Podcasts about whooshkaa

Special Guest: Sanden Totten, Kids ListenNews: Podnews has acquired Podcast Business Journal which will publish a weekly roundup of news, podcast business data, and a long-form interview every week.  You can sign up for free hereSpotify's Megaphone has launched its own broadcast-to-podcast technology tools. Building on its acquisition of Whooshkaa in Dec 2021Lemonada Media and Apple Books have launched an audio book clubIndependent podcast networks say they aren't pivoting to video, reports Ashley CarmanPodcast app Podcast Guru appears to now support live episodes in its new beta releaseCurioCaster's Alby Integration is now live The podcast:podroll element has been proposed - a way to signal to podcast apps a list of other shows that this podcaster wishes to recommendPodnews now supports the 'podroll' tag on our podcast pagesYou can now search Podnews for GUIDsPodcast Index API allows for a GUID lookup https://podcastindex-org.github.io/docs-api/#get-/podcasts/byguidWe gave the Adthos AI-generated audio ads service a goSupport the showConnect With Us: Website: weekly.podnews.net Email: weekly@podnews.net Twitter: @jamescridland / @podnews and @samsethi / @samtalkstech Lightning/NOSTR: ⚡james@crid.land and ⚡sam@getalby.com Mastodon: @james@bne.social and @samsethi@podcastindex.social Support us: www.buzzsprout.com/1538779/support Podnews Business Journal: sign up for free here NEW: Podnews Live Events: (Tickets on sale now!) Podnews Live (Manchester) - 13/06 Podnews Live (London) - 27/09 Podnews Live (Barcelona) - 25/09 Podnews Live (Mexico City) - Nov

Garante (la CNIL italienne) précise 9 mesures auxquelles ChatGPT doit se contraindre.En mars dernier, l'Italie a temporairement interdit ChatGPT, faisant d'elle le premier pays à le faire. Cette décision a été prise à la suite de la saisie de Garante, l'agence italienne de protection des données. Garante a affirmé que la collecte de données personnelles par OpenAI était illégale et enfreignait le RGPD de l'UE, et qu'aucun système de vérification d'âge pour les mineurs n'était en place.Garante vient de faire connaitre les neuf mesures auxquelles OpenAI doit s'astreindre pour que cette interdiction soit levée. Ces mesures adressent les sujets de la transparence, l'exercice des droits de données, la base légale du traitement des données, la protection des mineurs et une campagne de sensibilisation. OpenAI doit se conformer à ces exigences avant le 30 avril pour la plupart des demandes, et jusqu'au 15 mai pour la campagne de promotion.Spotify assemble ses startups pour faciliter l'intégration des radiosSpotify souhaite faire venir de nouvelles radios sur sa plateforme avec une solution qui facilitera la conversion des émissions de radio en podcasts à la demande et offrira une nouvelle source de revenus publicitaires aux radiodiffuseurs, mais aussi le moyen de toucher de nouveaux auditeurs qui utilisent son player.La brique techno “broadcast-to-podcast” provient de Whooshkaa une startup australienne acquise par Spotify en 2021, et sera intégrée dans Megaphone, la plateforme de diffusion et de technologie publicitaire de podcast, elle aussi acquise par Spotify fin 2020Twitch, fin de partie pour les gamers, place aux créateurs de contenus!Propulsé à la tête de Twitch il y a moins d'un mois, suite la démission d'Emmett Shear co fondateur de Twitch , démission intervenue quelques jours avant les licenciements de 400 collaborateurs, Dan Clancy a tenu à rassurer la communauté de créateurs et d'utilisateurs de la plateforme lors d'une interview accordée à Bloomberg. Il a indiqué que la réorganisation de l'entreprise était impérative pour réduire ses pertes et en assurer la pérennité, et que les créateurs étaient au coeur de sa stratégie.Ainsi il insiste sur le fait que Twitch soit une startup technologique mais que lorsqu'un spectateur vient sur Twitch, il vient pour les créateurs, pas pour le service. Enfin Twitch n'est plus une plateforme destinée aux gamers, mais adresse de nombreux créateurs, dans la musique, la video, ou encore l'information. Les changements ne sont pas terminés!

Hi there, the podcast host I have been using for the past five years is gone... Whooshkaa is closing. I had to move the show to Anchor, but you can listen via https://scarsandguitars.com/, Spotify (https://open.spotify.com/show/04RZwxAhrCcXTYE3jIDgjp?si=e600d34049bc4fe5) or Apple podcasts https://podcasts.apple.com/au/podcast/scars-and-guitars/id1239312499 . The broadcast from Whooshkaa will cease on September 1. All episodes are intact at Spotify etc.

Michael-John Hurney trained with the legendary Hayes Gordon and commenced his theatrical career with the rock musical Hair. An Australian tour of Oklahoma soon followed. He then appeared as Peter in Jesus Christ Superstar and played Simon several years later in a new production in Hong Kong. Other theatre credits include The Baker's Wife, The Pirates of Penzance, La Cage Aux Folles, Guys and Dolls, H.M.S. Pinafore, The Danny La Rue Show, The Rocky Horror Show, Bad Boy Johnny & The Prophets of Doom, And It's Got a Lovely Backyard, Rasputin and Lend me a Tenor. For a number of years Michael-John produced and starred in the highly successful, MeatBalls – Fat out of Hell. Michael-John has appeared on classic TV variety shows such as The Don Lane Show, Michael Parkinson, Midday with Ray Martin, The Bert Newton Show, and The Footy Show. He sang as part of a showcase for the Sydney 2000 Olympics bid at The Sydney Opera House. He is a featured voice on many TV & Radio commercials including soundtrack albums Moulin Rouge, Paris -The Rock Opera, La Cage Aux Folles, Oklahoma and his own Meatballs-Fat out of Hell ‘live' C.D. He has worked in the corporate arena as both lead performer and a creative force behind the highly successful impostors ‘The Three Waiters'. Michael-John performed the solo corporate show Luciano Pavlova – ‘The World's Biggest Comic Opera Star' all around the Globe. In Jakarta - Indonesia Michael-John performed the role of Jean Valjean for Les Miserables in Concert with the 70 piece Twilite Symphony Orchestra under the musical direction of Indonesia's leading conductor Addie MS and a 60-member choir. In 2004 Michael-John played Pontius Pilate in a London production of Jesus Christ Superstar, completing a trifecta with his casting in the musical. His very last corporate performance before returning to Australia was for David (Becks) & Victoria (Posh Spice) Beckham at their home (aka Beckingham Palace) in North London. In 2008, Michael-John joined the Andrew Lloyd Webber's world tour of Cats. His performance as Gus the Theatre Cat / Growltiger would earn Michael-John a highly prized nomination for the prestigious Green Room Theatre Awards as ‘Best Male Artist in a Featured Role'. The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Rebecca Ritchie is Opera Australia's Wigs and Wardrobe Manager. She has been with the company since she was 19, joining as a sewer on their celebrated production of Baz Luhrmann's La Boheme. She leads a devoted team of artists who create the opulent costumes you see on stage in every Opera Australia production. When I spoke with Rebecca, she and her team were preparing productions of Madama Butterfly, La Traviata and Il Trovatore. We explore the process of building these costumes and honouring the Designer's vision. So many production elements contribute to the stage pictures we see across all platforms - theatre, dance, musical theatre and of course, the Operatic stage. The artistry of Rebecca and her team complete the aesthetic for the audience, transporting us to vivid 'other' worlds. The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

Leah Howard has worked extensively across the entertainment industry both as an actor and creative artist. She is a unique triple threat performer and a versatile director and choreographer. Theatre performance credits include: Rosie in Mamma Mia,Chief Berry in Nice Work If You Can Get It, Disney's Aladdin, Aretha Thomas in Legends! starring Hayley Mills and Juliet Mills, Mrs Corry in Mary Poppins, Avenue Q, Hair the Musical, Fame the Musical, Dein Perry's Steel City (Australia and Radio City Music Hall NYC), UK tour of Tap Dogs Rebooted and Tap Dogs USA. Leah recently appeared in the new ABC drama series Wakefield and has choreographed Australia's first live streamed musical Who's Your Baghdaddy, or How I Started the Iraq War during the Covid-19 restrictions on live theatre. Currently Leah is The Australian Associate Director of Alanis Morissette's Jagged Little Pill. Leah was the Resident Director for the Australian tour of School of Rock and was the Resident Director/Choreographer for The Rocky Horror Show. She toured to Korea as the Resident Director for the UK Production of Avenue Q and worked creatively for; Rocky Horror Live (UK) Other creative credits include: Bridges of Madison County, Xanadu The Musical, Australia's Got Talent, Sydney Mardi Gras. Leah has choreographed for Hi-5, A Gurls Wurld, Blue Water High, and So You Think You Can Dance Australia and worked with artists including Wafia, G Flip, Baker Boy, Macy Gray, Olivia Newton John, Cyndi Lauper, Peking Duck, Sam Sparro. Danced alongside and behind Kylie Minogue, Vanessa Amorosi, Deborah Cox, Meatloaf Music videos: Sloane Peterson, Olympia, The Vines, Rogue Traders,Young Divas and Natalie Bassingthwaighte. Leah was the guest vocalist with KD Lang and Jimmy Somerville for the Sydney 2002 Gay Games and performed in the 2000 Olympics ceremonies. She was the face of Disney Juniors theme song, singing Heads, Shoulders, Ears and Bows and the Host of Disney Channel's My High School Musical. Leah appears in the feature film Happy Feet. Leah is a sought after choreographer across all mediums and has been a massive part of Tik Toks Mardi Gras Campaign for the last two years. The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages). www.stagespodcast.com.au

In the bohemian world that is drag, few artists can lay claim to the exulted and ebullient eccentricity that is Cindy Pastel. The alter ego of performer Ritchie Finger, Cindy has been delighting, thrilling and astonishing audiences for close to 45 years.A unique talent, Finger has inspired generations of drag performers who have followed in his fabulous footsteps - whether they be in stilettos or on skates.Ritchie Finger arrived in Sydney from Melbourne in 1979 and became one of the many young drag addicts to work at ‘Patch's' Nightclub on Sydney's celebrated Oxford street.In the early part of the A.I.D.S. crisis Pastel was a tireless worker for HIV/AIDS organisations and charities. The decimation of community was enormous and Pastel, alongside many drag artists, kept everyone smiling.Cindy Pastel has been recognised by the DIVAs - The Drag Industry Variety Awards - twice in her illustrious career. A career that has reached incredible peaks and challenged with occasional obstacles. But through it all Ritchie Finger and Cindy Pastel have danced, paraded, twirled and taken centre stage, to ensure that ‘Everybody's happy!”Recently celebrating a 72nd birthday, Miss 3D is still going strong, embracing every opportunity to perform and entertain an adoring fanbase. The alter ego of Glenn R. Lewis, Miss 3D has been at the pinnacle of Drag performance for over 40 years. Recognised as a matriarch of Sydney Drag performers, she has entranced with a vibrant and unique style; and incredible artistry, eternally mesmerising with opulent and eccentric costume.Growing up in a rural Victorian town, a diet of community theatre and ballet classes shaped a desire to command a stage. Study at the Australian Ballet school followed, before a quick visit to Sydney seduced Glenn and he met his drag tribe through performers such as Doris Fish, Teresa Green and Danny Aboud. Miss 3D quickly established herself on the scene as an artist of superior talent and invention.A holiday to New York City landed a permanent gig at the iconic Anvil Club where 3D performed for two years, wowing the American crowd.Returning to Australia Miss 3D continued to navigate the stages of venues such as Stranded and Patchs, eventually taking up residence at the iconic Albury Hotel with a trio called The Showbags, alongside Drag Legends, Cindy Pastel and Pat Gently.It was a privilege and a delight to feature these two iconic performers in the STAGES ‘Live' series at The Powerhouse Up late for VIVID Sydney. They are an essential part of Sydney's Gay heritage and elders of the community who must be celebrated and applauded for an immense contribution.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Trevor Ashley follows in a long line of Australian stage larrikins that include Roy Rene, Barry Humphries, Gary McDonald and Reg Livermore. These performers have created characters who have celebrated the outrageous, and all that is particular about our culture.Trevor Ashley continues this biting and hysterical piss-take, serving it up in flamboyant and finely realised entertainments such Fat Swan, Little Orphan Trashley, Bodybag and The Lyin' Queen. Alongside these ‘naughty' pantos, Ashley has also enjoyed worldwide success with his one-man shows Liza on an E, Liza's Back! - is Broken, and Diamonds Are For Trevor.He's also proved himself on the musical theatre stage with acclaimed performances in Priscilla Queen of the Desert (Miss Understanding), Jesus Christ Superstar (King Herod), Hairspray (Edna Turnblad) and Les Miserables (Thenadier).Trevor can also be seen conquering television in RFDS on channel 7 and in the new Australian film, Seriously Red.Intent on embracing many roles, Ashley also wears the titles of producer, writer, musician and director. It is in the role of Director that Trevor is presently executing his craft. He has returned to Priscilla - the musical, staging it for a season at The Star Gold Coast, Broadbeach, Queensland from July16th to August 7th. The production is presented by Matt Ward Entertainment.It's bound to be flamboyant, fabulous, loud, lewd, colourful and camp - just like our Trev, who was the perfect guest for STAGES ‘Live' @ VIVID.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Hey Guys! So I have some announcements for you guys that I didn't get to make in this episode because I uncovered all of it after I recorded this episode. first and foremost, I finally heard the first rough draft mixes with vocals for my next EP for 4 out of the 5 songs, so what happened is that I sent my notes in to the guy who is mixing them, and he will make those adjustments and send those songs off to mastering, still waiting to hear one more song, but we are getting closer to finishing this thing off!!! also, I'll talk more about this next week, but I will be moving hosts in the not so distant future for this podcast, but there are certain things I have to take care of first before I move to a different host, so I will be saying goodbye to Whooshkaa soon. I'll keep you guys posted when I move hosts, but anyways, here's part two of last week. here I dive more into the history behind last week's song, talk about the label the song was released on, the session musicians that played on it, and more of the history behind this song too. here's the link to last week's song just in case you wanted to listen to it: https://www.youtube.com/watch?v=_t_Fso_F1lwdon't forge to also please do subscribe to the premium subscription version of this podcast. I am getting closer and closer to having the fully finished mixed and mastered songs for my next EP, and the only way you'll get to hear one of these songs before they come out is if you subscribe to this, AND, you'll get access to all of the interviews I have done recently as well, where I have my guys talk about some REALLY cool and little known behind the scenes info on some BIG hit records from the 60's. here's where you can do that: https://themillennialthrowbackmachine.supercast.comdon't forget to also follow me & reach out to me on Instagram and Tik Tok right here, you'll also find further updates on my next EP right here:https://www.instagram.com/iheartoldies/https://www.tiktok.com/@iheartoldiesdon't forget to also check out the Last EP. your gonna want to listen to this one, not just because the songs are so good, but to prepare yourself for the next one when it comes out. hope you enjoy it, definitely let me know whatcha think of it. you can do that by emailing me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies:https://distrokid.com/hyperfollow/samlwilliams/turquoise-apricotalso don't forge to check out the two interviews I did last year with Honk Magazine and Shoutoutla. hope to do more interviews soon, but I'll probably need some help with getting some publicity for that, especially for this next project. definitely let me know your thoughts on these and after reading those interviews, if you would like to meet me in person after reading them, let's arrange that soon. definitely email me at samltwilli@icloud.com if your in LA and let's make that happen: https://shoutoutla.com/meet-sam-l-williams-musician-songwriter-podcast-host/https://honkmagazine.com/sam-l-williams-talks-about-his-career-path-influence-and-new-music/don't forget to also check out the official Spotify and Youtube playlists for this podcast, here you'll be able to find all of the songs I have talked about on my show so far, including some of the ones that I have mentioned in interview episodes of my podcast (at least my past ones before they went premium) I hope you enjoy these, and if you have any suggestions for songs I should talk about next on my podcast that I haven't yet after reading these interviews, please email me at samltwilli@icloud.com, you can also reach out to me on Instagram and Tik Tok: @iheartoldies: https://www.youtube.com/watch?v=CS1sYR7xky8&list=PL66sgq_GAmRcXy8yKZJfVmAD14HUYj7Nfhttps://open.spotify.com/playlist/21f3uBS6kU4hUF6QAC5JMjalso definitely check out the official Redbubble Merch store for this podcast. here you'll be able to find all of these super cool merch items that have my own personal logo for this podcast. you can also purchase something from this store and it will ship right to you, and if you like the merch items in the store and you would like to let me know your thoughts on the logo and the prices of each item in the store, you can do that by emailing me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram @iheartoldies: https://www.redbubble.com/people/60ssam95/works/36806158-keep-things-groovy?asc=u&ref=recent-ownerdon't forget to also check out the Youtube video for Keep Her In My Back Pocket. I did shoot another music video, but I'm still waiting for the finished re recording of the song to be done before we finish that video and put it out. for now, please do enjoy this one. definitely let me know whatcha think of it, you can do that by emailing me at samltwilli@icloud.com, you can also reach out to me on Instagram @iheartoldies: https://www.youtube.com/watch?v=LTbmSoW6RyYif you learned some REALLY cool facts about this week's song and the label this song was released on and you have never heard of this label before and you learned SO MUCH from listening to this episode of this podcast, definitely email me at samltwilli@icloud.com, you can also follow me & reach out to me on Instagram and Tik Tok @iheartoldies.

The Art of Costume Design is a key element in the evolution of a production. The work of the Designer helps to establish the ‘world of the play', the definition and resonance of character, and a ‘skin' in which the performer can execute their best work.Australian Costume Designers, Jennifer Irwin and Julie Lynch have decades of experience helming the aesthetic of attire in a vast repertoire of entertainments across many genres and disciplines.Jennifer Irwin's commissions include over 90 ballets as well as some of the largest scale spectacular productions ever staged in Australia; including the Opening and Closing Ceremonies for the Sydney 2000 Olympic Games, and Francesca Zambello's ‘West Side Story' staged on Sydney Harbour.Jennifer designed the costumes for the International Box office sensation ‘Dirty Dancing' the musical, breaking all pre box office pre sales of any show ever staged in the history of London's West End.Her costume design for the feature film ‘SPEAR' was nominated for an AACTA award in 2017. She was recognized for her contribution to Dance at the Australian Dance Awards ‘Service to Dance' in 2015. Jennifer has designed for Bangarra Dance Theatre since the company's inception.Jennifer's work can currently be seen on the stages of the Sydney Opera House in 3 seperate productions with Bangarra and Opera Australia.Julie Lynch enjoys a successful costume design career spanning 35 years, working with many of Australia's leading directors, including: Neil Armfield, John Bell, Jonathan Biggins, Richard Cottrell, Gale Edwards, Lee Lewis, Elke Neidhardt and Richard Wherrett.She has designed for Australia's leading theatre companies, including: The Sydney Theatre Company, Opera Australia, Belvoir St, Bell Shakespeare, Victoria State Opera, The State Theatre Company of South Australia and Opera South Australia.After a year of teaching young students online during the first wave of COVID-19, Lynch decided to leave her leadership position as Director for Design Practices at the National Institute of Dramatic Art (NIDA) to pursue her passion for Visual Art and has loved every minute.A great discussion ensued at STAGES ‘Live' dissecting the process of the designer and exploring the immense possibilities presented with Costume Design.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Philip Quast graduated from the National Institute of Dramatic Art in 1979 and began his career with State Theatre Company of South Australia debuting as Adam in The Mystery Plays of Wakefield. He went on to appear in numerous productions with the company including On The Wallaby, A Hard God, No End of Blame and The Threepenny Opera. His first musical was in the title role of Nimrod Theatre Company's Candide. Philip also began appearing as a presenter on the Australian children's show Play School, a program he would continue to present for 17 years.He shot to prominence in 1987 when he appeared as Javert in the original Australian production of Les Misérables. This performance won him a Sydney Critic Award and in 1989, he travelled to London to play Javert on the West End and eventually in Les Misérables: The Dream Cast at The Royal Albert Hall.Philip's stage success continued as he won the coveted role of Georges Seurat in the original London production of Stephen Sondheim's Sunday in the Park with George at the National Theatre where he also performed in David Hare's Stuff Happens, A Funny Thing Happened On The Way to the Forum, South Pacific and most recently the award winning Follies (which screened live around the world.)He has won three Laurence Olivier Awards for Best Actor in a Musical; Sunday in the Park with George, South Pacific and The Fix.He has appeared with the Sydney Theatre Company in Coriolanus, Sondheim's Into the Woods,The Cherry Orchard, Democracy and the much-lauded production of Waiting For Godot. Most recently with Death of a Salesman.Philip has been a member of the Royal Shakespeare Company's seasons in London and Stratford Upon Avon with The White Devil, Macbeth, Troilus and Cressida and The Secret Garden.His other innumerable roles include Juan Peron in Andrew Lloyd Webber's 2006 production of Evita at the Adelphi Theatre, Judge Turpin in Sweeney Todd at London's Royal Festival Hall, The Lincoln Centre in New York and for The English National Opera. He played Georges in the Menier Chocolate Factory's production of Jerry Herman's La Cage aux Folles in the West End.His many film and television appearances include; Midsomer Murders, Morse, UltraViolet, Brides of Christ, The Damnation of Harvey McCue,Truth, Hacksaw Ridge,The Devil's Double and Picnic At Hanging Rock.Philip can be heard in over 15 cast recordings. He now devotes much of his time to directing, writing and teaching.Philip will be performing at this year's Adelaide Cabaret Festival with Moments In The Woods – Songs & Stories of Sondheim, directed by Mitchell Butel. Moments In The Woods also features Geraldine Turner, Queenie van de Zandt, Josie Lane and Mitchell Butel. The show plays June 23rd at Her Majesty's Theatre, Adelaide.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Philip Quast graduated from the National Institute of Dramatic Art in 1979 and began his career with State Theatre Company of South Australia debuting as Adam in The Mystery Plays of Wakefield. He went on to appear in numerous productions with the company including On The Wallaby, A Hard God, No End of Blame and The Threepenny Opera. His first musical was in the title role of Nimrod Theatre Company's Candide. Philip also began appearing as a presenter on the Australian children's show Play School, a program he would continue to present for 17 years.He shot to prominence in 1987 when he appeared as Javert in the original Australian production of Les Misérables. He travelled to London to play Javert on the West End and eventually in Les Misérables: The Dream Cast at The Royal Albert Hall.Philip's stage success continued as he won the coveted role of Georges Seurat in the original London production of Stephen Sondheim's Sunday in the Park with George at the National Theatre where he also performed in David Hare's Stuff Happens, A Funny Thing Happened On The Way to the Forum, South Pacific and most recently the award winning Follies (which screened live around the world.)He has won three Laurence Olivier Awards for Best Actor in a Musical; Sunday in the Park with George, South Pacific and The Fix.He has appeared with the Sydney Theatre Company in Coriolanus, Sondheim's Into the Woods,The Cherry Orchard, Democracy and the much-lauded production of Waiting For Godot. Most recently with Death of a Salesman.Philip has been a member of the Royal Shakespeare Company's seasons in London and Stratford Upon Avon with The White Devil, Macbeth, Troilus and Cressida and The Secret Garden.His other innumerable roles include Juan Peron in Andrew Lloyd Webber's 2006 production of Evita at the Adelphi Theatre, Judge Turpin in Sweeney Todd at London's Royal Festival Hall, The Lincoln Centre in New York and for The English National Opera. He played Georges in the Menier Chocolate Factory's production of Jerry Herman's La Cage aux Folles in the West End.His many film and television appearances include; Midsomer Murders, Morse, UltraViolet, Brides of Christ, The Damnation of Harvey McCue,Truth, Hacksaw Ridge,The Devil's Double and Picnic At Hanging Rock.Philip can be heard in over 15 cast recordings. He now devotes much of his time to directing, writing and teaching.Philip will be performing at this year's Adelaide Cabaret Festival with Moments In The Woods – Songs & Stories of Sondheim, directed by Mitchell Butel. Moments In The Woods also features Geraldine Turner, Queenie van de Zandt, Josie Lane and Mitchell Butel. The show plays June 23rd at Her Majesty's Theatre, Adelaide.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

With episodes nearing 300 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll accessing precious oral histories from the people who were there, on and around our stages.Born into a family dynasty of performers it would appear that Tony Sheldon's destiny was pre-ordained. Recognition as a talented youth saw him perform on In Melbourne Tonight with Graham Kennedy and join the workhouse in the Sydney season of the musical Oliver.As a young man his career as an actor in plays saw him embrace a fast-growing repertoire in roles as a sensitive young man - Equus, The Glass Menagerie and Peter Kenna's seminal Australian work, A Hard God. His break-out performance as Arnold Becker in Torch Song Trilogy quickly followed.It wasn't long before he extended his playing into the Musical Theatre; a form that has been a life-long passion. Sheldon's engaging style, colossal charm and extensive appreciation of the form have provided us with perfect portrayals in shows that include The Venetian Twins, Into The Woods, The Producers, The Witches of Eastwick, Dames At Sea, Man of La Mancha, My Fair Lady, Hello Dolly!, Victor/Victoria, and a show that has taken him around the world, given him Olivier and Tony award nominations - and a portrait in Sardi's – the role of transsexual Bernadette, the glamorous and resilient showgirl in Priscilla, Queen of the Desert – The Musical.This interview was recorded during the Sydney run of anniversary production of PRISCILLA in 2018. Sheldy was negotiating a back-injury and doubted he would reach 2000 performances in the role of Bernadette. The show goes on and of course, Sheldon continued on to Adelaide and Brisbane seasons of the musical. Not deterred by a back-injury, he completed 2006 performances in a role that commenced his global journey in 2006.Tony Sheldon has retired from the stage. His legacy is a host of glorious turns on stage, as well as being a cherished mentor, accomplished teacher, director and writer, and professional colleague to a legion of performers. The Broadway TONY Awards are on this weekend in New York. What better way to mark the occasion than revisiting this wonderful conversation with the brilliant Tony Sheldon.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Post-post-modern diva Meow Meow has hypnotised, inspired, and terrified audiences globally with unique creations and sell-out seasons from New York's Lincoln Centre and Berlin's Bar Jeder Vernunft to London's West End and the Sydney Opera House.As well as being a prolific original music, theatre and dance-theatre creator for such commissioners as Pina Bausch, David Bowie and Mikhail Baryshnikov,Meow Meow specialises in the Weimar repertoire and French chanson. She has played Jenny in Brecht/Weill's Threepenny Opera in Paris and London with the London Philharmonic and Anna 1and 2 in Brecht/Weill's Seven Deadly Sins with Orchestra Victoria, and with United Ensemble at the Konzerthaus Berlin.Meow Meow's original works include Vamp, Beyond Glamour, Feline Intimate, Meow Meow's Little Match Girl, Meow Meow's Little Mermaid, His Master's Choice, Apocalypse Meow, and An Audience with Meow Meow. Concert work includes Meow Meow's Pandemonium with the London Philharmonic, Bergen Philharmonic and Sydney Symphony Orchestras. She recently appeared in Barry Humphries's critically acclaimed Weimar Cabaret season at the Barbican and at the Kennedy Centre in Washington DC.In other works, Meow has played Titania in Emma Rice's A Midsummer Night's Dream at Shakespeare's Globe and appeared on the West End in Kneehigh and Michel Legrand's The Umbrellas of Cherbourg in a role created especially for her - La Maîtresse. She played Pegleg in Tom Waits' musical fable The Black Rider with Victorian Opera and Malthouse Theatre; Édith Piaf in Cocteau's Le Bel Indifferent, for the Greenwich Music Festival and an acclaimed Miss Adelaide in Guys and Dolls with the Royal Philharmonic at Royal Albert Hall.Meow Meow has performed as guest artist with iconic orchestra Pink Martini at the Berlin Philharmonie, Royal Albert Hall, Opera Garnier Monte Carlo, the Hollywood Bowl, and across the concert stages of Europe, Canada, and the United States. Their album Hotel Amour: Meow Meow with Thomas M. Lauderdale includes duets with Rufus Wainwright, Barry Humphries, the Von Trapps and the late Michel Legrand. It was released in 2019 and named one of The Times' top 100 albums of the year.Meow Meow is a favourite performer at Adelaide Cabaret Festival and returns this year performing with the Adelaide Symphony Orchestra. Meow Meow's Pandemonium plays at Her Majesty's Theatre on June 18th.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

With episodes nearing 300 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll accessing precious oral histories from the people who were there, on and around our stages.West End and Broadway star Ruthie Henshall was STAGES guest in 2019 during the podcast's second season.Ruthie Henshall made her West End debut in 1987 in Cats, navigating several of the feline family before assuming the pivotal role of Grizabella. The supremely gifted 19 year old would go on to become a five time Olivier Award nominee for a succession of roles in Crazy For You, Chicago, Peggy Sue Got Married and Marguerite; winning for the role of Amalia in the London revival of She Loves Me.Her list of theatre credits is extensive and in an extraordinary accomplishment, audiences have seen her play the three female principal roles in the musical Chicago; originating the role of Roxie in the West End, giving her Velma on Broadway and returning recently to the London production in the role of Matron Mama Morton.When we spoke with Ruthie she was in the middle of an Australian tour leading to a season at the Adelaide Cabaret Festival. Ruthie's tour was produced by Enda Markey.The Adelaide cabaret Festival for 2022 kicks off today and runs until June 25th.Ruthie generously shared her story and provided terrific insight into the rewards and challenges of navigating a career as one of the world's most consummate musical theatre performers.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Johnny Allen is a seminal figure in alternative arts and culture in Australia, and a recognised pioneer of the event industry, often referred to as the ‘Father of Events' in Australia.He published and edited Masque national magazine of the performing arts from 1965 to 1968, and wrote The Entertainment Arts in Australia published by Paul Hamlyn Sydney in 1968. In the early 1970s he ran the indy music venue The Arts Factory in Surry Hills.In 1972, as Cultural Director of the Australian Union of Students, he established a national touring circuit including activists such as Ralph Nader, Spike Milligan, Phil Ochs, Ron Cobb and Richard Neville. In 1973 he produced the Nimbin Aquarius Festival with Festival Director Graeme Dunstan.After spending time in the US in the mid-1970s, he returned to Sydney and ran the Paris Theatre opposite Hyde Park, producing the first gay film festival, Images of Gays in 1978. He went on to start the radical performance collective Cabaret Conspiracy, the Gay Theatre Company, and Palms Cabaret in Oxford Street.In 1985, he directed the 25th Anniversary Mattara Festival of Newcastle, and went on to direct that city's celebrations of Australia's Bicentenary in 1988, including the State Music Festival, the Royal Visit of the Queen and Prince Phillip, and The Longest Birthday Party on the Newcastle Foreshore, awarded Best Australia Day Event of the Bicentennial year. He returned to Sydney in 1989 as Event Manager for the Darling Harbour Authority, positioning it as ‘where Sydney celebrates' with an annual program including major celebrations of Australia Day and New Year's Eve.Now semi-retired, Johnny continues to practise event management, coordinating the cabaret program for the Sedition Festival in 2019, the Golden Mile Gallery exhibition of gay history in 20 shopfronts in Oxford Street as a feature event of the Oxtravaganza program for Mardi Gras in 2020, and gay cultural history exhibitions for Mardi Gras in 2021 and 2022. He is a board member of the proposed queer museum project Qtopia Sydney, a consultant to the State Library queer exhibition in 2023, and is currently preparing a major gay cultural program for Sydney WorldPride in 2023.Next Thursday June 16th he is presenting a Queer themed evening of events at the Powerhouse Museum - up late! The evening is part of the IDEAS program for the VIVID festival - now enthralling patrons across Sydney. Johnny joined STAGES to discuss this event - and a life-time creating memories.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Carmen Pavlovic is the CEO of Global Creatures, an Australian live entertainment company which she founded with Gerry Ryan OAM. Global Creatures creates original works and produces internationally.Throughout the 1990's, Carmen's career spanned various theatre companies including Andrew Lloyd Webber's The Really Useful Company (Australia). In 2001 Carmen relocated to London and took up the role of Executive Producer at Clear Channel Entertainment. Later she became the Director of the International Production Department for Stage Entertainment, responsible for establishing new territories for the company (including Russia, Italy and France), licensing and programming of 25 theatres across Europe, and overseeing productions in the UK, Germany, Holland, France, Italy, Spain and Russia.For Stage Entertainment, Carmen was the International Executive Producer of the European premiere of Dirty Dancing in Germany and subsequently Holland, the Russian speaking productions of Cats and Mamma Mia! (the first open-ended musicals in Moscow), the German-speaking production of Wicked; the Spanish-speaking production of The Producers; the French-speaking productions of Sam Mendes' Cabaret at the prestigious Folies Bergere and The Lion King at the Mogodor Theatre in Paris.In 2008, Carmen returned to Australia and co-founded Global Creatures for which she has produced original works Walking with Dinosaurs – The Arena Spectacular, How To Train Your Dragon Live Spectacular, King Kong, Strictly Ballroom The Musical, Muriel's Wedding The Musical and Moulin Rouge! The Musical.2019 represented a milestone year for Global Creatures with King Kong already running on Broadway, Moulin Rouge! The Musical making its Broadway debut and Muriel's Wedding the Musical launching to critical acclaim in Australia.Moulin Rouge! The Musical was honoured with 10 Tony Awards including Best Musical, and is now playing on Broadway, and the West End. A North American tour will commence in 2022 and further productions have been announced for Cologne, Germany (2022) and Tokyo, Japan (2023).Following the premiere Australian production in Melbourne, Moulin Rouge has recently commenced a Sydney season at The Capitol Theatre. Carmen Pavlovic joined STAGES for a ‘Live' conversation recorded in front of an audience at the Powerhouse Museum, as part of the VIVID Sydney program.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Wayne and Katie Kermond continue the line of an illustrious show business dynasty of performers and theatre-makers. Wayne is the fourth generation of an entertainment family and Katie has forged her own way in the industry as a singer, dancer and producer. Together they ensure audiences are kept enthralled through a fusion of the entertainment of yesteryear and the thrill of contemporary stage vocals, visuals and spectacle.Wayne's introduction to professional musical theatre was at the age of 11 when he was cast as a tap dancing sailor in the musical Gypsy. He then went onto to co-star and play such featured roles as Tom Thumb in Barnum, Baby John & Arab in West Side Story, Seven Little Australians, Jonah Jones, Guys & Dolls, A Chorus Line, Chicago and Urinetown. Wayne is most acclaimed for his starring role as Cosmo Brown in the Australasian Tour of Singin' in the Rain. Wayne has also starred as Max Bialystock in The Producers, the Modern Major General in The Pirates of Penzance, The Vaudevillian in Smoke & Mirrors, Wilbur Turnblad in Hairspray The Big Fat Arena Spectacular and in Anything Goes, as Moonface Martin.With over 30 years' experience in the Entertainment Industry, Katie's diverse and comprehensive skills have kept her in demand as a Theatre and Event Producer, Director, Choreographer, Production Coordinator, Performer and sometimes Stand-up Comedian. On the Performance side - Katie has appeared in major Musicals such as West Side Story, Guys and Dolls, Evita, Grease, Chicago, Singing' in the Rain... to name just a few.Wayne and Katie's passion for the form of Cabaret has lead them to, create, perform and produce such shows as Candy Man - a celebration of the ultimate Song & Dance Man, Sammy Davis Jnr. and The Kermond 3 Gen Variety Show. Most recently they conceived and produced Spiegelesque in the SpiegelZelt tent touring Australia, with Wayne playing the role of the cheeky Emcee “Vayne”.The pair have also steered a host of musicals as Directors/Choreographers - Evita, Mary Poppins, Wicked and Kinky Boots have all received the Kermond golden touch. Wayne and Katie recently concluded a triumphant season of We Will Rock You at The Empire Theatre in Toowoomba.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Warren and Pam Kermond belong to a dynasty of performers who have made an indelible mark on the performing arts in Australia and abroad, in a range of theatrical styles - Vaudeville, Comedy, Acrobatics, Musical Theatre and Dance. Their stages have been vast and varied; from the touring tent shows of Sorlies to the majesty of the Tivoli and the global club circuit. “It's experience that counts” And they have it in spades!Pam is one of 11 children. An enthusiastic Aunt suggested that she should take dance lessons; and so began a career in show business. Initially this was in a variety show titled ‘Thanks For The Memories' and then as a magician's assistant to The Great Levante.Growing up as the third, of now five generations of a show business family, Warren gained experience at a very early age in theatre, pantomime, night clubs, television, cabaret and Musical theatre. He has been involved in every aspect of the Entertainment Industry over the past fifty years and it is difficult to express his knowledge, credibility and understanding of the Industry both in Australia and Internationally.Warren and Pam toured internationally with their celebrated double-act. Billed as an Acrobatic Song and Dance Act, they navigated tours and stages, enthralling and delighting audiences with a unique entertainment.As an actor Warren played the role of Custus in the GFO production of Crazy For You and the role of The Rabbi alongside Topol in Fiddler on the Roof for TML Enterprises. He has been seen in numerous television commercials.Pam developed a very successful dance school in which she trained several generations of performers over 41 years.Warren appeared regularly on In Melbourne Tonight and other national television shows. He had his own TV program in Adelaide and was also a regular headliner at Wrestpoint and other major Theatre and Cabaret Venues.Warren and Pam are a prominent fixture in our performing arts heritage. They are a link to an entertainment past that is now a memory - but one that we must acknowledge, investigate and celebrate. This is a conversation that is essential listening.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

With episodes nearing 300 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll accessing precious oral histories from the people who were there, on and around our stages.Caroline O'Connor is considered to be one of the foremost interpreters of musical theatre in the world. Projects have taken her from Sydney to Paris to London and the bright lights of Broadway in a vast array of leading roles, that are coveted by musical theatre performers at their peak.She's interpreted the works of Sondheim, Bernstein, Jerry Herman, Kander & Ebb, Jule Styne and Aherns & Flattery – indicating a versatility that demands an appreciation of style, and technical dexterity.Caroline O'Connor was a guest of STAGES in our second season. Tonight she opens in Brisbane in the role of Roz Keith in the Dolly Parton musical - 9 to 5. The show continues after Brisbane with seasons in Melbourne and Adelaide.Chookas to Caroline and the company of 9 to 5. And welcome back to Caroline in this STAGES conversation revisited.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Terence Clarke was the guest of STAGES in series 3. A jack of all theatrical trades, our conversation found a focus on his career as a Composer of such vibrant Australian Musical theatre works as Summer Rain, Variations and The Venetian twins. However, there is much more to Clarke's contribution to the arts in Australia. It is vast and passionate. Clarke's work as Actor and Director are also ripe for the record.He has acted in English repertory, for Nimrod (Horatio/Rosencrantz to John Bell's Hamlet), and for the National Theatre Company, Perth, where he was for over two years Aarne Neeme's Associate Director. He was foundation Artistic Director of the first regional professional theatre company in Australia, the Hunter Valley Theatre Company in Newcastle, and has been the Artistic Director of the Playwrights Conference and Head of Directing at NIDA.Terence has directed the premieres of a number of Australian plays, most notably John O'Donoghue's A Happy and Holy Occasion (HVTC) and Janis Balodis' Backyard (Nimrod). He has directed over 140 productions and workshopped some dozen: the companies include the Melbourne and Queensland Theatre Companies, Nimrod, and Playbox; the music theatre works include Madam Butterfly (for State Opera of SA, twice), Annie, Anything Goes, The Pirates of Penzance (with Reg Livermore, Canberra), HMS Pinafore, and The Yeomen of the Guard. Other work for the STC: The Venetian Twins (composer/pianist/MD); Summer Rain (composer); The Sunny South (composer/arranger); A Happy and Holy Occasion (director).Terence is a member of the Order of Australia (AM) for services to the performing arts as a director, actor, writer, composer and educator. Terence has directed many productions at NIDA.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Dan Graham is a Theatre Director and a Disability Advocate with a particular interest in access support for neuro-diverse performing artists. Dan himself has a neurodiverse disability. His directing and access work have seen him travel all over Australia and the world to research and explore access and inclusion.Dan has engaged with companies across Australia such as Bell Shakespeare, Sydney Festival, Sydney Fringe, Antipode Theatre Company, and the Ensemble Theatre. His recent collaborations in the US include the Atlantic Theatre Company and Pasadena Playhouse, and in the UK the Globe Theatre.Dan is a fellow of the Australia Council's Future Leader's Program, an Ian Potter Foundation scholarship, and Create NSW Fellowship recipient. He has a stellar director resume and uses his success to advocate for other artists who identify as neurodiverse.Dan studied BA (Communication) and MCA (Theatre, specialising in directing) at the University of Tasmania and Honours in Performance Studies at the University of Sydney. His Honours paper focused on the playwright's intent and how this is realised in the director's vision. Dan also holds a Certificate IV in Training and Assessment.Dan is a board director of Arts Access Australia and a regular peer assessor for the Australia Council for the Arts. He is the co-chair of the Media, Entertainment and Arts Alliance's (MEAA) artists with Disability Board and on the LGBTQIA+ disability advisory group for ACON. He is a board member of the Hickson Road Group Accessible Arts, and a member of Accessible Arts NSW Artists Advisory Group. He is Access Consultant for Brand X.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Adelaide born Shane Placentino graduated from The Australian Ballet School in 1990 and was accepted into the The Australian Ballet in 1991.He also worked with Graeme Murphy and Janet Vernon appearing in Murphy's Nutcracker and Beyond Twelve. After ten years with The Australian Ballet, Shane departed in 2000.He joined The Sydney Dance Company in 2002. His repertoire with the company includes Ellipse, Air and other invisible forces, Salome, Free Radicals, the role of ‘Jack' in Tivoli, Underland, Random Play, Some Rooms, Grand, Hua Mulan, Berlin and Ever After Ever. Dance credits with The Australian Ballet encompass the full classical and contemporary repertoire including Swan Lake, The Sleeping Beauty, Giselle, The Merry Widow, Jiri Kylian's Sinfonietta, Nacho Duato's Jardi Tancat, Stanton Welch's Red Earth, John Cranko's Romeo and Juliet and Kenneth MacMillan's Manon. In 2008 Shane has assisted and performed in Meryl Tankard's Inuk2 and was appointed the stage manager for Rafael Bonachela's recent work with The Sydney Dance Company.A move in to the world of opera has seen him embrace the various guises of choreographer and director. For Opera Australia he has assisted on productions of The Merry Widow (2018), West Side Story, Madama Butterfly (2019) and Faust. As Revival Director his work has brought to vivid life the operas Faust (2020), The Merry Widow (2021), Aida, Madama Butterfly (2022) and Turandot. In May he directs global opera sensation Jonas Kaufmann in Olivier Py's celebrated production of Wagner's Lohengrin. The opera plays May 14th to 24th at the State Theatre, Arts Centre, Melbourne. It is a stunning production, bound to thrill and delight.Shane Palcentino joined STAGES to describe the task ahead of him in reviving the opera for its Australian season and an indication of what's in store for the fortunate Melbourne audience. He also reflects on a journey through Dance that has lead him to his cherished role as a director/choreographer with Opera Australia.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Tim Wright grew up in Albany, WA. He studied at the West Australian Academy of Performing Arts. He is presently performing on Broadway in the revival production of Richard Greenberg's ‘Take Me Out'.Initial stage credits in Australia include I Own The racecourse (Bell), Lockie Leonard - Human Torpedo (Ensemble) and This is Our Youth (Echelon). Regular appearances at the Melbourne Theatre Company followed with Laughter on the 23rd Floor, The Glass Menagerie, Boy Gets Girl, Metamorphoses and The 25th Annual Putnam County Spelling Bee (also STC). TV credits include Stingers, Big Sky and The Secret Life of Us.Venturing abroad in 2009, he landed in New York and has since carved an impressive career with three Broadway credits and a host of U.S. television; Blue Bloods, New Amsterdam, Quantico, and the cult musical-theatre themed Smash- seasons 1 and 2.On the Broadway stage Tim has appeared in The Bridges of Madison County and The Curious Incident of the Dog in the Night-time; joining this show also for its US tour. Off-Broadway he worked with the Atlantic Theatre Company on 3 Kinds of Exile. Seasons of Sunset Boulevard and The Jungle at Regional theatres have also enjoyed Tim's talents.Tim is nearing the end of the run of Take Me Out - and also a stint in New York that has seen him realise great accomplishment - in conquering the Broadway stage. We applaud Tim for his tenacity in making a career in New York a reality and celebrate his impressive performance achievements as he prepares to return to Australia.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Kenneth Moraleda is an actor/director/writer/producer of Filipino descent. He started training at Australian Theatre for Young People before being accepted into the National Institute of Dramatic Art graduating with a Bachelor of Acting in 1995.As a performer his recent theatre credits include An Enemy of The People with Belvoir Street, and Kasama Kita for 25a, the Global Creatures national tour of Muriel's Wedding The Musical, Talk at the Sydney Theatre Company and Australian Graffiti– a debut play from Disapol Savetsila playing Boi.Other theatre credits include playing Banzai in Disney's The Lion King Musical under the direction of Julie Taymor, the National Theatre Of Great Britain and Global Creatures' production of War Horse, playing Kulygin in Sport for Jove's critically acclaimed Three Sisters by Anton Chekhov, creating the role of Roger Chan in Nick Enright's A Man With Five Children, Hilary Bell's The White Divers of Broome, David Williamson's Cruise Control, the satirical comedy Australia Day by Jonathan Biggins and Yellow Moon-The Ballad of Leila and Lee directed by Susanna Dowling. His Philippine stage debut was with Repertory Philippines in the Pulitzer Prize Winning Play August: Osage County.His directing debut was an immersive theatrical and cinematic music show They Say She's Different written and starring Cecilia Low. After a showing at Ding Dong Lounge in Melbourne, it was picked up by the Adelaide Cabaret Festival and was a highlight of the Melbourne Fringe Festival 2015 for a season at Gasworks receiving rave reviews.He was a leading artist in This Here Land. – an experimental performance part of Liveworks Experimental Arts Festival in October 2017 for Performance Space. He has several writing projects in development including One Hour No Oil co-written with Jordan Shea.Numerous television credits include Schapelle, East West 101, Maximum Choppage, Bondi Banquet, City Life, Water Rats, Wildside, White Collar Blue, City Homicide, Janet King and Bureau of Magical Things.Notable film roles include The Great Raid, Locusts and Arun in the iconic Australia comedy Lucky Miles which has won him the Best Actor Award at the Cinemanila International Film Festival. He was also in Dead Europe and lead the short films, Perfection by Jane Eakin and The Fence by Lucy Gaffy, Banana Boy by Steven Woodburn and Legacy by Josh Mawer.In December 2020, Kenneth co-founded the theatre company KWENTO alongside Jordan Shea and Jana Vass. The company seeks to create new Australian works, that challenge the norms of Australian society.In April they will premiere a new work titled ATE LOVIA by Jordan Shea which will be directed by Kenneth Moreleda.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

With episodes nearing 300 in the STAGES archive, it's time to revisit conversations featured in our previous seasons. STAGES spotlights such episodes, in case you missed them the first time ‘round - or so you can simply savour, a second listen. Either way, you'll accessing precious oral histories from the people who were there, on and around our stages.Geraldine Turner is one of the Music Theatre's legitimate and intelligent voices. She conveys passion, truth and power in a voice that she has given to many of the form's great characters - Nancy, Mrs Lovett, Joanne, Petra, Sally Adams, Desiree Armfeldt, Reno Sweeney, The Baker's Wife, Velma Kelly and Felicia Alden.She has chartered a career spanning 4 decades and is an artist at ease in any form. She has mastered cabaret, plays, television and film – and has recently become a playwright, a director and a memoirist.Geraldine Turner's autobiography, ‘Turner's Turn - a disarmingly honest memoir' was recently released by New Holland Publishers. It is a compelling record of a life navigatedIn Turner's Turn she shares poignant stories of her relationship with her parents and siblings and the many years of commitment required to make it to the top. Geraldine describes frankly the highs and disappointments of a life in show business, the challenge of maintaining personal relationships alongside a demanding schedule of rehearsals and performances, as well as the rivalries and camaraderie amongst those who have made the stage their life.Geraldine Turner appeared in the very first week of episodes when STAGES launched in 2018. Always frank and possessed of great warmth, Turner is the ideal guest. So popular was her story, we continued it in a companion episode, released in 2019.We share this first episode today to mark the launch of her stellar story with Turner's Turn - and to celebrate Geraldine as one of the Australian Musical Theatre's greatest stars!The Bookshop Darlinghurst and Claire's Kitchen will be hosting a literary launch of Geraldine Turner's memoir - Turner's Turn - at Claire's Kitchen on Sunday May 22nd between 3pm and 6pm.It will be a wonderful opportunity to meet the author and hear some of her story. She will be in conversation with the STAGES podcast.So, come along and say hello. Bookings can be made through The Bookshop, Darlinghurst, from next week.The Stages podcast is available from Apple podcasts, Spotify, Whooshkaa and where you find your favourite podcasts. www.stagespodcast.com.au

Casey Donovan is one of Australia's most versatile Entertainers. After a meteoric rise to fame at the age of sixteen, Casey became the youngest ever winner of Australian Idol in 2004. Since then, she has made her mark not only as a musician, but also in the areas of stage, screen, presenting and writing. Casey is a multi-Award winner and nominee, including an ARIA No #1 Award for Listen with Your Heart and Deadly Awards for Best Album, Best Single and Most Promising New Talent.After taking a break from music, in 2009 under the direction of Rhoda Roberts, Casey made her theatrical debut in Miracle In Brisbane for Brisbane Festival. This was to be the first of many acclaimed theatrical performances thus far in Casey's career, including The Sapphires, As You Like It, Opera Yarrabah, The Flowerchildren, Rent, We Will Rock You as Killer Queen, and Chicago as Matron “Mama” Morton. Casey's stage credits have earned her respect from the industry, which has seen her receive a nomination for Best Newcomer and Best Performance by an Actress in a Musical in the Sydney Theatre Awards.In 2010 Casey also returned to music with the release of the single Big, Beautiful & Sexy, along with a sell-out tour and major festival performances plus opening for the legendary Cyndi Lauper on her 2011 Australian tour. Musically, Casey then released her highly anticipated EP Off The Grid & Somewhere in Between hitting the Top 30 chart and in 2019 was invited to participate in Eurovision – Australia Decides, performing and releasing the original song Proud in the national final, placing second.Over the span of her illustrious career, Casey has appeared on all major daily and weekly Network television programs and has presented her own indigenous music themed show Fusion on SBS/NITV during 2012 and 2013. In 2017 Casey was crowned Queen of the Jungle by public vote in the third season of I'm A Celebrity, Get Me Out of Here.Casey made her scripted television debut in 2018 on Network Ten's comedy series Streetsmart as Tia the probationary parking inspector and then was cast in the hit TV show How To Stay Married, alongside Peter Helliar and Lisa McCune. Following this was a hosting role alongside Noni Hazlehurst and Kurt Fearnley on SBS's TV's What Does Australian Really Think?Casey is currently playing the role of Judy Bernly in Dolly Parton's stage musical ‘9 to 5'. Her enthusiasm for what she does is palpable; evidenced here in a joyous conversation.‘9 to 5' plays the Capitol Theatre in Sydney before moving on to Brisbane in May at The Lyric Theatre, QPAC. Seasons in Melbourne and Adelaide will folow. The show features Marina Prior, Eddie Perfect, Caroline O'Connor, Erin Clare and the fabulous, Casey Donovan.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Internationally acclaimed for the emotional punch packed into her bold choreography, Meryl Tankard is one of Australia's finest contemporary artists.As a director, choreographer and writer, her work has been staged in Europe, UK, USA, Asia and Australia, and includes co-productions with the Sydney Opera House, a full-length ballet Wild Swans for The Australian Ballet, musicals for Disney on Broadway and Andrew Lloyd Webber on the West End. Meryl created the opening section Deep Sea Dreaming for the Sydney Olympics Games Ceremony 2000 and has been commissioned by some of the world's most dynamic companies including Lyon Ballet and Netherlands Dance Theatre.Beginning her career as a dancer with the Australian Ballet, Meryl went on to become one of Pina Bausch's principal soloists with the ground-breaking Wuppertaler Tanztheater, creating roles in Café Muller, Kontakthof, 1980, Arien, Walzer, Bandoneon etcIn 1989 she founded her own dance company in Canberra, synthesizing a range of influences and styles to create her own unique dance theatre style.As Artistic Director of Adelaide-based Australian Dance Theatre (1993-1999) Meryl transformed the company into a leading International company with her diverse range of full-length works including Furioso, Possessed, Aurora, Rasa, Inuk, Songs with Mara. Since 2000 Meryl has been working as an independent artist and in 2010 began focusing on film direction, graduating from Australian Film Television and Radio School where she made two short films Mad and Moth.Her documentary Michelle's Story, commissioned by ABC TV and 2015 Adelaide Film Festival, won the Adelaide Film Festival Audience Award for Best Short Film and Screen South Australia awards for Best Short Film, Best Documentary and Best Soundtrack.In 2017 Meryl was awarded the prestigious Jim Bettison Helen James Award for her contribution to the community.In 2018 Meryl choreographed Claudel for Theatre de LAthenee in Paris and remounted her acclaimed production Furioso for Sidi Larbi Cherkaouis Royal Ballet of Flanders.For the Adelaide Festival in 2019 Meryl created two works : Two Feet, a full-length solo work for acclaimed Russian ballerina Natalia Osipova, and Zizanie for Restless Dance Theatre (for performers with and without disability)In 2019, Meryl was honoured with an Officer of Australia for her distinguished services to the performing arts.www.meryltankard.comThe STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Sally Bourne's career began at the age of 12 when she was cast in the title role in the original Australian production of the musical Annie. A role that cast her alongside Hayes Gordon, Jill Perryman and Nancye Hayes. 40+ years on from that auspicious debut performance, Sally has worked in musicals, on T.V, in cabaret, concerts and as a comedian both in Australia and in London.Her destiny as a performer seems inevitable. Her mother was a dancer/choreographer and her father, the legendary Australian actor, singer and comedian, Ernie Bourne. Her parents met at the Palais Theatre St Kilda, in the musical The Desert Song. She wasn't born in a trunk but it was pretty close.Most recently, Sally was seen in the sixth instalment of her cabaret series with Susan-ann Walker; Subtle, playing to packed houses in Melbourne. She was also featured in the ensemble cast of the new musical work Mrs Prime Minister, composed by John Thorn and written & directed by Terence O'Connell. Before this new work Sally appeared at the Melbourne International Comedy Festival as a part of the improv team Spontaneous Broadway at Trades Hall.Her extensive theatre credits in Australia include; Brigadoon, Company, Moonshadow (Original Cast). The Boy From Oz, Nine, Damn Yankees, Once We Lived Here (Original Cast) & Shane Warne - The Musical (Original Cast).Television credits include Prisoner, I Can Jump Puddles, The Sullivans and Neighbours.Sally lived & worked in London from 1991 to 2004 appearing in My Fair Lady, Les Miserables, Jesus Christ Superstar, Hey Mr Producer, A - My Name is Alice, The John Wayne Principle & the world premier productions of Andrew Lloyd Webber's musical; The Beautiful Game and Jerry Springer the Opera at the Royal National Theatre.During her time in London, Sally made her debut as a stand up comic with her comedy partner Lucinda Cowden & was a finalist in the ‘So You Think You're Funny' awards as well as appearing at the Edinburgh Festival with the comedy troupe The Hairstyles.She can also be seen in the Alan Parker movie; Evita playing Eva's maid.Sally is also one of Melbourne's busiest singing teachers & has been on staff at some of the U.K's & Melbourne's most prestigious theatre schools, as well as directing cabaret showcases at The Victorian College of the Arts & Patrick Studio's Australia.Sally is great fun. Armed with an abundance of anecdotes, she is the perfect guest. She is also a source of tremendous knowledge, informed by her celebrated longevity in a career that is often precarious, but never dull.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Terence O'Connell took his first steps towards a life in the theatre as dresser to the male chorus in J.C. Williamson's celebrated production of Funny Girl. The role provided the perfect vantage point to observe the machinery of a large musical, on stage and off, cementing an ambition to make theatre himself.Terence completed time as an actor working through Western Australia followed by a venture to the UK which awakened a desire to direct. Upon returning to Australia, Terence completed the Directors Course at NIDA and has subsequently, staged some 150 productions in theatres, concert halls, circus tents, cabaret rooms and comedy venues across Australia and internationally.His national touring shows include Barmaids, They're Playing Our Song, Motherhood: The Musical and The 39 Steps, The Rocky Horror Show, Buddy-The Buddy Holly Story, Busting Out, Decadence, Bouncers, Circus OZ, Flying Fruit Fly Circus and Certified Male.Terence has created many of his own productions including I Only Want To Be With You: The Dusty Springfield Story, Life On Mars: The Words And Music Of David Bowie, Cruising Paradise: Sam Shepard Tales, Greek Goddess: Melina Mercouri, Reviewing The Situation: At Home With Lionel Bart, and Minefields And Miniskirts: Australian Women And The Vietnam War. Terence was Director of Spiegelworld's outrageous circus burlesque Empireon, its international tour, and Circus Sensa at London's Albany Empire.Terence helmed nine Broadway musicals for The Production Company at Melbourne's State Theatre. These included Oklahoma, The King & I, Crazy For You, Damn Yankees, 42nd Street and The Pajama Game, and demonstrated his ease at staging big stories on a large canvas.Recently he has been adapting two Australian classics for the stage; One Crowded Hour: Neil Davis, Combat Cameraman and a music theatre adaptation of the classic memoir, I Can Jump Puddles. Mrs Prime Minister, a song cycle focussing on several prominent wives of Australian leaders, has also taken to the stage under Terence's construction and guidance.He is passionate about telling stories across all forms and styles. Whether making original, or staging established product, Terence O'Connell's work is always inspired, exciting and bound to prompt awe.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

John Newman is the savvy entrepreneur who pioneered the glory of theatre restaurant in Australia, with the establishment of the iconic Tikki & John's in Melbourne. The venue fast became an institution in the city and a haven for a stellar cast of performers. With wife Tikki Taylor, he founded an entertainment dynasty spawning further theatre dining experiences such as Dracula's, Cafe Crypt and Crazyhouse.John Newman is a Geelong boy whose parents were publicans. He was born to perform and garnered early experiences entertaining hotel guests. He joined the Geelong Musical Comedy Company, a flourishing amateur group whose members also included John's brother Bill, Ernie Bourne and Barry Crocker. His success in comic and singing roles with that company, prompted him to embark on show business as a profession.He joined an outfit calling itself, rather ambitiously The South Pacific Film and Television Company, which planned to hit the high spots with a grand tour of Victorian country areas. The variety show, in which John did comedy, magic and his impressions of Groucho Marx and other stars of the day, played Geelong, Colac and Camperdown. He was next a member of the Blind Institute Concert Party, which performed everywhere in Victoria in one - and - two night stands, raising money for the institute. John stayed with the unit for two years, and then he left to go into the chorus of the J. C. Williamson Song of Norway.The run of Song of Norway was followed by a revival of Annie Get Your Gun, with Evie Hayes and Hayes Gordon, and John then went into the chorus of South Pacific, where he met Joyce Taylor (Tikki),Tikki Taylor had studied dancing at the Jenny Brennan Academy and appeared on stage for the first time in a juvenile role in Blue Mountain Melody, an Australian musical which starred Cyril Ritchard and Madge Elliott. After pursuing a classical ballet career she joined J.C. Williamsons as a show dancer, her first show being The Desert Song with Max Oldaker. Then followed Rose Marie, White Horse Inn, No, No, Nanette, The Girl Friend, Follow The Girls and Oklahoma, in which she understudied three roles, eventually playing the lead comedienne, Ado Annie.John and Tikki combined both their professional and private lives working in the same shows. They formed an act and toured it through the U.K. for eighteen months with top Australian magician The Great Levant covering England, Scotland and Wales. After that, they toured the U.S. Army bases in Europe.Back in London they saw the latest American musical hit The Pajama Game, and John knew that Tikki would be perfect for the comedy-dancing role of Gladys Hotchkiss. They rushed back to Australia and with the support of choreographer Betty Pounder and stage director Ian Roberts, Tikki managed to persuade the JCW management that it was not necessary to import an American actress for the role. This seminal production embraced an all-Australian company including Toni Lamond, Jill Perryman and John's brother Bill Newman.John worked in the chorus of The Pajama Game and joined Tikki in subsequent productions of Can-Can, For Amusement Only and Grab Me A Gondola. Tikki and John raised a family, pursued television appearances and then Tikki made a comeback to the stage as Minnie Fay in Hello Dolly.Television claimed John for a while guided by the famous American entrepreneur Larry K. Nixon; then a stint as Victorian manager for NLT Productions, and producer of The Ray Taylor Show on ATV0 in its early days. John was later Company manager for the Moscow Circus before he and Tikki made their decision to go into the restaurant business.Tikki Taylor and John Newman had show business in their blood. Both were already entertaining as children. When they met and married, they changed the course of theatre history in Melbourne. It is indeed an entertaining life!The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Dale Burridge is one of Australia's most successful concert and corporate entertainers having starred in numerous musicals, concerts and corporate events all over the world.He first tread the boards professionally back in the 1980's as ‘Rolf' in Britain's renowned West End Production of The Sound of Music.Dale returned to Australia in 1989, to create the role of Alan Courtney in Seven Little Australians and then featured in the 1989 production of Anything Goes with Geraldine Turner. Dale had long association with Les Miserables before joining the cast in the role of Raoul, opposite Marina Prior, in the original Australian production of The Phantom of the Opera. He played the role for two years and the following season, appeared as young Scrooge, opposite Keith Michell in the 1994 premier Australian production of Scrooge – the Musical.At this time Dale began performing in numerous concert performances throughout Australia and with Marina Prior at the Sydney Opera House. Engagements at the Melbourne Concert Hall included An Evening with Fred and Ginger with Rhonda Burchmore, From Brigadoon to Broadway with the Australian Pops Orchestra and the 1994 Morning Melodies Christmas concert.Dale has made constant appearances on Australia's various television variety shows, and was a regular performer on Bert Newton's Good Morning Australia. Dale has also performed as the featured artist on the QE2 cruise liner, performing for their international guests.Dale returned to his role in the The Phantom of the Opera before embarking on the International 1996 tour of Les Miserables in the role of the student leader, Enjorlas.Dale has been guest performer at major launches, conventions, and special events all over Australia and Asia. In 1997 he was the guest performer at the Darling Harbour Christmas Concert and Australia Day Concert. He has appeared as the guest artist with the Canberra Symphony Orchestra in A Night In Tuscany, with the Tasmania Symphony Orchestra, the Queensland Symphony Orchestra in a special Gershwin Concert series with Maestro Tommy Tycho, and on a Wiggles film.After an absence of more than two decades, Dale Burridge has returned to the stage with a funny, moving, heart felt exploration of the highs and lows of a life spent on, and off, the boards, launching his up close and personal cabaret ‘At the Crossroads' in his hometown of Melbourne.Having spent the last twenty years focusing his energies on expanding his hugely successful bespoke entertainment production company, Dale felt the seductive pull to return to the intimate cabaret form; firstly in a show titled ‘Back On The Boards'. He is now delighted to be returning to Sydney with his new show 'At the Crossroads', an exploration of the many twists and turns of a life in the theatre, appearing at The Hayes Theatre in April.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Guy Simpson has been working as a Conductor, Orchestrator, Musical Director and Musical Supervisor for over 40 years. He is currently Musical Supervisor of The Phantom of the Opera and Cinderella for Opera Australia. He is also the conductor of The Phantom of the Opera on Sydney Harbour, taking to the Harbour stage in March/April.Guy's work on The Phantom of the Opera began in Australia in 1990 and has continued on and off for the past 30 years, conducting or supervising productions in Auckland, Cape Town, Pretoria, Johannesburg, Shanghai, Taipei, Hong Kong, Brazil (in Portuguese), Manila, Bangkok, Singapore, Guangzhou, Beijing and Seoul.He has had a similar long association with Miss Saigon since 1994 – conducting or supervising productions in Australia, Manila, Hong Kong, Singapore, Brazil, Seoul, The Netherlands and Japan.For Opera Australia he was Musical Director of Evita (starring Tina Arena), the 60th anniversary production of My Fair Lady (directed by Julie Andrews) and West Side Story (on Sydney Harbour). Other international productions include Cats (Australia, New Zealand), Chicago (Australia, Hong Kong) and We Will Rock You – the QUEEN musical (Australia, Japan).Productions throughout Australia include Muriel's Wedding, The Wizard of Oz, Dream Lover, Prima Donna (the opera by Rufus Wainwright), Passion, Dirty Rotten Scoundrels, A Funny Thing Happened on the Way to the Forum, Love Never Dies (the sequel to The Phantom of the Opera), Les Miserables, Cabaret, Company, Into the Woods, Little Shop of Horrors, Best Little Whorehouse in Texas, Pirates of Penzance, Snoopy, Seesaw, Zorba, Oklahoma!, Funny Girl, Call Me Madam, Mack and Mabel, The Music Man, They're Playing our Song, Carousel, Camelot, Little Me, Follies, Promises Promises, Gypsy and Guys and Dolls.As an orchestrator recent projects include the musicals Ladies in Black and Dream Lover. As a producer of cast recordings he has produced the albums of Muriel's Wedding and Dream Lover for Sony, and two cast recordings of The Phantom of the Opera in Korea.Guy joined STAGES prior to the rehearsal period for ‘Phantom' on Sydney Harbour to reflect on his affinity with the iconic show, and his extensive career guiding and delivering musical scores to audiences around the world.Opera Australia's HOSH The Phantom of the Opera plays March 25th to April 24th at the Fleet Steps, Mrs Macquaries' Point, Sydney.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Constantine Costi is a director, writer and the co-artistic director of Red Line Productions at the Old Fitz working across opera, film, and theatre. He was named one of the 21 hottest creatives of 2021 by The Australian.Most recently Constantine directed Handa Opera on Sydney Harbour La Traviata for Opera Australia, as well as Verdi's Requiem for Ensemble Apex and Phoenix Central Park, and is currently preparing a Kurt Weill Double Bill for The Old Fitz Theatre of Mahagonny Songspiel and The Seven Deadly Sins.In 2020 he directed the feature film A Delicate Fire for Pinchgut Opera based on the madrigals of Barbara Strozzi, wrote the libretto of a new Australian opera Cassandra for Victorian Opera by composer Simon Bruckard, directed Monochromatic; a video series of piano portraits for Phoenix Central Park, and directed an online Don Giovanni production for the Shanghai Opera with Maestro Xu Zhong.Constantine has also directed Karakorum starring David Wenham (Australian Brandenburg Orchestra); the award-winning production of Bittersweet Obsessions, and Messiah which played to standing ovations and sell-out seasons in Sydney, Melbourne and Brisbane; Puccini's Suor Angelica (Opera Projects Sydney); and Il Tabarro at Alfie's Sydney.Constantine has directed revivals of Harry Kupfer's Otello (OA), Il Viaggio a Reims (Dutch National Opera, OA and Royal Danish Opera), Sir David Mc Vicar's Vienna State Opera production of Falstaff(National Centre of Performing Arts, Beijing); and La Traviata (OA).He also assistant directed productions of Ring Cycle (Chen Shi-Zheng) and Wozzeck (Salzburg Festival, OA, Canadian Opera Company, Metropolitan Opera); Hunde Gottes (Schauspielhaus Vienna); and The Marriage of Figaro (OA). Constantine has also worked with director Chen Shi-Zheng as assistant director of Puccini's Turandot (OA, Handa Opera on Sydney Harbour), as well as co-directing Werther with director Elijah Moshinsky (OA).Other work includes directing and co-creating the world premiere of jazz musical The Overcoat (Belvoir's 25A); co-writing the immersive theatre experience Visiting Hours (Vivid Festival); and directing The Space Between the Fuel and the Fire (NIDA).Constantine is the recipient of The Berlin New Music Opera Award with The Opera Foundation for Young Australians where he worked with Komische Oper Berlin's directing team on the premiere of Tchaikovsky's Eugene Onegin directed by Barrie Kosky.Other directing credits include: The Hypochondriac, The Shewing-up of Blanco Posnet (NIDA); Young Artist's Program Showcase (Opera Australia); Thomas Arne's The Sailor's Return (Nagambie Lakes Opera Festival); The Master and Margarita after Bulgakov (Aboriginal Centre of the Performing Arts); Accidental Death of an Anarchist by Dario Fo (Zenith Theatre); and The Canterbury Tales by Chaucer (George Georgiou Inc). Constantine has previously been a member of the Belvoir Artists' Workshop and was affiliate director with Griffin Theatre.Constantine's screen credits include: music videos, I Know What You're Hiding (Hedge Fund) and Into My Arms (Bloods) for Triple J Unearthed; and the short films Ferguson & Daisy & Ursula, andDonny.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

For over three decades, the name of Jenifer Eddy was foremost in the Australian opera scene as the major Artist Manager. Her stable of artists became household names under her guidance and Jenifer Eddy Artist Management boasted the crème de la crème of operatic celebrities.Their careers were carefully governed and tailored to present them at their finest. Jenifer Eddy had the knowledge and manner to assist a young singer in career growth. How did this lady of diminutive physical stature but strong character gain such knowledge? How did she so clearly understand the emotional plight of a singer and tend to their needs?What was little known was that Jenifer Eddy had experienced the journey of a singer, on an international level, first hand. Her career as a brilliant coloratura and soubrette soprano had taken her to the major opera houses of the United Kingdom and throughout Europe. Her on-stage colleagues included some of the finest and admired performers of the second half of last century.She packed into her fifteen years on the operatic stage what reads like twice the amount of performances of any other soprano of this voice type. Jenifer's vocal technique was strong and secure. Her delivery of the most difficult, stratospheric vocal writing appeared easy and her pert stage presence was beloved by colleagues and audiences alike.What seemed to be the perfect career, flying high, came to a sudden halt in 1968 due to a physical condition which remained undiagnosed for almost seven years – by which time, Jenifer had closed the door to her singing career and opened another as an Artist Manager.“Everything in life has a purpose” is a mantra that Jenifer has held throughout her careers. It provided an inner strength to travel the bridge from singer to agent. Both roles demonstrate careers of excellence, and legacies that have left an indelible mark on classical singing and opera in Australia.(text: Brian Castles-Onion)The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

A respected and adored veteran of the Australian theatre, Geraldene Morrow began her professional career at the age of 16 as a dancer in the Bobby Limb Revue. Shortly after arriving in Melbourne from her home town of Perth, she was chosen to understudy Eliza in J.C. Williamson's My Fair Lady. One month later she played the role for a week and stayed with the show for two years.Other JCW productions to follow included Bye Bye Birdie and A Funny Thing Happened on the Way to the Forum. For Garnet Carroll she played the juvenile lead in Once Upon A Mattress.Other musical theatre work includes East Lynne, Lady Orderly's Secret, Caroline, Little Mary Sunshine, The King & I, 1776 and Brigadoon. In the U.K. she performed in plays, pantomimes and musicals including No, No, Nanette, My Fair Lady, The Girlfriend and the lead female role in the West End production of Cindy. She appeared in the film of Oliver and for BBC television she was featured in The Mikado and Iolanthe. Returning to Australia in 1969, she is remembered for her roles in Charlie Girl, Side By Side By Sondheim, Cowardy Custard, La Cage Aux Folles, Nunsense, Baby, Into the Woods, Big River and the original Australian production of The Phantom of the Opera as Madam Giry.Television credits include Bellbird, Water Under the Bridge, Young Ramsay and Prisoner. Geraldene was also one of the Glitter Sisters who toured the national cabaret circuit.STAGES spent a delightful hour with Geraldene reflecting on a prolific career and the immense joy it has brought her and audiences alike.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Simon Phillips began his career in New Zealand before emigrating to Australia in 1984 to take up a position as lecturer and director at the West Australian Academy for Performing Arts. In 1987 he joined the Melbourne Theatre Company as Associate Director and in 1990 he was appointed Artistic Director of the State Theatre Company of South Australia. After freelancing nationally and internationally between 1994 and 1999, he returned to MTC as Artistic Director from 2000 to 2011, overseeing the design and construction of the company's new headquarters and the Southbank Theatre.His directing credits range from new works to contemporary and Shakespearean classics, to musicals, to opera. He has directed works by most of the great contemporary writers: Albee (A Delicate Balance), Beckett (Happy Days), Brecht (Arturo Ui), Churchill (Cloud Nine/Serious Money), Hare (The Blue Room), McDonagh (The Pillowman), Orton (What the Butler Saw/Entertaining Mr Sloane), Shepherd (Buried Child, A Lie of the Mind), and Stoppard (Arcadia, Rock'n'Roll).He has also directed the premieres of many new works by leading Australian writers, including David Williamson, Matt Cameron, Hannie Rayson, Stephen Sewell and Joanna Murray-Smith.Simon's musical credits in Australia include Love Never Dies, Priscilla, Queen of the Desert (which has had numerous international seasons including The West End and Broadway), The Twenty-Fifth Annual Putnam County Spelling Bee, Urinetown the Musical, Company, The Threepenny Opera, Cabaret, Muriel's Wedding - the musical, Ladies in Black, Dream Lover, An Officer and a Gentleman and High Society. In New Zealand he directed Oliver!, Chicago, Jesus Christ Superstar and The Pirates of Penzance.Among his many classical productions, The Tempest, Julius Caesar, A Comedy of Errors and The Importance of Being Earnest all toured nationally in Australia. Simon's opera credits include: La Bohème, Falstaff, L'Elisir d'Amore and Lulu for Opera Australia, The Magic Flute and Don Giovanni for Opera New Zealand and A Midsummer Night's Dream and Billy Budd for Hamburg State Opera.Simon is the recipient of many Australian Theatre awards and has an Honorary Doctorate from the University of Melbourne. He recently directed As You Like It for the Melbourne Theatre Company and has now turned his focus to Sydney with an adaptation of North By Northwest, and a thrilling new production of The Phantom of the Opera for Opera Australia; they take to the stages of the Lyric Theatre and Sydney Harbour. He discusses these exciting theatrical ventures, as well as his illustrious career, in this compelling episode of STAGES.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

Nick Schlieper has designed lighting for all of the major performing companies in Australia and works regularly in Europe and the U.S.Recent engagements include Nick's debut at, and return to, the prestigious Salzburg Festival, designing the lighting for Aribert Reiman's Lear in the Felsen Reitschule, and for Cherubini's Medeé; as well as Mosquitos, Cat on a Hot Tin Roof, The Real Thing, Still Point Turning, Harp in the South, A Cheery Soul, The Resistable Rise of Arturo UI, Chimerica, Three Sisters, All My Sons, Speed the Plow, A Flea in Her Ear and Switzerland for Sydney Theatre Company; Macbeth, Twelfth Night and Photograph 51 (also set design) for Melbourne Theatre Company; Packer and Sons, Ghosts and Twelfth Nightfor Company B Belvoir.Nick also returned to the National Theatre of Norway for Private Confessions, directed by Liv Ullman, and to New Zealand Opera for The Elixir of Love. He also lit Sydney Theatre Company's revival of The Present with Cate Blanchett on Broadway, and The Space Between the Notes (Emma Matthews' one woman show).Nick's work in Music Theatre includes First Wives Club The Musical at the Oriental Theatre, Chicago, Priscilla Queen of the Desert, The Musical in Australia, New York, Toronto, London, Sao Paolo and throughout Europe; Love Never Dies in Hamburg, Tokyo, Sydney and Melbourne for The Really Useful Company.His extensive work in opera in Australia includes Don Giovanni, Nabucco, Tannhäuser, Il Trovatore, L'elisir d'amore, Andrea Chenier, Freischütz, Falstaff and Seraglio for Opera Australia; Salome (and set design) and Parsifal for State Opera of South Australia; Flying Dutchman, Don Giovanni, and Ken Russell's Madam Butterfly for Victorian State Opera; Macbeth (and set design) for Opera New Zealand and Don Giovanni (and set design) for Opera Queensland. He was also lighting and associate set designer of the first Australian production of Wagner's Ring Cycle in Adelaide in 2004.Nick has also designed lighting for Scheherazade for the Australian Ballet, the acclaimed Cinderella for Royal New Zealand Ballet, and several pieces for Bangarra Dance Company, including Bush, Bennelong and Patyegarang.The year commences for Nick with lighting designs for productions of Wudjang: Not the Past (Bangarra Dance), North By Northwest (Kay & McLean Productions) and The Phantom of the Opera (Opera Australia) on Sydney Harbour. With such a full schedule it was a treat for STAGES to examine the art of Lighting Design with one of the country's most prolific and eloquent artists; Nick Schlieper.The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

During February, the Siren Theatre Company presented Kate Gaul's bewitching production of The End of Winter - a performance essay by Noelle Janaczewska, at the Stables Theatre. The production featured actor Jane Phegan.This episode of STAGES will chronicle the evolution of the production. STAGES followed the personnel - performer, director, designers, playwright - over a 4 week period, checking in occasionally to ascertain the contribution of each to the production process and how they navigate the construction of theatre.To the uninitiated, it is a fascinating process as disparate parts collaborate under the guidance of director to create the magic of live performance. The deft conjuring of illusion and the seductive pull of storytelling, transport us to other worlds, and enlighten us through evocative text and passionate craft.STAGES approached Kate Gaul from the Siren Theatre Company as rehearsals were about commence, giving the podcast access to a show's evolution. The company she had assembled combined the team who had previously presented Janaczewska's Good with Maps (a production that toured extensively), and keen creatives, early in their careers as theatre makers.Through the episode you'll be privy to my conversations with Director Kate Gaul, Actor Jane Phegan, Composers/Sound Designers Nate Edmondson & Kaitlyn Crocker, Lighting Designer Becky Russell and playwright Noelle Janaczewska.The End of Winter is a new work for the stage that speaks to our current climate crisis. Written in the wake of the devastation of the 2019 bushfires, it asks: What is happening to Winter?The STAGES podcast is available to access and subscribe from Whooshkaa, Spotify and Apple podcasts. Or from wherever you access your favourite podcasts. A conversation with creatives about craft and career. Recipient of Best New Podcast at 2019 Australian Podcast Awards. Follow socials on instagram (stagespodcast) and facebook (Stages).www.stagespodcast.com.au

New public domain work, more podcasting acquisitions, adding video or not to your podcasting workflow, we have an affiliate program, yas! What you need to start a podcast in 2022, the power of host read ads, ad insertion best practices, from promo codes to insertion points, and of course stats! Audience feedback drives the show. We'd love for you to contact us and keep the conversation going! Email thefeed@libsyn.com, call 412–573–1934 or leave us a message on Speakpipe! We'd love to hear from you! SIGN UP FOR OUR NEWSLETTER HERE! Quick Episode Summary :13 Intro 3:34 PROMO 1: The Fluent Show 4:06 Rob and Elsie conversation It's a new year! And Rob gives us the scoop on his 19th calendar year as an indie podcaster Have you changed your copyright field yet? New public domain works Captivate was acquired by Global at the end of 2021 and Whooshkaa was acquired by Spotify 12:33 AUDIO FEEDBACK - Creating video to support your podcast, it's sucking the joy out! Thoughts on adding video production to your current audio podcast, is it worth it? Japanese language podcast and YouTube - tags fail to send over, why? We have an affiliate program! Yas! 21:20 PROMO 2: Video Fuzzy What do you need to Start a Podcast in 2022? Host read ads are not gone and are very much available for advertisers in our space! The Libsyn Blog has been very active with all the recaps for 2021 Rob's tip on purposely customizing your show's background color 30:11 AUDIO FEEDBACK: Carey Green and some extra audio files? Best practices for publishing archived episodes for the holidays Would it be better to release every other week all year round or take off more time at the beginning or end of the year? Spotify and Google Podcasts currently do not support video files - MP4 files will not show up there Ad insertion best practices, from promo codes to insertion points Is it best to promote the entire podcast, a series or an episode? Advertisecast team reported their monthly Podcast Advertising Rates 48:18 PROMO 3: The Unstarving Musician 49:02 Stats! Mean and Median Where have we been and where are we going! Featured Podcast Promo + Audio PROMO 1: The Fluent Show PROMO 2: Video Fuzzy's 78th installment PROMO 3: Unstarving Musician Thank you to Nick from MicMe for our awesome intro! Podcasting Articles and Links mentioned by Rob and Elsie Leave us voice feedback! Public Domain Date Ten Notable Pre–1923 Recordings The National Jukebox List of Books in the public domain for 1926 Become a Libsyn Affiliate Don't Bid Farewell to Podcast Promo Codes Quite Yet Libsyn's 2021 Year in Review The Feed 2021 Recap and Look Back A Big Call-Out to The Rockin' Libsyn Podcasts of 2021! Apple Podcasts Tips: Customize Your Show Artwork Advertisecast Advertising Rates Rob on the Outdoor Biz Podcast Rob on Mind of A Mentor Super Podcast Growth Hacks for TikTok! HELP US SPREAD THE WORD! We'd love it if you could please share The Feed with your Twitter followers. Click here to post a tweet! If you dug this episode, head over to Podchaser and kindly leave us a review and follow the show! Follow The Feed wherever you listen to audio! → Follow via Apple Podcasts → Follow via Google Podcasts → Follow via Spotify → Here's our RSS feed! FEEDBACK AND PROMOTION ON THE SHOW You can ask your questions, make comments and create a segment about podcasting for podcasters! Let your voice be heard. Download The Feed App for iOS and Android Call 412–573–1934 Email thefeed@libsyn.com Use our Speakpipe Page

Hosted and Produced by Bryan Barletta and Evo TerraAudio Engineering by Ian PowellThis is The Download, the most important business news from the world of podcasting, I'm Bryan Barletta.And I'm Evo Terra. Today we're covering the entirety of the podcast acquisition and funding that happened in 2021. Let's get started.Libsyn, the public podcast hosting platform founded in 2004 had an incredibly active year. They started by raising 25 million dollars and they definitely put it to work, buying podcast creation platform Auxbus, subscription and membership platform Glow for 1.2 million dollars, host and announcer read self-serve advertising marketplace Advertisecast for 30 million dollars, and longtail podcast advertising marketplace PODGO. With the leadership team from Advertisecast taking a more active role, and former board chairman and investor Brad Tirpak coming on as CEO, Libsyn has a chance to really upgrade their image if they can match the momentum of their competitors and integrate a non-trivial amount of companies into one of the oldest podcast platforms still active.Audacy, started the year as Entercom, and after 53 years, rebranded. Kicking it of by acquiring longtail self-serve ad marketplace Podcorn for $22.5m. Podcorn gives Audacy micro-influencer reach contrasting with their higher-profile owned and repped shows. For $40m, they also bought “an exclusive, perpetual license of WideOrbit's digital audio streaming and podcasting technology and related assets and operations. Audacy will continue to operate WO Streaming under the name AmperWave.” Today, Audacy builds and hosts their radio broadcast to podcasts solution with Triton Digital's Omny Studio, owned by close competitor iHeartMedia, while hosting their Cadence13 and Pineapple Street Media shows on Spotify's Megaphone. For a company reporting around $16m in revenue per quarter from podcasting alone, expect to see them fully migrate to AmperWave and bulk up the public offering for the platform.While Global, the UK-based media & entertainment group and parent company of DAX Digital Ad Exchange does offer podcast hosting capabilities, their main appeal for publishers has been monetization opportunities. So acquiring podcast hosting, analytics, and monetization platform Captivate, which is IAB certified and has strong brand appeal for indie podcasts, shows Global's drive to be more accessible. Ad exchanges thrive on inventory, so the purchase of Remixd, which “automatically converts text articles into audio files” provides Global a quick path to more ad supply. With Captivate off the table, hosting platform Buzzsprout, that serves over 100k podcasts, becomes even more appealing for a longtail inventory play.Earlier in the year, iHeartMedia acquired audio ad technology company Triton Digital for 230 million dollars from E.W. Scripps, which purchased Triton Digital for 150 million dollars in 2018 and Omny Studio, part of Triton Digital, in 2019. Like Audacy, iHeart currently uses Spotify's Megaphone to host their podcasts. Getting all their assets to their own platform is clearly on the horizon for iHeart, especially with Triton Digital offering radio broadcast-to-podcast capabilities. Coupled with iHeart's acquisition of Voxnest/Spreaker in 2020 and the announcement of their ad marketplace in both 2020 and 2021, the only offering iHeart currently lacks to compete with their direct competitors, is an attribution product. Will they build it internally like Adswizz or will they acquire a solution?With over 70% of podcasts on Spotify serving from their hosting platform Anchor, Spotify continues their plans of going wide on audio by buying audiobook distributor Findaway and podcast hosting platform Whooshkaa, which specializes in creating podcasts from radio broadcasts. Whooshkaa will be integrated into hosting platform Megaphone, which Spotify purchased last November for 235 million dollars. While Spotify is unlikely to retain Audacy and iHeartMedia as clients, as both purchased their own radio broadcast-to-podcast technology this year, Spotify will continue to attract publishers looking for those features as part of a complete offering. With Whooshkaa acquired, RedCircle is the last independent hosting platform with dynamic ad insertion and programmatic offerings. And SGRecast from StreamGuys is the only independent company offering a broadcast-to-podcast technology. How long either will remain independent is a very good question.Acast started the year by acquiring US podcast technology startup RadioPublic. Keeping inline with their creator-focused image, the main appeal was “RadioPublic's Listener Relationship Management platform, which allows podcasters to foster even deeper relationships with fans”, which played nice with the beta launch of Acast+, their subscription offering. Over the summer, Acast went public, which is it's own kind of acquisition.And though it falls slightly outside of 2021, when Podnews editor James Cridland announced Amazon's late December 2020 acquisition of Wondery for around 300 million dollars, he made the prediction that ART19 would be the logical next acquisition. After all, former CEO of Wondery, Hernan Lopez was an investor in the platform and all Wondery shows were hosted on ART19. In June of this year, the deal for Amazon to acquire ART19 was officially announced. Nice crystal ball, James.And if that wasn't enough, here's a quick rundown of some of the other deals from 2021: In the podcast player space, the Breaker podcast app team joined Twitter while Maple Media acquired the app itself, Daily Mail and General Trust or DMGT acquired discovery focused podcast app Entale, and Automattic, owner of Tumblr and WordPress.com acquired the podcast app Pocket Casts. In the hosting platform space Castos acquires another hosting platform, Podiant and Sounder acquired audio discovery and analytics company Podnods. In the technology space attribution company Podsights acquired linksharing company pod.link and podcast database Podchaser acquired chart and ranking tool Podcharts and listener review tool Podrover. And in the content production space Amaze Media Labs acquired podcast production company Jam Street Media.Finally, a lighting round of the funding deals that happened, to give you some insight into the money moving into the podcasting space.ProductionCopenhagen-based Podimo raised $15.3m in February and $78m in November.Audio Up Media raised $12m.WaitWhat raised $12m.Sounder raised $2.15m in March and $9.5m in December.Casted raised $7m.French-based Paradiso Media raised $5.9m.Quake Media raised $3.5m.Equity Mates Media raised $900k.UK-based Auddy raised $610k.Creator ToolsVerbit raised $157m.Descript raised $30m.Podcastle raised $7m.Zencastr raised $4.6m.Podchaser raised $4m.Riverside raised $2.5m.Hosting & MonetizationInstreamatic raised $6.1m.RedCircle raised $6m.Podsights raised $4m.Backtracks raised $1.6m.Castos raised $756k.Podmetrics and Podcast Network Asia raised $750k.You'll find links to everything we just covered in the episode details, and subscribe to The Download in your inbox so you never miss an episode.I'm Bryan BarlettaAnd I'm Evo TerraSee omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

Hosted and Produced by Bryan Barletta and Evo TerraAudio Engineering by Ian PowellThis is The Download, the most important business news from the world of podcasting, I'm Bryan Barletta.And I'm Evo Terra. Today we're covering the entirety of the podcast acquisition and funding that happened in 2021. Let's get started.Libsyn, the public podcast hosting platform founded in 2004 had an incredibly active year. They started by raising 25 million dollars and they definitely put it to work, buying podcast creation platform Auxbus, subscription and membership platform Glow for 1.2 million dollars, host and announcer read self-serve advertising marketplace Advertisecast for 30 million dollars, and longtail podcast advertising marketplace PODGO. With the leadership team from Advertisecast taking a more active role, and former board chairman and investor Brad Tirpak coming on as CEO, Libsyn has a chance to really upgrade their image if they can match the momentum of their competitors and integrate a non-trivial amount of companies into one of the oldest podcast platforms still active.Audacy, started the year as Entercom, and after 53 years, rebranded. Kicking it of by acquiring longtail self-serve ad marketplace Podcorn for $22.5m. Podcorn gives Audacy micro-influencer reach contrasting with their higher-profile owned and repped shows. For $40m, they also bought “an exclusive, perpetual license of WideOrbit's digital audio streaming and podcasting technology and related assets and operations. Audacy will continue to operate WO Streaming under the name AmperWave.” Today, Audacy builds and hosts their radio broadcast to podcasts solution with Triton Digital's Omny Studio, owned by close competitor iHeartMedia, while hosting their Cadence13 and Pineapple Street Media shows on Spotify's Megaphone. For a company reporting around $16m in revenue per quarter from podcasting alone, expect to see them fully migrate to AmperWave and bulk up the public offering for the platform.While Global, the UK-based media & entertainment group and parent company of DAX Digital Ad Exchange does offer podcast hosting capabilities, their main appeal for publishers has been monetization opportunities. So acquiring podcast hosting, analytics, and monetization platform Captivate, which is IAB certified and has strong brand appeal for indie podcasts, shows Global's drive to be more accessible. Ad exchanges thrive on inventory, so the purchase of Remixd, which “automatically converts text articles into audio files” provides Global a quick path to more ad supply. With Captivate off the table, hosting platform Buzzsprout, that serves over 100k podcasts, becomes even more appealing for a longtail inventory play.Earlier in the year, iHeartMedia acquired audio ad technology company Triton Digital for 230 million dollars from E.W. Scripps, which purchased Triton Digital for 150 million dollars in 2018 and Omny Studio, part of Triton Digital, in 2019. Like Audacy, iHeart currently uses Spotify's Megaphone to host their podcasts. Getting all their assets to their own platform is clearly on the horizon for iHeart, especially with Triton Digital offering radio broadcast-to-podcast capabilities. Coupled with iHeart's acquisition of Voxnest/Spreaker in 2020 and the announcement of their ad marketplace in both 2020 and 2021, the only offering iHeart currently lacks to compete with their direct competitors, is an attribution product. Will they build it internally like Adswizz or will they acquire a solution?With over 70% of podcasts on Spotify serving from their hosting platform Anchor, Spotify continues their plans of going wide on audio by buying audiobook distributor Findaway and podcast hosting platform Whooshkaa, which specializes in creating podcasts from radio broadcasts. Whooshkaa will be integrated into hosting platform Megaphone, which Spotify purchased last November for 235 million dollars. While Spotify is unlikely to retain Audacy and iHeartMedia as clients, as both purchased their own radio broadcast-to-podcast technology this year, Spotify will continue to attract publishers looking for those features as part of a complete offering. With Whooshkaa acquired, RedCircle is the last independent hosting platform with dynamic ad insertion and programmatic offerings. And SGRecast from StreamGuys is the only independent company offering a broadcast-to-podcast technology. How long either will remain independent is a very good question.Acast started the year by acquiring US podcast technology startup RadioPublic. Keeping inline with their creator-focused image, the main appeal was “RadioPublic's Listener Relationship Management platform, which allows podcasters to foster even deeper relationships with fans”, which played nice with the beta launch of Acast+, their subscription offering. Over the summer, Acast went public, which is it's own kind of acquisition.And though it falls slightly outside of 2021, when Podnews editor James Cridland announced Amazon's late December 2020 acquisition of Wondery for around 300 million dollars, he made the prediction that ART19 would be the logical next acquisition. After all, former CEO of Wondery, Hernan Lopez was an investor in the platform and all Wondery shows were hosted on ART19. In June of this year, the deal for Amazon to acquire ART19 was officially announced. Nice crystal ball, James.And if that wasn't enough, here's a quick rundown of some of the other deals from 2021: In the podcast player space, the Breaker podcast app team joined Twitter while Maple Media acquired the app itself, Daily Mail and General Trust or DMGT acquired discovery focused podcast app Entale, and Automattic, owner of Tumblr and WordPress.com acquired the podcast app Pocket Casts. In the hosting platform space Castos acquires another hosting platform, Podiant and Sounder acquired audio discovery and analytics company Podnods. In the technology space attribution company Podsights acquired linksharing company pod.link and podcast database Podchaser acquired chart and ranking tool Podcharts and listener review tool Podrover. And in the content production space Amaze Media Labs acquired podcast production company Jam Street Media.Finally, a lighting round of the funding deals that happened, to give you some insight into the money moving into the podcasting space.ProductionCopenhagen-based Podimo raised $15.3m in February and $78m in November.Audio Up Media raised $12m.WaitWhat raised $12m.Sounder raised $2.15m in March and $9.5m in December.Casted raised $7m.French-based Paradiso Media raised $5.9m.Quake Media raised $3.5m.Equity Mates Media raised $900k.UK-based Auddy raised $610k.Creator ToolsVerbit raised $157m.Descript raised $30m.Podcastle raised $7m.Zencastr raised $4.6m.Podchaser raised $4m.Riverside raised $2.5m.Hosting & MonetizationInstreamatic raised $6.1m.RedCircle raised $6m.Podsights raised $4m.Backtracks raised $1.6m.Castos raised $756k.Podmetrics and Podcast Network Asia raised $750k.You'll find links to everything we just covered in the episode details, and subscribe to The Download in your inbox so you never miss an episode.I'm Bryan BarlettaAnd I'm Evo TerraSee omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.See omnystudio.com/listener for privacy information.

Hosted and Produced by Bryan Barletta and Evo Terra Audio Engineering by Ian Powell This is The Download, the most important business news from the world of podcasting, I'm Bryan Barletta. And I'm Evo Terra. Today we're covering the entirety of the podcast acquisition and funding that happened in 2021. Let's get started. Libsyn, the public podcast hosting platform founded in 2004 had an incredibly active year. They started by raising 25 million dollars and they definitely put it to work, buying podcast creation platform Auxbus, subscription and membership platform Glow for 1.2 million dollars, host and announcer read self-serve advertising marketplace Advertisecast for 30 million dollars, and longtail podcast advertising marketplace PODGO. With the leadership team from Advertisecast taking a more active role, and former board chairman and investor Brad Tirpak coming on as CEO, Libsyn has a chance to really upgrade their image if they can match the momentum of their competitors and integrate a non-trivial amount of companies into one of the oldest podcast platforms still active. Audacy, started the year as Entercom, and after 53 years, rebranded. Kicking it of by acquiring longtail self-serve ad marketplace Podcorn for $22.5m. Podcorn gives Audacy micro-influencer reach contrasting with their higher-profile owned and repped shows. For $40m, they also bought “an exclusive, perpetual license of WideOrbit's digital audio streaming and podcasting technology and related assets and operations. Audacy will continue to operate WO Streaming under the name AmperWave.” Today, Audacy builds and hosts their radio broadcast to podcasts solution with Triton Digital's Omny Studio, owned by close competitor iHeartMedia, while hosting their Cadence13 and Pineapple Street Media shows on Spotify's Megaphone. For a company reporting around $16m in revenue per quarter from podcasting alone, expect to see them fully migrate to AmperWave and bulk up the public offering for the platform. While Global, the UK-based media & entertainment group and parent company of DAX Digital Ad Exchange does offer podcast hosting capabilities, their main appeal for publishers has been monetization opportunities. So acquiring podcast hosting, analytics, and monetization platform Captivate, which is IAB certified and has strong brand appeal for indie podcasts, shows Global's drive to be more accessible. Ad exchanges thrive on inventory, so the purchase of Remixd, which “automatically converts text articles into audio files” provides Global a quick path to more ad supply. With Captivate off the table, hosting platform Buzzsprout, that serves over 100k podcasts, becomes even more appealing for a longtail inventory play. Earlier in the year, iHeartMedia acquired audio ad technology company Triton Digital for 230 million dollars from E.W. Scripps, which purchased Triton Digital for 150 million dollars in 2018 and Omny Studio, part of Triton Digital, in 2019. Like Audacy, iHeart currently uses Spotify's Megaphone to host their podcasts. Getting all their assets to their own platform is clearly on the horizon for iHeart, especially with Triton Digital offering radio broadcast-to-podcast capabilities. Coupled with iHeart's acquisition of Voxnest/Spreaker in 2020 and the announcement of their ad marketplace in both 2020 and 2021, the only offering iHeart currently lacks to compete with their direct competitors, is an attribution product. Will they build it internally like Adswizz or will they acquire a solution? With over 70% of podcasts on Spotify serving from their hosting platform Anchor, Spotify continues their plans of going wide on audio by buying audiobook distributor Findaway and podcast hosting platform Whooshkaa, which specializes in creating podcasts from radio broadcasts. Whooshkaa will be integrated into hosting platform Megaphone, which Spotify purchased last November for 235 million dollars. While Spotify is unlikely to retain Audacy and iHeartMedia as clients, as both purchased their own radio broadcast-to-podcast technology this year, Spotify will continue to attract publishers looking for those features as part of a complete offering. With Whooshkaa acquired, RedCircle is the last independent hosting platform with dynamic ad insertion and programmatic offerings. And SGRecast from StreamGuys is the only independent company offering a broadcast-to-podcast technology. How long either will remain independent is a very good question. Acast started the year by acquiring US podcast technology startup RadioPublic. Keeping inline with their creator-focused image, the main appeal was “RadioPublic's Listener Relationship Management platform, which allows podcasters to foster even deeper relationships with fans”, which played nice with the beta launch of Acast+, their subscription offering. Over the summer, Acast went public, which is it's own kind of acquisition. And though it falls slightly outside of 2021, when Podnews editor James Cridland announced Amazon's late December 2020 acquisition of Wondery for around 300 million dollars, he made the prediction that ART19 would be the logical next acquisition. After all, former CEO of Wondery, Hernan Lopez was an investor in the platform and all Wondery shows were hosted on ART19. In June of this year, the deal for Amazon to acquire ART19 was officially announced. Nice crystal ball, James. And if that wasn't enough, here's a quick rundown of some of the other deals from 2021: In the podcast player space, the Breaker podcast app team joined Twitter while Maple Media acquired the app itself, Daily Mail and General Trust or DMGT acquired discovery focused podcast app Entale, and Automattic, owner of Tumblr and WordPress.com acquired the podcast app Pocket Casts. In the hosting platform space Castos acquires another hosting platform, Podiant and Sounder acquired audio discovery and analytics company Podnods. In the technology space attribution company Podsights acquired linksharing company pod.link and podcast database Podchaser acquired chart and ranking tool Podcharts and listener review tool Podrover. And in the content production space Amaze Media Labs acquired podcast production company Jam Street Media. Finally, a lighting round of the funding deals that happened, to give you some insight into the money moving into the podcasting space. Production Copenhagen-based Podimo raised $15.3m in February and $78m in November. Audio Up Media raised $12m. WaitWhat raised $12m. Sounder raised $2.15m in March and $9.5m in December. Casted raised $7m. French-based Paradiso Media raised $5.9m. Quake Media raised $3.5m. Equity Mates Media raised $900k. UK-based Auddy raised $610k.Creator Tools Verbit raised $157m. Descript raised $30m. Podcastle raised $7m. Zencastr raised $4.6m. Podchaser raised $4m. Riverside raised $2.5m.Hosting & Monetization Instreamatic raised $6.1m. RedCircle raised $6m. Podsights raised $4m. Backtracks raised $1.6m. Castos raised $756k. Podmetrics and Podcast Network Asia raised $750k. You'll find links to everything we just covered in the episode details, and subscribe to The Download in your inbox so you never miss an episode. I'm Bryan Barletta And I'm Evo Terra See omnystudio.com/listener for privacy information. See omnystudio.com/listener for privacy information.

Spotify is continuing its investments in podcasts with today's news that's it's acquired another podcast technology company, Whooshkaa, an Australia-based all-in-one platform for hosting, managing, distributing, promoting, monetizing and measuring podcasts.

The clock is ticking and psychopath Vince O'Dempsey, after so many decades of freedom, is finally held accountable for murder. Justice may be served in the McCulkin case, but countless questions remain unanswered. What of the string of missing persons – from prostitutes and low-level criminals to drug crop cooks, female backpackers and even a four-year-old child – that police think may be linked to Vince? With Vince in his 80s, it's a race against time for cold case detectives to resolve these mysteries. And finally, have we found Vince's private graveyard, and the last resting place of Barbara, Vicki and Leanne McCulkin?

Episode 8: As homicide detectives get closer to arresting Vince, he disappears deep into the Australian bush, living off the land, hiding in caves and dug-outs in and around Ghost Gate Road. Vince is finally captured and charged with the McCulkin murders, as is his accomplice Shorty Dubois. But it's still a long road to a guilty verdict, and like a trapped wild animal, Vince starts making plans to eliminate some of the witnesses who plan to testify against him.

Episode 6: Stunning revelations emerge about the possible location of Vince's almost mythical private graveyard, where he has buried his victims and visits them when it takes his fancy. Meanwhile, Vince goes on the run after the McCulkin murders and unbelievably plots another hideous multiple murder. This time he wants the girls - who saw him and his mate Shorty with the McCulkins before they disappeared in Dorchester Street – liquidated.

Episode 5: In the aftermath of the Whiskey tragedy, to that point Australia's worst mass murder, two men are arrested and charged, but did police get all of the perpetrators? Shocking new details emerge about the planning behind the Whiskey attack, and the possible involvement of corrupt police and organised crime. And one of the country's most notorious police officers lets slip a tantalising clue about Vince and the firebombing. Within 10 months of the blaze, suburban mother Barbara McCulkin and her two young daughters are taken into bushland outside Warwick and brutally murdered and raped. Why? Did Barbara and the girls die because she knew the truth behind the Whiskey?

Episode 3: In the early 1970s, after several stretches in prison for assault, possession of a handgun and robbery, Vince is a free man. A monster is on the loose. He makes powerful connections with the Sydney underworld and is a gunman for hire. He also hooks up with a Brisbane criminal outfit called the Clockwork Orange Gang. Secretly, however, he commits the cardinal sin for a crook. He goes into business with corrupt police.

Rob Loewenthal is the founder of Whooshkaa, a platform that helps creators and brands to produce, host, and monetize their podcasts. The Show Notes Whooshkaa Rob on Twitter Rob on LinkedIn Omer on Twitter Omer on LinkedIn Enjoyed this episode? Subscribe to the podcast Leave a rating and review Follow Omer on Twitter Need help with your SaaS? Join SaaS Club Plus: our membership and community for new and early-stage SaaS founders. Join and get training & support. Join SaaS Club Launch: a 12-week group coaching program to help you get your SaaS from zero to your first $10K revenue. Apply for SaaS Club Accelerate: If you'd like to work directly with Omer 1:1, then request a free strategy session.