Episódios
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When we think of "out of town" tryouts we think of Boston, New Haven, Philadelphia, Detroit, Tokyo…..
Yes, Tokyo!
In the 1970s Tokyo had become the center of Japanese culture and it was giving its citizens home grown movies, literature, plays, and paintings but it had not given its public a musical that was cultivated in Japan. So what better option than an hour adaptation of Gone With The Wind?
Well, what happened was…..well were gonna let Miss Scarlett herself, Lesley Ann Warren, tell you in this week’s episode of which explores Gone With the Wind: The Musical! Well, fiddle- dee- dee!
BROADWAY BOUND PLAYERS
Ray Hebel as Joe Layton
Cameron Kalajian as Akira Takarada
CJ Schneider as Harold Rome
Molly Stillens as Florence Rome
Jake Urban as Rex Reed
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This one is a heart-breaker, friends.
A real, honest to Sondheim heart-breaker.
Like Avenue Q beating Wicked heart-breaker because, unless without a deus ex machina at Paramount Studios, we will never, ever see a musical that everyone says was one of the greatest musicals of the 1990s.
Starring Christine Ebersole, Gregory Harrison, and......wait, why should I tell you when book writer Martin Casella and ensemble members John Bolton and Christopher Sieber can as they back on 1993's Paper Moon.
BROADWAY BOUND PLAYERS
Charles Kirsch as The New York Times Critic
Matt Koplik as The New York Times Reporter
CJ Schneider as Larry Grossman
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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What do a nine minute song about a bird, the chest hair of Israel's greatest entertainer, an FBI pursuit of a missing lead sheet, and a list of firings as long as Paul Sorvino's range have in common? They were all part of the madcap, wild, manic, and tumultuous ride of Stephen Schwartz and Joseph Stein's The Baker's Wife.
Get ready as original cast members Carole Demas, Kurt Peterson, Teri Ralston, as well as original press agent Joshua Ellis, look back on Topol, Patti LuPone, David Merrick, and a meadowlark longing to break free.
BROADWAY BOUND PLAYERS
Nicole Weitzman as Patti LuPone
Cole Winston as Stephen Schwartz
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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What happens when the doctor becomes the patient?
Abe Burrows, the greatest script doctor of the Golden Age, had agreed to direct and write the musical adaptation of Breakfast at Tiffany's. Only problem is no one told him what they wanted...or expected...
Soon, it was a troubled musical with different titles, different book-writers (including Edward Albee), America's cutest TV stars floundering without cameras, the Abominable Showman himself, David Merrick, and.....well, why have us tell you when ten time Emmy Award winning director James Burrows (Cheers, Friends) looks back on his father's work and his own experience as the assistant stage manager of Holly Golightly/Breakfast At Tiffany's: The Musical
BROADWAY BOUND PLAYERS
Caleb Funk as Edward Albee
Andrew Leggieri as Jeff
Alaina Mills as Holly
Brody Redman as Abe's friend
CJ Schneider as New York Times critic
Jake Urban as Angel, Policeman, and Howard
Cole Winston as Stage Directions
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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Gwen Verdon was Charity. Raul Julia was Guido. Angela Lansbury was Juliet......then was not.
Federico Fellini was Italy’s most iconic film director of the 1960s so its no surprise that many of his films have been turned into musicals. But, there is a Fellini movie that screams to be a musical, even more so than any of the others and it almost was…with Angela Lansbury in the title role….grab a pizza, open some chianti, and get ready to hear all about the greatest musical that never was: Enter Juliet!
BROADWAY BOUND PLAYERS
Aaron Gooden as Lucien
Ray Hebel as Ely Jacques Kahn
Brian Michael Henry as George
Laura Mason as Carolyn Leigh
CJ Schneider as Morton DaCosta
Daniel Schwartzberg as Larry Adler
Nicole Weitzman as Juliet
Cole Winston as Stage Directions
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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It was supposed to be the musical that turned Latinx characters in musical theater from hoodlums and gang members to heroes and inspirations! A musical that was steeped in the rhythms of Latinx history and a story that would examine assimilation and appropriation within the immigration experience. So why was creator Arne Glimcher leaving his heart, and show, in San Francisco? Well you see what happened was…..well, we are going to let composer Carlos Frazetti tell us in this episode of Broadway Bound which will focus on the 2005 heart-breaker The Mambo Kings!
BROADWAY BOUND PLAYERS
Bryan Austermann as The Variety Reporter
Erin Fagundes as The San Jose Mercury News Reporter
Andres Felipe as Oscar Hijuelos and Sergio Trujillo
Jordan Ari Gross as The San Francisco Chronicle Reporter
Daniel Schwartzberg as Michael Riedel
Sean Stephens as The Oakland Tribune Reporter
Antonio Urrutia as Jaime Camil
Nicole Weitzman as The San Francisco Examiner Reporter
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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Some musicals have all the luck...and them some do not. Minsky's is one that does not.
It would take thirty plus years for this cult classic to make its way from the big screen to the big stage and in between it would have three different lyricists, two different directors, two choreographers, but it would always have the same composer: Charles Strouse. Why was he so determined to get this movie to Broadway?
Well, what happened was....We are going to let two time Tony Award winning director Casey Nicholaw give you an insider's look at what should've been the next Drowsy Chaperone: Minsky's!
BROADWAY BOUND PLAYERS
Matthew Fairlee as Morton Minsky
Cole Winston as Bob Boyett
Brian Michael Henry as Charles Strouse
Caleb Funk as Kevin McCollum
Michael McDonald as The New York Times Critic
Matt Koplik as The Variety Critic
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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Tommy Tune. The boy genius of Broadway. He dazzled audiences onstage in his Tony Award winning performance in Seesaw. Then he kept reinventing himself as a director with The Club, The Best Little Whorehouse in Texas, Cloud Nine, Nine, Grand Hotel, The Will Rogers Follies.
Nothing could stop him except…..well, we’re gonna let producer Barry Weissler tell you in this week’s episode which explores the bone fracturing Busker Alley…I mean Stage Door Charley…I mean Buskers….I mean… Busker Alley?
BROADWAY BOUND PLAYERS
Sabrina Brush as Liz Smith
James Cella as Ken Madelbaum
Michael McDonald as Robert Feldberg
Robbie Rozelle as Michael Riedel
Andy Tighe as AJ Crothers
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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Are you trying to musicalize me, Mrs. Robinson? Oh, yes, Benjamin Braddock, they are trying to musicalize you, and Mrs. Robinson, and Elaine, all of you. They are going to keep going until every critic in New York is banging on a church window begging you to stop.
And who is giving you these songs to sing, Mrs. Robinson? Simon and Garfunkel? Nope. Not at all. Sharing a xylophone (yes, a xylophone) were the man who wrote Funny Girl and the man who wrote Bat Out of Hell.
What happened was… well we will tell you in this week’s episode of BROADWAY BOUND: THE MUSICALS THAT NEVER GOT TO BROADWAY which explores The Graduate: The Musical, or “I Want to Say One Word To You. Just One Word: Don’t”
BROADWAY BOUND PLAYERS
Catherine DeLuce as New York Times Reporter
Matthew Fairlee as Milton Greene
Matt Koplik as Bob Greene
Rebecca Spigelman as Glady Nederlander
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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So no one told you creating musicals was going to be this way? (clap, clap, clap)
Now you might be asking, what in the name of Smelly Cat does the TV show Friends have to do with Broadway?
Well, before Marta Kauffman and David Crane created that quintessential 90s sitcom, they were musical theater writers and had their hearts set on The Great Bright Way. But, they had to pivot.
What happened was…..well, we’re gonna let Marta, David, and composer Michael Skloff tell you themselves in this week’s episode of BROADWAY BOUND: THE MUSICALS THAT NEVER GOT TO NEW YORK which explores Arthur: The Musical, or “The One Where A Great Score Needs To Be Heard”
The Broadway Bound Players:
Catherine DeLuce as the Reporter
Matt Koplik as David Richards
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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.
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Join Broadway historian, director, and all around MT nerd Robert W. Schneider for a wild and exhaustively researched celebration of the musicals that had set their sights on Broadway but missed the mark. This trailer looks at the first season of Broadway Bound which is called "HOORAY FOR HOLLYWOOD" and explores ten Broadway Bound musicals that were based on movies. From Angela Lansbury refusing to do voodoo to a tap dancing Mrs. Robinson, Broadway Bound: The Musicals That Never Came To Broadway podcast is sure to open your eyes to some of the most bizarre, brilliant, and bold musicals that tried to get themselves on the Great Bright Way!
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