Displaying episodes 1 - 30 of 140 in total
The opening song to Pacific Overtures. Is it meant to be an explanation of the idyllic world Japan was in, or is it a warning about he dangers of isolationism? Luckily, Kyle doesn't have to figure that out alone as he has Rob Urbinati, a person who has seen the original Pacific Overtures dozens of times.
Trailer for the upcoming Pacific Overtures season of Putting It Together.
Listen. It's just frogs. Justin Havard joins Kyle to discuss the history of this show, reports on a friend of his who was at the original Yale production, and the song Shaw in particular.
In this case it is a couple of hippy-dippy homosexuals talking about some hoity-toity intellectuals. Jonathan Chisolm returns to discuss the history of this show, the plot of Act 1 in general, and the song Ariadne in particular.
Who doesn't like a list (song)? In this special episode Kyle goes through his 10 favourite Sondheim songs which were released from 1970 until the end of 1975.
Kurt Peterson was in the original production of Follies. But he also was in the second West Side Story revival and starred as Bobby in the first Canadian production of Company. In this episode you'll hear about his time on-stage and why he transitioned to being a creative producer.
We finish talking about Candide this week. First is a song with reworked lyrics from Sondheim, and second is a song written for a sheep. Brendan Clifford joins to give his thoughts. He's actually worked on a production of Candide!
Sondheim returned to a collaboration with Leonard Bernstein. Candide is a Frankenstein's monster of a production. Luckily Philémon Heutte is up to the task of making sense of Sondheim's contributions.
Stavisky is a movie, directed by Alain Resnais, that's also scored by Stephen Sondheim. William White returns to dive into what makes a great film score and to answer why Sondheim didn't write more for the movies.
Rick Pender literally wrote the book on Stephen Sondheim. The Stephen Sondheim Encyclopedia is being released tomorrow and Rick dropped by to talk about how the book came together and his years of writing about–and talking with–Stephen Sondheim.
Ramona Mallory played Anne in the Broadway revival of A Little Night Music. In this episode she talks about why she became an actress, how special A Little Night Music is for her, and why she decided to leave Broadway afterwards.
The film version of A Little Night Music came out in 1977. David Youn returns to discuss what it did well and why it's not remembered very fondly.
There were six songs cut from A Little Night Music. Kyle talks about such numbers as "Bang!" "Two Fairy Tales" and "My Husband the Pig." He might even sing a little.
Matt Steele joins Kyle to discuss four different recordings of A Little Night Music. Which songs are the best on each record? What surprising mashup slaps? And what are their opinions on book scenes being recorded for the album?
Isn't it bliss? Don't you approve? It's time to talk about Send in the Clowns! Ashley Pribyl returns to discuss Sondheim's most popular song.
Petra gets to take centre stage to give her opinions on life and love. Jared O'Roark shares his personal history with this song. Then Kyle and Jared discuss the sexual liberation of this song, its placements in the show, and the similarities it has to Liaisons.
It Would Have Been Wonderful / Perpetual Anticipation – A Little Night Music (with Eric Matthew Richardson)
Eric Matthew Richardson returns! This time to discuss two songs from Act 2 of A Little Night Music. The first has two men preening like peacocks. The second is all about anticipation without the need of a Satanic mechanic.
Also know as "The Sun Won't Set" and "The Sun Sits Low" respectively. William C. White returns to discuss the quintet, 24 hour daytime, and (of course) Ravel.
Matthew Gardiner has been the Associate Artistic Director of Signature Theatre since 2010. Signature Theatre has devoted itself to continuing Sondheim's work (or adjacent work) every year. Now you can enjoy this new show, Simply Sondheim, from the comfort of your own home!
JAY Records has released a complete recording of Anyone Can Whistle after 25 years in production! Joel DeCandio returns to discuss why this is album is so good, the history of the show, and a bit about Bedknobs and Broomsticks.
A Weekend in the Country was Sondheim's attempt at perfecting the complex story song. Colm Molloy returns to discuss whether it works, the end of Act 1, and Beyoncé.
No doubt living with Carl Magnus every day does feel like a little death. Karen Unland returns to try and understand the character of Charlotte, if the title of the song has a secret meaning, and how it doesn't quite work in the movie version.
A pig of a man singing about why women are merely objects to be enjoyed by men. Adrianna Boris returns to discuss Carl Magnus, misogyny, and that beautiful voice.
Liaisons. What's happened to them? In this episode Jackson Cooper joins Kyle to try and figure that out. This song just may be the secret to understanding the whole show.
Perhaps the funniest song in the entire score, You Must Meet My Wife shows how clueless Frederick is and how petty Desiree seems to be. Celina Reynes returns to discuss those matters and unpack the subtext of this song.
Sometimes we see an ex and flashes of memory come to us. That's what this song does as Frederick and Desiree lock eyes with one another. But how true are their memories? Christine Chen returns to try and answer that question with Kyle.
The Glamorous Life is a song where Desiree's daughter sings about Desiree's supposed fancy profession. In reality Desiree is just tired. Kyle is tired because there are (sort of) three versions of this song! Brian Holcomb and Joel Perkin join him to break down why there's such a difference between the stage version and the film version.
Now, Later, and Soon are a triplet of songs that introduce us to three different characters. At the end all the songs converge to reveal the fears and desires of those characters. Daniel Bund joins Kyle to unpack the comedy that works and doesn't.
A Little Night Music opens up in quite the unique way. A set of four people sing the melody of a couple of songs in the score. It's an experiment that was hardly ever tried again. Plus, how does the film version introduce the characters?
We start our season looking at the inspiration that led to A Little Night Music. Smiles of a Summer Night is sometimes considered Ingmar Bergman's first masterpiece. It certainly was the first film to bring him recognition. David Youn joins Kyle to discuss the movie in more detail.