Displaying episodes 1 - 30 of 212 in total
Let me entertain you! Well, let Luisa and Kyle entertain you by discussing "If Momma Was Married" from Gypsy. What does it tell us about these characters, and why is it so catchy?
Phyllis completely eviscerates her husband. Jesse McAnally joins Kyle to discuss Follies, terrible relationships, and the fascinating rhymes from "Could I Leave You."
Rob Berman has spent the last 15 years primarily looking at older musicals and how to update them for a modern audience. He joins Kyle to discuss talking with Sondheim, the new Into the Woods, and the future of revivals on Broadway.
Who better to sing a song about legacy than Elaine Stritch? Emily Clark joins Kyle in discussing Follies, Stritch, and a bunch of 1930s pop culture.
Is it the best Act 1 finale ever? Marc Bonanni joins Kyle to discuss the incredible lyrics inside of "A Weekend in the Country" and also has time to offer opinions on Bob Fosse as well as superhero musicals.
Stephen Sondheim wrote a love theme, "Goodbye For Now," for the movie Reds. Will C. White returns to discuss the fascinating production of the film and the music.
The film adaptation of Sweeney Todd was released in 2007, directed by Tim Burton. Sondheim loved it, but it has divided fans ever since it came out. Luke Crichton returns to discuss Sweeney Todd in film generally, this movie specifically, and wonder whether it will ever be adapted again.
It took a few decades for Jeff Harnar not to feel intimidated to sing Sondheim's songs. He tells Kyle how he became fascinated with performing, when he started doing cabaret, and why this album feels so special to release.
Sweeney Todd has been done MANY times. Kyle goes through all the official recordings he could find, plus all the video recordings that are available.
The Final Sequence reprises many of the songs from Sweeney Todd in a macabre ending. Maragaret Hall returns to offer her perspective on what gets reprised and shares stories from the original production.
The Beadle decides to sing soprano while Mrs. Lovett desperately tries to get him to leave. Hopefully Colm Molloy, who is returning to the podcast, isn't trying to get Kyle to leave so quickly. Plus, do these songs have any greater thematic point to the show? Listen to find out!
Toby wants to save Mrs. Lovett, but does Mrs. Lovett care about Toby? Matthew Conway joins Kyle to discuss that, whether Toby should be played by child or not, and how performing this song without the context of the show changes its message.
This one deserves a little kiss. Michael Price returns to discuss the character of Mrs. Lovett, how different this song is after you know the ending, and whether Sweeney and her ever have sex.
Leonard Bernstein started with a specific instrument, and then by utilizing a tritone was able to create the entire score for West Side Story. Steve Bell joins Kyle to break it all down.
It's the third time a song called Johanna appears in the Sweeney Todd score. Does it tell us anything new about the characters? Michael Vecchio returns to offer his insight into the motivations of Sweeney himself and the musicality that occurs while he's singing about the daughter he believes he'll never meet again.
When we went for intermission Sweeney Todd and Mrs Lovett were making jokes about cooking people into pies. Now as we open Act 2 it seems like that's become a reality. Ashley Pribyl returns to discuss how this works as an Act 2 opener, and how this song discusses class while also being fun.
Phil Geoffrey Bond fell in love with the theatre at a very young age. Over the past couple of decades he's created an amazing body of work in his role of producer. He joins Kyle to talk about his creative process and why he loves Sondheim so much.
Joel Fram is currently conducting the orchestra for Company on Broadway! This new production, directed by Marianne Elliott, has made the bold choice to cast the lead character as a woman. Joel joins Kyle to discuss the process of creating this new adaptation of Company.
Mark Eden Horowitz is the editor of a new book called "The Letters of Oscar Hammerstein II." Kyle talks with Mark about Oscar being Sondheim's mentor, his funny interactions inside his correspondence, and what you learn about a man after reading 10,000+ letters.
Is this the perfect way to end Act One? It's certainly a memorable and provocative way to do it. Who doesn't like a little cannibal based humour? Cindy Liu joins Kyle to discuss the puns and the pastries of A Little Priest.
What sudden realization is Sweeney Todd coming to? And how does that affect the rest of the show. Shannon Dohar joins Kyle to figure that out and marvel at how different actors have interpreted this song.
The Judge and Sweeney finally meet! But does everything go as planned? Stephanie Lim joins Kyle in discovering how this song plays with the audience's expectations while simultaneously revealing deeper character traits.
Is the Beadle the absolute worst? Matt Steele helps Kyle figure that out! Plus a discussion on even when there's multiple people singing there's an exploration of characters and their motivations.
Travis Moser adores cabaret. He joins Kyle to discuss why, how he came to love musical theatre, and which Sondheim songs he enjoys singing the most.
Just like the birds she sings to, Johanna flits around trying to figure out how to escape. Will a kiss from Anthony fix anything? Philémon Heutte returns to talk with Kyle about Johanna's true motivations, and how two characters can sing at each other but not hear each other.
A song about delayed gratification. Shane Wilson joins Kyle to discuss how this song doesn't seem to be important until it's revealed how important it actually is.
This song is messed up. Will C. White returns to try and make sense of it.
Pirelli makes his entrance with a flourish! Now he has to prove that he's as good as he says he is. Jonathan Chisolm returns to discuss the effectiveness of his bad Italian accent and why it was good that the second half was cut out of the show.
How can you possibly rhyme anything with elixir? Sondheim found a way! Matt Koplik returns to discuss why this song is so fun and what it tells us about the character of Toby.
Eleri Ward released an album of Sondheim covers called A Perfect Little Death. She joins Kyle for a quick chat about how she found success, her love of musical theatre, and what songs she wants to cover next.