11 episodes
Broadway Bound: The Musicals That Never Came to Broadway Broadway Podcast Network
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- Arts
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5.0 • 36 Ratings
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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. The first season of Broadway Bound is called "HOORAY FOR HOLLYWOOD" and explores ten Broadway Bound musicals that were based on movies. From Angela Lansbury refusing to practice 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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Gone With The Wind: The Musical (1974)
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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Paper Moon (1993)
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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The Baker's Wife (1976)
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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Breakfast at Tiffany's: The Musical (1966)
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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Juliet of the Spirits (1979)
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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The Mambo Kings: The Musical (2005)
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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Customer Reviews
An answer to What went wrong?!
Very enjoyable series on huge Broadway failures that closed on the road. The best part is listening to folks who were eye witnesses to these debacles. We get interviews with some of the actors and even a producer! There remarks are candid and seen from the perspective of 20-30 years (or more) later. We are also treated to recreations of the scripts and live recordings of the scores. Busker Alley was a treat to hear as well as a couple of fine numbers from Paper Moon. For all those who curious about just what went wrong (a lot!), this is essential listening!
Really fun podcast!
Can you please master your recordings to even out the audio levels?? The dynamic range is way too broad for podcasts and makes certain things hard to hear. Love the show tho!
Really Enjoying This.
This is a great deal of fun. Pure, inside-baseball storytelling from a host whose quips never get tiresome. This is like having drinks with an old Broadway friend, the kind who gets you comps to the ailing show he’s assistant-stage-managing, who promises to tell you why the part Elaine Stritch was playing has just been offered to Sandy Duncan AND Billy Porter, but “Don’t say a word, because none of them know about each other… YET… but listen to what went down in rehearsal today…”
Well-produced, researched, and delivered. I can’t get enough. I’m on my third episode, and hope this never ends.