Happy April Fool's Day! Sure, "The Music Man" included some incredible songs, featured one of the most career-defining performances in Broadway history, and captured a unique clash of squeaky-clean Midwestern living with the machinations of a cynical con-man. But it also has what I would call the only April Fool's style prank at the core of its plot: Prof. Howard Hill's "Think Method" leading a whole town to believe they could simply think their way into musical proficiency.

When it comes to proficiency in musical history, there are few people I'd rather talk to than "Dr. Broadway," Kristin Stultz Pressley, Ph.D., who is literally writing the book on Golden Age musicals. "The Music Man" is arguably the shiniest of those celebrated stalwarts as it's been produced on stages from elementary schools to colleges, by regional and community theater companies around the country for decades. 

If you've been involved in theater in any way, you've seen, worked on or been in "The Music Man."

I'm sure you'll love this in-depth conversation thanks to Dr. Broadway's extensive knowledge and lively way of translating history into digestible info. Speaking of info, please check out my website, ChasingPhantom.net, for more of that stuff, plus a bunch of relevant video clips.

Who could have known that this near-forgotten play from the 1940s would be so relevant in the 2020s?

The title is from the Bible, a verse in the Song of Solomon that actually references a turtledove, not the shelled amphibian: "The time of singing has come, and the voice of the turtle is heard in our land." Playwright John Van Druten of "I Am A Camera" fame, turned it into a Broadway comedy that was one of the few shows opening during World War II that captured and reflected life during wartime.

"The Voice of the Turtle" may have become infamous for the movie version that starred Ronald Reagan and sanitized its themes around sexual autonomy. But this story about a single actress who doesn't want to fall in love is actually a relatively ground-breaking play. My guest, as is often the case when obscure plays are featured, is Jordan Schildcrout, Ph.D., author of "In the Long Run: A Cultural History of Broadway's Hit Plays," and we go pretty deep in this discussion, one of the geekiest and therefore, fun for me, conversations I've had in a long time!

Our chat includes short digressions like a review of the life of Virginia-born Margaret Sullavan (who some may know thanks to the TV movie "Haywire" written by her daughter), the surprising amount of attention given the cast having only 3 people, and the key symbolic role of the show's set. Enjoy!

And please check out my website, ChasingPhantom.net, for more info, video clips, and access to previous episodes.

In approaching "Oh! Calcutta!" today, it's hard not to react with a "What! Really?!?" This is a show, that between the original production and its revival, had more than 7,200 performances on Broadway. Really?

Full of nudity and bawdy - but also mostly bad - comedy, the popularity of this show is truly dumbfounding. And when dealing with something I have trouble understanding, I often turn to my very wise friend, Dr. Jesse Rabinowitz, for insight and a reality check.

Dr. J provides that and more in this very fun episode explicating a very odd show.

And after listening to it, you'll want to visit my website, ChasingPhantom.net, where I've added a new section with more info on some of my podcast guests that includes a *special offer* from author and historian Jordan Schildcrout. Check it out!

Happy Halloween! We have the perfect show to dig into for spooky season - mostly because it's downright scary how bad this musical is! 

Frank Wildhorn's "Jekyll & Hyde" is a musical that, if there was a just theater god, would be forever relegated to the dustbin of Broadway history. There are many musicals I don't like but this is one I actively despise, partially for its innate flaws but also for its utter failure to achieve anything close to what it was aspiring for.

Despite this - or maybe because of it - this podcast episode is delightful! It gave me the opportunity to catch up with classic literature maven and host of the podcast "Didn't Read It," Grace Todd, to get extremely snarky about all that is wrong with "J&H." We touch on everything from its complete abnegation of the original story to the lackluster and lazy staging of the Broadway production. And even after more than 30 minutes of criticism, we really only scratched the surface.

By all means, please just listen to this episode and DON'T, for the love of god, spend any of your precious time watching this musical or listening to its music. You'll only encourage the man behind it, the notorious Frank Wildhorn, to do more violence to the good name of musical theater. If you do have time to spare, check out the podcast Grace and I did together called "Convince Me I Care." It's a lot more fun than Jekyll or Hyde!

And of course as always, head to ChasingPhantom.net for more information about this show and others I've covered in the past, as well as video clips related to each production. And check back in 2 weeks for more of the best of BOO-roadway!

It's one of the most famous and beloved titles in musical theater. Because of its iconic mismatched lovers storyline and nostalgia evocation of the 1950s, "Grease" has been performed in high schools, colleges and regional theaters across the country for decades. The movie version with Travolta and Newton-John was the highest grossing movie musical of all time when it came out.

With all of that history, there seems like maybe not much else could be said about "Grease" but, thanks to my awesome guest, Patti D'Beck, we find plenty to say about it. Before she was an award-winning director and producer for regional theater, Patti was the assistant choreographer for this revival revival, working closely with Broadway legend, Jeff Calhoun. Even though it ran a long time, the revival had less than half the performances of the original production and, some might argue, it's longevity was goosed by the ongoing parade of stars used as replacements in the cast.

Patti and I delve into all of that, including her unique perspective on stars and their different learning styles. Because of her long and varied career, we also can't avoid a quick detour down a tangent about "A Chorus Line." It's a great episode thanks to Patti, clips of the banging tunes from the show don't hurt!

You'll definitely want to check out the clips to appreciate the "over-the-top" aspects of this production. Go to ChasingPhantom.net for those and see what Patti and her husband, David Leong, are up to at GoldenAges.net.

"School of Rock" opened on Broadway just a few years after "Billy Elliot" closed but, even though the shows have some surface-level similarities, it's hard to think of two more different stories. The earlier show was a rough-and-tumble look at a working class young boy's potential escape from his impoverished life; the latter was about adults who act like children and very posh adolescents learning to shed some of their rich-kid stuffiness.

Both shows were handicapped in their long runs because of their reliance on young actors who are wont to age-out of plum roles relatively quickly, as I talk about with my guest Brian Baez.

Brian has an extensive career as a performer but his vocation over the past decade or so has been in the realm of casting. He has worked casting talent for cruise ships for many years and recently opened his own business in the Netherlands that expands that core mission into different creative directions.

Brian and I talk quite a bit about working in "non-traditional venues" like cruise ships and theme parks. His work related to "School of Rock" was at a theme park during the time when the show was being developed from its movie incarnation to the stage version. He has plenty of fun anecdotes from that time and he provides some interesting background on what's involved in that fascinating corner of the live performance world.

Check out my website at ChasingPhantom.net for more information and be sure and follow Baez Theatrical on Instagram to keep up with what Brian is up to!

Fifteen years ago, "Billy Elliot: The Musical" was all the rage on Broadway. It was a show where hot button social issues -- from labor relations to social mobility to questions about gender expression -- mixed with a searing family drama, plus there was a LOT of really great dancing. Tack on a score co-composed by Elton John and there was little doubt this was going to be a hit.

What's curious is that this story seemed to fade from view in the subsequent years, even though ALL of the social issues continue to be compelling components in the current zeitgeist. As I discuss with the fight director for the Broadway production, David Leong, the ongoing challenge of finding young actors who could portray such a demanding role eventually proved too much for the show and continues to hamper efforts to stage the show.

Not to denigrate fight directors AT ALL but it's worth noting that David Leong is SO MUCH more than a fight director. As chair of the theater department at Virginia Commonwealth University, he helped raise the standards and the overall quality of the program to a nationally recognized level of excellence. He is also a savvy entrepreneur who has leveraged his ongoing involvement in the performing arts into several different companies.

This episode spotlights a lesser known job among those needed to make a Broadway production work, a theme that will continue is several of the next episodes.

Be sure and check out my website at ChasingPhantom.net for more information and video clips related to this show, including the full pro-shot of the London production. For more information on the company David Leong and Patti D'Beck started, check out GoldenAges.net.

Welcome to season 3 of "Chasing Phantom!" If this episode is any indication, it's going to be the best season yet. 

At a time when debate about Billy Joel, his music and his legacy, has enjoyed a surge of attention thanks to the HBO documentary, "And So It Goes," that debuted this past summer, I welcome Tony Award nominee and Astaire Award-winning dancer Elizabeth Parkinson to the podcast for a deep dive on the dance-musical "Movin' Out," developed by modern dance genius Twyla Tharp. Our conversation not only covers all sorts of insider information on the development of that show, but also ranges into topics like managing life as an artist, the challenges dancers in particular face, and why being on Broadway doesn't always define success.

This season is going to start out with several people who have been involved in Broadway and Broadway-adjacent productions but maybe not in the ways that first come to mind. As always in this ongoing "Chasing Phantom" adventure, I learn a lot along the way and I hope you will too!

Now is a good time to like, rate, subscribe and do all of those other great podcast-supporting things as we barrel headfirst into a new, exciting season. As always, please reach out to me at davidhintztimberline@gmail.com with questions, comments or recommendations.

And of course, be sure and check my website at ChasingPhantom.net for video clips and more information related to this production. You'll be glad you did, for this show in particular: there is a video on YouTube of an entire "Movin' Out" performance. It's not professionally shot but it gives a great sense of what the show was like. You can find links to it and other interesting videos on my site.

Hey there, Phantom Chasers! I've been a lax podcaster during the languid summer months but I'm prepping some very cool, very fun episodes for September. In the meantime, this is a conversation with my friend Grace Todd, whose podcast "Didn't Read It" is a must-listen for those who love classic literature...and erudite, playful and thoughtful conversation.

Grace was kind enough to invite me on her pod to talk about one of my favorite plays that has also gained critical cred as literature, "Waiting for Godot." We dive deep into Samuel Beckett's classic...and share a lot of laughs along the way.

Grace and I collaborated on a ground-breaking podcast called "Convince Me I Care," but not very many people seemed to care about it at the time. If you are looking for additional distractions during the summer, I'd suggest checking it out.

See you in two weeks with the premiere of Season 3 of "Chasing Phantom!"

Phil Crosby and I had such a good time talking about "Funny Girl" that we rambled on for another 15 minutes or so answering questions posed by our live audience at Richmond Triangle Players. You get some more background on Barbra (of course), Phil demonstrating his forecasting prowess in talking about the Tony Awards and a final slice of a story from Pat Vastano about her real-life experience at "Funny Girl."

More bonus material next week before season 3 starts up on Sept. 3rd! In the meantime, please peruse the back catalogue of episodes at ChasingPhantom.net and, as always, reach out to me at davidhintztimberline@gmail.com with comments, complaints or cries of outrage!

The highlight of "Chasing Phantom's" brief history happened in May 2025 with the recording of what I hope will be the first of many live podcast events. Phil Crosby, the executive director of Richmond Triangle Players, has been a guest 6 times before so, after many times inviting him over to my house to record, he returned the favor!

As with the end of the first season, this is an episode largely about Barbra Streisand and there is no one I can think of better equipped to talk about her than Phil. After some fun trivia, we get into the development of "Funny Girl," the rise of young Barbra's career, and how that that convergence resulted in a once-in-a-generation phenomenon.

There is plenty to talk about after that: how Streisand loved rehearsing but hated doing the show once it opened, Sydney Chaplin's horrendous behavior, replacements who had to follow in Barbra's shoes, the movie and the recent revival and much much more.

Phil and I have a great time as we always do but we (well, mostly Phil) also drop conspicuous amounts of fun Broadway and show-biz anecdotes in along the way. Oh, and perhaps best of all, there are two live performances of complete songs from "Funny Girl," not just the snippets I usually include. What a blast!

As always, more information and video clips can be found at ChasingPhantom.net. And please rate, review and subscribe to this podcast so you will be ready to receive season 3 when it starts rolling out early in September. Thanks for listening!

Is there a more iconic musical than “Guys and Dolls?” Probably not. That doesn’t mean it’s easy to do well and my guests for this episode are a testament to how to make a classic musical really sing.

This is a show that can be dominated by its many engaging male characters, so I wanted to push aside the Guys for just a bit and talk to the Dolls. “Guys and Dolls” is never supposed to be realistic but there’s a danger in making it too broad for an audience to care about the characters. Adelaide has the potential to be portrayed as a caricature of female ditziness and Sarah Brown can come off as a one-note prude. But in a 2008 production of “Guys and Dolls” that enthralled Richmond audiences, Rachel Abrams and Rita Neidich gave those two character heart, soul and sass.

Rachel and Rita offer their remembrances about that particular production but also dig into some of the psychology of “Guys and Dolls” and how that translates to today. What’s it like being a woman in a male-dominated show? Their answers may surprise you.

As always, please check out ChasingPhantom.net for more information on "Guys and Dolls" as well as relevant video clips. And follow Rita Neidich on Instagram or her website to see if she might be performing somewhere near you!

With this episode, we reach an important milestone in "Chasing Phantom" history: this 64th episode marks the moment we pass the halfway point on the way up the list toward "Phantom of the Opera," still the longest running show in Broadway history. In honor of that moment, the episode features one of my favorite shows, "The Sound of Music," and a conversation with one of my favorite actors, Stacey Cabaj.

There was a run starting in 2010 when almost every significant female role cast in a musical in central Virginia went to Stacey. She was talented, sure, but she was also a magnetic personality, charming, smart, spunky, and delightful to be around. She had (and has) that gentle, soft-spoken but still emphatic wit that I associate with Canadians. She was the perfect choice to play Maria in "The Sound of Music."

The production in Richmond included a powerhouse of talent both young and old, and my son's appearance as Karl was a highlight of his young career. His participation in the production only cemented the show's place in my heart, the movie version already becoming the most-played VCR tape in our library by a huge margin.

In our conversation, Cabaj and I talk about the show's legacy, her personal journey in becoming a Maria, the longstanding impact of the show in her life even before appearing in it, and we broach the topics of faith and fascism that both feature prominently in the context of this show. Those deeper and darker themes reinforce how it's not just a fun story of found family and kids learning how to sing.

Given that this episode is light on deep lore or history on the original Broadway production, you'll definitely want to check out my website, Chasing Phantom.net, for more information and relevant videos clips. The website even includes a picture of my son in the production with Stacey - very cute!

Both me and my guest in this episode had the chance to see "Waitress" on Broadway and we chose not to. And boy, were we both sorry!

It's not often with this podcast that we talk about a show you can see right now. But "Waitress" is one of those shows that had suddenly started appearing on regional stages all over the country so there's a pretty good chance it has, is or soon will be appearing somewhere near you. 

It's a feel-good story that also deals with a couple serious issues along the way, providing escapism for audiences while not letting them totally forget about some of the not-so-great stuff going on in the world. 

Luckily for me, I got a chance to talk with one of the co-stars of the Virginia Repertory Theatre production of "Waitress" that just opened this past week. Kylee Marquez-Downie has been an emerging talent for a few years and this production marks a chance for more people to see just how amazing she is.

It turns out that she's also a smart, insightful and thoughtful interview and we have a great time reviewing the the impact of Sara Bareilles, how "Waitress" depicts modern relationships, and many more topics.

Be sure to check out my website, ChasingPhantom.net, for more information on "Waitress" and links to many relevant video clips. And if you happen to be in central Virginia and it's still June/July 2025 when you're listening, go to VA-Rep.com for tickets to see Kylee in person in this excellent production.

Art about other art is fascinating to me, and only one of the many reasons I love "Amadeus," a play about music. Of course, it's also about envy of another man's genius: the play cemented the image of Salieri in popular culture. But really, at its heart, it's a play about faith and Salieri's contentious battle with his own faith, and also, playwright Peter Schaffer's ongoing artistic conversation about faith.

In the podcast, me and classical music expert and VCU professor Daniel Myssyk mostly talk about the classical music of it all. But we also start out with an interesting related tangent about birds, consider the verisimilitude of the movie version's depiction of the Viennese court, and tease out some of the historical realities about Mozart.

As always, you'll want to check out my website, ChasingPhantom.net, for more information about "Amadeus," some fun clips from the movie, and this time, the evidence of some time spent down a Tim Curry rabbit hole.

And if considering "Amadeus" ignites a spark of interest in classical music, Richmonders should be sure and check out VCU's website for upcoming classical performances. It's a great low-cost, easy-access way to enjoy some wonderful music.

Is it mime? Is it puppetry? Is it augmented sketch comedy? Rather than try to categorize "Mummenschanz," it seems best to just wonder at the inventiveness and enjoy the fun of the experience. That was certainly what people were doing in the 1970s and for many decades afterwards.

"Mummenschanz" holds the record for longest running special on Broadway. Scheduled for a limited engagement after a successful national tour, the troupe proved too popular to shut down, drawing crowds for over 3 years. The brainchild of 3 performers, they ultimately had to hire additional members, sending them back out on the road while they continued on in NYC.

My guest, Heidi Rugg, knows a lot about this kind of performance, having founded the Barefoot Puppet Theater and also having seen "Mummenschanz" during one of their tours. Beyond just talking about this very special special, she namechecks Julie Taymor who elevated puppetry to new heights with "The Lion King" and introduces me (and you I expect) to Center For Puppetry Arts in Atlanta.

Most of all, you gotta check out the clips at my website, ChasingPhantom.net - you can't really appreciate "Mummenschanz" without seeing it!

Over the past 20 years or so, a handful of shows have revolutionized what can be done on Broadway. You could point to "Hamilton" as one of the biggest of those but that revolution actually started with "In the Heights," which remains my favorite of the two. Call me a traditionalist at heart but I love that it's a warmer and more personal show. And fantasizing about winning the lottery is simply more relatable that worrying about building a new nation.

Speaking of warm, my guest for this conversation is the always personable Fernando Rivadeneira who played the Piragua Guy in the Richmond production of "In the Heights" back in 2018. We chat about his discovery of this show and the joy of experiencing the many iterations of it, including the movie version. I loved revisiting the songs of the show - and discovering aspects of the production I never knew about like the web series, Legally Brown. If you've never heard of it before, it's a really fun watch.

As always, please check out my website, ChasingPhantom.net, for a little more background on "In the Heights" and associated video clips.

Why is a conversation with Jordan Schildcrout always a good time? Because in the course of just 30 minutes chatting about the relatively obscure play “Cactus Flower,” you’ll hear about additionally fascinating plays like “Two for the Seesaw” and “The Sign in Sidney Brustein’s Window.” Jordan and I dig into both the weird and wonderful aspects of “Cactus Flower,” the show that brought Lauren Bacall back to Broadway. The movie version would win Goldie Hawn her only Oscar and feature a decent comic turn by the legendary Ingrid Bergman and a befuddling romantic lead performance by Walter Matthau.

Jordan wrote an essential book of Broadway history, “In the Long Run: A Cultural History of Broadway’s Hit Plays,” so not only knows about specific shows, but has a broader perspective on where “Cactus Flower” fits in among the pantheon of long-running plays. We touch on the history of the manic pixie dream girl stereotype, the resonance of Bacall and Vaccaro’s voices, and do our due diligence in talking about “Just Go With It,” the Adam Sandler / Jennifer Aniston modern-day retelling of the “Cactus Flower” story.

Why does a seemingly outdated show like “Boeing Boeing” succeed but something like “Cactus Flower” seems relegated to the dust bin of history? Find out in this episode!

As always, check out ChasingPhantom.net for some great video clips related to the show and to listen to past episodes.

Easter is this weekend and, while you might think I'm featuring the show "Sugar Babies" to make an allusion toward those sweet treats found in children's Easter baskets, well, you're right! BUT, thanks to my always incredibly knowledgeable guest, Phil Crosby, it came to light that this throwback vaudeville revue would also make sense to highlight because of Ann Miller's star turn in the movie "Easter Parade." Phil makes the astute point that Miller, who was the co-headliner of "Sugar Babies" with Mickey Rooney, was not often given her due as an excellent light comic actor. In "Easter Parade," he says that she holds her own in a packed cast replete with stars light Fred Astaire, Judy Garland, and more.

Miller was clearly a good foil and formidable match against Rooney and a large part of why "Sugar Babies," which now seems outdated and a bit of an anachronism, was so popular. It's a show that gives Phil and I the opportunity to dig into what vaudeville was, why it was so popular as a form early in the 20th century, why there was such a large audience eager to check out a show featuring it, and to explore the throughline from shows like "Sugar Babies" to variety shows like "The Carol Burnette Show."

As always, Phil brings an amazing backlog of Broadway scuttlebutt to the conversation and we even touch on a very direct connection between "Sugar Babies" and place both Phil and I call home, Richmond, VA.

Also as always, you'll want to check out my website, ChasingPhantom.net, for more information and video clips from or related to "Sugar Babies." You'll be glad you did!

"Promises, Promises" had a dream team of talent, both backstage and onstage. Neil Simon, Hal David, and Burt Bacharach are the big three, but it was also directed by Robert Moore ("The Boys in the Band" off-Broadway, "Woman of the Year") and choreographed by Michael Bennett. It was also based on an incredible movie, "The Apartment." What could go wrong?

Nothing did go wrong, really: the show was very popular and its best song, "Never Fall in Love Again," was a big radio hit. But it's another one of those shows that doesn't really age well, the gender dynamics and workplace ethics being wildly out of step with modern sensibilities. The movie came out at 1960, at the tail end of the 50s, a decade where the story makes more sense. By the end of the 60s, with shows like "Hair" getting a lot of attention, this one seems like a dinosaur just on the edge of extinction. 

I had one of the captains of my dream team of guests in the studio talking to me about "Promises, Promises" - Dr. Jesse Rabinowitz, who actually saw the original production on Broadway when he was a pre-teen. He brings his usual mix of savvy analysis and rampant good humor to our lively conversation.

Wanna see just how odd of a routine "Turkey Lurkey Time" is? Check out my website, ChasingPhantom.net, for video clips from "Promises, Promises" as well as links to previous episodes.

It's about music, it's about race relations, but it's NOT about how to be a good radio disc jockey. In giving a very loose account of the rise and fall of true-life music pioneer Dewey Phillips, the musical "Memphis" amps up the conflicts - which you would expect - in part by making the Phillips surrogate, Huey Calhoun, kind of an asshole. Still, the story of a DJ breaking conventions of the 1950s by playing "race records" on white radio stations is very compelling, has great songs and downright electrifying choreography. So how did I not even know about this show?

I explore that question, and many much more interesting ones, in my conversation with true-life radio DJ and amazing human, Melissa Chase. While Huey Calhoun becomes a sensation in "Memphis" by breaking into the DJ booth at a radio station and locking everyone else out, Melissa became a star by being really good at her job. A lot of being a good radio DJ comes down to a person's voice and I am a big fan of Melissa's as it was a near-constant refrain during the mid-2000s in my life running kids to and from school. She has that wonderful quality of always having a smile in voice.

One of the best things related to this show is that a very high-quality filmed version of the Broadway show is available to stream. I highly recommend it for what is about as close to a live theater experience as you can get.

You're going to want to check out the video clips from this show at my website, Chasing Phantom.net. And if you want to stream "Memphis," here's a link to the YouTube version. 

Am I too on the nose here? Pretty much any time seems like a good time to reflect on the founding of the United States of America, but boy howdy, does this current time we're in seem like a specifically good time to do so. The musical "1776" is a not-quite-historically-correct dramatization of the drafting and ratification of the Declaration of Independence. It focuses on John Adams as the instigator, the leader who pushes a reluctant Continental Congress toward making a historic decision.

This is a show focused nearly-exclusively on men so it was fascinating and unexpected when Debra Clinton directed the 2016 Virginia Repertory Theatre production of the musical. Deb is an exceptional director (and actor and original show developer) and has some great insight into her experience of herding an oversized cast of alpha males toward a single artistic goal.

As always, please check out my website, ChasingPhantom.net, for video clips and more information related to "1776." This will be particularly useful if you want a push to consider watching (or rewatching) the movie version of this musical. Please reach out to me at davidhintztimberline@gmail.com with suggestions, questions or feedback of any kind. Also, not that it will impact much of anything, this podcast stands with Ukraine.

Nope - I am definitely NOT making any kind of political statement by doing an episode on "Cabaret" at this specific moment. Nope, not at all. My delightful conversation with actor and director Doug Schneider steers clear of any chatter about what's happening in politics in America right now. But, that said, this is certainly a good show to revisit if you want a dramatic window into the insidious effects of the rise of right-wing political power.

Doug played Herr Schultz in two different productions and yet never got to sing his favorite song from the show, Meeskite. We talk about that and the fact that the so-called B Plot of the love story between Schultz and Frau Schneider, excised from the movie, is really the heart of the story.

Doug also offers a story about where the song "Maybe This Time" came from (added to the movie, not in the original show). Since recording the episode, I've found out that the song was originally written for a musical called "Golden Gate" that was never produced. 

I will talk about "Cabaret" again in the future because the 1998 revival ran even longer than the original. So this is just the beginning of the conversation about this fascinating show. 

Be sure and check out ChasingPhantom.net for more Fun Facts related to this show and relevant video clips.

Think "Blazing Saddles" but on Broadway and with 1930s era sensibilities. That's what "Hellzapoppin'" was and, honestly, for the times it was pretty cutting-edge stuff. Weird running gags, satirical songs lampooning contemporary issues, risqué and ribald jokes, and even fourth-wall breaking hilarity. Sure, it was silly but it was smart silly, not stupid silly. At least most of the time.

While it was impossible to find an extant expert who could give me the low-down on this crazy show, I found something much better. The talented young actor August Hundley starred as Louise in a stage play set in the 1930s, "Dear Jack, Dear Louise," before he transitioned. His character was an actress who auditions for, and ultimately lands, a role in the "Hellzapoppin'." While it didn't make him an expert, it made him much more familiar with the show than any other human in my theater circle and perhaps on the planet.

"Dear Jack, Dear Louise" was August's last role as a female-presenting character and the show stands as a landmark for him in his journey of self-discovery. It's a somewhat mind-bending conversation, zigzagging between talking about his heartfelt personal journey and the bonkers nature of "Hellzapoppin'" but that's part of what makes it fun.

Be sure and check out ChasingPhantom.net for more information and some fun video clips related to the show, including a link to the entire movie version. And you can always reach out to me at davidhintztimberline@gmail.com with questions, comments, or cries of outrage!

Valentine's Day has been commercialized to such an outrageous degree, pushing models of hetero-normative romantic commitment so hard that any other kind of love can end up seeming marginal or even invisible. That's one of the reasons why "Once" is such a fascinating story: a man and a woman fall into a certain kind of love but it's less romantic and more of a beautiful bridge that helps each of them get to a different place in their lives.

Another, more specifically theatrical reason to talk about "Once" is its weird journey from a small, scruffy movie into a bold, joyful and singular stage experience.

Lucky for me, and for you listeners, Nathaniel Shaw has firsthand knowledge of "Once" on Broadway thanks to his work with choreographer Steven Hoggett on the show. Nathaniel also staged an amazing production of "Once" himself back in 2019. He brings his insight and perspective on the show, plus an ornery take on the state of the American musical, to bear in our expansive conversation, all in smooth dulcet tones that will practically melt your eardrums.

As always, please check out ChasingPhantom.net for more information and video clips of the show - this is definitely the kind of show where you want to see the movement and the energy. Reach out at any time with comments, complaints or just to say 'hi' to davidhintztimberline@gmail.com. 

When you want to hear about Michael Jackson, it's best to talk to the man himself...or, given the impossibility of that, the man who's playing him. As of New Year's Eve 2024, the actor playing the title role in "MJ: The Musical" on the show's first national tour has been Jordan Markus. Markus worked his way up into the role, starting as an understudy, moving into the alternate role, and then finally hitting the top of the marquee after more than a year with the tour.

Markus lends me some insight into the workings of "MJ: The Musical" and talks about his process for inhabiting such a challenging show. Since this show is relative newcomer to the Broadway scene - it opened in 2022 - it doesn't have some of the rich lore of other long-running hits but I cover the background it does have in my introduction.

If you are a theater snob (like me...) you might write off a production like "MJ" as another one of those "spectacle" shows engineered to keep the tourists entertained on Broadway. Maybe...but it's worth looking at how exactly this show has managed to become so crazily popular so quickly, already approaching the Top 20 as one of the most lucrative shows ever.

More than ever, you are going to want to check out our website, ChasingPhantom.net, that includes more information and, especially, videos related to the show. This is a show that's all about how it looks and how it moves so you're going to want to watch some videos!

Happy New Year to all! During these cold winter months, there's nothing as cozy as an old-timey murder mystery and "Sleuth" is one of the twisty-est. Helping me navigate the plot -- not to mention the embedded commentary on class, race and misogyny -- is Grace Todd. As a literature doyenne with the fabulously entertaining podcast, Didn't Read It, Grace has a perfectly tuned perspective on what playwright Anthony Shaffer is playing at with this complex, tete-a-tete between two British gentlemen.

Bolstered by a fantastic movie adaptation, "Sleuth" was a supremely popular play, both on Broadway and then in regional theaters the world over. It has been surpassed in the years since by other murdery stage stories, but it's definitely worth a fresh look. The opportunities for two gifted actors to chew the hell out of some scenery are rampant and the double and triple blinds that unfold are satisfying even to the modern viewer already jaded by more modern plot machinations.

Grace and I have a great time pulling apart the various components of "Sleuth" and Grace, always the dutiful reader, shares some insights from her reading of play that will be intriguing to folks like me who have only seen the movie.

As always, please check out my website, ChasingPhantom.net, for more fun facts related to "Sleuth" and video clips of or related to the show. I'll be back in your feed in two weeks!

Happy Hanukkah! Oh, and Merry Christmas, but to be honest, this is more of a Hanukkah-forward episode, only because "Brighton Breach Memoirs" is very succinctly the story of a Jewish American family, the challenges, foibles and laughs shared amongst the family members as they struggle through tough economic times in the 1940s.

For this episode, the holidays arrived just a little early because I got to reconnect with Jill Bari Steinberg, the amazing actress and wonderful mensh of a human being. JB played Kate Jerome, the matriarch of the Jerome family, in two productions at Virginia Repertory Theatre, first in "Brighton Beach," and then later in "Broadway Bound." Her insight and reflections on the show and its depiction of the Jewish experience are illuminating and the short trip down memory lane was a true treat for me, and I hope for you to listen to.

The result (I think) of my first interview with Jill Bari Steinberg can still be found out there on the Interwebs. And here's the announcement of her being recognized as one of Richmond's Top 40 Under 40.

And, as always, please be sure to check out my website, ChasingPhantom.net, for video clips and other fun background on "Brighton Beach." Happy holidays, everyone! I'll see you in 2025!

In the first ever bonus episode of Chasing Phantom, Phil Crosby and I talk about the ending of "The King and I," one that was a surprise to me so don't listen if you want it to be a surprise to you! We also get back into some of the history of the real life King of Siam and Anna Leonowens.

This bonus is also an opportunity to drop a couple more sound bites in from the show's score which is a real treat. Happy holidays everyone!

Please check out my website ChasingPhantom.net for more information and fun video clips related to "The King and I." 

We are hurtling towards the holidays and so, for this episode, I make the case for "The King and I" to be considered among your holiday viewing options. Even though it's a 70+ year show, it's a smart and sophisticated musical with interesting cross-cultural dynamics. And so, of course, I turned to the smart and sophisticated Phil Crosby, most knowledgeable of all humans on the subject of older musicals, to help me explicate and praise this wonderful show.

Phil provides some vital context on Gertrude Lawrence, who originated the role of Anna and who is a Broadway diva largely forgotten or overlooked today. We also give only the briefest recap of the fascinating emergence of Yul Brynner as a star, a former circus performer who first arrived on Broadway at 21 having already lived a remarkable life spending time in Russia, China and Paris.

"The King and I" is the fifth Rogers and Hammerstein collaboration and full of amazing music, gorgeous sets and costumes, and compelling leading characters. Though Deborah Kerr isn't singing in the movie adaptation, she makes for a fine Anna. This isn't a show that gets staged that often any more, but we are lucky that the movie version is pretty remarkable. So go ahead and dial it up during some holiday downtime - you'll be glad you did!

You're definitely going to want to check out my website at ChasingPhantom.net if, for nothing else, YouTube clips of Gertrude Lawrence so you can get a sense of what a dynamic performer she is!

For this pre-Thanksgiving episode, we hurtle up the list of long-running productions to give everyone something to celebrate and lift our spirits. "Mamma Mia!" may be the longest-running jukebox musical ever to run on Broadway (so far) but it's story transcends that reductive label. As expertly elucidated by Grey Garrett, who won a Best Supporting Actress in a Musical award for her performance as Tanya, this is a show that foregrounds female life experience and friendship in a somewhat revolutionary way for a show created in 1999.

Drawing from the experience of playing Tanya twice, Grey highlights the cycles of life that the show touches on, relates her own experiences of "falling in friend" with cast members, and the vital enjoyment of communal effervescence that the show fosters. In the meantime, I uncross my grumpy old arms and, at least in this one case, learn to love a jukebox musical.

This may not be the only time we talk about "Mamma Mia!" but it's a lively start to the consideration of a show that has broken a crazy number of records and continues to bring joy to "Dancing Queens" across the world.

You'll definitely want to check out my website, ChasingPhantom.net, for links to ABBA-tastic videos associated with this show. As always, please reach out to me at davidhintztimberline@gmail.com if you have cries of complaint or cheers of praise, or anything in between. And go see Mamma Mia! on tour - check out the website for upcoming performances!

On the week after Veteran's Day, my friend Jesse and I dig into "Mister Roberts," a play about sailors during World War II and humble hero who was an example of (mostly) passive resistance to a petty tyrant. When we recorded this episode, I had no idea how appropriate it would be to air during this week. Don't get me wrong - as a 1940s era comedy, it's not a great show by any means. But still, in these times in particular, it does offer some intriguing ideas about what service and leadership look like.

Jesse and I have a good time comparing and contrasting the play and movie versions of "Mister Roberts" as well as the not-really-surprisingly despicable depiction of women (or really just "woman" in the play). And how in the hell did Jack Lemon get an Oscar for his work in the movie? So many mysteries to talk about when it comes to "Mister Roberts" - we hope you enjoy the ride!

Check out ChasingPhantom.net for more information and YouTube clips related to this show. And hit me up at davidhintztimberline@gmail.com with questions, complaints or suggestions.

What could be more terrifying than to think you’re going insane? That basic horror makes “Angel Street” the perfect show to talk about during spooky season. Originally produced in London as “Gas Light” and adapted for the screen (twice) as “Gaslight,” this tale of a husband psychologically abusing his wife in order to access hidden riches was a surprise hit on Broadway in the 1940s. It was so popular, it overcame the monumentally bad timing of opening just days before the Pearl Harbor bombing to ultimately run for more than 3 years.

My guest, Lindsey Zelli, made her debut in the Virginia theater scene with her starring role in “Gaslight” and it was a local smash. Both Zelli and her costar, Axle Burtness, ended up winning Richmond Theatre Community Circle awards for their performances. Zelli and I talk about the challenge of building suspense on stage, finding the emotional beats in such an intense work, and making friends through theater. I lay out Vincent Price’s surprisingly robust early stage career also relate a bonkers story about his Broadway costar Judith Evelyn. There are no jump scares, but it’s still a conversation right in line with the horrifying aesthetic of Halloween.

Be sure and check out my website, ChasingPhantom.net, for essential video clips related to this show, a link to the full radio play and other fun facts. For more on Lindsey Zelli, check out her website. She's going to be in a show coming but she wouldn't / couldn't tell me what it is!

When you want to know about a production, there's no better source than talking to someone who was in it. I never thought that would be possible with the original Broadway run of "Annie Get Your Gun" - I mean, it closed in 1949! But Mary Ellen Ashley, who had a marquee role as the Girl in the Lampshade Hat in the show, is still alive and very much kicking. Though only 8 years old when the show opened, she was already a child star, having been in 2 other major productions and even appearing in a promotional film produced by the Navy, shot in Virginia Beach.

My conversation with Mary Ellen starts with her first public performance at the age of 4 and then quickly moves to her time in "Annie Get Your Gun." It's full of anecdotes and memories, all delivered with a playful attitude that Mary Ellen still maintains at the spry young age of 86.

Please check out my website, ChasingPhantom.net, for previous podcast episodes, links to videos related to the productions I talk about, and additional fun facts and stories. For more on Mary Ellen Ashley, check out her website. 

Valentine's Day is coming up, a time when the warmth of love takes our minds off the cold weather. So it's the perfect time for an episode about a show I love without reservation: "Dreamgirls." I'm not alone - critic Frank Rich called it "the most exciting staging of a Broadway musical in this decade." Others have labeled it "one of the most iconic, influential, and straight-up thrilling musicals ever written." For me, it was the first musical I ever saw on Broadway and there's always a special place in your heart for your first, particularly when it's this good.

Joining me in raving about his show is Katrinah Carol Lewis, an exceptionally accomplished performer, director and actor who played the "replacement" Dream, Michelle, in a smashing 2016 production. I would have a blast talking about just about any show with Katrinah, but it's a particular pleasure delving into this one with her. 

In addition to lifting up the music in the show, we touch on some of the issues masterfully explored in the musical, including the appropriation of black music by white artists and the exploitation of young women in the music business. We even sneak in a reference to Richmond home town star, Emily Skinner, who played one of the backup singers in the appropriating Dave and the Sweathearts group, in the 2001 Actors Fund of America concert version of the show. It was a recording of that performance that was the vehicle for Katrinah's discovery of this amazing musical.

Please check out the my website, ChasingPhantom.net, for more information on "Dreamgirls" and some essential video clips.

"Torch Song Trilogy" was a ground-breaking production and opened many doors for openly gay artists. It launched the career of Harvey Fierstein who would go on to write and perform in some additionally landmark shows on Broadway. In my hometown, it also was a landmark of sorts for one local actor, Keegan Ferrell. The recent college graduate was slated to be the understudy of the lead role, Arnold Beckoff, but ended up performing the opening weekend of the show due to an illness in the cast.

In our fun conversation, Keegan talks about that experience as well as providing some sense of what the "youths" these days might know about this seminal play in theater history.  And man, what a load of interesting theater history this show captures - incubating at La MaMa first as three separate plays before being combined, launching Matthew Broderick as well as Fierstein, gaining the support of the Glines who heroically raised money for the move to Broadway, becoming a sensation just as the AIDS crisis was emerging -- there's just so much!

That's one of many reasons you should pick up the book "In the Long Run" by Jordan Schildcrout that has a chapter all about "TST" and go to my website, ChasingPhantom.net, to see clips and find out more fun facts about the show!

We all know that sex sells, but is that the only thing that drove thousands of people to see "Equus" back in the mid-1970s? Listen in on my discussion with McLean Fletcher  as we discuss the explosive intersection of sex, religion and psychology that playwright Peter Schaffer squeezes into this sometimes disturbing tale.

McLean starred in the Cadence Theatre production of the play in 2015 as Jill Mason, one of two characters who spend an extended scene naked on stage. McLean argues that the nudity wasn't really the point but also, in many ways, really was the point. She's smart, insightful and absolutely delightful in her analysis of the show, as well as a big fan of the Daniel Radcliffe starring revival in 2008.

And the episode provides a very specific reason to check out the related post on our website, ChasingPhantom.net. The short post is largely devotes to Frances Sternhagen, a Tony Award nominee for "Equus," that we tragically did not get a chance to talk about in the podcast. 

The chase is back on! Welcome to season 2 of the podcast dedicated to exploring...and sometimes explaining...Broadway's longest running shows!

Today's episode features a true Broadway history whiz: author, dramaturg & professor Jordan Schildcrout has studied long-running plays in more depth than perhaps anyone else on the planet. In his book, "In the Long Run: A Cultural History of Broadway's Hit Plays," Dr. Schildcrout looks at the Broadway landscape over more than 100 years, going deep on the longest running plays in each decade. It's a fascinating and super fun read filled with unexpected facts and interesting context. You can find out more about it at broadwayinthelongrun.com.

I asked Jordan to come on the podcast to talk about a show that has completely fallen off the radar of theater fans but that still stands as a breakthrough in history. "Lightnin'" was the first production to ever run more than 1,000 consecutive performances on Broadway after it opened back in 1918.

Though you may not know the play, you'll still want to listen in on our conversation exploring what the play's success said about the changes in professional theater at the time and what has happened to the long-running play since.

For links to video and some additional info on "Lightnin'," check out this episode's post on ChasingPhantom.net. You can also access previous episodes of the podcast and find more fun facts and information. Be sure to check out ChasingPhantom.net. We'll be back in 2 weeks!

We're back - better than ever! The second season of "Chasing Phantom" will feature celebrity guests, unexpectedly popular productions, and a cavalcade of trivia, insights and lively conversation about the longest running shows on Broadway. Be sure and check out the first episode where I chat with an author, professor and dramaturg who has written perhaps THE definitive book on long running plays.

That episode drops Sept. 4th and new episodes will follow every other week. Follow on Spotify now so you won't miss a single episode!

And be sure and check out our website, ChasingPhantom.net, for past episodes, additional information, photos and video clips.

For this very special episode, we welcome Barbra Streisand to "Chasing Phantom" to help us explore a show that was a monster hit in the 1930s. OK, it's more the spirit and definitely the Voice of Babs that highlights this exploration of "Pins and Needles," more than the actual person (though if someone wants to send me a Cease and Desist in such a way that my podcast blows up, I'm not above benefitting from the Streisand Effect!)

"Pins and Needles" foregrounded politics - union politics, no less - in a peppy, funny musical review that had all the powerful libs at the time happy as clams. The show leveraged the progressive humor of composer Harold Rome and a cast of actual union workers to draw consistently full houses for almost 4 years.

After thoroughly investigating the many rabbit holes the history of this production presents, I also give a little summary of the first season of Chasing Phantom and a little preview of the second season that will kick off in the fall.

And I couldn't have done any of it without Babs!

Check out the vintage clips and songs linked to at ChasingPhantom.net and check out the whole first season of conversation about Broadway's longest running shows. Have a question, complaint or suggestion? Please email me at davidhintztimberline@gmail.com.

"The 25th Annual Putnam County Spelling Bee" is responsible for Mark Zuckerberg. Don't believe me? Listen as accomplished actor, director and video wizard Matt Polson and I wander around in nerd culture for a while, discussing this seminal musical. More than any show before or since, "Spelling Bee" demonstrated the unique attractions of live theater: with intense audience interaction and ad-libs aplenty, every performance was truly unique and you never knew what would unfold on any given night.

In this penultimate episode of season 1 of this podcast, Matt shares behind-the-scenes remembrances of how this show challenged him as an actor and makes the case that, in terms of audience response, this may be one of the best musicals ever.

There is plenty of video of the original cast of "Spelling Bee" that you can see at ChasingPhantom.net. Please drop me a line at davidhintztimberline@gmail.com with comments, questions and suggestions.

Once again, the joy of this podcast for me is getting schooled on stuff I don't know about. In talking about "Bring in 'da Noise, Bring in 'da Funk," Dr. Julinda Lewis introduces me to a flurry of tap dance masters from the past that were influences on young Savion Glover. Glover first broke into the public consciousness in "The Tap Dance Kid," but with "Bring in 'da Noise," he solidified his standing as one of the most accomplished dancer / choreographers in Broadway's history. And he was only 22!

It's particularly timely to talk about "Bring in 'da Noise" this year because of the most recent Oscars awards. A still-young Jeffrey Wright was one of the stars of "Noise" and the show was developed and directed by George Wolfe. Wright was nominated for an Oscar this year for "American Fiction" and Wolfe was the producer/director of "Rustin" that garnered a nom for Colman Domingo (and that also featured Wright).

You will definitely want to check out my website, ChasingPhantom.net, for video of two of the tap masters that Julinda mentions, Peg Leg Bates and Sandman Sims. And please drop me a line at davidhintztimberline@gmail.com with comments, questions and suggestions.

Before the iconic picture of Marilyn Monroe with her white dress billowing over a subway grate obliterated any other reference point, "The Seven Year Itch" was a long-running Broadway show. In fact, it was the longest running show of the 1950s and cemented the star power of the actor Tom Ewell who is not regularly remembered today (even though he would later star in the American premiere of "Waiting for Godot").

Just those facts alone make talking about this show interesting. Add in that my guest is psychologist / old movie superfan Jesse Rabinowitz, PhD, who calls "Itch" the "anti-Blue Velvet" and you have all the ingredients for a fascinating -- and occasionally spicy -- conversation about yet another "classic" that perhaps should be relegated to the dust bin of theatrical history.

Please be sure and check out my website, ChasingPhantom.net, for bonus material, links to videos, and additional facts and figures related to Broadway's longest running shows.  And please drop me a line at davidhintztimberline@gmail.com -- I'd love to hear from you!

Leapin' Lizards, what is going on here? Chasing Phantom has been methodically working through the list of 1,000+ performances on Broadway from the bottom up but, this week, we take a radical leap into the higher realms of theater success with an exploration of the much-heralded, often-rejiggered, musically-rich smash that is "Annie."

And I know no one better to dig into the history and lore of this Broadway classic than "Annie" superfan, Holly Timberline. Given that she was a working musical theater actress when we met, it wasn't long into our relationship that I found out about her deep-seated, abiding love of this orphan-palooza. After we were married and had children of our own, "Annie" quickly became part of our family lexicon. The kids sand "It's the Hard Knock Life" when they were happy, "Castle on a Cloud" from "Les Mis" when they were sad.

Not only does Holly know a lot of early days "Annie" facts that only real fans know, she went to the original production multiple times when she was a teenager so saw different actors in various roles and met many of the youngsters playing orphans. We both relate our experiences seeing subsequent revivals and the most recent touring production that is currently appearing in cities across the country.

Be sure and check out the Chasing Phantom website for links to supplemental videos and other content related to this all-time favorite show. And please email davidhintztimberline@gmail.com with questions, comments, complaints or suggestions for future episodes!

If you're reading this, I expect either you or someone you know has been in a production of "Guys and Dolls." There are so many reasons this show is a classic, from the colorful supporting characters to the silly romantic misadventures to the unbelievably catchy songs. The show has been revived 5 times but the 1992 production really set the template for how to successfully dust off a classic and breathe new life into it. It also was haled as a savior of American musicals at the time and proved the first of 3 key steps in the elevation of Nathan Lane from steady Broadway regular to superstar.

There's no one better suited to analyze the arrival of this singular hit back in 1992 than Phil Crosby, the executive director of Richmond Triangle Players. This is Phil's fourth appearance on the pod and, as per usual, he supplements his first-hand knowledge of the production with behind-the-scenes background on several of the key players in the show. Listen to hear why Phil considers this show "practically perfect."

And more than ever, you are going to want to check out our website, ChasingPhantom.net, for links to two priceless resources: 1) a two-hour opening night special covering "Guys and Dolls" highly-anticipated first official performance on Broadway and 2) the YouTube copy of the DVD "Guys and Dolls: Off The Record," the behind-the-scenes look at the recording of the production's cast album. Check it out!

It's weird how prescience can come from such unexpected places. When I recorded this episode about "Matilda the Musical" with the delightful Shannon Schilstra, I had no idea how relevant the show's themes about the bad behavior of bullies would be. It's a good thing that cloud wasn't hanging over our conversation, allowing Shannon and I to have a fun and carefree conversation about the unexpected rapturous praise this wonderfully weird show, developed by the Royal Shakespeare Company, would receive.

While certainly popular on Broadway, the show was and is an absolute smash in London, still running there for more than 14 years. Though my entree into the story was via the 1996 movie directed by Danny DeVito. Shockingly, Shannon has still not seen the original movie; she found Matilda through the musical first and has loved it ever since. We talk about how playing Miss Honey was a dream come true, both for her and her husband.

Be sure and check out my website, ChasingPhantom.net, for more information about "Matilda the Musical" and some great video clips related to the show. And here's hoping the world's real-life bullies suffer the fate of Miss Trunchbull and get their just rewards in the years to come.

It's both a relief and a delight when a show that premiered on Broadway more than 50 years ago isn't a challenge or a slog to get through. "Butterflies Are Free" is a play about a young blind man out on his own for the first time but, thanks to its breezy good humor, is also a fun and satisfying romantic comedy. For an older show, it has a wonderfully progressive non-ableist message but, instead of clobbering the audience with it, it lets some fairly realistic characters convey the lessons in a believable way. And as a nice bonus, all of the leads in the movie version are fabulous so you can enjoy this story anytime, oh like maybe on Valentine's Day!

Speaking of fabulous, my guest for the episode is Matt Bloch, an accomplished actor who played the lead character in "Butterflies" back in 2010. Just a college student at the time, he had the challenge of playing a person with a visual disability as one of his first professional gigs. Matt has a lot of insightful and fun things to say about the production he was in and about a more recent show he just appeared in that also prompts interesting thoughts about the portrayal of characters with disabilities on stage.

It's a great conversation that you're going to love! And if you like it, check out my website, ChasingPhantom.net, for previous episodes and more clips and commentary! Also, write me at davidhintztimberline@gmail.com with questions, comments, or concerns, OR if you'd like to be a guest talking about one of Broadway's longest running productions. See you back here in two weeks!

We start off 2024 with an old show that has surprising relevance today because of a very recent -- and somewhat confounding -- revival. "Plaza Suite" first premiered back in Neil Simon's imperial period when his shows were selling out before people even knew what they were about. Three vignettes that share a setting -- the same suite at the Plaza Hotel in NYC -- and a jaded view of American coupledom. It's a lot of dark stuff...when it's not downright uncomfortable.

Rich Griset once again joins the podcast to try to figure out what about this show might compel Matthew Broderick and Sara Jessica Parker to commit to it. It seems one motivation was clearly financial: the production ended up making nearly $30 million on Broadway. Is it just star power that is bringing people in or something more about this very (VERY) dated material? Listen to get our thoughts.

Also, please check out the recently updated website, ChasingPhantom.net, to review the movement of your favorite shows on the big list of Broadway's longest running productions. And see you back here in two weeks!

What a perfect way to end the year in quintessential Broadway fashion! For this episode I'm talking about "Fosse," the 1999 musical dance revue that featured what may be considered the "greatest hits" of choreographer Bob Fosse's career. The show was a smash hit at the turn of the century and was one of several dance-centric shows (e.g., Contact) that were drawing audiences at the time.

And I couldn't be more excited to be talking about Fosse with someone who has danced Fosse routines and studied Fosse techniques at Broadway Dance Center, the dancer / choreographer Kayla Xavier. She edifies me on a number of technical aspects of Fosse's style as we dig into the depiction of his singular talent as featured in this show.

As mentioned, a full broadcast version of "Fosse" is available on YouTube. After you listen to this conversation, I'd recommend checking it out -- it's worth a rewatch.

And of course, please check out previous episodes of the podcast and other write-ups related to Broadway's longest running shows at my website, Chasing Phantom. 

For the first of several Neil Simon creations that this series will consider, we start off with one that may be a "meh" to listen to but is still fun to talk about if only for the speculation about what could have possibly motivated to keep this show running for 3 years.

"They're Playing Our Song" is a fictionalization of the relationship between composer Marvin Hamlisch and the lyricist Carole Bayer Sager. Apologies to those who may love this show but it just doesn't hold up to modern scrutiny. And luckily I've invited a first-class scrutinizer to talk to about the show: Rich Griset, freelance writer and theater critic extraordinaire.