American actress
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7 episodes with Tyne Daly
9 episodes with Tyne Daly
4 episodes with Tyne Daly
3 episodes with Tyne Daly
4 episodes with Tyne Daly
2 episodes with Tyne Daly
3 episodes with Tyne Daly
2 episodes with Tyne Daly
2 episodes with Tyne Daly
Today, I'm thrilled to announce my episode with Tony nominated actress Isabel Keating, who will be performing in my upcoming concert of the Katharine Hepburn musical COCO at 54 Below. You can find in-person and livestream tickets to that event at this link: https://54below.org/events/54-sings-coco-by-alan-jay-lerner-and-andre-previn/ Tune in to hear some of the stories of Isabel's legendary career, including what her research process was like playing Judy Garland in THE BOY FROM OZ, going on at the last minute in IT'S ONLY A PLAY, how she ended up taking over for Tyne Daly in last season's revival of DOUBT, a full-circle moment with John Patrick Shanley, why Madame Morrible in WICKED is misunderstood, how her time in Europe influenced her theater career, making her Carnegie Hall debut with FOLLIES, the experience of processing her personal grief while starring in SPIDERMAN on Broadway, the many changes that were made to that musical, her experiences with the real-life QUEEN OF VERSAILLES, and so much more. You won't want to miss this open conversation with one of Broadway's best leading ladies.
Cherry, baby! We are here with two-time Tony-winner and three-time Emmy-winner Cherry Jones. You Might Know Her From The Handmaid's Tale, 24, Transparent, Succession, The West Wing, The Village, The Eyes of Tammy Faye, and her numerous theatre credits including The Heiress, Doubt, Mrs. Warren's Profession, and The Glass Menagerie. Cherry talked to us about playing the real life Eileen Myles on Transparent, grounding the violence on 24, whether or not she'll appear in the final season of The Handmaid's Tale, and she shares with us an actor's secret: her “moment before” from the Broadway production of Doubt. Plus, we got the scoop on going toe to toe with Brian Cox on Succession, whether or not she'd ever play Madame/Mama Rose in Gypsy, and trailblazing as a queer person in entertainment when she won her Tonys. This one was just a total treat! Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this episode: Was Sarah Schulman's novel People in Trouble ripped off for Rent? Michael Greif directed Jonathan Larson's original production of Rent Gypsy Rose Lee's autobiography, Gypsy: A Memoir: June Havoc's 2 memoirs: Early Havoc and More Havoc Arthur Laurents' memoir: Original Story By: Gypsy movie with Rosalind Russell (1962) + Bette Midler tv Gypsy (1993) Our Sunset Boulevard review on Patreon Book about original production of Sunset Boulevard We are digging into the source material for our: YEAR OF Rent | Gypsy | Sunset Boulevard | Chicago The play is called Chicago Bette's Emmy performance of “Rose's Turn” in stirrup pants Spongebob creator Hillenburg sold rights to Nickelodeon and when he died they made a musical and lots of spin-offs Tick Tick Boom introduced Anne to Raul Esparza “Boho Days” 5 Days at Memorial (Apple TV) Nan Pierce on Succession was the bus and truck Katherine Graham After doing Doubt on Broadway, she went on national tour with the show Dennis Haysbert was first President on 24 and then it was Cherry as Allison Taylor Had been doing rep at ART for 10 years when she opened as Catherine in the 1995 revival of The Heiress directed by Gerry Guitierrez Cherry saw Tyne Daly and Angela Lansbury's Gypsy Angela was a tall woman Jane Greenwood was costume designer for The Heiress and the Colleen Dewhurst's A Moon for the Misbegotten Has Colleen's student id card from the American Academy of Dramatic Arts hanging on her wall Played Ma Joad at the National Theatre in London last summer (will not transfer) Jessica Chastain A Doll's House got the phone stuff out of the way at pre-show Testament of Mary with Fiona Shaw Jessica Hecht was so good in Summer of 1976 and Eureka Day Cherry loves J. Smith Cameron in anything M Night Shyamalan's Signs and The Village Former guest of the show Celia Weston told us M Night's camp was fun but didn't inform the work Starred opposite Mel Gibson in the Jodie Foster's film, The Beaver Twelfth Night with Diane Lane (directed by Andrei Serban) Lifetime lesbian movie with Brooke Shields, What Makes a Family (2001) We interviewed Veronica Cartwright who was in The Children's Hour Played Eleanor Roosevelt opposite Hilary Swank's Amelia Eearhart in Amelia Tina Howe and Jack O'Brien's Pride's Crossing is the thing Cherry wants us to see Played Matt Damon's mom in Ocean's 12 even though she is 14 years younger than him MOVIES CHERRY IS NOT IN: Cold Mountain and A League of Their Own (aka Avita Vayonne) Does the audiobooks for Little House on the Prairie books Claire Danes reads audiobook of The Handmaid's Tale Essentially played Eileen Myles in Transparent Was NOT in the O'Malley with Mickey Rooney Was never ASKED to be on The L Word We talked to Barrie Kreinik about Eva La Gallienne and Laurette Taylor but said it was RUMORED, no receipts Character in Noel Coward's Hay Fever based on Laurette Taylor Timothee Chalamet's speech at the 2025 SAG Awards “They Like Me” is actually “YOU LIKE ME” “It Came True”
Todays co-host is Angel Giacomo, Author, The Jackson Mackenzie book series https://thejacksonmackenziechronicles.godaddysites.com/ You can also check Angel out on Goodreadsreads https://www.goodreads.com/author/show/20447913.Angel_GiacomoNational Sticky Buns day. Entertainment from 1974. Washington Monument completed, Alka Seltzer went on sale, NASCAR founded. Todays birthdays - Rue McClanahan, Alan Rickman, Tyne Daly, William Petersen, Kelsey Grammer, Mary Chapin Carpenter, Billy Baldwin, Jennifer Love Hewitt. Billy Graham died.Intro - God did good - Diana Corcoran https://www.diannacorcoran.com/Sticky Bun - KidzonePillow talk - ZaynHome alone tonight - Luke Bryan Karen FaircdhildAlka Seltzer commercialBirthdays - In da club - 50 Cent http://50cent.com/Golden Girls TV themeCSI TV themeFrazier TV themeDown at the twist and shout - Mary Chapin CarpenterHow do I deal - Jennifer Love HewittExit - Waffle House - Bobby Coolcountryundergroundradio.comcooolmedia.com
Here she is bois, here she is world, here's June! We are here with Oscar-nominee June Squibb. You Might Know Her From Thelma, Nebraska, About Schmidt, The Humans, Hubie Halloween, In & Out, Girls, Inside Out 2, and Broadway productions of Gypsy and Waitress. We were delighted to talk to 95-year-old June about her role in the action-dramedy Thelma for which she absolutely deserves an Oscar nomination. From fearlessly driving a scooter to charming the late Richard Roundtree, June opened up about her very first “lead role” and the difference in being number one on the callsheet. We also got the intel on her time as a replacement for Electra in the original (yes, original) Broadway production of Gypsy opposite Ethel Merman, returning to Broadway in a gender-reversed casting as Josie in Waitress, her rapport with director Alexander Payne (who she had to audition for AGAIN for role in Nebraska), and her upcoming lead role in Scarlett Johansson's directorial debut Eleanor the Great. This one will go down in the books for sure. Please go stream Thelma right after you listen! Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Discussed this week: Deh-ME Moore but DE-mee Lovato Demi Moore's name is Demetria Pam Anderson's comeback is so smart (Broadway, book, documentary, no makeup on red carpet, prestige film). She is 57 June's first starring film role is in 2024's Thelma available to stream on Hulu and Disney+ now Richard Roundtree's last film role (wears clothes so well) June did her own stunts but hasn't yet received Tom Cruise's coconut cake Headlining Eleanor the Great, directed by Scarlett Johansson (releasing 2025) Thelma written and directed by Josh Margolin Replaced in the original Broadway production of Gypsy with Ethel Merman (as Electra) and later went on the national tour with her Was auditioning for La Plume de ma Tante when the Gypsy stage manager came in and requested she audition to replace Chotzi Foley (original Electra) Only other Rose she saw was Tyne Daly in Gypsy on Broadway in 1988 Juliet Taylor was Woody Allen's casting director and she helped get her work Was in the off-Broadway production of The Boy Friend (produced by Gus Schirmer Jr) Returned to Broaday in 2018 to replace in Waitress as ‘Josie' thanks to Jessie Nelson Patti LuPone did her midnight cabaret show at Les Mouches after her performances at Evita Plays Bruce Dern's wife in Alexander Payne's 2013 film, Nebraska In & Out took forever to film since there were 3 different opinions of how the movie should go (Director: Frank Oz, Producer: Scott Rudin, and Star: Kevin Kline) Debbie Reynolds does a very odd Barbra Streisand impression and a great Meryl Streep Played an aging Broadway star in season 5 episode of Glee opposite her now friend, Chris Colfer Blood drinking leprechaun with glaucoma in anthology series, American Horror Stories Saw the nightclub act of the great Dorothy Loudon Worked at Upstairs at the Downstairs Every shirt June Squibb wears in Hubie Halloween
Hi! My name is Terry J. Aman, marking my 97th episode of VideoFuzzy, reporting the progress I've made in cataloging thousands of VHS transfers and digital recordings. This set covers discs 1676 to 1700 in my Classic Collection. In my Fuzzy Feature, I talk about the 1946 Holmes and Watson mystery "Dressed to Kill," starring Basil Rathbone and Nigel Bruce. I chat about the Kyle Smith book they used as a basis for at least the title and the names of a few characters in the 2006 CBS Tom Cavanaugh vehicle "Love Monkey." I found it while attending a book chat author and fellow podcaster Kemper Donovan gave for his debut murder mystery "The Busy Body" in Grand Rapids, Michigan, last April, which gave me an excellent opportunity to highlight the upcoming release of the second installment in his ghostwriter series, "Loose Lips," available for pre-order at www.kensingtonbooks.com/9781496744548/loose-lips/ or any independent bookseller you prefer. In Cross Connections I highlight appearances by several actors in shows I cataloged in this set, including Ray Wise, John Larroquette, Michael Ian Black, Michael Imperioli, Kurt Fuller, Cory Montieth, Benito Martinez, Tyne Daly, Judd Nelson, Liam James and Alyssa Milano. I determined Diedrich Bader likely qualified as a Golden Thread in my collection. In my Classic Collection, I chat about "Who's the Boss?" references in "Community," I do a compare and contrast on "Human Target" and "Archer," with comments on "Desperate Housewives" and "Supernatural." In my Current Collection, I archived family memorial services into my home collection. I also archived "Agatha All Along," "Only Murders in the Building," and the Kamala Harris rally in Milwaukee. Archiving is on hold while we get ourselves set up in our new home in Utah. Even so, I watched the "Doctor Who" Christmas special on Disney Plus. Comments on that, as well as "Wicked" and "Sonic the Hedgehog 3." TOP TWELVE: Here's a "Top Twelve" episode guide for people looking for a quick read-in on this blog and podcast effort: https://videofuzzy.libsyn.com/about. Enjoy!
We are here with actor, singer, and entertainer Roslyn Kind. You Might Know Her From: The Look of Love/The Island, 3 From Brooklyn, The Nanny, I'm Going to Be Famous, Ladies of the House, Gimme a Break, and her over 50-year illustrious recording career. We talked to Roslyn about signing to RCA Records as just a 17-year-old girl, lampooning her famous sister Barbra Streisand in an iconic episode of The Nanny, and her latest projects that retells two of her signature songs into a short film. Roslyn also gave us the goods on blood harmony with her mother and Babs, her British invasion influences, the challenge of making “People” hers in her Broadway debut, and set the record on her theatrical credits because you know You Might Know Her is always going to dig some old shet up. This was just a beautiful Roslyn Kind-shaped bow to close out 2024, our year of Barbra, after reading her 900-page magnum opus. Rozzie, we love you. Patreon: www.patreon.com/youmightknowherfrom Follow us on social media: @youmightknowherfrom || @damianbellino || @rodemanne Slide moment in “So Long Dearie” with “Don't try to stop me, Horace. PLEASE” The Look of Love/The Island Tracie Thoms is a mutual friend with Sargon Yoseph Signed to RCA at 17 and first album is Give Me You Roslyn loved Motown and the English Invasion (Shirley Bassey, Cilla Black, Petula Clark, Marianne Faithful) “Fool on the Hill” guested on 1969 Charles Azenvour special with Dusty Springfield Played the same stage as Louis Prima “Meadowlark” from The Baker's Wife “Mamaloshen” by Mandy Patinkin Joel Grey's father, Mickey Katz Blood Harmony is when siblings/relatives blend together seamlessly 3 From Brooklyn Review in Times Ferguson the Tailor at the Beverly Hills Playhouse Was NOT in the Bill Finnn Elegies, she sang the song “I Don't Know How to Help You” from Elegies for Punks Angels and Raging Queens Played Ellie Greenwich Leader of the Pack in Calgary, CA at Stage West with Andrew Stevens Episode of “The Nanny” s4, ep10 Musical special, “Ladies of the Nightclub” never got released Brooks Arthur was in studio doing Happily Ever After and You'll Never Know Was Elliot Gould's guest on his 1975 episode of SNL Peter Chase helped Roslyn pick her SNL dress Tamara de Lempicka painting in her Zoom background was Barbra's and Bette describing as working with Shelley Long as “pretty rough” Roslyn was too ethnic to play the Shelley Long role in the pilot, “Ghost of a Chance” of so she got the best girlfriend role instead Ladies of the House with Donna Mills, Pam Grier and Florence Henderson NYC dance class with Luigi had Richard Chamberlain, Bernadette Peters, Loni Ackerman Interviewed by Skip E. Lowe, who was famously lampooned by Martin Short as Jiminy Glick 5 episodes of Gimme a Break: (s3 ep8, 22; s5 ep 12, 22; s6 ep 9) Jennifer Hudson maybe sang every time she went on set for Respect Tyne Daly's “Rose's Turn” On Broadway (almost replaced with Michele Lee or Lainie Kazan) Anne: Judy Garland's “Have Yourself a Merry Little Christmas” but also “I Want a Hippopotamus for Christmas” Damian: Ronnette's “Sleigh Ride” Phil Spector Christmas Album Lempicka was filmed for Lincoln Center archive but Tammy Faye did not Here's Love is the musical based on Miracle on 34th Street
The twins discuss Chris' recent songwriting efforts, their recent show at House of Blues Myrtle Beach, trips to New York and Aruba, books, an author friend and so much more - and Chris was on a roll with riffing and wordplay. This episode is everything you'd expect, and less. SHOW NOTES: 0:00 - Song snippet by Chris Yale - "Blackmailed" 1:03 - Greetings and about the snippet. Chris' recent songwriting efforts. 2:38 - Recent show on The Deck at House of Blues Myrtle Beach / Shout out to our friend Amy White for the booking and Erik Davey for sound production / David Gilmour Luck and Strange Tour t-shirts from our Bill Becker / More about Gilmour tour 5:35 - Roger's trip to New York - Brooklyn and Sleepy Hollow / South Slope / Hartley's Irish Pub / Hanging with daughter Taylor and her beau, Seán / All-you-can-eat mussels / Read about the trip on Roger's BLOG. 6:30 - Chris' new wordplay: "BoSeán" / More about NY trip / Our friend Evan Rochon at Daniel Murphy High School Los Angeles / Sacred Heart High School Los Angeles 10:00 - Listening to The Stones' "Some Girls" while stoned in the 1970s. / Weed, social awkwardness and anxiety 11:33 - "Statute of limitations" with parents / Sinning / "God will punish you." / Jesus took the punishment / Parental guilt / "Little Me and Big Me" 14:24 - Lilith / Lillith Fair / Indigo Girls / Sarah McLachlan / Paula Cole Band - "Where Have All the Cowboys Gone?" / Mary Gauthier 16:00 - Chris didn't pick up a South African guy's pictures from Fotomat. 17:17 - More New York Trip / Irvington / Tarrytown / Sleepy Hollow Cemetery / Old Dutch Church / Grand Central at rush hour / Hessians / Subway at rush hour / "Billy on the Street" 20:45 - Chris' trip to Aruba / TAA Show (Tobacconists' Association of America) / Cigar industry 22:32 - "The Purpose Driven Life" by Rick Warren / Mom's handwriting / "Bowie at 75" by Martin Popoff / Meeting Bowie 25:17 - Decluttering / "It's All Too Much: An Easy Plan for Living a Richer Life with Less Stuff" by Peter Walsh 26:12 - Wayne C. Dees, "Altered Perceptions" book and film / Roger's friendship with Dees / Roger's review of the book 28:25 - Chris went for the low-hanging fruit and started in with the "CDs" reference - IYKYK - Stop it, Chris. 30:01 - Chris' production problems with ZOOM LiveTrak L-8 / Fast-talking / Latency / Clipped like Tyne Daly 31:20 - Parting shots / Concrete Blonde vs. Four Non Blondes / More Lilith / Bebe Neuwirth / Jane Friedman is not Jill Abramson / Vocal fry
Curtain up on the 50th deep dive of KNOW THE SHOW as Anika and Michael delve into GYPSY, widely considered to be the greatest musical of all time.
EPISODE 53 - “Tribute to Gena Rowlands” - 09/16/2024 ** This episode is sponsored brought to you by BetterHelp. Give online therapy a try at betterhelp.com/BENEATH and get on your way to being your best self.” ** When screen legend GENA ROWLANDS passed away last month at the age of 94, she left behind a film and TV legacy that will undoubtedly influence artists for decades to come. She was an acting titan who changed the way modern audiences looked at acting. From her historic independent movies with husband JOHN CASSAVETES to mainstream Hollywood to powerful performances in iconic television films, Rowlands' performances were always honest, complicated, and emotionally raw. There was just no one like her; and there never will be again. This week, we pay tribute to her endearing legacy on and off the screen. SHOW NOTES: Sources: Cassavetes on Cassavetes (2001), by Ray Carney; In The Moment: My Life As An Actor (2004), by Ben Gazzara; “Family First, Says Pretty Blonde,” November 16, 1963, The Tribune (South Bend, IN); “I Want It All…Husband…Children…Career!” June 1975, by Ronald Bowers, Photoplay; “NBC Offers Drama About AIDS,” November 11, 1985, by John J. O'Connor, The New York Times; “To Mom With Love: Gena Rowlands' Son Directs Her Latest Film,” February 23, 1997, by Terry Lawson, Detroit Free Press; “Idol Chatter: Gena Rowlands,” 1999, by Al Weisel, Premiere Magazine; “Shop Talk: Actress Gena Rowlands, Not Much of a Shopper, Tells Tales,” February 15, 2002, by Gwen Davis, The Wall Street Journal; “Gena Rowlands On Pioneering The Indie Film Movement With Her Late Husband John Cassavetes,” November 13, 2015, by Scott Feinberg, The Hollywood Reporter; “Oscar Goes To Gena Rowlands,” November 14, 2015, by Susan King, Los Angeles Times; “And The Honorary Oscar Goes To…” November 20, 2015, by Scott Feinberg, The Hollywood Reporter; “The Notebook's Gena Rowlands Has Alzheimer's, Is in Full Dementia,” June 25, 2024, by Cara Lynn Shultz, People Magazine; “Gena Rowlands, Actress Who Brought Raw Drama To Her Roles, Dies at 94,” August 14, 2024, by Anita Gates, New York Times; TCM.com; IBDB.com; Movies Mentioned: The High Cost of Loving (1958), starring Jose Ferrer; Lonely Are the Brave (1962), starring Kirk Douglas; The Spiral Road (1962), starring Rock Hudson; A Child is Waiting (1963), starring Burt Lancaster, Judy Garland; Tony Rome (1967), starring Frank Sinatra; Faces (1968), starring John Cassavetes; Minnie and Moskowitz (1971), starring Seymour Cassel; A Woman Under the Influence (1974), starring Peter Falk; Opening Night (1977), starring John Cassavetes, Ben Gazzara; A Question of Love (1978), starring Jane Alexander; The Brink's Job (1978), starring Peter Falk; Gloria (1980), starring John Adams; Tempest (1982), starring John Cassavetes; Love Streams (1984), starring John Cassavetes; Thursday's Child (1984), starring Don Murray; An Early Frost (1985), starring Aidan Quinn, Ben Gazzara; The Betty Ford Story (1987), starring Josef Sommer; Another Woman (1988), starring Mia Farrow; Once Around (1991), starring Richard Dreyfuss, Holly Hunter; Night On Earth (1991), starring Winona Ryder; Face of A Stranger (1992), starring Tyne Daly; Crazy In Love (1992), starring Holly Hunter; The Neon Bible (1995), starring Jacob Tierney; Unhook The Stars (1996), starring Marisa Tomei; She's So Lovely (1997), starring Sean Penn; Hope Floats (1998), starring Sandra Bullock; Hysterical Blindness (2003), starring Uma Thurman; The Notebook (1999), starring Ryan Gosling, Rachel McAdams; Broken English (2007), starring Parker Posey; Six Dance Lessons in Six Weeks (2014), starring Cheyenne Jackson; --------------------------------- http://www.airwavemedia.com Please contact sales@advertisecast.com if you would like to advertise on our podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices
We're welcoming in the unofficial start of fall the best way we know how—talking about grief! 2010's “Rabbit Hole” is easily one of Nicole Kidman's best performances, and The Wiest as her mother with her own brick in her pocket almost makes us forget that Tyne Daly played that role on Broadway. Tammy Blanchard channels one of the greatest moments in this podcast's history, Sandra Oh is a best supporting featured ensemble, and we have a lot to say about Debbie. Join us for The Best Supporting Aftershow and early access to main episodes on Patreon: www.patreon.com/bsapod Email: thebsapod@gmail.com Instagram: @bsapod Colin Drucker - Instagram: @colindrucker_ Nick Kochanov - Instagram: @nickkochanov
Encore! Encore! For the summer break, Sharon and Susan take you back to the 80s with reruns, and back to Season 1 with a very special encore presentation of Ep. 119. Meet the woman behind Mary Beth Lacey. Sharon and Susan are excited and honored to talk with Emmy and Tony Award winning actress and the star of Cagney & Lacey, Tyne Daly. In a career spanning eight decades, Tyne Daly has appeared on stage and screen in over 100 roles in everything from “The Mod Squad” and “Judging Amy” to co-starring with Clint Eastwood in the Dirty Harry film “The Enforcer”.She has received six Emmy awards – four of them for her outstanding portrayal of Mary Beth Lacey on “Cagney & Lacey.” In this intimate interview, Tyne Daly shares stories of her childhood, barely finishing high school, her early days acting in New York, her eventual move to Los Angeles with then-husband actor/director Georg Stanford Brown -- and a lifetime of acting, politics and poetry.THE CONVERSATIONHow Dustin Hoffman opened the door for “non-perfect” people on film and TV.Coming to California -- and being “done at 21”!How the internet is the death of conversation.The power of words. Doing her early pilots – and hoping they didn't go!“I Did My Cop” - How Dirty Harry almost kept Tyne from doing “Cagney & Lacey”How Tyne went to the mat for Meg Foster at the end of season one – and almost lost her job for it.What it was like to read with the (many) actresses auditioning to play the third Cagney – and how it felt to hear what the producers said about them when they left the room.Why Tyne hasn't re-watched the show – and doesn't want to.Tyne's idea for a new holiday: Interdependence Day – a day celebrating everything we have in common as a people.Tyne reads the poem “Life While You Wait” by Wisława SzymborskaHow after a lifetime of striving and struggling – as an actress and woman – Tyne sees that certain battles are never over…What's Tyne's one word to explain the 21st century? And what's yours?So join Susan, Sharon – and Tyne -- as they talk Bette Davis, Angela Lansbury, Jimmy Stewart, “Colleagues with penises” and “Lining up with the pigs”!AUDIOGRAPHYKeep up with Tyne Daly at Tynedalyonline.com Visit the Official Cagney & Lacey Facebook page.Tyne Daly's Official Facebook page.WHERE TO WATCHCagney & Lacey on Roku.The Bread Factory, Part 1 and Part 2 - Stream it for free using your library card or university log-in at Kanopy.comOn Apple TV.BOOKSRemembering Cagney & Lacey with Sharon Gless & Tyne Daly by Brian McFaddenPoems New and Collected by Wisława SzymborskaThe New Handbook for a Post Roe America by Robin MartyCONNECTVisit 80sTVLadies.com for transcripts.Sign up for the 80s TV Ladies mailing list.Support us and get ad-free episodes on PATREON.VOTEVOTE for us at the PodcastAwards.com Suppport Kamala Harris for President - KamalaHarris.comRegister or Check your Registration at Vote.orgIt's the 45th anniversary of President Carter's Crisis of Confidence speech. Get Susan's new play about it: Confidence (and the Speech) at Broadway Licensing.
Yesterday the news broke that six time Tony Award winning Broadway star Audra McDonald would be returning to the stage in a brand new revival of GYPSY.This new staging of the iconic musical will open later this year at the Majestic Theatre, which was previously home to the Phantom of the Opera.Audra will follow in the footsteps of iconic Broadway Broadway leading ladies including Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, and Patti LuPone.Check out today's news recap to find out what we already know about this hugely anticipated new production, what we can speculate about and why it's so exciting...•00:00 | introduction01:52 | Gypsy on Broadway09:47 | Audra McDonald16:34 | rumours + speculation•About Mickey-Jo:As one of the leading voices in theatre criticism on a social platform, Mickey-Jo is pioneering a new medium for a dwindling field. His YouTube channel: MickeyJoTheatre is the largest worldwide in terms of dedicated theatre criticism, where he also share features, news and interviews as well as lifestyle content for over 70,000 subscribers. Since establishing himself as a theatre critic he has been able to work internationally. With a viewership that is largely split between the US and the UK he has been fortunate enough to be able to work with PR, Marketing, and Social Media representatives for shows in New York, London, Edinburgh, Hamburg, Toronto, Sao Pãolo, and Paris. He has also twice received accreditation from the world renowned Edinburgh Festival Fringe. His reviews and features have also been published by WhatsOnStage, for whom he was a panelist to help curate nominees for their 2023 and 2024 Awards as well as BroadwayWorldUK, Musicals Magazine and LondonTheatre.co.uk. He has been invited to speak to private tour groups, at the BEAM 2023 new musical theatre conference at Oxford Playhouse, and on a panel of critics at an event for young people considering a career in the arts courtesy of Go Live Theatre Projects. Instagram/TikTok/X: @MickeyJoTheatre
Dylan and Connor are joined by Emmy nominee Zoe Kazan (Doubt, She Said, The Big Sick). The twins are gagged to be in the presence of this movie star, playwright, screenwriter, actress, and icon. After a wellness check, these fast friends chat about Zoe's return to Broadway in Doubt: A Parable. Zoe gives flowers to her inspiring cast-mates, especially the trio of women who donned the habit of Sister Aloysius: Tyne Daly, Isabel Keating, and Amy Ryan. Does she have Doubts? We go there, y'all! Our fabulous convo also gets into Zoe's experience working on She Said, and her beautiful friendship with Carey Mulligan, which goes back to being dressing roommates in The Seagull on Broadway. A full circle ring of keys with Tyne Daly, growing up in the city of stars, and Zoe's writing career are all covered. Other tidbits include a little Angels in America, if she'd do a play with her partner Paul Dano, and some scoop on her upcoming 8-part adaption of East of Eden (and Miss Flo's involvement!). Connor raves about his latest work project The Who's Tommy, while Dylan and Zoe plug RuPaul's The House of Hidden Meanings and Leslie Jaminson's Splinters, respectively. What an honor and a gift to have Zoe on DRAMA. Check out Doubt on Broadway through April 21.Follow Zoe on Twitter & 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!
Encore! Encore! In celebration of the premiere of Cagney & Lacey 42nd years ago this week, here is a look back at the special Sharon Gless interview we dropped one year ago today! Sharon and Susan are at Podcast Movement Evolutions and The Ambies this week! So here's a look back to when they go to sit down with show business legend Sharon Gless. Multi-Emmy and Golden Globe winner, Sharon Gless has appeared in dozens of television shows such as “Nip/Tuck”, “Rizzoli & Isles”, “The Rockford Files”, “House Calls,”The Bob Newhart Show”, “Station 19” and “The Exorcist.” She has created iconic and ground-breaking characters in the shows “Burn Notice”, “Queer as Folk”, “The Trials of Rosie O'Neill” and of course “Cagney & Lacey”.In 2021 she published her bestselling, no-holds-barred autobiography “Apparently There Were Complaints”. In this in-depth interview, Sharon Gless talks frankly about feminism, her ongoing friendship with Tyne Daly, her affair, marriage and almost-divorce from Barney Rosenzweig, her struggles with substance abuse and recovery -- and the lasting legacy of the characters she's played.THE CONVERSATIONThe moment Sharon Gless knew she wanted to be an actress – and knew she would not fail“The first feminist I ever met…” -- Barney Rosenzweig??How Cagney and Lacey we're NEVER friends.How Sharon was actually the VERY FIRST person approached to play Christine Cagney – and why she turned it down.Earning $186 a week as the last contract player at Universal.“The Woman Behind the Woman”: how talent manager Monique James left her position as VP at MCA/Universal to become Sharon's personal manager – and changed her life.Being forced to watch herself on film to learn what she was doing right -- and wrong.Hashing out billing, and rehearsing her first table read as Cagney, with Tyne Daly over a bottle of champagne.Why Christine Cagney wanted to be first through the door with a gun.Improvising and window shopping for the Cagney & Lacey main titles.Participating with Tyne Daly and Gloria Steinem in the 2004 Women's March on Washington –- and seeing the true impact of “Cagney & Lacey” for the first time.Being Stephen J. Cannell's “good luck charm!”Falling in love with Debbie Novotny on “Queer as Folk”.So join Susan, Sharon – and Sharon Gless -- as they talk poker nights with Tyne, the “C”-word, the other “C”-word -- and what did she really say to that flasher??AUDIOGRAPHYOfficial website: SharonGless.com Sharon Gless Facebook page.Sharon Gless' autobiography “Apparently There Were Complaints” at Bookshop. Watch the trailer for Sharon's Award-winning documentary - Show Her The MoneyWHERE TO WATCHCagney & Lacey on ROKU. On PLUTO. On Apple TV.Trials of Rosie O'Neill on Roku. On Amazon Prime.Queer as Folk on Amazon. On Apple TV.Burn Notice on HULU. On Apple TV.Visit 80sTVLadies.com for podcast episode transcripts. Help us AND get ad-free audio, video and other goodies: We're ON PATREON!
Doubt runs at the Todd Haimes Theatre on Broadway until April 21st. Find out more at www.roundabouttheatre.org.Brooklyn Laundry runs off-Broadway at City Center Stage I until April 14th. Find out more at www.manhattantheatreclub.com. Follow The Present Stage on Instagram at @thepresentstageThe Present Stage: Conversations with Theater Writers is hosted by Dan Rubins, a theater critic for Slant Magazine. You can also find Dan's reviews on Cast Album Reviews and in The New Yorker's Briefly Noted column.The Present Stage supports the national nonprofit Hear Your Song. If you'd like to learn more about Hear Your Song and how to support empowering youth with serious illnesses to make their voices heard though songwriting, please visit www.hearyoursong.org
Van Dean is a Tony® Award and Grammy® Award winning producer. He co-founded Broadway Records which released nearly 300 albums during his leadership. Van earned his Grammy Award for helping to produce the Broadway Records' release of the 2015 Broadway revival of The Color Purple. His Grammy nominations were earned for his work on Matilda the Musical, My Fair Lady and Caroline, or Change. Van also executive produced well over 200 other albums including 9 that were Grammy Award nominated. His theatrical production credits include The Gershwin's Porgy and Bess (Tony® Award), Rodgers and Hammerstein's Cinderella (Tony® Award nomination), Anastasia, Jagged Little Pill by Alanis Morissette and Diablo Cody (Tony® Award nomination), How to Dance In Ohio, The Lightning Thief: The Percy Jackson Musical, Matilda (Tony® Award nomination), Evita (Tony® Award nomination), Gore Vidal's The Best Man (Tony® Award nomination), Catch Me If You Can (Tony® Award nomination), The Velocity of Autumn, Big Fish, Bonnie & Clyde, Chinglish, the Off-Broadway production of You're A Good Man, Charlie Brown (2016) and ROOMS a rock romance and the national tours of Anastasia, Matilda, Cinderella, The Lightning Thief and more. He was also a producer of Master Class with Tyne Daly and the 2022 and 2023 productions of Bonnie & Clyde in London's West End. Upcoming: Death Note, Wild, Goodbye New York, SMASH, Figaro, Little Dancer, Song of Bernadette. He co-produced Broadway For Orlando's “What The World Needs Now Is Love” to raise funds for the GLBT Community Center of Central Florida. The charity single was featured on NBC's “Maya and Marty” and at the Democratic National Convention in 2016. He co-conceived and co-Executive Produced the anti-bullying single “I Have A Voice” featuring 70 Broadway kids from Matilda, School of Rock and more and co-produced the new Broadway United music video of “We Are The World”. He also co-conceived and produced From Broadway With Love: A Benefit Concert For Sandy Hook featuring 100 Broadway stars, a 40 piece orchestra and 300+ children from Newtown and From Broadway With Love: A Benefit Concert for Parkland, USA at the BB&T Center Arena in Sunrise, FL and co-produced the Emmy® Award winning From Broadway With Love: A Benefit Concert For Orlando. He is also a co-producer of the feature film documentary “Midsummer in Newtown” which premiered as a Spotlight selection at Tribeca Film Festival. Van has several major film and television musicals in pre-production. Center Stage Records is a new label dedicated to the preservation of Broadway, London, Off-Broadway, new musicals in development and theater-related solo albums
National Sticky Buns day. Entertainment from 1974. Washington Monument completed, Alka Seltzer went on sale, NASCAR founded. Todays birthdays - Rue McClanahan, Alan Rickman, Tyne Daly, William Petersen, Kelsey Grammer, Mary Chapin Carpenter, Billy Baldwin, Jennifer Love Hewitt. Billy Graham died.Intro - Pour some sugar on me - Def Leppard http://defleppard.com/Sticky Bun - KidzoneThe way we were - Barbra SteisandAnother lonely song - Tammy WynetteAlka Seltzer commercialBirthdays - In da club - 50 Cent http://50cent.com/Golden Girls TV themeCSI TV themeFrazier TV themeDown at the twist and shout - Mary Chapin CarpenterHow do I deal - Jennifer Love HewittExit - Its not love - Dokkenhttps://coolcasts.cooolmedia.com/
Sarah Snook Aiming for Broadway, Tyne Daly on Road to Recovery, Lola Tung ‘Hadestown’ Snippet “Today on Broadway” is a daily, Monday through Friday, podcast hitting the top theatre headlines of the day. Any and all feedback is appreciated:Grace Aki: grace@broadwayradio.com | @ItsGraceAkiMatt Tamanini: matt@broadwayradio.com | @BWWMatt Patreon: BroadwayRadiohttps://www.patreon.com/broadwayradio For read more The post Today on Broadway: Monday, Feb. 19, 2024 appeared first on BroadwayRadio.
Tread Perilously's 450th podcast continues Ampersand Month with its first ever episode of Cagney & Lacey: "Ahead of the Game." Cagney & Lacey are called to the scene of a teenage basketball prodigy who dropped dead during a pick-up game. The cops all assume drug use, but his father insists he took no illicit substances. Suspicion moves to the basketball coach when it turns out the teen had steroids in his system. But all of this takes a back seat when Cagney's father gets drunk at the Emerald Ball and Lacey's house is broken into. Can she recover the candlestick her mother gave her? Erik and Justin cannot get over a special one-scene appearance by the great Brock Peters. Dan Lauria also makes drops in as a Queens-area cop. Stars Sharon Gless and Tyne Daly get high praise -- even if they take second fiddle in this episode to their loud and gruff lieutenant. Other notables include the actors who play the desk sergeant, Lacey's husband, and the suspect gym coach. Erik posits that the episode is low rated because nothing gets resolved while Justin praises that element of the script. 1980s scandals reappear and the pair once again wave the flag for The Shield as one of the best shows to ever appear on television.
The final episode of Backstage Babble in 2023 is a doozy! I'm lucky to talk to many legends, but sometimes they don't have time for a full conversation. That being said, the two Tony-winning actors who I'm presenting “mini” interviews with today had such valuable thoughts and stories that I wanted to share them publicly. First, Tyne Daly, who it was announced after the interview is returning to Broadway in Spring 2024 with Doubt, talks about her legendary career, with stories including how an appearance with Dolly Parton got her the role of Mama Rose, the valuable lesson about auditioning she learned at the Mark Taper Forum, why she turns down all horror movies, and so much more. Then, an inspiring conversation with Ben Vereen where he discusses the genius of Galt MacDermot and Bob Fosse, how Vinnette Carroll discovered him, why theater and spirituality are deeply intertwined, and so much more! You won't want to miss these two conversations.
Listen Up! On todays episode we discuss the Macallan 1926 Scotch Whiskey, discuss Tyne Daly works, and renaming birds to human names … enjoy! The Brett Davern Show is streamed LIVE daily at 12 pm (eastern) and 9 am (pacific) on idobi Radio at https://idobi.com. Follow Brett on social media @BDavv, Katie : @KatieLeclerc, the show @BrettDavernShow The post Midweek Squeaker appeared first on idobi Network.
On today's episode entertainment writer Jim Colucci give us snippets about what it takes to write books about some of the greatest shows in TV history and an endearing story about finally nailing an interview with Bea Arthur. Jim's work has appeared in such publications as TV Guide, Inside TV, Quick & Simple, InTouch, The Advocate, Next and CBS' Watch! magazine, where he served as a Deputy Editor. Since 2008, he has covered television and other entertainment media in his popular blog, Must Hear TV. He has appeared as a TV expert and historian on such shows as CNN's History of the Sitcom and Reelz's continuing series, Behind Closed Doors. For over ten years, Jim also delivered a weekly on-air version of “Must Hear TV” as a correspondent for “The Frank DeCaro Show” on Sirius XM radio. In the fall of 2004, Time Inc. released Jim's official, authorized companion book to one of NBC's biggest comedy hits, titled Will & Grace: Fabulously Uncensored. His second TV book, The Q Guide to The Golden Girls, was released by Alyson Books in September, 2006. His third book, Golden Girls Forever, released in April 2016 by HarperDesign, a division of HarperCollins, became a New York Times best-seller. In November, 2021, Rizzoli/Universe released All in the Family: The Show That Changed Television, featuring the remembrances of TV legend Norman Lear plus dozens of All in the Family‘s stars, writers, producers, directors, crew and guest stars, and an introduction by Jimmy Kimmel. Always a fan of classic TV, Jim frequently conducts day-long, in-depth, on-camera interviews with legendary figures from American TV history for the Academy of Television Arts & Science's “Archive of American Television” project. Interviewees have included Jayne Meadows, Arthur Rankin, Rue McClanahan, Cloris Leachman, Phylicia Rashad, Tyne Daly, Barbara Feldon, Sam Waterston, James Lipton, Chuck Barris, S. Epatha Merkerson, Jeffrey Tambor, and Bernie Kopell. Jim has written for entertainment media since his days as the Film Editor for The Daily Pennsylvanian, the college newspaper at the University of Pennsylvania, where he graduated with degrees in economics/marketing and computer science from the Wharton School of Business and the Moore School of Engineering. Originally from Wayne, New Jersey, he now lives in Los Angeles with Frank and their mischievous Boston terrier, Gabby. www.jimcolucci.com @jimcolucci
David Saint is in his 25th season as Artistic Director of George Street Playhouse. He has directed 43 mainstage productions at GSP, having most recently helmed Ken Ludwig's Dear Jack, Dear Louise. Additional productions include Fully Committed and Tiny Beautiful Things for the GSP virtual season, Midwives, and Conscience, in addition to The Trial of Donna Caine, American Hero, American Son, I Love You, You're Perfect, Now Change and An Act of God starring the legendary Kathleen Turner in the 2017-18 season. His time here has been marked by collaborations with such artists as Keith Carradine, Tyne Daly, Rachel Dratch, Sandy Duncan, Boyd Gaines, A.R. Gurney, Uta Hagen, Jack Klugman, Dan Lauria, Kathleen Marshall, Elaine May, Anne Meara, David Hyde Pierce, Chita Rivera, Paul Rudd, Stephen Sondheim, Marlo Thomas, Eli Wallach, and many others including a remarkable partnership with Arthur Laurents. In addition, many new award-winning works have begun their life here during his tenure such as The Toxic Avenger, Proof, The Spitfire Grill, Joe DiPietro's Clever Little Lies, and It Shoulda Been You. He has directed Final Follies at Primary Stages, Clever Little Lies at Guild Hall in East Hampton, NY and off-Broadway at West Side Theatre, as well as the National tour of West Side Story. In July 2016, he directed a two-night concert performance of West Side Story at the legendary Hollywood Bowl. In Summer 2019, he directed a revolutionary new production of West Side Story for IHI Stage Around in Tokyo and served as Associate Producer for the new film version of West Side Story directed by Steven Spielberg.
John D. Hancock has directed everything from critically acclaimed theatrical productions, to award winning films, to made-for-TV movies, to producing his own movies in LaPorte, IN. His Academy Award nominated movies, Sticky My Fingers... Fleet My Feet and Bang the Drum Slowly both showcased his ability to ground the action in the reality of the film while humanizing even the vilest of characters. His 1971 cult classic horror pic, Let's Scare Jessica to Death continues to pull in new fans from all over the globe. John talks to me about his life, his work in Off Broadway theaters in NYC, his stint in Hollywood, and why he came back to Indiana. We talk about how music and directing relate to one another. He tells me stories about Charles Durning, Tyne Daly, and Michael Moriarty. We talk about him being fired from Jaws 2 only to be brought in to take over on final production of Wolfen. We commiserate on the many pitfalls of widowhood and how directing his late wife, Dorothy Tristan, in her last, deeply autobiographical film, which she also wrote, The Looking Glass, helped them both come to terms with the inevitable. Find out more about John and his Indiana-based production company here: Filmacres
Episode 23 - Who ever thought we'd get this far?!?Susan and Sharon celebrate their first season finale with a wrap-up on “Cagney & Lacey.” How did a little idea about having a female “Butch Cassidy & The Sundance Kid” buddy movie turn into a legendary, award-winning TV series that spanned 7 seasons, 125 episodes and 4 TV movies?We discuss the show's origins and controversies, its impact on American culture in the 1980s and how network television used to be the most powerful way for cutting-edge topics to enter the public conversation. Susan and Sharon also share their favorite episodes, scenes and their big love for John Karlen's Harvey Lacey – the best TV husband ever!THE CONVERSATIONHow Sharon Gless replaced Lynn Redgrave on “Housecalls” before replacing Meg Foster on “Cagney & Lacey”.Was “Housecalls” a love connection for Sharon Gless and co-star, MASH alum Wayne Rogers?How did Cagney & Lacey reflect the real-world challenges of female cops in the 80s?The night Cagney & Lacey taught America about… microwave ovens?“Buckle Up, Christine!” - how a nation of police officers – and Mary Beth Lacey – finally got Cagney to click that seatbelt.The complicated, behind-the-scenes affairs on-set between the show creator, the cinematographer and one of the stars!That Emmy-winning scene from “Turn, Turn, Turn: Part Two” (Season 6, Episode 22)Tyne Daly or Sharon Gless – who was number one on the call sheet, whose name came first in the credits -- and what does it all mean…So join Susan and Sharon as they talk cigarettes, lottery tickets -- and undercover nuns!PLUS – Special Guest: Amy Engelhardt, the composer of the 80's TV Ladies Theme Song!AND -- 80's TV Ladies wishes you all a very HAPPY MOTHER'S DAY – with a special shout-out to a great episode of “Golden Girls”: Season 3, Episode 25 – “Mother's Day”Thank you all so much for joining us on our journey through Season One of 80's TV Ladies. We'll be back in two weeks with Episode One of Season Two – and we can't wait to see you there! AUDIOGRAPHYCagney & Lacey Appreciation Facebook Group.Amy Englehardt official website. Help send Amy's show, IMPACT to the Ediburough Fringe Festival via Fundraising.fracturedatlas.org/impactPlease, help us make Season TWO spectacular! Support us on Patreon. Don't miss out. Sign up for our mailing list.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
What do those crazy 90s kids think of 80s Cagney & Lacey? We're gonna find out!Susan and Sharon welcome back Serita Fontanesi, Megan Ruble and Sergio Perez – the 90's TV Babies! We asked them to watch three episodes: the original one-hour pilot, starring Tyne Daly as Lacey and Loretta Swit as Cagney; the “new” pilot with Meg Foster in the role of Cagney; and finally, Sharon Gless's first turn as Cagney, the Season Two opener “Witness to an Incident”.The 90's TV Babies loved “Scarecrow & Mrs. King”, but two of them DIDN'T love “Remington Steele”. What will their verdict be for “Cagney & Lacey”? And what's their personal connection to this show?THE CONVERSATIONThe eternal comfort-food pleasure of police procedurals.“Ain't That The Way”: what's with that amazing original theme song?Which Baby liked Loretta Swit the best? And which one loved Meg Foster??Is Christine Cagney coded as lesbian? (And what does “coded” mean, anyway?)Does Meg Foster have “F@%k Me” eyes?Why does Susan want to be “Magnum, P.I.”?!Sergio Perez on the heat of “Heat” (Season 4, Episode 2)Turns out Serita is friends with (Detective Petrie) Carl Lumbly's son, Brandon!Ripped From The Headlines: Was Cagney & Lacey an “issue show”?Harvey Lacey: the revolutionary evolution of Mary Beth Lacey's Husband, played by John Karlen.What is the bar for representation on TV? Has it gotten better since the '80s? Can you have more than two female leads? Black characters? Can you have racial diversity AND LGBTQ representation in the same show?So, join Susan and Sharon – and the Babies – as we talk “MASH”-love, “Shadow & Bone” and the joy of raising puppies!80s TV LADIES SALUTE and Fan FeedbackPLUS – 80'S TV LADIES salutes the recent passing of some legendary TV and film ladies…AND -- listener feedback from our fans!Part of Weirding Way Media network.Help us make more episodes AND get ad-free episodes: WE'RE NOW ON PATREON!Find out more or download transcripts, visit our website - 80sTVLadies.comStay up to date and get exclusive info. Sign up for our mailing list.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
Jamie deRoy discsses her father backing "The Pajama Game" and "Damn Yankees"; her dad being a big fan of Broadway; getting advice from Harold Prince her senior year of high school to stay in Pittsburgh; her leaving for NY fter one year in college; working with Larry Keith and Margot Moser; Sidney Simon; Margot Moser wants her to stay in NY and take voice lessons with her teacher; getting cast in The Drunkard; becoming friends with its musical coordinator, Barry Manilow; getting hired in the mountains and having Barry write the charts; not writing patter; opening for Irving C. Watson; being a popular opening act with comedic songs; opening for Joan Rivers; performing in the Monkey Bar with Crandall & Charles and Mel Martin; Norman Steinberg; Jeffrey Richards has Jamie watch The Complete Works of William Shakespeare Abridged; she becomes co-producer; revival of show is paused by 9/11; producing Mr. Saturday Night; it was supposed to follow The Lehman Trilogy but COVID hit; Jamie performs a duet with Tyne Daly at a benefit for Primary Stages; COVID closed Broadway; many people quit acting; a British cast gets stranded in NY; Jamie gets COVID in October 2022; producing Beetlejuice, Tina, Fiddler on the Roof, Angels in America and The Inheritance; two most emotional theatre events - the end of The Inheritance and the first "Jamie deRoy and Friends" which paid tribute to cabaret critic Bob Harrington in 1992; producing The Lion, The Two of Us (with Jay Johnson) and Say Goodnight Gracie (with Frank Gorshin); seeing understudies; co-starring with Rene Auberjonois in Threepenny Opera; how sitting next to Martin Scorcese got her cast in Goodfellas and how leaving to go to Cannes got her a bigger part that wasn't cut; appearing in See No Evil, Here No Evil; recording nine albums; her TV show of over thirty years, Jamie deRoy and Friends; what shows she has currently out and about to come out; working with Judy Gold; and making sure to tape everything.
What was it like to break into directing in the 1970s and '80s? Let's find out!Sharon and Susan are honored to talk with Emmy-winning director Karen Arthur. Karen started out as an actress on such shows as “Get Smart”, “The Streets of San Francisco”, “Mannix”, “That Girl” and “The Monkees”. In 1975 she made the transition to directing and has since helmed episodes of classic TV series including “Judging Amy”, “Hart to Hart”, “7th Heaven” and “Remington Steele”, as well as the powerful true story TV movie “The Rape of Richard Beck” and the award-winning mini-series “The Jacksons: An American Dream” starring Lawrence Hilton-Jacobs and Angela Bassett.In 1985, Ms. Arthur was the first woman to win a primetime Emmy award for directing, for her work on the “Cagney & Lacey” episode “Heat”. She has worked with some of the biggest stars in Hollywood, including Ed Asner, Kirstie Allie, Delta Burke, Barbara Hershey, Diane Ladd, Bernadette Peters, Christopher Plummer, Christopher Reeves, Jane Seymour, Susan Sullivan and Angelina Jolie.THE CONVERSATIONHow drinking wine and dreaming of Hollywood with a friend in summer stock led to “Remington Steele” creator Michael Gleason going to bat for Karen to get her first TV directing job: “Rich Man, Poor Man Book II”.Almost getting kicked off the lot for parking in the “Director” spot – and then telling the Security Guard: “I AM the director!”Fun and heartache on “Hart to Hart” with the great Stefanie Powers.Meeting and falling in love on “Cagney & Lacey” with her husband of 39 years -- director of photography Thomas Neuwirth.Winning the Emmy and how it changed everything for Karen – and the women directors to follow.DOWN IN FRONT: How sitting in the front row when the bosses are watching your work is the best director trick she's learned -- and why…Working with Lee Grant and Carol Kane on The Mafu Cage and learning to give actors – and herself – “room to fail”.The choreography of directing and creating intricate shots.Choosing her projects carefully -- and getting the nickname “Karen No”.Filming “The Rape of Richard Beck” with Richard Crenna -- and the message he showed the crew written on his own butt!So join Susan and Sharon – and Karen – as they talk about bumping into Tyne Daly on Broadway, getting checks from Paul Newman and swallowing fire with Pierce Brosnan!PLUS – 80'S TV LADIES TRIBUTE salutes the recent passing of some legendary TV and film ladies…AND -- listener feedback from our fans!AUDIOGRAPHYDefining Women: Television and the Case of Cagney & Lacey by Julie D'Acci. Get it at Bookshop. Primetime Feminism: Television, Media Culture and the Women's Movement Since 1970 by Bonnie J. Dow. Get it at Penn Press or Amazon.Part of Weirding Way Media with Mike White & Chris Stachiw Help us make episodes AND experience them ad-free, plus get cool exclusive content: WE'RE NOW ON PATREON!For more information or to download a transcript of this podcast, visit our website - 80sTVLadies.com. Don't miss out. Sign up for our mailing list.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
Susan and Sharon are thrilled to sit down with show business legend Sharon Gless. Multi-Emmy and Golden Globe winner, Sharon Gless has appeared in dozens of television shows such as “Nip/Tuck”, “Rizzoli & Isles”, “The Rockford Files”, “House Calls,”The Bob Newhart Show”, “Station 19” and “The Exorcist.” She has created iconic and ground-breaking characters in the shows “Burn Notice”, “Queer as Folk”, “The Trials of Rosie O'Neill” and of course “Cagney & Lacey”.In 2021 she published her bestselling, no-holds-barred autobiography “Apparently There Were Complaints”. In this in-depth interview, Sharon Gless talks frankly about feminism, her ongoing friendship with Tyne Daly, her affair, marriage and almost-divorce from Barney Rosenzweig, her struggles with substance abuse and recovery -- and the lasting legacy of the characters she's played.THE CONVERSATIONThe moment Sharon Gless knew she wanted to be an actress – and knew she would not fail“The first feminist I ever met…” -- Barney Rosenzweig??How Cagney and Lacey we're NEVER friends.How Sharon was actually the VERY FIRST person approached to play Christine Cagney – and why she turned it down.Earning $186 a week as the last contract player at Universal.“The Woman Behind the Woman”: how talent manager Monique James left her position as VP at MCA/Universal to become Sharon's personal manager – and changed her life.Being forced to watch herself on film to learn what she was doing right -- and wrong.Hashing out billing, and rehearsing her first table read as Cagney, with Tyne Daly over a bottle of champagne.Why Christine Cagney wanted to be first through the door with a gun.Improvising and window shopping for the Cagney & Lacey main titles.Participating with Tyne Daly and Gloria Steinem in the 2004 Women's March on Washington –- and seeing the true impact of “Cagney & Lacey” for the first time.Being Stephen J. Cannell's “good luck charm!”Falling in love with Debbie Novotny on “Queer as Folk”.So join Susan, Sharon – and Sharon Gless -- as they talk poker nights with Tyne, the “C”-word, the other “C”-word -- and what did she really say to that flasher??AUDIOGRAPHYOfficial website: SharonGless.com Sharon Gless Facebook page.Sharon Gless' autobiography “Apparently There Were Complaints” at Bookshop. Watch the trailer for Sharon's upcoming Documentary - Show Her The MoneyWHERE TO WATCHCagney & Lacey on ROKU. On PLUTO. On Apple TV.Trials of Rosie O'Neill on Roku. On Amazon Prime.Queer as Folk on Amazon. On Apple TV.Burn Notice on HULU. On Apple TV.Sign up for our mailing list. Visit 80sTVLadies.com for podcast episode transcripts. Help us make more episodes AND get ad-free audio, video and other goodies: We're ON PATREON!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
Join us to meet the woman behind Mary Beth Lacey! Sharon and Susan are excited and honored to talk with Emmy and Tony-award winning actress and the star of Cagney & Lacey, Tyne Daly.In a career spanning eight decades, Tyne Daly has appeared on stage and screen in over 100 roles in everything from “The Mod Squad” and “Judging Amy” to co-starring with Clint Eastwood in the Dirty Harry film “The Enforcer”. She has received six Emmy awards – four for her outstanding portrayal of Mary Beth Lacey on “Cagney & Lacey.” In this intimate interview, Tyne Daly shares stories of her childhood, barely finishing high school, her early days acting in New York, her eventual move to Los Angeles with then husband actor/director Georg Stanford Brown -- and a lifetime of acting, politics and poetry.THE CONVERSATIONHow Dustin Hoffman opened the door for “non-perfect” people on film and TV.Coming to California -- and being “done at 21”!How the internet is the death of conversation and the power of words.Doing her early pilots – and hoping they didn't go!“I Did My Cop” - How Dirty Harry almost kept Tyne from doing “Cagney & Lacey”How Tyne went to the mat for Meg Foster (the 2nd Cagney) at the end of season one – and almost lost her job for it.What it was like to read with the (many) actresses auditioning to play the third Cagney – and how it felt to hear what the producers said about them when they left the room.Why Tyne hasn't re-watched the show – and doesn't want to.Tyne's idea for a new holiday: Interdependence Day – a day celebrating everything we have in common.Tyne reads the poem “Life While You Wait” by Wisława SzymborskaHow after a life time of striving and struggling – as an actress and woman – Tyne sees that certain battles are never over…What's Tyne's one word to explain the 21st century? And what's yours?So join Susan, Sharon – and Tyne -- as they talk Bette Davis, Angela Lansbury, Jimmy Stewart, “Colleagues with penises” and “Lining up with the pigs”!AUDIOGRAPHYVisit the Official Cagney & Lacey Facebook page.& Official Tyne Daly Facebook page.WHERE TO WATCH:Cagney & Lacey on RokuThe Bread Factory, Part 1 and Part 2Stream for free with library card or university log-in: Kanopy.com - On Apple TV.- On Amazon.BOOKS & MORERemembering Cagney & Lacey with Sharon Gless & Tyne Daly by Brian McFaddenPoems New and Collected by Wisława SzymborskaThe New Handbook for a Post Roe America by Robin MartyCheck out 80s TV Ladies Susan and Sharon on Rainbow Remix podcastHelp us out AND get ad-free episodes: WE'RE ON PATREON!Thank you to our new Patreon supporters: Thank you Michael, Anne and Kate!! Y'all are awesome. Visit 80s TV Ladies website for transcripts and more. Sign up for our mailing list.This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
VIDEO YOUTUBE LINK of this LIVE BROADCAST/PODBLAST: Silver Age Marvel Comics on display + Quantumania MOVIE REVIEW by Shane + Tyne Daly + Lee Majors - YouTube PLEASE HEAD TO FISTFULOFRADIO.COM to hear our shows. That's " FistFulOfRadio dot com ." LIVE! PodBlast LIVE! (Part 2 of 2 that covers Ant Man & the Wasp 3: Quantumania & the launch of Phase 5 of the MCU +Silver Age Marvel Comics on display + Ant Man & the Wasp Quantumania MOVIE REVIEW with Shane B + Tyne Daly + Lee Majors ***** PLUS, a silver age comic book show & tell & more! ***** #fun #antmanandthewaspquantumania #antmanandthewaspquantumaniareview #spoilers #moviereview #kang #kangtheconquerer #comicbooks #comicbookcollection #avengers #mcu #mcuphase5 #phase5 #Avengers10 #jonathanmajors #dvd #Tynedaly #history #popculturepodcast #sciencefiction #scifigeek #scifitv #metv #livepodcast #raquelwelch #SciFiSaturdayNightMeTV #mcu #marvel #marvelcomics #tubitv #NostalgicTVClicheoftheWeek #livepodcast #atlanta #showbusiness #media #entertainmentindustry #RemindMagazine #atlantageorgia #georgia #news #educational #education #thenostalgicpodblast #chancebartels #jefflogan #ShaneB (Originally produced LIVE on Wednesday, February 22nd, 2023) **** "Like"/join the Facebook group to receive a notification when we are rolling LIVE on video most Sundays from Atlanta, GA! ***** FACEBOOK GROUP LINK: https://www.facebook.com/groups/505690109979643/?epa=SEARCH_BOX Streaming Saturdays & Sundays 2-8pm eastern time on FISTFULOFRADIO.COM and shows are archived on that website. Search NOSTALGIC PODBLAST or THE NOSTALGIC PODBLAST on Spotify, Stitcher, Soundcloud, Apple, TuneIn, etc. or on this very YOUTUBE channel NOSTALGIC PODBLAST on video. Enjoy ! ~
Fat Tuesday. Pop culture from 1982. NASCAR formed, Alka Seltzer goes on sale, Washington Monument completed, WW1 Battle of Verdun began. Todays birthdays - Rue McClanahan, Alan Rickman, Tyne Daly, William Peterson, Kelsey Grammer, Mary Chapin Carpenter, Billy Baldwin, Jennifer Love Hewitt.. Billy Grahma died.
Buckle up, kids - We're kicking off our series on Cagney & Lacey!Sharon & Susan begin their look back at the classic 80's TV series Cagney & Lacey with a conversation with the show's creator and executive producer, Barney Rosenzweig. Rosenzweig's career spans five decades and hundreds of hours of television including Charlie's Angels, Daniel Boone, Christie, Twice in a Lifetime, and The Trials of Rosie O'Neill.But he made TV history when he approached writers Barbara Avedon and Barbara Corday with a simple yet revolutionary idea: “Write a Robert Redford/Paul Newman buddy movie -- but for women.” They in turn wrote Cagney & Lacey to answer the burning 1980s question: “Can women be buddies under pressure?” Together, they created a legendary television series that Rosenzweig elegantly describes as “a show about two women – who just happen to be cops”.Cagney & Lacey is a police procedural drama - starring Tyne Daly and Sharon Gless - that premiered in 1982 and ran until 1988. The franchise included 125 episodes and five TV movies. The show has been the recipient of 37 Primetime Emmy nominations with 14 wins, including four wins for a leading actress in a drama for Daly and two wins for Gless.THE CONVERSATIONThree Cagneys, Two “pilots”… and One Lacey! - How Tyne Daly's Mary Beth Lacey went through three Christine Cagneys: Loretta Switt, Meg Foster -- and finally Sharon Gless.But what's a Showrunner? - Barney explains his role in collaborating with writers, directors, actors and artists to bring a singular vision to life.A Life-Changing Epiphany – How a night at the movies with future wife Barbara Avedon showed a “50's guy” what sexism really is.How Cagney & Lacey were almost played by… Anne Bancroft & Raquel Welch??Working publicity for MGM's Howard Strickling and directors Martin Ritt and Tony Richardson - which one was "the worst experience of my life"?How to shoot Toronto for New York – there is a trick…How a chance meeting with Suzanne Levine got Cagney & Lacey on the cover of Ms. Magazine – and a 48 share!So join us as we talk about University of Southern California yell-leaders, 1965 MGM-epic Ben Hur, car bombs – and throwing up over “director's cuts”!AUDIOGRAPHY- Visit the Official Cagney & Lacey website.- Read Barney Rosenzweig's Blog!- Get Barney's book: “Cagney & Lacey… and me”Help us keep making this show and get ad-free episodes: WE'RE now ON PATREON! For more information or to download a transcript of this podcast, visit our website - 80sTVLadies.com Don't miss out on everything 80s TV Ladies. Sign up for our mailing list!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
"Apparently There Were Complaints" delves into Sharon's remarkable career and explores her complicated family, struggles with alcoholism, and her fear of romantic commitment as well as her encounters with some of Hollywood's biggest names from Tyne Daly, to Rosie O'Donnell, Steven Spielberg, Angela Lansbury, Lorne Michaels, Michael Douglas, and many more. Brutally honest and incredibly relatable, she puts it all out on the page in the same way she has lived-never with moderation.A fifth-generation Californian, Sharon knew from a young age that she wanted to be an actress, and was the granddaughter of one of the most famous and powerful entertainment attorneys during the Golden Age of Hollywood, Neil S. McCarthy, who represented Howard Hughes, Cecil B. DeMille, Mary Pickford, Katharine Hepburn. After some rocky teenage years that included her parents' divorce and some minor (and not-so-minor) rebellion, she landed a coveted spot as an exclusive contract player for Universal Studios. In 1982, she stepped into the role of New York Police Detective Christine Cagney for the series "Cagney & Lacey," which reached an audience of 30 million weekly viewers and garnered Sharon two Emmy Awards. The show made history as the first hour-long drama to feature two women in the leading roles.
Susan and Sharon sit down with “Remington Steele” assistant director Jerram Swartz. In a career spanning 5 decades, Jerram has worked on movies including “E.T.: The Extraterrestrial” and “The Blues Brothers” as well as 80's TV classics such as “The A-Team”, “Cagney & Lacey” and “Riptide”. In this episode, he shares stories about the fun, excitement and controversy of working on the fifth – and final – season of “Remington Steele”.THE CONVERSATION- Susan and Sharon's fav Season 4 & 5 episodes and guest stars (Louie Anderson and Terry O'Quinn!).- Pierce and Stephanie and the “Cancelled-and-then-NOT-cancelled” blues…- How Stephanie Zimbalist almost starred in “Robocop”!- What really happened with Pierce Brosnan's whole “James Bond Thing” (and yes, he really was upset….)- Jack Scalia as Laura Holt's new love interest “Tony Roselli”. Was the plan to eventually replace Pierce with him??- Shooting Season 5 in Dublin, Ireland -- and Pasadena, CA…- Learning to tap dance from “Barnaby Jones” star Buddy Ebsen.- Being punched by Robert Shaw on the set of “Swashbuckler”!- Hanging with Kevin “the smart one” Tighe and Randolph “the sexy one” Mantooth on “Emergency!”- Crashing cars into toy stores for “The Blues Brothers”.- Being Mae West's date to a studio screening of “Jaws”.- Good times over the years working with TV ladies favs: Stephanie Zimbalist, Tyne Daly, Christina Applegate, Melissa McCarthy, Ellen Burstyn, Jacqueline Bisset and many others…Join Susan, Sharon and Jerram as they talk Buck Rogers, Walt Disney and traveling the world with a very special Kermit the Frog!AUDIOGRAPHYEmmys.com - The Television Academy websiteCalifornia Film Commission website DGA.org - For DGA Training program and other directing programs.Book: “Backwards and in Heels” by Alicia Malone -- Find it on Amazon. All 5 seasons of “Remington Steele” are now available on Amazon Prime and AppleTV!Watch: Amazon. Watch on Apple TV. For more information or to download a transcript of this podcast, visit our website: 80sTVLadies.com Don't miss out on everything 80s TV Ladies. Sign up for our mailing list!This show is part of the Spreaker Prime Network, if you are interested in advertising on this podcast, contact us at https://www.spreaker.com/show/5585115/advertisement
"Apparently There Were Complaints" delves into Sharon's remarkable career and explores her complicated family, struggles with alcoholism, and her fear of romantic commitment as well as her encounters with some of Hollywood's biggest names from Tyne Daly, to Rosie O'Donnell, Steven Spielberg, Angela Lansbury, Lorne Michaels, Michael Douglas, and many more. Brutally honest and incredibly relatable, she puts it all out on the page in the same way she has lived-never with moderation.A fifth-generation Californian, Sharon knew from a young age that she wanted to be an actress, and was the granddaughter of one of the most famous and powerful entertainment attorneys during the Golden Age of Hollywood, Neil S. McCarthy, who represented Howard Hughes, Cecil B. DeMille, Mary Pickford, Katharine Hepburn. After some rocky teenage years that included her parents' divorce and some minor (and not-so-minor) rebellion, she landed a coveted spot as an exclusive contract player for Universal Studios. In 1982, she stepped into the role of New York Police Detective Christine Cagney for the series "Cagney & Lacey," which reached an audience of 30 million weekly viewers and garnered Sharon two Emmy Awards. The show made history as the first hour-long drama to feature two women in the leading roles.
We review The Enforcer (1976) on movie podcast The Collector's Cut. Dirty Harry: The Enforcer is directed by James Fargo and stars Clint Eastwood, Tyne Daly, Harry Guardino, Bradford Dillman, Albert Popwell patreon: https://www.patreon.com/mildfuzztv twitter: https://twitter.com/ScreamsMidnight email: mftvquestions@gmail.com Audio version: https://the-collectors-cut.pinecast.co/ UK Merch store: https://shop.spreadshirt.co.uk/mild-fuzz-tv/ US Merch store: https://shop.spreadshirt.com/mild-fuzz-tv-usv dirtyharry #movies #cinema
Diane and Sean discuss the first Tom Holland as Spider-Man movie that isn't Captain America: Civil War, Spider-Man: Homecoming from 2017. Episode music is, "Homecoming Suite" by Michael Giacchino from the OST- Our theme song is by Brushy One String- Artwork by Marlaine LePage- Why Do We Own This DVD? Merch available at Teepublic- Follow the show on social media:- IG: @whydoweownthisdvd- Twitter: @whydoweownthis1- Follow Sean's Plants on IG: @lookitmahplantsSupport the show
Paul Selig is a writer, teacher, and intuitive living in New York City. He is the director of the MFA in Creative Writing Program at Goddard College and serves on the playwriting faculty of the NYU Tisch School of the Arts. His work for the theater has been performed internationally at venues including the Sundance Film Festival, the Joyce Theater, En Garde Arts, The Long Wharf Theater, Teatro Plastico and the Ensemble Studio Theater. His plays include the one woman show Mystery School (performed by Tyne Daly), the stage adaptation of War Letters (with Treat Williams and Mario van Peebles), additional material for the national tour of Tallulah (with Kathleen Turner), Terminal Bar, the Pompeii Traveling Show (NY Drama League Award), Moon City and Body Parts. His operas include the trilogy 3 Visitations. He collaborated with Shapiro and Smith Dance Company on Notes From a Séance and Never Enough. He recently completed a credited rewrite of Truth in Translation, commissioned by South Africa's Market Theater and the Colonnades Theater Lab. His work is published in numerous anthologies, including The Best American Short Plays of 1996-97; Gay Plays 3 and The Best Short Plays of 1988. He received his MFA from the Yale School of Drama. Paul had a spiritual experience in 1987 that left him clairvoyant. As a way to gain a context for what he was beginning to experience, he studied a form of energy healing, working at Marianne Williamson's Manhattan Center for Living and in private practice. He began to "hear" for his clients, and much of Paul's work now is as a clairaudient, clairvoyant, channel, and empath. Paul has led channeled energy groups for 15 years. Paul was invited to channel at the Esalen institute's 2009 invitational Superpowers and the Supernormal symposium and is featured in the upcoming documentary film Authors of the Impossible. - www.TacherBooks.com******************************************************************To listen to all our XZBN shows, with our compliments go to: https://www.spreaker.com/user/xzoneradiotv*** AND NOW ***The ‘X' Zone TV Channel on SimulTV - www.simultv.comThe ‘X' Chronicles Newspaper - www.xchroniclesnewspaper.com ******************************************************************
Intro: Even our lungs need a sense of purpose. Let Me Run This By You: Boz is buying a house!Interview: We talk to actor and documentary filmmaker Cullen Douglas about AMDA, Florida School of the Arts, Southeastern Theatre Conference, Tyne Daly, character actors, Jason Priestly, Patricia Crotty, Our Town, Lenny Bruce, Dick Van Dyke, investigative journalism, reusing caskets, David Carr, Deadwood, playing Bilbo Baggins, being pen pals with Andrea McCardle, singing If I Were A Rich Man, The Pirates of Penzance, Bye Bye Birdie, Robert Sean Leonard, Billy Flanigan: The Happiest Man on Earth, Shonda Rhimes, Twin Peaks, Grey's Anatomy , Barry, Bill Hader, documentary filmmaking, The Humanitas Prize, Private Practice.FULL TRANSCRIPT (Unedited): 1 (8s):I'm Jen Bosworth Ruez.2 (10s):And I'm Gina Paci.1 (11s):We went to theater school together. We survived it, but we didn't quite understand it.2 (15s):20 years later, we're digging deep talking to our guests about their experiences and trying to make sense of1 (20s):It all. We survived theater school and you will too. Are we famous yet?3 (33s):TikTok and I started looking at the videos and I was like, Ooh, I don't know about this. I think I need to start wearing wake up. So thank you. You1 (43s):Look gorgeous. How are3 (43s):You doing?1 (44s):Yeah, hi. I'm finally, Many things are happening. Many things are happening. So I finally, even though I'm coughing still little, I finally feel like I am, I like kicked the pneumonia bronchitis situation and little mostly thank you. I, yeah, I, we went away and then to Ventura and I slash Ojai and I really rested and I really, there was one day I worked, but I really mostly rested and I just really was like, okay, I need actual ass downtime. And yeah.1 (1m 25s):And then I started to heal and I was also on praise God for antibiotics. And then the thing that really helped me really kick it was I hadn't exercised my lungs in a really long time at all because I was so sick that I just was like, Who wants to like walk or, and, and it was 107 degrees, so it's like, who wants to exercise in that? So my cousin, my sister came in town, I, that's like a big eyebrow raise for, to drop my niece off to college. And we went on a hike to Griffith, but like a sloping hike, not a crazy hike. And I was like, I don't think I'm gonna be able to do it.1 (2m 5s):And it actually helped my lungs to like feel like they were contributing to fucking something and me like Forgot I3 (2m 16s):Like a sense of purpose. Right,1 (2m 17s):Right. And also like to, yeah, to have a job. And they were like, like to be exercised and I was like, Oh, I forgot that. Like the lungs. And, and it's interesting in this whole covid situation, like the lungs need to work too. And I never understood in hospitals, cuz I spent quite a long time in them, why they have those breathing like tube things that you blow the ball and the ball floats up. You have to, I thought that was so dumb until I had bronchitis and pneumonia and I was like, Oh, they have to work. Like they have to be expanded. If you don't use them and work them, they get, it's not good when,3 (2m 58s):When my dad, you know, my dad had this really bad car accident when I was like nine years old and yeah, he rolled 40 times and he wasn't wearing a seatbelt, which saved his life because he was in a convertible. But of course the reason he got into the accident was because he was drinking anyway. He broke everything. Like he broke six ribs and he had one of, he had to spend one year lying on an egg crate mattress on the floor one year. And for the rest of his life, every time he sneezed or coughed it hurt his ribs. But he,1 (3m 34s):Oh, and he3 (3m 36s):Had one of of those things like you're talking about. And as a child I could not get it to the height that I was supposed to go. I shuder to think what it would be like right now. Yes. So you're, that was a good reminder to exercise our lungs. I make sure my breathing capacity is good1 (3m 54s):And, and, and even wait and, and it's like, I always literally thought, oh, you exercise to be skinny. That is the only, only reason no other, like, if you had asked me, I'd say, Oh, there's no other reason. What are you talking about? But now I'm like, oh, these parts of us need actual exercising. Literally lie. I just, it blew my mind.3 (4m 19s):I was lies1 (4m 21s):The lies.3 (4m 22s):It's endless. Yes.1 (4m 27s):Hey, let me run this by you. Oh, I think we're buying a house. What? This is the craziest Oh my not in, Yeah. Okay. This is what went down. So this is so crazy. Miles' job stuff has evened out in terms of like, there's just so much going on that I can't talk about, but which is makes for terrible radio, but podcasting. But anyway, the point is we're we're a little stable, so we went to Ventura and I was like, I fucking love this town. I love Ventura. It's an hour away. It's a weird like, think lost boys, right? Like Lost Boys. The movie is, is really Santa Cruzi, but like, that's what this town reminded of.1 (5m 9s):It's not, so it's Adventurer county, so it's like an hour northwest. It's on the beach. And I was like, I love this town. I I I love it here. There's so many brown folk. It's heavily, heavily you Latina. And it's like, so anyway, I was like, I love it, but I bet I can't afford it like anywhere in California. Well it turns out that Ventura is about 500,000 less on a house than la. So I was like, wait, what? So we saw this darling house that was, that is was small but like beautiful craftsman and you know, I'll just say I'll be totally transparent with $729,000, which is still a shit ton of money.1 (5m 49s):But I looked at the same exact property almost in, in, in Pasadena for 1.3 million for two bedroom, one bath. Yeah. Two bedroom, one bath got preapproved. I've never been preapproved for anything in my goddamn light. We got preapproved for a mortgage. I couldn't, Gina, I couldn't. But when we got the preapproval letter, like I literally, speaking of lies, I was like, okay, well just expect him to come back and say we can't do anything for you.3 (6m 17s):Yeah, right.1 (6m 19s):Just really know it's not gonna work. And he wrote back and was like, Here's what we can do on this house the mortgage wise and it's comparable. It's in the ballpark of what we're paying in rent. And I was like, I don't wanna be going into my middle aged and later years in no space.3 (6m 39s):It really takes a toll. It really takes a toll on your psyche in a way that you can't really account for until you go from no space to having space. And then you go, oh my gosh, there's these three specific muscles in my shoulders that have been tense for the entire time I've been living in a city, you know, decades in some1 (6m 56s):Cases. So it's a whole different, I could build a little studio, like all the things. So yeah. So I'm grateful. Never would occur to me, never would have occurred to me. Never.3 (7m 6s):Do you care to say anything about your sister's visit?1 (7m 10s):Well, you know what is yes. And what is so comforting to me again, you know, if you listen to this podcast you're like, Oh my god, Jen, shut up. But about the truth. Okay. The truth is the fucking truth of, and even, even if it changes from person to person, that person's truth is the truth. And my truth is, I feel, So she came and she stayed not with me because I just, that what we were outta town. And then she stayed in my house while we were gone, which was fine with her, with my niece for one night. And then I saw her one day and that was, that was fine. And then she stayed with my cousin and it was, let's just say it was very, the, for me, my experience was, oh, someone else besides me sees the challenges.1 (7m 60s):And that's what I will say about that. There is something about being witnessed and having someone else go. I see, I feel what you're talking about.3 (8m 11s):Yes. Oh, I, I relate very deeply to that because people who are good at1 (8m 19s):Image image management,3 (8m 22s):At image management, a term I like is apparent competent.1 (8m 26s):Oh yes. Oh yes. I love that. I've never heard that. Apparent, competent. That is it.3 (8m 30s):Yes. Many, many people in life are apparently competent because all of their energy and effort goes into projecting very much just that idea and to be at home with them is a completely different thing. And I'm not saying like, Oh, you should always be competent in all areas of life or that I'm competent in all areas of life. I'm just saying like, yeah, there, there are some, some forms of personality disorders and just like, not even that, but just interpersonal problems are so kind of covert. And they're so, because I feel like people say, I feel like people are always trying to look for like the most broad, you know, big actions to determine whether somebody is1 (9m 13s):Whatever, nurse, whatever. They haven't been hospitalized, they've never been in rehab, they still have a house. You're like,3 (9m 20s):What? It's the same kind of mentality that says if you're not like in the gutter with a, with a mad dog in a paper bag that you're not an alcoholic, you know, it completely ignores probably what 85% of alcoholic for, which is highly functioning Correct. People who don't miss work and Correct. You know, maybe even people in their lives would never, ever know that they had a drinking problem. So yeah. So that is validating. I'm happy that for you, that you had that experience and sometimes it takes like 20, 30 years to get that validation. But the truth always, I mean, you know, it's true. That's the thing. It comes to the surface eventually.1 (9m 56s):Well, and the other thing is, I now as where I used to be so afraid of the truth and I still am, look, I I don't like getting, we know this about me, my feedback is hard for me. I'm scared of all the things, but I used to run from the truth like nobody's business in my own ways. Now I sort of clinging to it as, wait a second, wait a second, what is the truth of the matter? Like what are the facts here? Because I feel like that is the only way for me to not get kaka go, go crazy. And it is comforting. I am comforted in knowing that. Like, it was interesting. So I also am taking a solo show, writing class, I'm writing a new solo show, my third one.1 (10m 41s):And I'm just started and I thought, let me take a class with the woman who I taught. I did the first one in oh four in LA with, anyway, but I was saying on Facebook, like I, I, I'm taking this class with Terry and she's magic and I'm so glad I'm doing it and da da da. And she was like, Hey, I have a question for you. Can I quote you? And I was like, Yes. Because in her, in her like, for a and I said, of course it's all true. Like I didn't have to worry that my quote was somehow dirty or misleading or like, not really what I felt like I've done that so much in my life in the past where I've been like, oh shit, I told them I loved them or I loved their stuff, or I loved and I feel inside totally incongruent with that kind of thing.1 (11m 30s):No, I was like, no, these are what, these are my words now. I try to, it doesn't always work, but I try to just be like, okay, like what is the truth? And if someone had to quote me, would I be okay? And I, and I am a lot of the time I was like, of course you can. It's what I, I'm thanking for asking, but also it's what I feel in my bones about that, that you, that you have a magic when it comes to solo show teaching. That's it, it that is the truth. That my,3 (11m 55s):That is so cool. It's cool that you're doing that and I'll, that it, that gave me a reminder I had wanted to say on this podcast because you know, we had Jeremy Owens on the podcast. Yes. And he recently put on his social that he, he was doing it kind of as a joke, but I think he's actually doing it now, which is doing another solo show. And I had messaged him to say, you know, I meant what I said when I told you that you should do this and that I would help you and that goes for anybody cuz I said, I've said that to a lot of people on this podcast. Like, if you need help, you know, if this conversation has reinspired in you, a desire to go and do this other creative thing, please, I'm not saying like, I'm gonna co-write it with you.3 (12m 37s):I'm saying like, let me know if there's something I can do, if I can read it or, or, or bounce it off of you so that that stands for any of our previous guests. But tell us more about what, what's it gonna be about, what are you gonna be talking about? Well,1 (12m 51s):I don't entirely know, but where I'm leading is, it was interesting in this, See the thing I forgot means is that I like writing exercises. I never do them on my own. I never do. So this, she does writing exercises and a meditation before and I really longed and craved that because I spend so much of my hustle these days. How can I bring in income? How can I advance my career in Hollywood? And that is really shuts down the play aspect of all things. And I'm not saying, you know, I'm not saying that you, that I I'm not saying it's bad. All I'm saying is it totally eliminates for me the create like the really raw fun play creativity.1 (13m 37s):Okay? So in this, in this class, I just took it like, I just took the class. I was like, I'll do it. It's a masterclass in solo work, I'll do it. I like her. She called me, I was on the freeway and I was like, I'll do it. So right now the working title is, and also a solo show more or less. And I don't know if that's gonna change, but it is. Like I, and, and then in the exercise we did, we had our first class Sunday, it was all about, I realized that this solo show needs to be for me more of a call to action that that we, the, and it really comes from something you said, which is, I'm paraphrasing, but it's like we are our only hope, which is the good news and the bad news.1 (14m 25s):So like you said, we are the problem, I am the problem. Which is great. And also the, you know, terrible. So that is sort of this solo show is more gonna be about, it's like more activism based, but in a like creative arts activism way and, and not just a funny antidotes about my wacky family. And I mean, I would argue we could argue that like that my last solo show did have that underneath. But I think there needs to be a more like call to action for artists and people like us to start doing the things in the arts world that are gonna like help save the planet. And I don't know what that means yet, but she was like, oh this is like more of an activism piece based on what you're like it has that component to it.1 (15m 11s):And I was like, yeah. And then she said, if there was a banner, we did these cool exercise, she said, there's a banner all over town, whatever town you're in advertising your show, what would it say? And what came to mind in the meditation was it would be a red banner and it would just say, and it would say hope. And then in parentheses it would say sort of, So what I realized is I'm obsessed with the parentheses, like that's where I live. So I live in the world of I love my life parentheses, it's a fucking nightmare. So I love that kind of thing in my writing. And so I was like, okay, I'm really gonna embrace that. So it's like, it's like that, that stuff, I don't know where it's gonna go. I don't know what it's gonna happen.3 (15m 52s):Well two things. One is you have actually thrown out quite a few excellent titles for show, for solo shows. You'll periodically be like, that's the title of my new book or that's the title of my next, my next solo show. Yeah. So you might have to give a little re-listen to some episodes. I wish I could tell you which1 (16m 11s):I will.3 (16m 12s):Okay. The other thing is something that just came up for me when you said about the parenthesis, which I know exactly what you're talking about. I was saying like, oh yeah, she wants to show the good, the bad and the ugly. Oh. And something that occurred to me was like this concept of underbelly. Like you're showing yes, your soft underbelly. We are, I mean when I think when a person is maturing into themselves, that's what, that's the goal is to get to first accepting your own soft underbelly and then also contending with it and then representing it to the world. Because the thing that I've been on recently is like I have done myself and nobody else any favors for the amount of time I've spent misrepresenting myself because my misrepresenting myself has all been based on the lie that I thought there is a person that you are supposed to be, and your job is to be that person and you know, instead of like figure out the person that you are.3 (17m 10s):So, you know, coming into your own power is, is is a lot what we spend, what I spent my thirties about, like coming into your own power and not say that I arrived at it, but that No,1 (17m 23s):But3 (17m 24s):You about that. And then I think my forties are more about coming into my own vulnerability and that both of those things are really two sides of the same coin. Your power and your vulnerability, right? Because you can't have any power unless you're being honest about, you know, what the situation is. Today we are talking to Colin Douglas. Colin Douglas is an actor, writer, director, and documentary filmmaker who has been on absolutely everything. Most recently you've seen him on Barry and I love that for you.3 (18m 4s):But he's been, I joke in the, in our interview that he's been an absolutely every television show ever made. And that's only a slight exaggeration. He's been on Grey's Anatomy and Private Practice and the 2017 revival of Twin Peaks Agents of Shield, Pure genius. He's just been on everything Deadwood. So he's very experienced, he's very wise and he's very warm. So I hope you enjoy our conversation with Colin Douglas.0 (18m 34s):Great.3 (18m 36s):So congratulations Colin Douglas, you survived theater school. You survived4 (18m 42s):Two3 (18m 42s):Theater schools as a matter of fact.4 (18m 45s):I did. I was a glut for punishment actually. Yes. I I couldn't get enough of it.3 (18m 50s):So it was a BFA and MFA both in acting?4 (18m 54s):No, you know what, it was a zero degree. I, I am still just kind of riding by the seat of my pants. I actually, when I attended amda, it was not a degree program yet. Now it is. But back in the day it was basically they just kind of said, okay, go audition. And then when I went to Florida School, the arts, it only had an AA degree and I literally am still to this day two credit shy of my degree because I had booked a job out of Sctc and it was gonna be starting and I was like, I'm not sitting around and getting my degree just so that I can go get a job.4 (19m 42s):So I went, I took the job and I never looked back.1 (19m 45s):I mean that is, here's, I was just talking to someone who went to the theater school last night, my friend Lindsay. And we were talking about how conservatory I wish, I wish that I had done things differently, but it is what it is. But what you are reminding me of just go and audition is like the most valuable piece of advice anyone could have given us, which we never got. Which was now you, the piece of paper that says you have a BFA is not for not, but it's also not, it doesn't directly correlate to getting jobs. Like, it just doesn't. So you, you got a job while you were in school and said, I'm going, you didn't even think about staying or how did that work in your brain?4 (20m 30s):Well it was, it was because I was literally just the two credit shy kind of thing. And actually the class was, it was sort of a lab where I, you know, I had to help strike sets, but I was so busy with doing shows that I never had time to go help out with strike. So it was one of those things, oh okay, I'll, I'll require, I'll get that when I can get it when I have the time. And I never did. And then the tour was starting before the fall session started and I was like, you know what? My only regret honestly was the fact that I felt like, and, and again, it's not, you know, if somebody were to ask me today, you know, should you go to theater school?4 (21m 16s):I would say yes, if that's what really where you wanna hone your craft if you wanna, you know, build your community, but don't, if you're gonna do something like that, go to a program that has an established alumni because that's where your connections are being made when you get out of school is that support network that you have at amda at the time, there really wasn't, you know, when I was there, the biggest sort of claim to fame at the time was Time Daily. She was a graduate of, of Amda. And so it was, it wasn't as if I could reach out to Time Daily all of a sudden.4 (21m 59s):And then Florida School, the arts was, and still is such a small arts school that there really wasn't anybody for me to reach out to. Had I gone to Northwestern, had I gone to Juilliard or Yale or, or or Tish, that I would've had a built-in network of working professionals on the outside. So that was my only regret in that, that if I had perhaps gone to a different theater school, maybe I would've had those connections. But I certainly got the education I felt I needed.3 (22m 34s):Well and also you got the connections while getting paid instead of having to pay, which is was just definitely preferable. And by and speak about, you know, work experience and getting connections. You have been on every television show that has ever existed and tons of films too. So was your experience that as soon as you started working, you were just off to the races? I mean, I'm not suggesting that it's easy because no life of an actor is easy, but have, has it been pretty consistent for you would you say for your career?4 (23m 10s):It's been consistently inconsistent in that,1 (23m 16s):Wait, I just have to say that has to be the name of your book. Okay. I, we were talking about earlier before you got on about titles of shows and books, your book could be consistently inconsistent. The Culin Douglas story, I'm just, I'm just putting it out there. Thank you. Please send me 10% check to my office.4 (23m 32s):Yeah, thanks. No, it really, it was one of those things that I, I had a very dear professor at Florida School of the the Arts, Patricia Kadi, she was the acting instructor there and I was doing all of the plays, I was in all of the productions there and I had kind of become the top dog in the school, so to speak. And she pulled me aside one day and she said, you know, the one thing you're gonna have to realize is you're probably not gonna start working professionally until you're in your thirties.4 (24m 13s):And I, and I didn't really understand what she was saying there. What she was basically commenting on was that I was a young character actor and I didn't look like Jason Priestly, I didn't look and yet I hadn't grown into my framer look either. So I was gonna be in this really sort of, where do we cast him? He's talented but we don't know where to put him. And so I did a lot of theater for a lot of years and then in my thirties is when I was able to transfer into television and film. So what, cause I finally had kind of caught up to my look.1 (24m 45s):Yeah. So what I appreciative aid about that is it sounds like she said it so she said it in a way that wasn't like being a jerk, right? Like my experience was feeling that way except having it told like there is something deficient in you so that you cannot be an ingenue cuz you're too fat, you're too this. So instead of, hey, go do some theater, do all the things and then you'll grow into your look, do not fret. This is like part of the technical side of the business of how a camera sees you and not about your talent. It would've been so much different. Instead it comes down to, I think a lot of people we've talked to from the DePauls, from the Northwestern say, nobody told me that in a way which was, I could make a plan about it.1 (25m 35s):It was always just, well you're never gonna be cast. So by, and instead of hey maybe you could do theater, maybe you could write, maybe you could do something else until Hollywood catches up to the character of you.4 (25m 50s):Exactly.1 (25m 51s):It good, Patricia. Good. Is Patricia still around?4 (25m 54s):She is. And she literally just announced today that she's retiring from teaching. Well1 (25m 60s):Patricia, you did good work and you she did fantastic. You made it so call in part of it sounds like she encouraged you cuz you started with that story of her encouraged you to know that maybe later it would be your time to be on every single television show ever written. But for the twenties and the, you know, you were gonna do some theater and, and get your training right man, and,4 (26m 23s):And I honestly, I didn't completely understand everything she was saying in that little sound bite because, you know, I was, I was sort of standing there saying, Patty, look at all these job offers. I just got out of CTCs, you know, I'm gonna be working like crazy. And she said, No, no, no, don't get me wrong that the work is going to be there. But as far as what you're seeing in your mind's eye of, you know, Helen Douglas tonight on The Tonight Show, that's not gonna happen until you can kind of get into that other stream as it were. How3 (27m 0s):So did that match up? I mean, was that a surprise to you or did that match up with what you already thought about yourself? I don't think any 17 year old, 18 year old necessarily thinks of themselves as a character actor. Although it may just be because it never gets put to you that that's an option when you're a teenager. You know, the option is like, as Bos mentioned, Ingenu or not Ingenu, but they never really say like, Well, but you, you know, you're gonna fit into this different mold. So how did that butt up against what you already thought about yourself?4 (27m 32s):It actually kind of lined up okay with me in, in a weird way because at Florida School, the arts in particular, they were so gracious in the fact that when they picked their seasons, they picked shows that it made sense for me to be the lead in, in that I, I'm giving you an example, we did a production of Our Town and I was the stage manager and, you know, as opposed to being cast as the one of the young, you know, lead ingenue kind of a things. And then we did Bye by Birdie and I was cast in the Dick Van Dyke role.4 (28m 12s):And so they did it in such a way that, you know, or when we did Barefoot in the Park, I was Victor Velasco the old man who lived upstairs. So I was already sort of being primed that I was this character actor and would be gonna be doing that kind of stuff. And then quite honestly, as that look started to emerge, I mean in college I had sort of a flock of seagulls kind of hairdo thing going on, you know, and then it quickly all went away. And I had been playing about 20 years older in film and television and in theater than I've actually always been, you know, I was playing guys in my, when I was in my, you know, thirties, I was playing guys in my fifties.4 (28m 59s):Now I'm in my fifties and I'm playing guys in my in1 (29m 1s):In seventies. And I think that calling, the thing that I'm noticing too is like maybe for men it's a little different too, right? Like there's something about being, like, there's just, and it's a societal thing where like women who are play, like, it's, it's a insult for women when they're like, Oh, we're sending you in for a 50 year old and you're 30. But, and I think maybe if you have a certain kind of ego for a man as well, and we all have egos, I mean, it says, but, and I, I love the fact that you didn't, it doesn't sound like anyway, and you can tell me if I'm wrong, you took it as an insult that they were, that you were going out for roles that were for like the Victor Velasco of the world. You were able to embrace it as you were working.1 (29m 43s):Like that's, so I say this all to say, because I remember in our last class with Jim Ooff, who people call hostile prof and he said to me, You know who you are. And I was like, dying to hear you are Michelle Pfeiffer. That was never gonna happen. But I was dying to hear, he was like, That's who you, he's like, you are the next. And I'm waiting and, and I'm waiting. He goes, Lenny Bruce. And I was like, what the actual fuck is going on? What are you telling me?3 (30m 13s):No idea. What a great compliment that was.1 (30m 15s):I was devastated, devastated. I wanted to quit. I was suicide. Like it was just, But anyway, so what I'm saying is you didn't take that and run with it in a way that was like, I am not Jason Priestly and therefore my life is over. You were able to work and, and embrace the roles. It sounds like4 (30m 34s):I was able to embrace the roles and, and I was getting, okay, you are a young dick fan dyke, you're a young, this kind of a guy. So I was able to kind of make that connection. I honestly were being completely honest here. I think, how do I put this, that it does not sound completely like an asshole. It1 (30m 54s):Doesn't matter. We always sound like assholes here. Go ahead.4 (30m 57s):But at Florida school, the arts, I was one of, I was one of the only straight men at school and therefore undated a lot. So I was not, the fact that I wasn't looking like the young hot stud,1 (31m 22s):You were still getting it4 (31m 23s):Right? I was still getting it. So that didn't it, had it not been like that situation, I think I probably would've started to hyperventilate thinking, well hold it, I'm in my twenties, why are they making me play these old men? And this is affecting, you know, cus group. But that wasn't the case. And so I, I had sort of a, a false sense of ego I guess a little bit. But it was supporting the work that I was doing.3 (31m 50s):Yeah, absolutely. So did you grow up always knowing that you wanted to be an actor? Did you think, did you try any other paths first? Or were you, were you dead set on this?4 (32m 2s):I was dead set when the story goes, that when I was four I asked Santa for a tuxedo to wear to the Emmys and Santa delivered gave me a, a white dinner jacket and spats and stuff like that. So I was, I was ready to go.1 (32m 18s):Oh my god, do you have that picture? Can you please send us that?4 (32m 22s):Oh no, we have moved so many times. When I was growing up, my dad, when I was growing up was an undercover investigative reporter. And so wherever he was basically undercover was where we were living. Wait1 (32m 36s):A minute, wait a minute. Wait a minute, wait. Okay. This is fantastic because I do a lot of crime writing and so does Gina writes and undercover crime reporter father now, right there is sort of burying the lead. What in the hell? He was an undercover, What does that even mean? An undercover, He's not a police officer, but he's an undercover reporter.4 (32m 57s):He was an undercover investigative reporter. Well, what that for a period of time, So I'll give you an ex, there was a senator at one time back in the early seventies who was receiving kickbacks from his employees or hiring people on the books. And those people weren't actually having jobs. And so they would then send him the money. He was getting all of the money.1 (33m 24s):Sure. Like Chicago was like living in Chicago all time.4 (33m 28s):So the, somebody tipped my father off that this was happening. And so he went undercover and, and worked as sort of like an aid and things like that. Or there was a time where he, he worked at a meat packing place or he worked at a funeral parlor that was selling caskets with fake bottoms. And so people would buy these incredibly expensive things and then they would drop them and then they'd open up the hatch and the body would just drop into a pine box and then they would reuse the, the casket.1 (34m 8s):So this is the single greatest thing I've ever heard in my life, and I'm gonna write a pilot about it immediately called Fake Bottom. And it's4 (34m 14s):Gonna see, I've already wrote that was, I actually wrote a spec pilot. That's how I landed my lid agent. Oh, it was because what ended up happening is my dad, much to my mom's chagrin, used me in two of his undercover stings when I was a kid. One time, there was a situation where firemen had been hired and they weren't actually properly trained. It was another one of those kind of kickback situations. So it was a training session and they, I was supposedly, it was a staged event where they were gonna try to test the skills of the firemen or whatever.4 (34m 55s):And so I was gonna, I I practiced with a real fireman being fireman carried up and down a ladder from a second story kind of a thing. But once the word was out that it was an internal sting, they put me into one of those crane baskets. And so I was sort of floating over midtown in, in the basket kind of a thing. And then another time actually, there was a talent agent who was running a kitty porn ring. And so I was sort of used to expose, so to speak, this this person that was actually trying to take advantage of, of kids and parents.3 (35m 38s):Oh my God. Well, two things occur to me about that. One is your family was already full of drama before you came along. I mean, anybody who wants to, right, who wants to do this investigative journalism, Like that's, that's a dramatic person. I love David Carr. I love that kind of personality of per, you know, the person who wants to like really get in there, investigate and just as an aside, like, I'm sorry for the families who paid for those coffins, but at the same time, you know, good, good on them because it's such a waste. So much, many people spent putting mahogany boxes into the ground to to, to, to decompose over time. Okay. So did your parents like that you wanted to be an actor or did they have a different idea for plan for you?4 (36m 19s):Oh, they, they were 100% supportive. The very, very much so from day one, I think, because it was my mom who really sort of stepped in and said, Hey, let's figure out how we can get this new kid who's always the new kid to find his people. And so she took me when I was 11 years old to a local community theater, children's community theater. And they were doing a production, a musical version of The Hobbit. And you know, the intention was that I was just gonna audition and be, you know, number 40 in the background kind of a thing.4 (37m 0s):Third,3 (37m 1s):Third habit from the left,4 (37m 3s):Third habit from the, And so they auditioned and I remember you had to sing a song and God, I have not told this story, you had to sing a song. And I decided to sing tomorrow from Annie because I was me madly, deeply in love with Andrea Ricardo. And we were actually pen pals. And so I went in there and I sang tomorrow and jump cut to that weekend. And my mom came in Saturday morning smiling as I was watching cartoons and she said, You've been cast in the lead as Bill Bos. And that was sort of like, okay, I I I found my people.3 (37m 47s):That's amazing. Please tell us more about your penal with,4 (37m 54s):So I, I just, I, you know, I I had gotten the album when it came out and I listened to it and I memorized it. And even then I was casting myself as either Rooster or Daddy Warbuck, you know. And so somehow I found her address and sent her, you know, a, a letter as we used to write, you know, before texting. And she wrote back and then I wrote back, and then the thing that was really exciting was 20,3 (38m 28s):Wait a minute, are you married to Annie?4 (38m 31s):No, I am not married to Annie. Okay. But 20 some odd years later I was doing a national tour and staying in a hotel in Hershey, Pennsylvania. Andrea was on tour doing a national tour and was staying in the same hotel, kind of bumped into one another and was like, you know, you don't know who I am, but this. And it ended up, it was wonderful because I went to see her show on my dark night and she and her family came to see me on, on the other night. So.1 (39m 7s):Beautiful. Okay, so here we go. Your family's on board and why didn't you just go and strike it out either in New York or anywhere? Why did you end up going to school? Were you like, I wanna learn more, or how did that transition into schooling go?4 (39m 24s):It did, I did wanna learn more. It, it really was because up at that point, the only influences as far as acting I was going was from, you know, the, either the community theater directors or the high school drama teacher who had, you know, aspirations for theater, but was really just doing it because he didn't wanna coach the football team. So I felt like I needed a stronger foundation for myself. And, but always it was sort of like I was going to the theater school because I didn't feel like, Oh, I don't wanna go to a school where I'm gonna have to learn all of these other things that I'm not gonna ever use.4 (40m 7s):Now I look back and go, you know, I wish I had done some of that other stuff because I did not create any kind of a fallback plan for me. It would, this is either gonna work or it's not gonna work and you're gonna be screwed. I1 (40m 21s):Mean, here's the thing, here's the thing. I don't know what you, you two think, but like, there is this two schools of, well there's probably a bajillion schools of thought, but one of them is like, if you have a fallback plan, you will fall back. The other one is not everyone is gonna be a Colin Douglas or a John C. Riley that's gonna work, work, work, work, work, work, work. So a fallback plan for some of us might have been like another avenue to get into the industry, right? But a fallback plan can also literally have people go and not live their dreams and become, you know, actuary scientists because they're afraid. So it's like, it's so individual, which is why I think theater school training is so tricky is because you're taking young individuals who don't know shit and some know what they wanna do, some don't, some are good, some are talented, but not, it's so individual.1 (41m 10s):So it's like when people ask me, should I go to theater school? I'm like, I fucking don't know who, I'm like, who are you and what do you wanna do on the planet? But nobody ever asked me that as a 17 year old. So here we are. Gina, you were gonna say something? Oh,3 (41m 23s):I was just going, if you remember your audition,4 (41m 30s):My audition into theater school. Okay. So I do, I remember my audition into anda a, and again, I already recognizing I was a character actor. I sang if I were a rich man from Fiddler on the Roof, you know, you know, a skinny ass, you know, kid from, you know, suburbia singing that song. And then I did a monologue from a play that I had done in high school. And which1 (42m 9s):One do you remember? Or No,4 (42m 10s):It's okay. It was it, yes. No, actually it was weird because I look back on it now kind of thinking how the soul sometimes prepares. I think sometimes it was a, from a show called Juvie, and I played a young gentleman who was mentally challenged and I got a lot of incredible feedback from, from the role because I had researched, I had, I had gone to the library and this is, there was a thing called Microfish when you would go to the library and you'd have to look up stories on kind of like a big machine. And I did all of these kind of things and research the roles, and I saw images of babies and young people with different kind of cognitive delays.4 (42m 60s):And so I did that. I got into Amda, whatever, again, sort of jumping forward in life. In 1996, my oldest son was born and he happened to be born with Down syndrome. And when I met him for the first time at the bassinet, I immediately went back to that Microfish machine in high school and remembered seeing babies and images of people with Down syndrome. And so I made that kind of connection. So it was sort of like, all right, this is where life was going as far as Florida School, the arts went, I actually didn't audition for that.4 (43m 43s):What had happened is I was at, and I broke my foot during one of the dance classes. They would bring in dance captains from various Broadway shows and teachers routines. And we were doing a routine from cats and I jumped off of a piling and I came down flat for,1 (44m 5s):Let me tell you something. This is what, this is just one of the many reasons I don't care for that musical is that also what are you having people jumping around for that? Aren't I just, anyway, I'm glad they brought, I'm sure it was a great experience in some ways, but like, I just don't care for, that was my first musical I saw. And I even as a kid, I was like, I don't buy this at all. I don't know what's going on here, but I don't like it. But anyway, so you busted your foot. Oh, and can I just say about microfiche? I'm sorry to be an asshole, but like, I could never figure out how to slow the fucking shit down and I never could see a goddamn story, so I gave up on the microphone, so you made it further than me. I was like, why is it going too fast? That was my, that's like, like, that's like so indicative of my life. But anyway, so okay, so you, you broke your foot and so what happened?1 (44m 49s):You had to, why did you4 (44m 50s):So I, I, I broke my foot, I went home to my parents' place who were now living in Florida and kind of rehabbed for a while. I then auditioned for a play for Pirates of Penza, excuse me, that was up, up performances up near St. Augustine, Florida. And I went up there and I was playing Samuel the the second pirate. And the gentleman who was playing the modern major general in the show was actually the dean and artistic director of Florida School of the Arts. And he said to me, If you'd like to come to school, we'll offer you a full scholarship and you can start at the, as soon as the show closes.4 (45m 38s):And so that's what I did. It was like, I just went straight to Flos Bureau Arts and I did not go back up to Amda after my footed here. Helen,1 (45m 45s):It's really interesting, like, and I was talking about, this was someone else yesterday about how one, obviously one thing leads to the next, Oh it was a showrunner actually, that was that I was listening to a lecture and she just said that what I've done is I have walked through doors that have opened to me without a lot of second guessing. I followed my heart in terms of who took interest in me and who opened doors for me. I walked through them. I didn't say no, but, or no, I just did it. And so it sounds like that's what you did. You were like, Oh, full ride, I'm in Florida now. You could have been like, No, no, no, I'm gonna go back to Amda because whatever.1 (46m 26s):But you were like, I'm gonna do this. And it sounds like it worked in your favor, but what was your experience like at Florida? Did you, I mean obviously we know you left early, but did you get stuff out of it? Did you love it? What was the deal?4 (46m 41s):I did love it in the sense that because it was such a small school and because where the school is located, it's in Plac of Florida, which is sort of geographically in the middle of sort of Jacksonville and Gainesville. And so on a Friday night there really wasn't any partying going on. It was all of us getting together and doing monologues for one another, you know, because there wasn't any place to really go. And then as far as the classes went, because it was such a small institution, so many of my classes were literally just myself and professor in their office.4 (47m 26s):And we would do, you know, that's how I learned dialects was literally just, you know, we were working on the Italian dialect or whatever and I would go in and the professor would speak to me in that Italian dialect and then I would have to answer him and that would be the entire class. And then the next week we would do the brooklynese. And so I had all of that and they were very, very gracious to me because when I came in as quote a freshman, I was taking all of the freshman courses, but then they also had me taking all of the second year acting courses as well, sort of accelerating me through the program and then allowing that by doing that I was able to be cast in all of their different productions.3 (48m 15s):So when you did school and enter the workforce, what surprised about sort of the business that maybe you weren't expecting or hadn't been prepared for? For in terms of your training or, you know, and it could have been a happy surprise or, or, or not such a happy surprise, but like what was some I always just feel like there's, people have their list of things. Oh, I never thought the one that people always bring up as coverage, I never thought, when I watched TV shows that they had to do the same thing 50 times.4 (48m 58s):I, I think for, for me, the biggest sort of, even though Patty Crotty, Patricia Crotty had said, you know, Hey, it's gonna be a while before you're gonna start to work. You know, although I did work immediately when I got outta school, it was, it was one of those things where I quickly realized that they really didn't care that I had played Albert and by by Birdie they didn't care that I was in all of the productions. It was basically, no, you've earned the right to stand in the back of a line and you're gonna have to, you know, get up at an ungodly hour, go to equity, sign in at 6:00 AM and then come back at two in the afternoon for your audition.4 (49m 47s):But by the time you come back, if you pick up backstage, you're gonna read that Robert Strong Leonard has already been offered the role that you're auditioning for at two o'clock. So those were sort of some of the realities of, oh, okay, this is not necessarily gonna be the projecting thing that's gonna get me into the room. It's just, it's gonna be more for me that, okay, I feel like I deserve to be here and I'm competent enough in my abilities. But I, I think that was as far as just working in general. But Gina, to answer the question as far as like the thing that I was most surprised by within the industry, I'm, I'm trying to think if there was anything that I really was sort of taken aback by,1 (50m 31s):Well I guess I can ask like, did you, what was your like, like in terms of getting an agent and all that, did anything there go like, Oh my gosh, I didn't understand that I would have to, How did your representation come about? Was that a surprise or did you just get an agent? Cause a lot of our listeners, some of them we talk, you know, we talk about like a showcase or, but you left early and just started working, so what was that transition like in terms of getting representation and going on, on auditions for film and TV or theater? And if you think of anything that surprises you along the way, just let us know. But sure,4 (51m 4s):I didn't have theatrical, I didn't have legit theater representation for a lot of years. I was literally very lucky in that, you know, just using relationships, you know, to help propel me into the next situation that one show would be closing and I would hear about the fact that they were looking for something else. Or I would go to the Southeastern Theater conference and audition and be able to pick up my next year or year and a half worth of work. And I was able to kind of keep it at that point. I finally did get an agent who was gonna cover me theatrically as well as, you know, commercially.4 (51m 46s):And I remember her telling me, she was basically saying the same thing that Patty Crotty had said is that, you know, you know, you're a good actor, I'll put you out there, but it's, it's probably gonna be a while before you're gonna book a commercial or any kind of television cuz you're just really hard to place. She was good to her words. She put me out there and a week later I booked a Budweiser commercial. So I was like, Oh, okay, I think I got this. I, I think the hardest lesson that I had to learn was that because it sometimes came easy, it felt like, like, oh, okay, this is what it was, is I would get say to that chunk of change.4 (52m 29s):And I, it took me a while to figure out that I had to make that chunk of change, stretch as far as I possibly could because I didn't know exactly when the next job was coming from and, and that it was hard when I met and fell in love with my wife who was coming. She had been a model, but she had also worked in the corporate world. And so she was very accustomed to, well no, you make this amount of money every month and this is what you can expect with your expenses. It was hard when we started to realize, oh no, CU just got a great windfall of money, but if you break it down and spread it out over a year, he's not making minimum wage.4 (53m 10s):So, you know, it was a really, that was a hard kind of thing to adjust with.3 (53m 15s):Yes. I mean that's, yes, that's a common story and that's something that they don't teach you about in theater school. They don't teach you money management and how you have to withhold taxes and all kinda stuff. Yeah. So that, that's that, that's, that's a whole education in and of itself. But you were also a writer and director. When did the writing and directing and producing come into your career?4 (53m 40s):The writing actually started in college in that we would have to have monologues for class and I had an affinity to writing the monologues and so I started writing monologues for my classmates for beer money or they would need an audition piece for something in particular. And so I would tailor it to sort of echo whatever play that they were auditioning for kind of a thing. And so it really just sort of came easy for me. And then whenever I was auditioning, my biggest thing was I don't wanna go in there with something that they have seen 3000 times.4 (54m 23s):And so I was like, Okay, you know what? I'm just gonna write my own thing. And it worked, it worked to a degree. And so that's where I sort of started to do it. And then personally after my oldest son Gabe was born, I had a lot of demons to be dealing with. I didn't understand why I had been chosen or whatever, or, or given a child with a disability and, and it took me kind of having to get outta my own way to realize that was the least interesting thing about him. And, but in doing so, I, I started to write in journals and then I ended up writing a one man play that I in turn tour the country with for a handful of years.4 (55m 11s):And it was that play that I then attracted some other attention and then got hired on to do some other writing in script doctoring or whatever. And then as I shared earlier, I wrote a spec script about that time of my life when we were kind of moving into hotels and things like that. And then that kind of just started to snowball. And then I was very fortunate back in 2010, I had the Humanitas Organization, Humanitas Prize. They tapped me as the first recipient of their New Voices fellowship program, which pairs you with showrunners to sort of mentor you in creating a television series.4 (56m 0s):And so I was shared with, paired with Shonda rhymes over at Shondaland and was able to develop a show, which was actually an adaptation of my one man play, about a family, you know, coming to terms and dealing with a child with a disability. But I had already actually had a relationship with Shawnda prior to that because I had gotten cast in an episode of Grey's Anatomy and she and her producing partner, Betsy Beers, put me up for an Emmy for that role. And then when I didn't get the nomination, Shawnda turned around and created a role for me over on private practice.1 (56m 46s):Okay. So you know, all these people, and I guess I'm mindful of time and I wanna know what the hell are you, are you doing now you have this documentary, What is your jam right this second? Colin Douglas. And if you could do anything, what would it be? And tell us about this documentary, because what I don't wanna happen is it's like 10 minutes go by and we haven't heard about the documentary and we haven't heard about like, what is your jam and your juice right this second.4 (57m 13s):Okay. So I, I made the documentary, I started working on it when we got locked out, you know, the world was hurting, the industry was shut down. I couldn't stand in front of a camera, I couldn't direct a bunch of actors in a narrative, but I knew I could still tell stories. And so I, at one point in my career, I detoured and I was an associate show director and a performer at Walt Disney World. I was there for about three years. And the level of talent in those theme parks is just incredible. You know, there are a lot of people who come outta theater schools and they get their job, you know, at Dollywood or at Bush Gardens or at Disney World or Disneyland, and they spend the summer there and then they go off and do whatever else with their life.4 (58m 5s):There are other individuals like the subject of my film, Billy Flanigan, who, he started right after theater school. He went to Boston Conservatory. He then opened up Epcot in 1982 as a kid at the Kingdom and has been working for 40 years straight as a performer out at Disney. When the Disney Park shut down because of the pandemic, Billy was without a stage for the first time in his 40 year career. So what he did is he took it upon himself to start doing singing and dancing telegrams for other performers who were out of work. And then he started to literally take it on the road because he's a cyclist and he started crisscrossing the entire country, delivering these sing in dancing telegrams called Planograms.4 (58m 55s):And my Facebook page was blowing up with, I got Planogrammed, I got Planogrammed and I, so I reached out to some old friends from Disney and I said, I've heard about this name Billy Flanigan for years. He's a, he's a legend. He was a legend 20 years ago when I was working, You know, can you put me in touch with him? And so I spoke with Billy. I reached out to my producing partner and I said, There's a documentary here, because Billy has just been so incredibly selfless. He's always a pay it forward kind of a guy. He's a performers performer, you know, even though he jokes about the fact that he'll get a nosebleed if he's not on center.4 (59m 36s):But it's one of those things where he just really is about making the other people on stage look good. So he's been the face of Disney. But then what ended up happening is he was so busy working and raising an entire family that a handful of years ago, Billy finally slowed down and realized that he had been living a different life than he perhaps should have been. And he came out and it really destroyed his family and, and brought things down. And so you had this guy who day in and day out was still having to give that Disney, you know, RAAs, but behind the scenes, as we all know, his performers, the show's gotta go on.4 (1h 0m 20s):And so his heart was breaking. And so I said to Billy, Look, if we tell your story, we're gonna have to tell all of it, because I feel like you sharing your humanity and your pain is gonna help other people out there within the L G B T community who are feeling bullied or feeling like they don't have their place. So if we can do this, this is, this is sort of our mandate. And he said yes. And his family said yes. And, and thankfully not as a direct link to the film, but I shared the final cut with Billy and his family, because obviously I had to have their final approval. And Billy called me and said, This film is helping heal my family now, because it had given them that creative distance that it was no longer them, it was these other people up on a screen talking about a period of their life.4 (1h 1m 13s):So right now, the film, it premieres digitally on October 7th, and then is available on D V D November 15th. And then after the first of the year, it'll be looking like landing on one of the major streamers.3 (1h 1m 29s):Oh, that's fantastic. I'm so excited to see it because I watched the trailer and that thing that you were describing about, you know, he's, he's, he's gotta always have a stage that comes through from the first frame. You see him, you think, Wow, this guy is like a consummate performer in a way that I could never imagine. I mean, yes, I, I love to be on stage. It's fantastic, but I, I don't have this thing where like, you know, I've gotta be performing every second. And that was really clear. And I didn't know, I didn't glean from the trailer that he was doing that for fun for other performers. I thought he was just starting his business with the singing telegram. So that is even more interesting. Okay, that's really cool.3 (1h 2m 9s):So after the first of the year, it'll come out on a streamer. And actually when you know which one it is, you'll let us know and we'll, we'll promote it on our socials. And I4 (1h 2m 17s):Wanted, but you can preorder now the DVD and the digital.1 (1h 2m 22s):Yeah. I didn't mean to like cut us off from Shonda land, but I really wanted to make sure that we talk about this documentary because I think that it is taking your career and your life in, it's like it's made it bigger and about other things other than, I mean, it's like there's a service component to documentary work that like, I think is not always there in other kinds of media. That documentary work is like at once, for me anyway, really personal, but also universal and also has a great capacity for healing. And so, or at least the truth, right? Like what is the truth?1 (1h 3m 2s):So that's why I wanted to make sure we covered that. But if there's other things you wanna say about your career and like what you're doing now and where you wanna go or anything else, I wanna give you the opportunity, but I wanted to make sure, So I didn't mean to cut off your Shonda land story because I know people are probably like, Oh my God, tell more about Sean Rhymes. But I wanted to talk about the, the Billy documentary.4 (1h 3m 24s):I appreciate that so much. No, I, I, you know, just to sort of bookend the, the documentary, I never felt like it was one of those things that I knew I could tell stories, but I didn't feel like I had any business telling the documentary. I don't necessarily even gravitate towards documentaries, but I just felt like, hold it. This truly is a story that that needs to be told and can maybe bring about a little bit of healing. And that's what I think good films and television do that you, we, we see ourselves mirrored back in many ways and we feel less alone.4 (1h 4m 5s):And so I felt like if I could do that with a narrative, maybe I can do it with a, a documentary. That's not to say that I wanna become a documentarian, because it's not that I wouldn't if the opportunity ever presented itself, but it's the same way in which, you know, writing a narrative feature, it's like, well, I've gotta be compelled to wanna tell this story kind of a thing. And this just happened to be the medium in which to tell it as opposed to making a, you know, a, a film about a guy named Billy who wants to start out being a performer.1 (1h 4m 40s):And I think that you've said a really good word that we talk about sometimes in other ways on this show and in my life I talk about is being compelled. So when someone is compelled to do something, I know that the art created from that feeling of being compelled is usually authentic, true necessary, and, and, and, and, and sometimes healing. So I love the word what doing projects that were compelled. So anything else that you're compelled to do right now?4 (1h 5m 14s):Work great, really, you know, I I, I really, I I still even after, you know, making this, this film, I, I am still very much an actor at heart and I love being on camera. I love the collaborative experience working with other actors. You know, I was very, very fortunate this past season to to work on Barry with Bill Hater and Bill, I guess if I, it was like, what's next? What's my next jam? I would love to be able to emulate what Bill is doing. You know, Bill is the lead. He's also writing, he's also directing all of the episodes.4 (1h 5m 58s):You know, I joked with him that he also ran craft services because it was literally doing all those things and just watching him effortlessly move from being Barry back to Bill, giving me a note and then giving a note to the DP and then stepping back into Barry was just a really wonderful thing. And it's like, you know what, if I can do that, and I have other friends and, and mentors like Tom Verica, Tom actually directed me in that first episode of Grey's Anatomy. And he and I have since become dear friends. He's now the executive producer and resident director on Bridger.4 (1h 6m 39s):He also was the resident director and producer on inventing Anna. And he and I have developed a narrative film that we're looking to produce as well. And, and, and so again, and yet, you know, Tom as sort of an aspiration or an inspiration for me. And he started out as an actor himself. And then, you know, he directed a lot of Grey's Anatomy and then the next thing you know, he's playing Vila, Viola Davis' husband on how to Get Away with Murder. And then he was also the lead producer on Scandal. So it's like, you know, not being defined by what this industry wants to put you in.4 (1h 7m 20s):I feel like I'm finally at the point in my career where Colin can direct a documentary and he could write something for somebody else and he could act. And, and again, you know, from day one when I, when I left Flow Arts early to go out and do the job, it's just because I wanna keep working. Yeah.3 (1h 7m 38s):And that's, that's, everybody says that. Everybody says, I just wish I could be working constantly. Cuz it's where it's where all the fun of, of the work is, you know, not auditioning and getting head shots and whatever. It's, it's, it's doing the work. By the way, Barry is how I came to ask you to be on this podcast, because I didn't watch it when it first came out. I, I kind of came to it late and of course binge the whole thing and it's fantastic. And, and I immediately went and looked up every single actor to see who went to theater school because I, I would love to have them all. What a fantastic show and what an interesting kind of nice little parallel somehow with your documentary and, and also your own story.3 (1h 8m 18s):There's a lot about actors like figuring out what they're doing on screen and, and kind of reconciling that with their offscreen life or, or even just with their career. Do I wanna be this type of actor? Do I wanna be this type of person? You know, Ha and Bill Hater has seamlessly gone, I mean, once upon a time you would not have really thought of a Saturday Night Live person making quite this kind of crossover. And the humor in that show about actors is so perfect. I've ne I've seen things that have come close to that, but I've never seen something that you're just dying laughing if you know anything about the acting profession, Right?3 (1h 8m 58s):Yeah. Or were you gonna say that?1 (1h 8m 59s):I was gonna say that. And also that like, his account, So I have suffered, you know, from panic attacks and anxiety disorder and his journey through that and with that has given me so much hope as a artist because he was one of the first people I knew, especially from snl, especially from comedy, to say, I was struggling with this and this is how I dealt with it. So it didn't totally destroy my life. And he could have chosen to be like, I'm having panic attacks on set at Saturday Live. I'm done, I'm done. But he worked through it and now is doing all of this. So it gives me a lot of hope. So if you talk to him, tell him there's a late, an anxious lady that really feels like I can, I can really reclaim myself as an artist and even maybe thrive through the anxiety.4 (1h 9m 50s):No, I, I, I so appreciate that, Jen. I really do. You know, I have dealt with panic attacks over the years, you know, again, being that new kid, I was kind of predisposed to, Oh my gosh, you know, and luckily I've never had it within my art. It's always been on the other side. But the way in which Bill has navigated all of that is really truly just, you know, motivating and inspiring on so many different levels. And I think the thing that I also recognize is the fact that Bill never had aspirations to be on snl. He wanted to be a filmmaker, you know, he was editing, he was doing all these types of things and he sort of fell in backwards to groundings and, and all that kind of stuff.4 (1h 10m 38s):And somebody saw him and said, Hey, let's do it. It's sort of like he had to kind of take that detour to be able to get back to doing the kind of things that he really wanted to be doing, you know, Which is great for me because I look at like, my time at Disney, okay? I never would've imagined that that brief time at Disney would've been able to fuel me in that it brought back into my life to allow me to direct a film about one of their performers 20 years later.1 (1h 11m 6s):It's a, your story. I'm so glad you came on because your story is a story about the, the consistent inconsistencies and the detours that aren't really detours. And for me, like just being like, I'm just knowing now going into into meetings, being a former therapist for felons. Like that is the thing that people are really interested in. And I
Town Square with Ernie Manouse airs at 3 p.m. CT. Tune in on 88.7FM, listen online or subscribe to the podcast. Join the discussion at 888-486-9677, questions@townsquaretalk.org or @townsquaretalk. We've seen Sharon Gless act in Cagney & Lacey, Queer as Folk, Burn Notice, and countless other shows and movies. Now, she opens up completely in Apparently There Were Complaints, a hilarious, deeply personal memoir that talks about her 50-year career in Hollywood. Fans say the role Gless played as policewoman Christine Cagney in the hit television series Cagney & Lacey (1981-1988) was a perfect display of women working in a male-dominated environment, but who were relatable as real women. Some may also remember Gless and her Cagney & Lacey co-star Tyne Daly for their 1999 special performance of You're Nothing Without Me from the musical comedy, City of Angels. In this episode of Town Square, Gless, a two-time Emmy and two-time Golden Globe Award winner, shares a relatable, heart-felt understanding of how some of her iconic roles have left a lasting impression on society and American culture — giving our audience a behind-the-scenes glimpse into her life on and off camera. Town Square with Ernie Manouse is a gathering space for the community to come together and discuss the day's most important and pressing issues. We also offer a free podcast here, on iTunes, and other apps.
On this episode of The Bill Alexander Show, Bill talk with actress Micheal Learned. She is known for her role as Olivia Walton in the long-running CBS drama series The Waltons (1972–1981). She has won the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series four times, which is tied for the record of most wins with Tyne Daly. Three of the wins were for The Waltons (1973, 1974, 1976), while the other was for Nurse (1982).
On this episode of The Bill Alexander Show, Bill talk with actress Micheal Learned. She is known for her role as Olivia Walton in the long-running CBS drama series The Waltons (1972–1981). She has won the Primetime Emmy Award for Outstanding Lead Actress in a Drama Series four times, which is tied for the record of most wins with Tyne Daly. Three of the wins were for The Waltons (1973, 1974, 1976), while the other was for Nurse (1982).
Continuing the tradition of Show Boat and Oklahoma!, Gypsy furthered the parameters of a musical drama that went beyond the bounds of musical comedy. It is significant for its critical acclaim as a complicated and layered piece of literature within the American musical theatre canon. Robert W. Schneider explores how 1950s method acting, and their need for objective and subtext, laid the foundation of Arthur Laurents' psychologically devastating book and how actors since have found so much richness in the text that every actor who has the chance to play the monstrous Rose has varied greatly in their approaches, as explored through the Jule Styne/Stephen Sondheim song “Small World.” and major actresses who have played Rose: Ethel Merman, Angela Lansbury, Tyne Daly, Bernadette Peters, Patti LuPone, and Imelda Staunton. Robert W Schneider- Robert holds academic appointments at Penn State University, New York Film Academy, and Mount Union University, as well as serving as the Artistic Director for The J2 Spotlight Musical Theater Company and as an original programming producer at Feinstein's/54 Below in New York City. He is the host of the podcasts Behind The Curtain: Broadway's Living Legends, Gay Card Revoked, and This Was A Thing. For the past fifteen years Robert has been one of the most prolific leaders of online education in the arts. He is a proud member of SDC, AEA, and AGVA. Learn more about your ad choices. Visit megaphone.fm/adchoices
Things are getting Dirty in Episode 64 as Chris and Chad discuss and dissect the third film in the Dirty Harry series, The Enforcer starring Clint Eastwood and Tyne Daly. Is this the worst of the five Dirty Harry movies? Why does Captain McKay suck so bad? What was the motivation for the People's Revolutionary Strike Force? This podcast is powered by Pinecast.
Whether it’s Down Under, over the border or across the Atlantic, Snatch Game is always one of the most highly-anticipated challenges of a season. Spain not only paired theirs with a reading mini-challenge but a full on ball on the runway, resulting in 21 looks and well over half of the episode dedicated to the main stage. While fave of the podcast and gold star pizza queen Arantxa does end up sashaying away, Killer Queen emerges as more than just the spitting image of Tyne Daly, our love for Pupi hasn’t pooped out and Sagittaria is finally in our orbits. Patreon: www.patreon.com/alrightmary Email: alrightmarypodcast@gmail.com Twitter: @alrightmary Johnny: @johnnyalso (Instagram) Colin: @colindrucker (Twitter) Web: www.tasteofreality.com/alright-mary/ www.alrightmary.com
Welcome to Gypsy-Mania! The Unauthorized Critics' Circle is proud to present its first ever event series, where Joshua and Dan head into the heart of Burlesque to ask all of the important questions in their special week long tribute to Gypsy. Is Gypsy the best musical ever written? What would happen if Momma was married? Who is Jerry? All this and more (and more and MORE) will be revealed. Episode 2: Tyne Daly in 1991 as part of the second Broadway revival. Join us tomorrow when we cover Linda Lavin's performance in 1990 as part of the second Broadway revival, and Betty Buckley's performance on September 12th 1998 as part of the Paper Mill Playhouse production! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast
Welcome to Gypsy-Mania! The Unauthorized Critics' Circle is proud to present its first ever event series, where Joshua and Dan head into the heart of Burlesque to ask all of the important questions in their special week long tribute to Gypsy. Is Gypsy the best musical ever written? What would happen if Momma was married? Who is Jerry? All this and more (and more and MORE) will be revealed. Episode 1: Ethel Merman in the original Broadway production's closing night performance on March 25th 1961, and Angela Lansbury in 1974 as part of the first Broadway revival. Join us tomorrow when we cover Tyne Daly's performance in 1991 as part of the second Broadway revival! Contact us: unccpodcast@gmail.com Twitter: @unccpodcast Instagram: @unccpodcast
Steve and Sean venture into a big game of "One of These Things is Not Like the Others" with a discussion of "Undercover", starring Ed Begley Jr., Tyne Daly, and Burt Young (among others). Is this story worth the videotape it's printed on? Or would you rather pay Tyne Daly $20 not to see it? Listen in and find out! Have a question or comment for the hosts? Email Steve and Sean at columboconfab@gmail.com, follow them on Twitter via @columboconfab, and look for the podcast's Facebook page!
This week's guest is Costume Designer Jess Goldstein. Jess's first Broadway design was in 1980 and he has 35 years worth of stories, anecdotes and behind the scenes tidbits from his life in the theatre. He tells us about the unique experiences costuming some of our greatest performers including Al Pacino, Tyne Daly, John Lithgow, Martin Short and Kevin Kline. He shares insight into his design process for 'Newsies', 'On the Town' and the upcoming 'Ever After.' Jess and Cory chat about why designing for film and TV is so different than theatre, how his sketching process has evolved down to the type of colored pencils he uses, and his teaching philosophy with the next generation of Costume Designers at Yale. AND hear the completely by chance way that 'Jersey Boys' became a part of his life and the personal and professional effects of being attached to the holy grail of Broadway musicals, the unstoppable mega-hit!
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