Afleveringen
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In this Encore Episode from 2021, author Rick Pender takes us inside the creation of The Stephen Sondheim Encyclopedia. Rick Pender is a longtime member and former chair of the American Theater Critics Association. He first began reviewing theater in 1985 for a public radio station he managed at Northern Kentucky University. He later became the theater critic for CityBeat – Cincinnati’s alternative weekly newspaper -- and eventually became its arts and culture editor. He also often contributed articles to The Sondheim Review, a quarterly magazine that I know many of you remember fondly, and for 12 years, from 2004 to 2016, he served as its managing editor. His latest venture, The Stephen Sondheim Encyclopedia, is a 638 page overview of anything and everything related to Sondheim’s work, life and career. Learn more about your ad choices. Visit megaphone.fm/adchoices
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This is the second of a three-part conversation with author Elizabeth T. Craft regarding her recent book, Yankee Doodle Dandy — George M. Cohan and the Broadway Stage, which is the first book about Cohan in fifty years. If you missed the first episode in this series you may want to catch up with that one before listening to this one.
This week, Elizabeth and I begin with a discussion of Cohan, the entertainer. He was, without a doubt, one of the first brand-name celebrities in the modern sense, and every aspect of his persona was perfectly integrated – his unique style of performance, the content of his plays and lyrics, the beat and rhythm of his music, all worked together in perfect unison. But what exactly was it that made Cohan such a distinctive and potent personality?
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If you are a fan of Broadway Nation, I invite you to become a PATRON!
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And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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Zijn er afleveringen die ontbreken?
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My guest today is author Elizabeth T. Craft, whose terrific book, Yankee Doodle Dandy — George M. Cohan and the Broadway Stage, is the first book about Cohan in fifty years.
No one looms larger in the history of early Broadway than the Irish American writer, composer, lyricist, director, choreographer, producer, actor, singer, dancer, and musical theater legend George M. Cohan — who is often called “the father of musical comedy.” It is no mistake that Cohan’s is the one and only statue of a Broadway figure to have a place of honor in the center of Times Square.
As you will hear, Elizabeth Craft situates Cohan as a central figure in the invention of the Broadway musical and illustrates how his plays, musicals, songs, and persona indelibly shaped the American cultural landscape of his day and more than 100 years later continue to have enduring resonance.
Featured on this episode is music from The Paragon Ragtime Orchestra's outstanding album You're A Grand Old Rag — The Music of George M. Cohan, and the studio cast recording of Yankee Doodle Dandy (book by David Armstrong, music & lyrics by George M. Cohan, musical arrangements and additional music and lyrics by Albert Evans.)
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This episode is made possible in part through the generous support of longtime Patron Club Member Juan J. Neumeister.
If you are a fan of Broadway Nation, I invite you to become a PATRON!
For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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My guest on this Pride Encore edition of Broadway Nation is author Maya Cantu who joins me to discuss her book, Greasepaint Puritan — Boston to 42nd Street in the Queer Backstage Novels of Bradford Ropes.
In this book Maya reclaims the life and work of Bradford Ropes, the author of the naughty, bawdy, gaudy, sporty, and very gay novel, 42nd Street, on which both the classic film and stage adaptation are based.
That’s just the first of his three long-forgotten novels that include Stage Mother and Go Into Your Dance, all of which were inspired by Rope’s own experiences as a performer, and all three of which give us a chance to go backstage on Broadway during the 1920s and experience the lives of gay men in show business. As you will hear Maya Cantu has done a miraculous job of uncovering all of this
Cantu is a dramaturg and interdisciplinary scholar who teaches on the Drama Faculty of Bennington College. She is also the author of American Cinderella on the Broadway Musical Stage: Imagining the Working Gril from “Irene” to “Gypsy”.
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I want to thank our Broadway Nation Patron Club members, such as our newest member Cheryl Hodges-Selden whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron.
For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.
All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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My guest again this week is Andrew Erdman, author of the captivating book, Beautiful—The Story of Julian Eltinge, America's Greatest Female Impersonator.
In this episode, Andrew continues the story of Eltinge’s rise to the absolute highest realms of show business — and we especially focus on three musicals that were created especially for him by top Broadway talents such as Otto Harbach, Jerome Kern, and Irving Berlin: That Fascinating Widow (1911), The Crinoline Girl (1914), and Cousin Lucy (1915).
Along the way, you will have a chance to hear some of the songs that they created for Eltinge, as performed by a friend of the pod David Sabella (aka Amanda Reckonwith) including “Those Come Hither Eyes” – from the musical Cousin Lucy (lyrics by Schuler Green; music by Jerome Kern), and "Don't Take Your Beau to the Seashore," (music by Irving Berlin; lyrics by E. Ray Goetz).
If you missed the first episode in this series, you may want to catch up with that before listening to this one.
Author Andrew Erdman has immersed himself in this remarkable era of show biz history; his previous book was the equally fascinating Queen of Vaudeville: The Story of Eva Tanquay
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This podcast is made possible in part by the generous support of our Patron Club Members, including our newest member Alan Teasley.
For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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My guest on this episode is Andrew L. Erdman, who is the author of the new book: Beautiful — The Story of Julian Eltinge, America's Greatest Female Impersonator.
In the late 19th and early 20th Century — long before the fierce television Drag stars of today — a specific style of drag performance known as Female Impersonation was wildly popular on stage and screen — in America and around the world.
And no female impersonator was more famous, successful, or highly regarded than Julian Eltinge.
Although barely remembered today, in his time, Eltinge was on a par with Al Jolson, Eddie Cantor, and Fanny Brice, and was so popular and renowned that he even had a Broadway theater named after him! That theater still exists, and you can still go there and see Julian Eltinge — but you will have to listen to the episode(s) to find out where and how.
Author Andrew Erdman has immersed himself in this remarkable era of show biz history; his previous book was the equally fascinating Queen of Vaudeville: The Story of Eva Tanquay
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This podcast is made possible in part by the generous support of our Patron Club Members, including members John Schroeder and Alan Brodie.
For just $7.00 a month, you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. All patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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This is the second half of my conversation with Deborah Phillips author of the fascinating book, AND THIS IS MY FRIEND SANDY — SANDY WILSON’S THE BOY FRIEND, LONDON THEATRE AND GAY CULTURE.
If you missed the previous episode you may want to catch up with that before listening to this one.
The Boyfriend is one of the most popular and successful British musicals of all time. On the previous episode Deborah Phillips shared with us how its creator Sandy Wilson grew up as a musical theater obsessed kid whose idols were Noel Coward, Ivor Novello, and Binky Beaumont — the three dynamic gay theater artists who dominated London’s West End in the 1930s and 40s. She also described London’s vibrant but clandestine gay theatrical subculture of the early 1950s out of which Sandy Wilson and The Boyfriend emerged. And we even heard a bit about the secret gay language of chorus boys and sailors called “Polari,” and the hilarious BBC radio series, Round The Horne, that introduced Polari to millions of listeners in the mid-1960s, even though most of those listeners had no idea what is was, or understood its connections to gay culture. All of that was, of course, happening at a time when you could be sent to prison for being homosexual.
Deborah and I pick up our conversation just as Sandy Wilson is about to launch the first production of The Boyfriend at the private theater club, The Players Theatre, where it became a major hit and quickly moved to the West End.
We then go on to discuss London’s other major hit musical of 1952, Julian Slade’s SALAD DAYS. Those two shows — both set in the 1920s — created nearly as much excitement as Queen Elizabeth’s coronation that same year. In this episode you will hear a clip from Round the Horne featuring two very camp characters named “Julian & Sandy” (inspired by the two songwriters) who pepper their dialogue with Polari words and phrases, and whose catch phrase inspired the title of Deborah Phillip’s book.
That original West End production of The Boyfriend ran for five years. Meanwhile, an American production opened on Broadway in 1954 and became a major hit in spite of Wilson’s objections to how it was redirected for Broadway. 18 years later, in 1972, a film version of The Boyfriend was released, directed by Ken Russell, that Wilson loathed.
Wilson went on to create several highly anticipated subsequent musicals including The Buccaneer, Valmouth, and the sequel to The Boyfriend — Divorce Me Darling. None of them, however, were able to achieve the same kind acclaim and popularity as The Boyfriend. Phillips also shares some fascinating stories of several other high-profile projects that got away from Sandy Wilson and went on to legendary success with other songwriters.
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This episode is made possible in part by the generous support of Producer Level Patrons:
Gary Fuller & Randy Everett.
If you would like to help support the work of Broadway Nation I will information at the end of the podcast about how you too can become a Patron.
If you are a fan ofBroadway Nation, I invite you too to become a PATRON!
For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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My guest this week is author Deborah Phillips whose new book is titled:AND THIS IS MY FRIEND SANDY — SANDY WILSON’S THE BOY FRIEND, LONDON THEATRE AND GAY CULTURE.Sandy Wilson's The Boyfriend — for which he wrote the book, music, & lyrics — is one of the most successful British musicals of all time. It emerged in 1952 out of London’s secretive but vibrant gay theatrical subculture, at a time when you could be sent to prison for being homosexual. By the following year both The Boyfriend and Sandy Wilson were the toast of London’s West End, and created nearly as much excitement as Queen Elizabeth’s coronation that same year. That original West End production ran for five years. Meanwhile, a hit American version of The Boyfriend opened on Broadway in 1954 and made a star out of Julie Andrews. The show was revived on Broadway in 1970 and made a star of Sandy Duncan, and two years later an ill-conceived film version was released, starring Twiggy and Tommy Tune and directed by Ken Russell.Despite all of this, prior to this book, very little has been written about Sandy Wilson. Deborah Phillips, who is Professor of Literature and Cultural History at the University of Brighton, is the first researcher to delve into Wilson’s extensive archives out of which she has created an captivating portrait of Wilson as a both a key figure in post-war British theatre and the era's gay culture.This book and interview introduced me to a number of fascinating subjects I had never encountered before including the hilarious BBC radio series, Round The Horne, that inspired the book’s title; the history of London's Players Theatre; and the secret gay language, Polari. Exploring all that sent me into several amazing internet rabbit holes and I will be posting articles and video clips that I found there in the Broadway Nation FaceBook Group.This episode is made possible in part through the generous support of Broadway Nation Patron Club members Anne Welsh, Chris Moad, and Bob Braun.Become A PATRON of Broadway Nation!This episode is made possible in part through the generous support of Broadway Nation Patron Club members Anne Welsh, Chris Moad, and Bob Braun.If you are a fan ofBroadway Nation, I invite you too to become a PATRON!For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:https://broadwaynationpodcast.supercast.tech/Thank you in advance for your support!Learn more about your ad choices. Visit megaphone.fm/adchoices
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This is the second part of my conversation with author Barry Kester whose fascinating new book is titled: Round In Circles — The Story of Rodgers & Hammerstein’s CAROUSEL.
Last week we focused on the three people most responsible for the creation of CAROUSEL — Oscar Hammerstein, Richard Rodgers, and the dynamic producer Theresa Helburn, whose vision and obsession it was to turn Ferenc Molnar’s play Liliom into a musical.
This week Barry takes us behind the scenes of CAROUSEL’s rehearsal period and it’s rocky out-of-town tryout including its very first performance in New Haven where the show ran more than four hours long! Along the way we have the opportunity to focus on the other key members of Carousel’s creative team — choreographer Agnes De Mille, director Rouben Mamoulian, dance arranger Trude Rittmann, and orchestrator Don Walker — all of whom were crucial in helping Rodgers & Hammerstein turn what could have been a disaster into one of the landmark musicals of the “Golden Age of Broadway.”
If you missed part one you may want to catch up with that episode before listening to this one.
This episode is made possible in part through the generous support of Patron Club Members:
Roger Kloresse, Elizabeth Troxler and Chris Moad.
Thank you all!
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If you are a fan of Broadway Nation, I invite you to become a PATRON!
For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
And If you are very enthusiastic about Broadway Nation there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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My guest on Broadway Nation this week is Barry Kester, author of the fascinating new book:
Round In Circles — The Story of Rodgers & Hammerstein’s CAROUSEL.
I thought I knew a lot about Carousel — and in fact Albert Evans and I have previously devoted several previous episodes to that show and its truly groundbreaking innovations. However, we both found this book to be filled with new information, new discoveries, and new insights.
Based on his exemplary research, Barry Kester takes us deep inside Rodgers & Hammerstein’s creative process as they endeavor to transform Ferenc Molnar’s dark, fantastical play, Liliom, into their second Broadway musical collaboration, which they know will be compared to their first show, Oklahoma!, which had become the most successful Broadway Musical of all time and was still going strong! So, they consciously set out to do something very different.
At the center of this story is a dynamic woman, producer Theresa Helborn, who was the inspiring, driving force behind the show. In fact, without Helborn there would have been no Carousel or Oklahoma!
This is the first of three episodes in which Barry will share with us not only these fascinating stories but also his own unlikely and surprising tale of how he came to write this book.
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For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgment of your vital support of this podcast.
And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link:
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The Golden Age of Broadway’s new revolutionary way of writing musicals did not just apply to Musical Plays like those of Rodgers & Hammerstein and Lerner & Loewe. It also transformed the Musical Comedy.
In this episode, I share the stories of how the unlikely success of Irving Berlin's ANNIE GET YOUR GUN and Cole Porter's KISS ME KATE inspired a new generation of writers, directors, choreographers, stars, and producers, including Jule Styne, Frank Loessor, Adler & Ross, Jerome Robbins, Bob Fosse, Gwen Verdon, and Michael Kidd to bring the Musical Comedy to new heights with shows such as GUYS AND DOLLS, THE PAJAMA GAME, DAMN YANKEES, FUNNY GIRL, and more!
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I am very pleased to share with you part one of my recent conversation with authors Paige Allan and Stacy Wolf about their fascinating new book, Feminist Approaches to Musical Theater.
Paige Allen is a writer, researcher, and storyteller. She holds a Masters degree in Women's, Gender, and Sexuality Studies from the Oxford University of and an BA in English from Princeton University, USA.
Stacy Wolf is Professor of Theater and American Studies at Princeton University and is the author of the acclaimed books Changed for Good: A Feminist History of the Broadway Musical and A Problem Like Maria: Gender and Sexuality in the American Musical.
Long-time listeners will remember Stacy from Episodes 44 and 45 of Broadway Nation, in which we talked about her book Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America.
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This is the second half of my recent conversation with Tony Award-winning composer, lyricist, arranger, and music producer MARC SHAIMAN about his new, New York Times bestselling book, NEVER MIND THE HAPPY.
During his five-decade career, Marc has found enormous success in nearly every aspect of show business, but in this episode, we focus on his
experiences on Broadway, including CATCH ME IF YOU CAN, CHARLIE AND
THE CHOCOLATE FACTORY and, most especially, the behind-the-scenes history and development of his smash-hit musical HAIRSPRAY.
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This episode is made possible in part by the generous support of our Patron Club Members, including our newest patron, PAULA & STEVE REYNOLDS.
If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
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During the 1930s Broadway was severely impacted by the economic disaster of the "Great Depression". However, somehow out of all that hardship and struggle came an extraordinary period of artistic achievement and spectacular continuing development for the Broadway Musical. The inventors of these shows included several new and defining masters of the musical, as well as many of the bright lights of the 1920’s, who now achieved their full wattage in the 1930’s. Among these were Dietz & Schwartz., Lindsay & Crouse, Cole Porter, Rodgers & Hart, The Gershwins, and George "Mr" Abbott.
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My guest today on Broadway Nation is the Tony Award-winning composer, lyricist, arranger, and music producer, MARC SHAIMAN, who has found spectacular success in nearly every aspect of the entertainment industry, including film, television, and theater, but is probably best known to fans of this podcast as the composer and co-lyricist of the Broadway smash hit musical HAIRSPRAY.
Marc joins us today to tell us about his star-studded new book, NEVER MIND THE HAPPY, which recently became a New York Times bestseller.
In this candid, hilarious, and at times quite moving memoir, Shaiman looks back over five decades of his amazing career. I found this to be a delightful conversation filled with behind-the-scenes stories and impromptu musical punctuations that I suspect you will not soon forget!
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This episode is made possible in part by the generous support of our Patron Club Members, including our newest patron, Arnold Hirshon.
If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link:
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My guest this week is Barry Joseph, the author of the recent book, Matching
Minds with Sondheim.
Since his death, there have been so many books about Stephen Sondheim and various aspects of his life and his career, including an amazing number of really terrific books, and I have had the honor of having many of the authors of those books as guests on this podcast. And Barry Joseph’s book is right up there with the best of them, but it is also a completely unique and original way of looking at Sondheim.
As Barry describes it, Matching Minds with Sondheim is “an exploration into the barely understood, hardly known, side-aspect of who Steven Sondheim was when he was not writing lyrics and composing music. Puzzles and games were a side hobby of his that he had a passion for throughout his life
— from when he was very young until he passed away. And throughout those many decades, through parlor games, board games, treasure hunts, word puzzles, mechanical puzzles and video games, his passion, interest and creativity was expressed in a whole other way than we get to see when it's on the stage.”
The book also serves as a sort of “alternate biography” of Sondheim and explores how his life, Broadway career, and gaming hobby were intricately
intertwined.
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This is the fourth and final episode in which Albert Evans and I go in search
of the 1934 smash-hit musical The Great Waltz, one of the longest-running
shows of the 1930s.
The goal of this occasional series of podcasts, In Search of Lost Broadway, is to try to rediscover big hit Broadway musicals from the past, which today are almost entirely unknown to us and forgotten.
This week, we explore several high-profile reincarnations of The Great Waltz in the 1960s and 70s, all of which stem from a heavily revised version, with new lyrics by the team Robert Wright and George Forrest, that was first produced by impresario Irwin Lester at his Los Angeles Civic Light Opera company in 1949 and then was revived and revised in 1953 and 1965.
The highly acclaimed 1965 version was announced several times for Broadway but never materialized there. It did, however, open in London in 1970, where it became a major hit, running more than 600 performances.
Then, in 1972, in the wake of the massive success of The Sound of Music film, The Great Waltz became a major motion picture starring Horst Buchholz and Mary Costa, again with new lyrics by Wright & Forrest.
Finally, we discuss the Walt Disney TV-movie version of the Johann Strauss story, titled The Waltz King, which aired on The Wonderful World of
Disney in 1963.
If you missed the previous episodes in the series, you may want
to catch up with those before listening to this one.
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This episode is made possible in part by the generous support of our Patron Club Members, including our newest patron, Ann Drourr.
If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link:
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Because this is a Broadway history podcast, I don’t usually comment on recently opened productions, since we can’t know yet whether they will be historically significant. The exceptions, of course, are major revivals of Broadway musicals from the past. And since I’ve been around for a while and had the opportunity to see the original 1986 London production of Chess, which ran for three years, as well as the 1988 Broadway production, which closed after only 68 performances, and a few weeks ago, the current Broadway revival of the show, I thought I might be interesting today to talk about the history of this show and share my thoughts on all three major productions.
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This episode is made possible in part through the generous support of our Patron Club Members such as Kelly Allen.
If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast.
And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits.
If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link:
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Thank you in advance for your support!
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