leadership of executive producer Mike Isaacson, the quality of Muny productions rose like the proverbial phoenix.” The St. Louis Post-Dispatch named him “Theatre Artist of the Year,” noting that by “staging one impressive production after another, he made The Muny simultaneously hip and – be- lieve it – important to our community.” During Isaacson's tenure, The Muny has produced new developmental productions of Irving Berlin's Holiday Inn, Lerner and Loewe's Paint Your Wagon and The Unsinkable Molly Brown. During its record-breaking 100th season, The Muny became the first theatre in the world to produce the legendary Jerome Robbins' Broadway, doing unprecedented archival work on both the artistic and business side. During that same season, The Muny produced the U.S. regional premiere of Jersey Boys. Isaacson has changed the look and feel of a Muny production, overseeing a transformation in every aspect of pro- duction that culminated in 2019 with the arrival of the theatre's extraordinary James S. Mc- Donnell stage, a state-of-the art stage house that includes revolutionary LED technology, automated sets and a host of other innovations. During the summer of 2020, when The Muny was closed due to COVID-19, Mike produced and created The Muny 2020 Variety Hour Live!, an online show that reached more than a worldwide audience of over 400,000.   With Kristin Caskey, Isaacson has produced more than 23 Broadway musicals and plays, national tours, off-Broadway and London productions. All told, his productions have received more than 122 Tony nominations and 34 Tony Awards. Last year, he produced the highly ac- claimed David Byrne's American Utopia, which made every major “Top 10” list, and became a highly acclaimed film by Spike Lee on HBO, for which he also served as an executive produc- er. Just as the COVID-19 shutdown of Broadway began, he was awaiting the first preview of Neil Simon's Plaza Suite, starring Mathew Broderick and Sarah Jessica Parker.   Also, during the shutdown, Isaacson served as a supporting producer of the acclaimed re- vival of The Unsinkable Molly Brown at New York's Transport Group. Other career highlights include: Fun Home (2015 Tony Award, Best Musical; 2018 Olivier nominee for Best Musical), Legally Blonde the Musical (2011 Olivier Award, Best Musical), Thoroughly Modern Millie (2002 Tony Award, Best Musical), Red (2010 Tony Award, Best Play), The Humans (2016 Tony Award, Best Play), If/Then, starring Idina Menzel, Lanford Wilson's Burn This, starring Adam Driver and Kerri Russell (2019 Tony nomination for Best Revival of a Play), Bring It On: The Musical (2013 Tony nomination for Best Musical), A Doll's House 2 (2017 Tony nomination for Best Play), You're a Good Man, Charlie Brown (1999 Tony nomination for Best Revival of a Musical), The Seagull, starring Kristin Scott Thomas, Carey Mulligan and Peter Sarsgaard, Caroline, or Change (Tony nomination for Best Musical); One Flew Over the Cuckoo's Nest (2001 Tony Award, Best Revival of a Play) and Death of a Salesman (1999 Tony Award, Best Revival of a Play). For the Independent Presenters Network, Isaacson served as producer for Spamalot (2005 Tony Award, Best Musical), Ragtime (revival) and The Color Purple (2006 Tony nomination for Best Musical).   He has received the St. Louis Arts and Education Council's Award for Excellence in the Arts and has been awarded The Broadway League's and Theatre Development Fund's Commercial Theater Institute “Robert Whitehead” Award for excellence in producing. He has served on the board of governors and executive committee of The Broadway League and received the Samuel J. L'Hommedieu Award. He has also received the Equality Award from the St. Louis Chapter of Human Rights Campaign.

We are excited to bring you a new podcast series, Choreographers in Conversation. This series will allow choreographers to interview other choreographers whose work excites them as a way to learn more about their craft and preserve the stories of these exciting artists in our industry. In this episode to kick off the series, Dan Knechtges interviews Twyla Tharp. The two cover everything from Twyla's legendary work including MOVIN' OUT to her book THE CREATIVE HABIT and discuss how the legacy of her craft lives on. Learn more about Twyla Tharp at the Twyla Tharp Dance Foundation website.   Twyla Tharp: Since graduating from Barnard College in 1963, Ms. Tharp has choreographed more than one hundred sixty works: one hundred twenty-nine dances, twelve television specials, six Hollywood movies, four full-length ballets, four Broadway shows and two figure skating routines, she has also written 4 books. She received one Tony Award, two Emmy Awards, 20 honorary doctorates, the Vietnam Veterans of America President's Award, the 2004 National Medal of the Arts, the 2008 Jerome Robbins Prize, and a 2008 Kennedy Center Honor. Her many grants include the John D. and Catherine T. MacArthur Fellowship. She is a member of the American Academy of Arts and Sciences, the American Philosophical Society, and an Honorary Member of the American Academy of Arts and Letters. Learn more about Twyla Tharp and her legacy through her foundation website.   Dan Knechtges: Broadway – Lysistrata Jones (Direction & Choreography), Xanadu (directed by Chris Ashley, Tony nomination, Drama Desk nomination), Sondheim on Sondheim (directed by James Lapine), 110 in The Shade (starring Audra McDonald) and The 25th Annual Putnum County Spelling Bee (directed by James Lapine.) Off-Broadway – TAIL! SPIN! (starring Rachel Dratch), The 25th Annual Putnum County Spelling Bee at Second Stage, which earned him a Lucille Lortel Award nomination, Merrily We Roll Along for Encores! at City Center (directed by James Lapine), Vanities at Second Stage and Lysistrata Jones for the Transport Group, My Favorite Year (York Theater). International credits include Der Schuh Das Manitu (Berlin, Germany). Regional theatres include – The MUNY, Goodspeed, Dallas Theatre Center, La Jolla Playhouse, Papermill Playhouse, Trinity Rep,  Pioneer Theatre, Great Lakes Theatre Festival, Baltimore Centerstage, Theatreworks Palo Alto, Hangar Theatre. Indianapolis Opera, Opera Illinois, Surflight Theatre.  TV/Film credits include Palindromes, Dark Horse and White Collar, and the 2011 TV Land Awards with Liza Minnelli. Dan also choreographed FatboySlim's #1 music video “It's a Wonderful Night.” Dan is a member of the Lincoln Center Director's Lab and holds a BFA in theatre from Otterbein College.

FreightWaves and other media outlets are speculating that there's a "trucking bloodbath" on the way due to the sharp decline in dry van spot rates and rise in fuel prices.  In this episode, we discuss how Tyler started as an owner operator shipping dry van freight in February and how he's navigating the current trucking market.  We also discuss moving from being a police officer to starting a career in trucking, working with brokers and running off the loadboards, his tech stack, building a family business and much more! 

Brendan Stackhouse is a director and choreographer turned teacher. He currently serves as the Resident Director for Hemlock Theatre Company on Staten Island, where he has created revamped productions of The Hunchback of Notre Dame, Assassins, Big Fish, Dog Sees God, and Next to Normal. Brendan has worked on Broadway as the Assistant Choreographer to Danny Mefford on the 2015 Tony-Award winning production of Fun Home. Off-Broadway, he was the Assistant Director for the Transport Group revival of Once Upon a Mattress, starring Jackie Hoffman. He was also the Associate Director for the 2016 revival of The Marvelous Wonderettes at Theatre Row. He has developed new plays and musicals at Dixon Place, NYTB Choreographers Lab, Lowell Memorial Auditorium, Hudson Guild Theatre, The Little Victory Theatre, and through student organizations at Wagner College. Have you ever listened to Zombie Prom? Do yourself a favor and check it out here: https://www.youtube.com/playlist?list=PLCBA2E5CCC1EC582D Follow us on Instagram! Questions? Comments? Send us an email at castpartyshow@gmail.com! Help support the show by donating at https://anchor.fm/michael-busani/support Editing and mixing by Ben Seaman --- Support this podcast: https://podcasters.spotify.com/pod/show/michael-busani/support

A transport lobby group wants the country's $24 billion land transport plan scrapped and redone. The Transport Agency, Waka Kotahi, in August released its three-year plan for highways and other land transport, saying it supports emissions-reduction goals. Movement group chair Christine Rose says the plan runs counter to government goals. She spoke to Susie Ferguson.

A transport lobby group wants the country's $24 billion land transport plan scrapped and redone. The Transport Agency, Waka Kotahi, in August released its three-year plan for highways and other land transport, saying it supports emissions-reduction goals. Movement group chair Christine Rose says the plan runs counter to government goals. She spoke to Susie Ferguson.

Joanna Parson and Lance Werth talk with Jack Cummings III, Obie-winning Artistic Director of off-Broadway's Transport Group, about listening to Helen Reddy's music in the '70s and beyond.  In this episode we hone in on the first song in "Reddy or Not: A Musical Comedy Tribute to Helen Reddy," "I Don't Know How to Love Him". We talk Jesus Christ Superstar, Yvonne Elliman, and the great movement in female vocals that inspired us then and now. We also work hard to uncover the most insipid lyrics from the era (NEVER Helen's), and chat about what makes a great theater song, as opposed to cabaret or pop.  Music by Barbara Anselmi.

ALAN WATERS, an award winning director/designer/producer with work all over the stage, on film, and in music, will join us to discuss his amazing work and career, his podcasting services, and his future plans.  FROM HIS BIO: "Alan is an award winning director/designer/producer from Statesboro, GA; now based in South Western Virginia. He went to school at Ogeechee Technical College for Hospitality and Tourism Management, and then Georgia Southern University for Theatre and Performance.  Alan began his professional career at the Averitt Center for the Arts, and has worked regionally with the Weston Playhouse Theatre Company. ​His Off Broadway credits include work with Abingdon Theatre Company, Bard City, Barrow Street Theater, Classic Stage Company, Fiasco Theater, Keen Company, New World Stages, New York Theatre Barn, Out of the Box Theatrics, Red Bull Theater, Sheen Center, SITI Company, The Cell Theatre, Transport Group, Trusty Sidekick Theatre Company, and The Duke on 42nd.  ​Alan is the Managing Artistic Director of DimlyWit Productions, a multimedia production company founded by independent producers for independent producers, for which he produces and designs podcasts, web series, and other virtual productions." www.dimlywit.com/walanwaters

ALAN WATERS, an award winning director/designer/producer with work all over the stage, on film, and in music, will join us to discuss his amazing work and career, his podcasting services, and his future plans.  FROM HIS BIO: "Alan is an award winning director/designer/producer from Statesboro, GA; now based in South Western Virginia. He went to school at Ogeechee Technical College for Hospitality and Tourism Management, and then Georgia Southern University for Theatre and Performance.  Alan began his professional career at the Averitt Center for the Arts, and has worked regionally with the Weston Playhouse Theatre Company. ​His Off Broadway credits include work with Abingdon Theatre Company, Bard City, Barrow Street Theater, Classic Stage Company, Fiasco Theater, Keen Company, New World Stages, New York Theatre Barn, Out of the Box Theatrics, Red Bull Theater, Sheen Center, SITI Company, The Cell Theatre, Transport Group, Trusty Sidekick Theatre Company, and The Duke on 42nd.  ​Alan is the Managing Artistic Director of DimlyWit Productions, a multimedia production company founded by independent producers for independent producers, for which he produces and designs podcasts, web series, and other virtual productions." www.dimlywit.com/walanwaters

Cody Renard Richard is an advocate, educator and professional Stage Manager with a career that spans many genres including Broadway, Television, Cirque Du Soleil and Opera. On Broadway, he has worked as a full time and substitute Stage Manager on 12 productions, most recently serving as the Production Stage Manager for Freestyle Love Supreme. Other Broadway: Hamilton, Dear Evan Hansen, The Lion King, Cirque du Soleil's Paramour, Kinky Boots, If/Then, After Midnight, Motown the Musical, Ghost the Musical, Cyrano de Bergerac and Lysistrata Jones. TV: 2019 Tony Awards, 2020 & 2019 MTV VMAs, Jesus Christ Superstar Live!, Hairspray Live!, The Wiz Live!. Cirque du Soleil: OVO, Wintuk. Off Broadway/NY: Porgy and Bess (Metropolitan Opera – Assistant Stage Director), Candide at Carnegie Hall, 5 productions with NY City Center Encores!, The Public Theatre, Atlantic Theatre Company, 2nd Stage, Transport Group, Pearl Theatre Company. Selected Regional: Lempicka at Williamstown Theatre Festival, The Kennedy Center, The Muny, TUTS, Stages STL, Kansas City Rep, Alley Theatre, Repertory Theatre of STL. In addition to his production credits, he has served as adjunct faculty at New York University, Columbia University and Fordham University. As an advocate for change and equity, Cody has appeared live on CNN and has been interviewed on WNBC. Cody has been featured by Variety Magazine as one of their 2020 Broadway Players to Watch, Out Magazine as a 2020 OUT100 honoree and in Forbes. He launched The Cody Renard Richard Scholarship Program in partnership with Broadway Advocacy Coalition in Sept of 2020 and holds a BFA in Stage Management from Webster Conservatory. He is a proud member of Actors' Equity Association and the Directors Guild of America. www.codyrenard.com @codyrenard

Joe Calarco is a multiple award-winning director, playwright and dramaturg whose Off-Broadway credits include productions at Playwrights Horizons, Primary Stages, Second Stage, The Lucille Lortel, The Transport Group, Dreamlight Theatre Company and The New York Musical Theatre Festival. He is the adaptor/director of Shakespeare’s R&J, which ran for a year Off-Broadway and earned him a Lucille Lortel Award. He also directed the play’s premieres in Chicago, D.C., London and Tokyo, garnering multiple awards along the way.  He has directed national tours, world premieres and many award-winning productions at regional theatres across the country including at the Tony Award winning Signature Theatre. As a writer his published works include Shakespeare’s R&J, In The Absence of Spring, and Walter Cronkite is Dead. His new play, Winter Break was published by Dramatists Play Service earlier this year.

"Success in music is not guaranteed, but as long as you are persevering and helping others along the way, you will reach your goals."In this episode of MFM Speaks Out, Adam Reifsteck interviews conductor and pianist Geraldine Anello about immigrating to the United States from France in her early 20s which ultimately led to a career as a Broadway musician. Topics discussed include how she created an online community and professional development resource called Theatre Music Directors, the issue of gender inequality on Broadway, and finding a new creative outlet as a writer and poet during the pandemic.Geraldine Anello has conducted Kinky Boots and School of Rock on Broadway, The Fantasticks off-Broadway, and played in the orchestras of Broadway’s School of Rock, Bronx Tale, Aladdin, and On the Town. She has also worked on the Broadway productions SpongeBob the Musical, An American in Paris, On Your Feet, and Matilda. Anello served as music director of We Are the Tigers off-Broadway, and of Renascence for the Transport Group, Finian’s Rainbow at the Irish Repertory Theatre, and Children of Salt at the New York Musical Festival.Visit Geraldine Anello at geraldineanello.comOrder Geraldine's new book of poetry on Amazon.The following music is featured in this episode:Opening track: "Fragmented Fractals" by Adam Reifsteck featuring Geraldine Anello (piano) and Roberta Michel (flute)Middle track: "Wallflower” from the musical We Are the Tigers by Preston Max Allen; Geraldine Anello, music director and pianistEnding track: "Renascence” from the musical Renascence by Carmel Dean, Dick Scanlan. Edna St. Vincent Millay; Geraldine Anello, music director and pianist

For the video edition, click here and subscribe: https://youtu.be/dQqtdGfaQZk MARGOT ASTRACHAN had an early career as a photo-journalist and was a protégé of Ansel Adams. Her first story was published when she was 20 years old and a journalism Student at Boston University. She is now a Tony and Drama Desk Award winning Commercial Theatrical Producer. Broadway: The Prom; A Gentleman's Guide to Love and Murder; The Realistic Joneses; Nice Work If You Can Get It; On a Clear Day You Can See Forever. Tours: Ghost the Musical; national and Australia. Past American Artistic Director of Jermyn Street Theatre and The Kings Head Theatre in London. Graduate of the Commercial Theater Institute and member of The Broadway League. Board Chair: The Billy Rose Theatre Committee of the Library for The Performing Arts, Past Chair of The American Friends of the London Philharmonic Orchestra. Board member: The Episcopal Actors Guild (EAG), Alumni and Friends of LaGuardia High School for the Arts, Rosie’s Theater Kids, The Transport Group. Upcoming Productions: Radio Galaxy UK:Birmingham Rep/ London; Diana- opening next fall on Broadway at the Longacre Theater has been filmed in a live capture for Netflix and will air this spring. https://the-lambs.org/club_member/astrachan-margot https://www.playbill.com/person/margot-astrachan-vault-0000120737

Partner, Mark T. Interviews Matt Leigh, SGR's newest member of the Global Transport Group

S1E11: The Girl From Oz Featuring Carmel DeanThis week, composer, musical director, and arranger Carmel Dean stops by the stage door! Carmel’s credits include music direction of Broadway’s If/Then starring Idina Menzel, as well as the national tour. Other Broadway credits include Hands on a Hardbody, American Idiot, and The 25th Annual Putnam County Spelling Bee. Carmel’s first musical, Renascence made its debut in 2018 by the Transport Group and was awarded Best New Musical at the 2018 Off-Broadway Alliance Awards. Carmel also talks about her experience writing her debut musical, Renascence, and what it’s like working with a lyricist who’s been deceased for nearly 75 years (The lyrics were all poems by Edna St. Vincent Millay). In addition, we chat about the role of a critic in the arts and mediumship, why they’re not needed, and how the real beauty comes when we let go of expectation and live in the now of what we create. Jimmy chats about what it’s like to give uncomfortable (just awkward, not scary) messages to a client when Spirit is insistent they be relayed, and Carmel parallels that with what it was like giving corrections and notes to the incredible Betty Buckley during Elegies, and how to overcome the nerves of working with big names by remembering what the vision of the work is. As usual, we’ll discuss Jimmy’s reading with Carmel as well what it was like conducting Idina Menzel’s Tony Award performance from a toilet stall on the fourth floor of Radio City Music Hall. Oh, the glamour. Learn more about Carmel by visiting her website here: https://carmeldean.com/Carmel conducting from a bathroomWell-Behaved WomenBook a reading with Jimmy here: Stage Door MediumEditing: David Ray DesignWatch on Instagram & YouTube

Emily Skinner has unequivocally established herself as one of Broadway’s most engaging and versatile performers. She was last seen on Broadway in The Cher Show. Her other Broadway credits include Prince of Broadway (directed by Hal Prince in his final show) for which she received an Outer Critics Circle Award, Billy Elliott, Jekyll & Hyde, James Joyce’s The Dead (opposite Christopher Walken), The Full Monty and Dinner at Eight. Off-Broadway, Emily has appeared at City Center Encores!, Manhattan Theatre Club, WPA Theatre, The Transport Group, Madison Square Garden, York Theatre, Playwrights Horizons and the Roundabout Theatre and she has performed lead roles at many of the major regional theatres across the country. Emily was nominated for a Tony Award (along with Alice Ripley) and received a Drama League Award for her performance as Daisy Hilton in the short-lived, but now cult classic, original Broadway production of Side Show.

Thank you for taking the time to listen to our chat with Cody! If you are listening to this on Apple Podcast, we'd love it if you could share your love in a review! Cody Renard Richard most recently finished working on the extended Broadway run of Freestyle Love Supreme, serving as the Production Stage Manager. Other Broadway credits include Hamilton, Cirque du Soleil’s Paramour, Kinky Boots, Motown the Musical, After Midnight, Ghost the Musical, Cyrano de Bergerac, Lysistrata Jones, Dear Evan Hansen, If/Then, The Lion King. TV: 2019 Tony Awards, 2019 MTV VMAs, Jesus Christ Superstar Live! (DGA Nom), Hairspray Live! (DGA Nom), The Wiz Live! (DGA Nom). Cirque du Soleil: OVO (North American Tour), Wintuk (Madison Square Garden). Off Broadway/NY: Porgy and Bess (Metropolitan Opera – Assistant Stage Director), Freestyle Love Supreme, Candide at Carnegie Hall, 5 productions with NY City Center Encores!, The Public Theatre, Atlantic Theatre Company, 2nd Stage, Transport Group, Pearl Theatre Company. Selected Regional: Lempicka at Williamstown Theatre Festival, The Kennedy Center, The Muny, TUTS, Stages STL, Kansas City Rep, Alley Theatre, Repertory Theatre of STL. Cody also currently serves as the Adjunct Professor of Stage Management for Fordham University and has been a guest lecturer at Yale School of Drama, NYU, Ithaca College, Hofstra University and SUNY Purchase. Proud AEA and DGA member. He earned a BFA in Stage Management from Webster Conservatory in St. Louis, MO under the guidance of Peter Sargent.  @codyrenard + www.codyrenard.com --- @pagetostagepodcast on Instagram + @pagetostagepodcast on Facebook @themarydina on Instagram + @themarydina on Twitter @briansedita on Instagram + www.briansedita.com @broadwaypodcastnetwork on Instagram + @bwaypodnetwork on Twitter #PageToStagePodcast

Geraldine Anello has conducted Kinky Boots and School of Rock on Broadway, The Fantasticks off-Broadway, and played in the orchestras of Broadway’s School of Rock, Kinky Boots, Bronx Tale, Aladdin, and On the Town. She has also worked on the Broadway productions SpongeBob the Musical, An American in Paris, On Your Feet, and Matilda. Off Broadway credits include We Are the Tigers, Renascence for the Transport Group, Finian’s Rainbow at the Irish Repertory Theatre, and Children of Salt at the New York Musical Festival (be sure to check out the cast albums for these amazing projects!) She was the music supervisor and conductor of the benefit concert Double Standards at Town Hall in New York City, featuring Sarah Bareilles, Denee Benton, and Ingrid Michaelson, amongst others. She is the leader of Theatre Music Directors, an industry group of 8,600 members worldwide, for which she offers educational opportunities taught by Broadway conductors. She is the author of the upcoming book (title TBD) where she interviews musicians at the top of the game across all music disciplines. MM: WMU. DMA: BU Connect with Geraldine!https://geraldineanello.com/home/https://www.facebook.com/geraldinebcl[https://www.youtube.com/channel/UCnVaJPieF7iWPY-F0oCCmcA/feature?fbclid=IwAR1RdsbTpx3rIMb3wSDWzh3s4IlKZyHmsMIcawhOWD2e7cTmCCUzqCCGVTc](https://www.youtube.com/channel/UCnVaJPieF7iWPY-F0oCCmcA/feature?fbclid=IwAR1RdsbTpx3rIMb3wSDWzh3s4IlKZyHmsMIcawhOWD2e7cTmCCUzqCCGVTc) Contact us here!www.aspiringartistpodcast.comwww.rachelsandlermusic.comInstagram @rachelsandlermusicTik Tok rachelsandlermusicFor podcast inquiries: aspiringartistpodcast@gmail.comFor music & lessons inquiries: rachelsandlermusic@gmail.com

This month's theater recap has nineteen reviews including three Broadway shows, many off and off-off Broadway productions including dance, puppetry and children's theater. In addition, I interview Sara Juli prior to seeing her very personal comedic-dance performance piece titled Burnt-Out Wife.Shows from Broadway on this episode are David Byrne's American Utopia, A Soldier's Play and West Side Story. Theater companies and venues covered include Theater for the New City, The Tank, Complexions Contemporary Ballet, Dixon Place, New York City Center, The Flea Theater, Roundabout Theatre, Mint Theater, Chelsea Music Hall, Vineyard Theatre and the Transport Group. Plus a visit to the Off-Broadway hit revival of Little Shop of Horrors.

Donna Lynne Champlin is best known as “Paula Proctor” on The CW’s, Emmy award-winning “Crazy Ex-Girlfriend (for which she won the Gracie Award). Additional film and television: “Law & Order,” “Submissions Only,” “The Good Wife,” “Birdman,” “Younger,” “Downsizing,” “Another Period” and “Yes, God, Yes.” Broadway: “James Joyce’s The Dead,” “By Jeeves,” “Hollywood Arms,” “Sweeney Todd” and “Billy Elliot: The Musical.” Off-Broadway includes: Transport Group’s “First Lady Suite,” “Almost, Maine” and “The Dark at the Top of the Stairs” (OBIE Award), “Working” (Drama Desk Award), “The Qualms” and Shakespeare in the Park’s “As You Like It” and “The Taming of the Shrew.” A Princess Grace Award winner, Champlin appears on numerous recordings as a vocalist (including “Sweeney Todd,” “My Life With Albertine” and her solo album “Old Friends”) and as a voiceover artist (Disney’s “Star Vs The Forces of Evil,” “Poetic License”). Upcoming: The NETFLIX movie, “Feel the Beat.” JONES.SHOW is a weekly podcast featuring host Randall Kenneth Jones (author, speaker, and creative consultant) and announcer Susan C. Bennett (the original voice of Siri). Donna Lynne Champlin’s Social Media Twitter: https://twitter.com/DLChamplin Instagram: https://www.instagram.com/donna_lynne_champlin Facebook: https://www.facebook.com/DonnaLynneChamplin/ Jones.Show’s Social Media Join us in the Jones.Show Lounge on Facebook Twitter (Randy): https://twitter.com/randallkjones Instagram (Randy): https://www.instagram.com/randallkennethjones/ Facebook (Randy): https://www.facebook.com/mindzoo/ LinkedIn (Randy): https://www.linkedin.com/in/randallkennethjones/ Web: RandallKennethJones.com Twitter (Susan): https://twitter.com/SiriouslySusan Instagram (Susan): https://www.instagram.com/siriouslysusan/ Facebook (Susan): https://www.facebook.com/siriouslysusan/ LinkedIn (Susan): https://www.linkedin.com/in/susan-bennett-8607312/ Web: SusanCBennett.com www.Jones.Show

OBIE and Drama Desk winner Donna Lynne Champlin graduated with high honors from Carnegie Mellon University in 1993. A Princess Grace Foundation award winner and a Presidential Scholar in the Arts, she also received intensive training in Shakespeare and Chekhov at Oxford University on the Advanced Acting Scholarship and The Vira I. Heinz Grant to study abroad. While still in college, she received her Equity card starring as "Dorothy" in The Wizard of Oz with the celebrated Pittsburgh Civic Light Opera. Champlin made her New York Debut in 1994 at Carnegie Hall starring as "May" in a concert version of Very Warm for May under the direction of acclaimed conductor John McGlinn. Her Broadway debut in 2000 as "Mary Jane" in James Joyce's The Dead was quickly followed by another Broadway turn as "Honoria Glossop" in the Alan Ayckbourn/Andrew Lloyd Webber musical By Jeeves in 2001. In 2002, came the opportunity to work with Carol Burnett and Hal Prince in Broadway's Hollywood Arms - the dramatization of Carol's biography One More Time, in which Champlin played the iconic comedienne. Critics across the country proclaimed Champlin a "show-stopping star in the making" and described her performance as "brilliant", "a triumph", and "a tour de force." Next on Broadway, Champlin played "Pirelli" (and the accordion, flute and piano) in the groundbreaking 2005 revival of Sweeney Todd where the press called her both "hilarious" and "superb". She then joined the Broadway company of Billy Elliot as "Lesley" in 2009 and simultaneously self-produced her solo debut CD "Old Friends" which was voted "One of the Best Ten Albums of 2009" and was hailed by critics as "brilliant", "a masterpiece" and "breath taking". She can also be heard on numerous cast albums including See Rock City, Sweeney Todd, By Jeeves, three and My Life With Albertine as well as many voice-overs. Her film credits include Birdman, A Secret Promise, The Audition, The Dark Half, By Jeeves, and Sweet Surrender. And while her TV credits include The Good Wife, Law And Order, Mother's Day, Crazy Ex-Girlfriend, The Annual Tony Awards on CBS, The View (guest star), The Rosie O'Donnell Show, Regis and Kelly and Emily Dickinson of the PBS Voices and Visions series, she is perhaps most well known for her work as the caustic "Kim Gifford' on the hit web-series Submissions Only. Off Broadway, her performance as "Cora Flood" in the 2009 production of The Dark At The Top of the Stairs at The Transport Group (hailed by the NY press as "perfection", "brilliant" and "a privilege to watch"), earned her the prestigious OBIE award. DL went on to win the 2013 Drama Desk Award for her performance as "Woman #3" in Working, The Musical at the Prospect Theatre and the NYMF Award for "Outstanding Performance" for not one but three separate productions including as "Jane Austen" in Jane Austen's Pride and Prejudice. Other favorite Off-Broadway credits include "Audrey" opposite Oliver Platt's "Touchstone" in Shakespeare In The Park's As You Like It and "Sophie" in Master Class opposite Edie Falco at the Broadhurst produced by the Metropolitan Opera. Champlin also continues to perform her critically acclaimed one-woman show Finishing The Hat in NYC (SRO at Birdland, Ars Nova and The Laurie Beechman Theatres) and across the country while teaching master classes in acting at many prestigious colleges such as CMU, Hartt and NYU. Also of particular importance to Champlin is her fundraising for three of her favorite charitable organizations, BC-EFA, the ALSA and The Actors' Fund. In addition to being an actress, Donna Lynne also works as a director, writer, stand-up comedienne, pianist, composer, musical director and choreographer. A free-lance writer for Comedy Central, she is currently working on two books; a humorous non-fiction book inspired by her (mis)adventures in the theatre and the other a 'how-to of comedy'. --- This episode is sponsored by · Anchor: The easiest way to make a podcast. https://anchor.fm/app --- Send in a voice message: https://anchor.fm/confessionsofanactress/message Support this podcast: https://anchor.fm/confessionsofanactress/support

From www.theaterreviewsfrommyseat.com, Broadway and Off-Broadway reviews from my January blog entries. This month's episode features Kerry Washington in American Son, Ethan Hawke and Paul Dano in True West and the reliably hilarious Beth Leavel and Brooks Ashmanskas in a new musical, The Prom. Lots of off and off-off Broadway discussions as well including another gem from the Transport Group called The Trial of the Catonsville Nine.

We are in the room with two of the coolest, most brilliant minds in theatre today: Carmel Dean (Spelling Bee! American Idiot! If/Then! Hands On a Hard Body!) and Dick Scanlan (Thoroughly Modern Millie! Everyday Rapture! Whorl Inside a Loop!) We are recording from upstairs in the Abrons Arts Center where Carmel has just opened her first show as composer – the exquisitely visceral “Renascence.” The show is impeccably directed by Dick Scanlan who also wrote the book, with lyrics taken from the poems of the famed and utterly respected party girl poet Edna St.Vincent Millay. This incredibly lush theatre piece has seamlessly taken Millay’s poems and crafted them into a gripping story set during the period in her early life when her most iconic poem, “Renascence,” made her a phenomenon. We talk about nurturing the artistic process, cultivating works of passion, favorite cut songs, BEA ARTHUR, vulnerability in sharing your gifts with the world, leaving a legacy, The Girl in 14G, and how things that don’t go well have the ability to change your life for the better. And so much more! It is a pleasure to share this conversation with you. Renascence The Playhouse at Abrons Arts Center Oct 5th – November 17th Presented by Transport Group @carmiedean @transportgrp We are sooooooo excited to be sponsored by Pink Party Rosé!! Brought to you by the makers of Babe Rosé. @drinkbabe Make sure to rate and review us on iTunes! XOXO

On this episode, the critics take on a hot topic and chat with guest Jack Cummings III, artistic director of the Transport Group company.

Nikka Graff Lanzarone comes from a long line of  Broadway performers and Tony Award winners. Born and raised in Los Angeles, she spent her youth figuring out how to get to New York City. Nikka was always clear from a young age that she needed to live where there was a Broadway and to Broadway she arrived. Cast in the Pedro Almodovar musical, "Women on the Verge," Nikka quickly became a beloved member of the Broadway community and her one woman show, "Hero Worship," made her an immediate darling of the Cabaret world. She and Mo Brady co-host "The Ensemblist," a Broadway podcast that shines a light on all the people who make a Broadway show happen, both on stage and off. Nikka Graff Lanzarone is a New York City-based performer, writer, podcaster, cat lady, lover of the Internet, wife, and nerd. She’s appeared on Broadway in Chicago (Velma Kelly)andWomen on the Verge… (Marisa) and Off-Broadway in Sweet Charity (Ursula, New Group) Hello Again (The Whore, Transport Group), Zorba (Encores!), and Seussical (Lucille Lortel Theatre). Favorite regional credits include My Paris (Long Wharf), The Jungle Book (Goodman/Huntington Theatres), A Chorus Line(Paper Mill Playhouse) and Into the Woods (Baltimore Centerstage/Westport Country Playhouse). She also did a stint as a Vegas showgirl in Jerry Mitchell’s Peep Show. Film: Bandslam. TV: “Unforgettable,” “Smash,”“Live from Lincoln Center.” Recordings: “Women on the Verge…” and “Seussical” cast albums. Her podcast, The Ensemblist, is changing the conversation about what it means to make a successful life in the theatre. Follow @nikkalanz on social media. More: nikka-graff-lanzarone.com.

OBIE and Drama Desk winner Donna Lynne Champlin graduated with high honors from Carnegie Mellon University in 1993. A Princess Grace Foundation award winner and a Presidential Scholar in the Arts, she also received intensive training in Shakespeare and Chekhov at Oxford University on the Advanced Acting Scholarship and The Vira I. Heinz Grant to study abroad. While still in college, she received her Equity card starring as “Dorothy” in The Wizard of Oz with the celebrated Pittsburgh Civic Light Opera. Champlin made her New York Debut in 1994 at Carnegie Hall starring as “May” in a concert version of Very Warm for May under the direction of acclaimed conductor John McGlinn. Her Broadway debut in 2000 as “Mary Jane” in James Joyce’s The Dead was quickly followed by another Broadway turn as “Honoria Glossop” in the Alan Ayckbourn/Andrew Lloyd Webber musical By Jeeves in 2001. In 2002, came the opportunity to work with Carol Burnett and Hal Prince in Broadway’s Hollywood Arms – the dramatization of Carol’s biography One More Time, in which Champlin played the iconic comedienne. Critics across the country proclaimed Champlin a “show-stopping star in the making” and described her performance as “brilliant”, “a triumph”, and “a tour de force.” Next on Broadway, Champlin played “Pirelli” (and the accordion, flute and piano) in the groundbreaking 2005 revival of Sweeney Todd where the press called her both “hilarious” and “superb”. She then joined the Broadway company of Billy Elliot as “Lesley” in 2009 and simultaneously self-produced her solo debut CD “Old Friends” which was voted “One of the Best Ten Albums of 2009” and was hailed by critics as “brilliant”, “a masterpiece” and “breath taking”. She can also be heard on numerous cast albums including See Rock City, Sweeney Todd, By Jeeves, three and My Life With Albertine as well as many voice-overs. Her film credits include Birdman, A Secret Promise, The Audition, The Dark Half, By Jeeves, and Sweet Surrender. And while her TV credits include The Good Wife, Law And Order, Mother’s Day, Crazy Ex-Girlfriend, The Annual Tony Awards on CBS, The View (guest star), The Rosie O’Donnell Show, Regis and Kelly and Emily Dickinson of the PBS Voices and Visions series, she is perhaps most well known for her work as the caustic “Kim Gifford’ on the hit web-series Submissions Only. Off Broadway, her performance as “Cora Flood” in the 2009 production of The Dark At The Top of the Stairs at The Transport Group (hailed by the NY press as “perfection”, “brilliant” and “a privilege to watch”), earned her the prestigious OBIE award. DL went on to win the 2013 Drama Desk Award for her performance as “Woman #3” in Working, The Musical at the Prospect Theatre and the NYMF Award for “Outstanding Performance” for not one but three separate productions including as “Jane Austen” in Jane Austen’s Pride and Prejudice. Other favorite Off-Broadway credits include “Audrey” opposite Oliver Platt’s “Touchstone” in Shakespeare In The Park’s As You Like It and “Sophie” in Master Class opposite Edie Falco at the Broadhurst produced by the Metropolitan Opera. Champlin also continues to perform her critically acclaimed one-woman show Finishing The Hat in NYC (SRO at Birdland, Ars Nova and The Laurie Beechman Theatres) and across the country while teaching master classes in acting at many prestigious colleges such as CMU, Hartt and NYU. Also of particular importance to Champlin is her fundraising for three of her favorite charitable organizations, BC-EFA, the ALSA and The Actors’ Fund. In addition to being an actress, Donna Lynne also works as a director, writer, stand-up comedienne, pianist, composer, musical director and choreographer. A free-lance writer for Comedy Central, she is currently working on two books; a humorous non-fiction book inspired by her (mis)adventures in the theatre and the other a ‘how-to of comedy’. Donna Lynne lives in New York City with her husband, actor Andrew Arrow and her son, Charlie.   The Drink for Today: Crazy Ex Girl Friend 1 shot Southern Comfort® peach liqueur1/2 ozDe Kuyper Razmatazz Schnapps1 splash pineapples  

Patty & Emily discuss a new reading Speakeasy and the Transport Group’s production of Once Upon A Mattress starring Jackie Hoffman. They also talk about recent announcements, including Cabin in the Sky casting and Josh Groban’s Broadway debut. Also, old people are ruining … Continue reading →

Director/Founder: On May 6th, 2013, Oliver Butler of The Debate Society and Jack E. Cummings III of Transport Group spoke with SDCF Producing Director Ellen Rusconi on their experiences simultaneously managing a directing career and theatrical company. The in-depth discussion follows the ebb and flow of two singular directing careers each affected by a loyalty to their own growing theatre companies. Each recounts the arduous yet fulfilling relationship that comes with being a founder and artistic director through personal anecdotes largely focused on the importance of realistic and forward thinking visions. Listen as they explore how changing cultural and economic trends affect a theatre company's ability to sustain itself and the dichotomy that exists when looking for work outside of the company. The conversation also includes valuable advice on how to manage the drama between an emerging director's overall body of work and attitudes towards current projects in addition to balancing a theatre director's artistic freedom with a non-for-profit production's financial restraint. Originally recorded - May 6, 2013. Running Time - 1:20:16 © 2013 SDCF

JBN sits down with Nikka Graff Lanzarone, a performer who has been seen on stages all over the country, most recently as a seven-foot-tall peacock in "The Jungle Book" at the Goodman and Huntington Theatres, and on Broadway in the shows "Women on the Verge of a Nervous Breakdown" and "Chicago." In NYC, she was also seen as The Whore in the Transport Group's revival of Hello Again, with her family at 54 Below, and in her own solo show at Joe's Pub. She is also a renegade occasional stylist. When not doing any of those other things, she co-created and co-hosts a Broadway-themed podcast called The Ensemblist with her partner Mo Brady, which turns Broadway inside out (theensemblist.com, nikka-graff-lanzarone.com). Music and lyrics by Joel B. New, accompanied by Sam Shull. Recorded live @ TruVoice Studios NYC on Friday, February 21st, 2014.

On May 6th, 2013, Oliver Butler of The Debate Society and Jack E. Cummings III of Transport Group spoke with SDCF Producing Director Ellen Rusconi on their experiences simultaneously managing a directing career and theatrical company. The in-depth discussion follows the ebb and flow of two singular directing careers each affected by a loyalty to their own growing theatre companies. Listen as they explore how changing cultural and economic trends affect a theatre company’s ability to sustain itself and the dichotomy that exists when looking for work outside of the company.

Month Upon a Time, Episode #11 (April): Remember last month when I said I wanted to do something special to celebrate my 50th podcast episode? Well, I'd say I hit the jackpot with a visit from the very special Dee Hoty!I've been a big Dee Hoty fan since seeing her as Alaura in City of Angels, and she has never disappointed, giving standout performances in every show she graces. And she has seemingly graced them all! Between her work on Broadway and in national tours, regional theatre, and summer stock, I'm pretty sure Dee has played every leading lady role ever written, and then some. Dee is one of those actors' actors: she'll camp out on Broadway for years in big shows (did I mention she's received three Tony Award nominations?), but then she'll also pursue those labors of love, like The Transport Group's The Audience (which happens to be the only time Dee and I have appeared in the same playbill).After years of saying "We should do something together," what a treat for me to get to hear her sing my little April song.This month's idea comes from an old friend and fellow Plaid, Richard Roland, once actor, now director, whose one-word suggestion was simply "Taxes." (For the record, there were multiple people who suggested taxes, but Richard was officially the first. Thanks to everyone who sent ideas! One more month left... I'm going to miss that process, you guys!)FYI, my love affair with Dee Hoty continues into May, when she will be performing (along with Drew Gehling, Sarah Stiles, and recent podcast guest Dee Roscioli) in my upcoming concert, Trunk and Disorderly: Songs from the Deep, Dark Trunk of Jeff Blumenkrantz. Did I mention that I won the Fred Ebb Award this year? Well, as part of my prize, they're sponsoring a concert of my songs on May 14 at 6:30 at the York Theatre. Seating is limited, so I can't offer you seats outright, but if you want to come, please put yourself on the waiting list by filling out the form on the other side of this link, and I'll let you know ASAP if we can accommodate. (FYI, there is no charge.) This episode was recorded on April 27, 2012.

Our guests -- representatives from theatres receiving the American Theatre Wing 2011 National Theatre Company Grants: Buntport Theater Company, FUSION, Mo´olelo Performing Arts Company, Pig Iron Theatre Company, Rude Mechanicals, Synchronicity Theatre, TheatreSquared, TimeLine Theatre, Transport Group and Watts Village Theater Company -- discuss the challenges they face in tough economic times; their community outreach; and the creativity and diversity in the works they present.

Month Upon a Time, Episode #6 (November): Look who I got for this month's episode: Ghetto Superstar Billy Porter! Billy has been a friend since the early days, and it was only a matter of time before he popped up on here. What an interesting journey and varied career he's had - everything from Star Search winner (1992) to Broadway musical theatre star to recording artist to film/TV actor to one-man-show diva to serious dramatic ekhtor, with some stops along the way for writing, directing, arranging, and choreographing. Kind of amazing.Right now he's gearing up to play one of the leads in the upcoming workshop of the new musical Kinky Boots, based on the film of the same name. Jerry Mitchell + Cyndi Lauper + Harvey Fierstein + Billy Porter sounds like a pretty fabulous combo! Additionally, he'll be choreographing the cool new musical Pop at the City Theatre in Pittsburgh and continuing his affiliation with the fledgling theatre company Exit Pursued By a Bear. He does like to keep a full plate!This month's song idea comes courtesy of the beautiful and talented Alexandra Silber (@alexandrasilber), late of this year's Master Class revival and the Transport Group's Hello Again. I guess having spent all those years in the UK studying and living and working, she came to regard Guy Fawkes Night as a holiday of her own. I, myself, had never heard of it until now. Special thanks to my Brit friends Suzanne (Squeezie) Thomas and John Blakey for confirming that it's really a holiday :-) and sharing their 11/5 experiences with me.This episode was recorded on November 29, 2011.

Warning: ADULT SEXUAL CONTENT in this episodeOK, you're been warned.Month Upon a Time, Episode #5 (October): For a podcast that avoids repeat guests, I sure do a lot of double-dipping. But as you'll soon see, it's obvious why nobody but Julia Murney could sing this song....As I was reviewing the October ideas that had been sent to me, I couldn't help noting Eloise Akehurst's suggestion that I write a song about "Julia Murney's Cocktober." It was certainly a noteworthy trio of words, but probably not a song. Meanwhile, I was working with Jason Robert Brown at the time, and I asked him to give me an idea for an October-themed song, and he replied, "Julia Murney's Cocktober." Well, then it started to seem like a downright challenge. Besides, when two people give you the same idea and it's as specific (and outrageous) as this one, it's time to do some research. So I tracked down Julia to get the first-hand version of the story, and thus this song was born.It's not an accurate retelling - the names and dates have been changed to protect the innocent - but it was certainly inspired by her oh-so-true story.Since her last visit to the podcast, Julia has kept busy as the belty green gal on tour and Broadway, not to mention pursuing an active concert and, as evidenced here, voice-over career. Also, her debut CD, I'm Not Waiting, which had yet to be released the last time she was on the podcast, is now available!This month finds her back on the boards in the new Michael John LaChiusa musical, Queen of the Mist, with The Transport Group. It's so nice to have her back where she belongs.This episode was recorded October 30, 2011.

Bonus Episode #7: 46 years ago this month, Rita Gardner was opening as Luisa in The Fantasticks, a then unknown Off-Broadway musical. Could she ever have imagined at the time that the show would have such an historic run, that she would be rapping on Broadway today, that there would be such a thing as podcasts and that she'd be on one? Lucky for us, it's all true.I met Rita last year in rehearsals for The Transport Group's production of The Audience, directed by Jack Cummings III. I was fortunate enough to have been one of the songwriters on the show, and my assignment was to write a piece for Rita's character, Rosie, a woman who attends the theatre with her dead husband's ashes. In a private moment, she sings to the urn. Rita stopped the show every night with her sensitive rendition of "I Think." Recorded 5/22/06.Now, Rita's stopping another show with a very different kind of performance! She's appearing as Rosie, the rapping grandma, in this season's Broadway crowd pleaser, The Wedding Singer, based on the Adam Sandler film of the same name. She sings, she raps, she does gymnastic tricks (well... not really) - she's wonderful!And next month marks the release of Rita's new CD, Try to Remember: A Look Back at Off-Broadway, a live recording of her show chronicling her career Off-Broadway. It's filled with stories, songs, both classic and unknown, and of course, Rita's glorious voice.P.S. Rita appeared in a ten-minute Raw Impressions movie musical in RIPFest #6 and was kind (read "game") enough to make a cameo appearance in my RIPFest #6 film, Freefall!