Is this a throwaway song or does it offer some subtext to the dissolving relationships within the show? Karen Unland returns to discuss weary women and tap numbers.
It's Sally's turn to lie about herself. Christine Chen returns to discuss where Sally's headspace is currently at in the show and whether she was ever happy with Buddy.
Country House is a song that was written specifically for the 1987 London version of Follies. Does it add to the show? Or is it simply an interesting curiosity? Adrianna Boris returns to help Kyle decide.
Ben must confront the decisions he's made, but is he being truthful? Anna Hulkower and Tim Kov (hosts of My Little Tonys) return to the show to unpack the subtext of this song and delight in the Sondheim wordplay.
Couples kissing, French women reminiscing, and Broadway dames schlepping. Jonathan Chisolm returns to discuss a triplet of songs that showcase Sondheim's mastery of pastiche.
Waiting For the Girls Upstairs is a song packed with plot. Kyle invites on Hugh Summers, a theatre producer in England, to explore both the upstairs and downstairs of this song.
Sally sees her old lover, Ben, and becomes a nervous wreck. Kyle invites on Bruno Apresentação to discuss Sally's first song and how Sondheim is adapted in other countries.
Here they come, those beautiful fools. William C. White returns to the show to discuss Sondheim's influence in writing slow waltzes, the original song that was supposed to open Follies, and try to figure out who Lorelai was.
Don't worry! You're not losing your mind. I'm still here. A new season of Putting It Together debuts next Wednesday (May 20) all about the musical Follies! A season where we'll learn how to live, laugh, and love. Because that's Broadway, baby.
This is what its all been leading to. Being Alive is the culmination of the entire show. Eric Matthew Richardson returns to discuss being held too tight and why Kyle is sitting in his chair.
"Losing My Mind: A Sondheim Disco Fever Dream" *BONUS EPISODE* (with Joshua Hinck and Scott Wasserman)
You might think that disco and Sondheim don't go together. But Joshua Hinck and Scott Wasserman are two of the collaborators that put together a fusion of Stephen Sondheim's lyrical beauty with the distinctive musical style that defines disco.
Michael Price is a writer for The Simpsons and the creator of F Is for Family. He joins Kyle to discuss one of the most important (if not THE most important) song from Stephen Sondheim's career.
Here's to the crowd that just listens! Jonathan Chisolm returns to discuss Elaine Stritch, Mahler, and the girls who just watch. Plus a great discussion on who has performed this song the best.
Is Barcelona an example of masculine apathy, or is Bobby actually trying to find a connection? Alex Luber joins Kyle to discuss that and some of the other oddities of this song.
Maternalistic worries, dance breaks, and hot sex. That about sums up Poor Baby and Tick Tock. Two songs which are intertwined with each other. Adrianna Boris joins Kyle to break it all down as well as tell some stories about Elaine Stritch.
Act 2 of Company opens with an ode to vaudeville. Dr. Ashley Pribyl joins Kyle to discuss how this upbeat song is actually incredibly sad. And what do all those numbers mean?
Victoria Gordon will be starring in Sondheim on Sunday: A 90th Birthday Salute. Victoria is an acclaimed performer, director, and producer based out of Los Angeles. In this episode she discusses with Kyle her inspirations, her love of Sondheim, and why her concert was always inevitable.
How, exactly, do you marry someone a little? That's what Darby Turnbull and Kyle discuss in this last song of Act One. It seems like Bobby's delusions are getting the best of him. Plus the conversation drifts into topics of mental health, Showboat, and stress eating.
A wedding day can be stressful. The character Amy decides to sing through her anxiety as fast as she possibly can. Kyle is joined by Hallie Casey to discuss relationships, updated lyrics, and a book written in 1852.
By bus, train, or plane people keep coming to New York. Matthew Sampson joins Kyle to discuss a song that was written for a specific performer but hides a whole lot of meaning to the rest of the show.
Someone Is Waiting contains foreshadowing for a couple of songs that appear in Company later in the show. Federico Tedeschi returns to explain why this is such an important song. Plus, a formal apology is given for the events of last week.
A bunch of guys try to convince Bobby to tell them about his sexual conquests. But maybe there's more to this song than that? Matt McClendon joins Kyle to discuss the Kamasutra and Sazerac Slings.
No bulls needed to be coerced in the recording of this podcast. Christine Chen returns to unpack the word "crazy" and discuss if changing the original lyrics of this song was a good idea.
How can you feel sorry and grateful at the same time? I'm sure the Germans have a word for it. Lauren Shippen joins Kyle to discuss this odd feeling along with relationships and vulnerabilities.
The definitive list of the best songs Stephen Sondheim wrote before 1970. Or, at least, the definitive list until I change my mind.