RYAN: Welcome to THE BROADWAY.COM SHOW, filmed in New York’s historic Brill Building. I’m
Ryan Lee Gilbert. IMOGEN: And I’m Imogen Lloyd Webber. This
week, we chat with the winners at this year’s Broadway.com Audience Choice Awards, sit down
with ANGELS IN AMERICA’s Tony-nominated director and designers and more.
RYAN: And later, we talk to the five Tony-nominated cast members of Broadway’s new production
of CAROUSEL. But first, let’s get started with the news. What’s the buzz, Imogen?
IMOGEN : It’s the most wonderful time of year…The Tony Awards are almost upon us!
Some of the biggest stars from stage and screen will be appearing at the 72nd annual ceremony,
including current BOYS IN THE BAND players Zachary Quinto, Matt Bomer, Jim Parsons and
Andrew Rannells, HAMILTON Tony winner Leslie Odom Jr., two-time Emmy winner and Broadway
vet Uzo Aduba, STRAIGHT WHITE MEN’s Armie Hammer, MARY PAGE MARLOWE’s Tatiana Mas-lany
and stage alum Claire Danes. Hosted by Sara Bareilles and Josh Groban, the Tonys will
air live on CBS from Radio City Music Hall on June 10th.
RYAN : NBC has tapped the 1960s musical HAIR as its next live TV broadcast. The show, which
features music by Galt MacDermot and a book and lyrics by Gerome Ragni and James Rado,
is set for a spring 2019 airing, produced by Craig Zadan and Neil Meron. HAIR, which
follows a tribe of young, free-spirited hippies in New York, who resist authority and the
looming Vietnam War through a Be-In and draft card burning, premiered in 1967 at off-Broadway’s
Public Theater before a Broadway transfer the following year. The 2009 revival, which
starred Gavin Creel, Will Swenson and Caissie Levy, went on to win the Tony Award for Best
Revival of a Musical. A long-planned BYE BYE BIRDIE LIVE! with Jennifer Lopez, initially
scheduled for 2017—as well as live version of A FEW GOOD MEN—have been delayed. Cast
and creative teams for HAIR LIVE! will be announced in the coming months.
IMOGEN: When you think of HAIR, Ryan, what comes to mind.
RYAN: Um. Nudity, drugs and free love. IMOGEN: Perfect for network TV.
IMOGEN : EVERYBODY’S TALKING ABOUT JAMIE, the buzzy new West End musical, is being adapted
into a major motion picture via Warp Films. Based on a true story, the Olivier-nominated
tuner follows the title character who, after receiving pushback when he announces he will
wear a dress to prom, overcomes prejudice, beats the bullies and steps out of the darkness
and into the spotlight. Featuring a book and lyrics by Tom MacRae and music by Dan Gillespie
Sells, the stage version’s director, Jonathan Butterell will helm the movie, while MacRae
is penning the script. Filming is expected to commence in spring 2019, with a release
date to be announced. Meanwhile, the show has just extended through April 2019 at London’s
Apollo Theatre.
RYAN : ESCAPE TO MARGARITAVILLE, the new musical featuring the songs of Jimmy Buffett, has
set the date for its last performance on Broadway. The cast will take their final bows at the
Marquis Theatre on July 1. Shortly after closing on the Main Stem, the cast, including Paul
Alexander Nolan, Alison Luff, Lisa Howard and Eric Petersen, will travel to Washington,.
D.C., to perform on PBS’ A CAPITOL FOURTH on July 4. Directed by Christopher Ashley
and featuring a book by Greg Garcia and Mike O’Malley, an ESCAPE TO MARGARITAVILLE tour
will launch in October 2019 in Providence, RI. Meanwhile, David Yazbek and Itamar Moses’
new musical THE BAND’S VISIT will launch its first North American tour also in Providence,
in June 2019. Directed by David Cromer, THE BAND’S VISIT officially opened at Broadway’s
Ethel Barrymore Theatre in November 2017, and was recently nominated for 11 Tony Awards,
including Best Musical. Exact dates, casting and additional cities for both tours will
be announced at a later time.
IMOGEN : Katharine McPhee is taking on a second shift at WAITRESS. After concluding her current
run on June 17th, McPhee will don Jenna’s apron once more from July 5th through August
19th. As previously reported, the SMASH alum is set to have a leading man switcheroo from
June 5th, when Erich Bergen replaces Drew Gehling as Dr. Pomatter. Other company members
currently cooking up a storm at the at the Brooks Atkinson Theatre include Caitlin Houlahan
as Dawn, NaTasha Yvette Williams as Becky, Steve Vino-vitch as Joe, Benne Elledge as
Cal, Ben Thompson as Earl and Christopher Fitzgerald as Ogie.
RYAN: Do you think Katharine McPhee was inspired to stay in the role longer because she won
the Broadway.com Audience Choice Award for Favorite Replacement?
IMOGEN: Sure. And she’s a smash. RYAN: I see what you did there.
IMOGEN: Yes, everyone did.
RYAN : Donna Murphy will once star as Dolly Gallagher Levi at select performances of HELLO,
DOLLY!. During Bette Midler’s upcoming return to the Tony-winning revival, Murphy will take
the Shubert Theatre stage at certain performances. Midler steps back into the production on July
17, replacing her replacement Bernadette Peters. She’ll play a six-week engagement before
HELLO, DOLLY! ends its run on August 25. PARKS AND RECREATION actor Paul Schneider has completed
the cast of Young Jean Lee’s STRAIGHT WHITE MEN on Broadway. Schneider joins the previously
announced Josh Charles, Armie Hammer, Tom Skerritt and more in the play, which follows
a father and his three adult sons as they ring in Christmas by contemplating the value
of straight white men in a society driven by conversations of identity and privilege.
Directed by Anna D. Shapiro, STRAIGHT WHITE MEN will begin performances at the Helen Hayes
Theater on June 29. And Jason Tam will appear in the off-Broadway premiere of BE MORE CHILL,
taking on the role of the SQUIP. As previously reported, the coming-of-age musical, which
features a score by Joe Iconis, will begin performances July 26 at the Pershing Square
Signature Center.
IMOGEN : When we come back, we sit down with MY FAIR LADY’s loverly design team, get
a sneak preview at the new musical HALF TIME and more.
PAUL: This week on Broadway.com, SPONGEBOB SQUAREPANTS Tony nominee Ethan Slater talks
about making the role his own on SHOW PEOPLE, THE BOYS IN THE BAND’s Charlie Carver turns
on the charm and more.
it's Broadway's most nominated new musical with 12 Tony nominations in
Best Director yes choreography the school and best musical of the year
Spongebob Squarepants the Broadway musical get your tickets now
--Hi, I'm
Ethan Slater and you're watching the Broadway.com show.
--IMOGEN: Welcome back. Since
2000, Broadway.com has asked our readers to pick their favorites of the season in our
annual Broadway.com Audience Choice Awards. This year MEAN GIRLS, SPONGEBOB SQUAREPANTS,
ONCE ON THIS ISLAND and ANGELS IN AMERICA came out on top. We hit the red carpet at
a private reception for the winners and chatted with them about why this award given by the
fans is truly special.
--It is exhilarating to
be in a room filled with people who are fans of theater, and also who were voted
on by fans of theater. It's pretty special. --It makes you realize how
incredible this community is. I come into the room and I see collaborators that I
know, and collaborators that I respect and love, so I feel like you know it just
brings people together in another way, and we get to celebrate each other's
work.
--When it comes to award season, it's the people in the business, it's the
people who have been doing this for years. So to have an event to have an
award where it's it's about the fans, and the people who come and see the show,
it's really cool.
--Every day, every night every performance, you're trying to
deliver the play and make it a worthwhile experience for you know this
this audience that's you know it's it's a big thing to go to a Broadway play. And
they're discerning. It's just really thrilling to know that people actually
really enjoyed it and and and remembered it
--I don't know if I'm gonna get to
experience this again where before we've even set foot on stage, people are
cheering and they're excited to see what's gonna happen. And then to know
that what we've done after that, they've enjoyed and that they voted and are
supportive of the show that's really wonderful. --It just feels really nice for
people who are taking the time out of their lives and taking money out of
their own pockets to come see the show and supporting you and so I'm honored to
be here.
--IMOGEN V.O.: Here's what the stars had to
say directly to their fans.
--Oh my god
Oh my acceptance speech. Thank you all thank you to everyone who voted for this
it's so cool it makes me so happy thank you
--Thank you so much
fans and do not throw away your shot and we love you from the Ham fam
--Thank you
so much. We will treasure this and you know it's a it's a it's a glorious honor
for us at Cursed Child
--It really brings us so much joy to know that you like the
show and that you like the songs and thank you! You are the best.
--Thank you to everybody who voted for femal breakthrough artist. I love you
all! Thanks for coming to see the show you guys Rock you are so grool, stay grool.
--There are too many people to thank because it takes a village to make a
show and it takes a village to make a role, so thank you to everyone!
--Hey, we
love you, and thank you, and how cool is this, and come see us through the show
and act like idiots?
--Broadway.com friends fans theater goers we love you keep
coming to the theater! --IMOGEN V.O.: We asked this year's winners
what they're going to do with their new trophies.
--I'm going to treasure
it in my house.
--You know I'm actually moving very soon and so I'm picking out
like shelves that it might go on. I think it would look nice on something with
sort of like a blond finish or a beige finish, so I'll be taking this to Ikea
next weekend to see what it looks best on. --I'm going to snuggle this award right
next to my other two awards that I got a couple years ago for Hamilton, so thank
you audience for choosing me again! --Well Tina Fey puts her award on on her toilet,
well one of her awards she has many. so maybe I'll do that too!
--I think Jeff put
one in there as a joke and it's kind of stayed when the cast is coming over, but
I wouldn't say what kind cuz --It's a heavy one and it works well in the
bathroom. And and you have several of them! --Well
--And it's but it's not an
Emmy. So Taylor Louderman will never be invited back to our home again
--Put them in a
very special place. They go on a special shelf so I can look at
them and be reminded that art isn't about myself, it's about putting
something out for people to identify with, and
hopefully that helps them through their life.
--BETH: The sweeping revival of MY FAIR
LADY reunites the Tony-winning creative team of director Bartlett Sher, costume designer
Catherine Zuber and set designer Michael Yeargan. The trio has earned awards and acclaim for
their past collaborations, including THE KING AND I, FIDDLER ON THE ROOF, THE BRIDGES OF
MADISON COUNTY, SOUTH PACIFIC and more. We spoke with this dream team about the Lincoln
Center Theater revival of MY FAIR LADY and why they work so well together.
--Our collaboration the collaboration between Bart Sher and Catherine Zuber
Don Holder has been a dream come true, and it didn't come easy. I mean we we sort of
all started off on the same show so when we all kind of got together, it just I
don't know I just sort of clicked.
There a certain trust builds, a certain
shorthand and a certain understanding of everyone's aesthetics, intelligence, and
style of telling a story
--I think the great thing about them is that among
them, I had to have an extraordinary
depth of experience, and a really rich
knowledge for how to approach these musicals because they've worked for so
long in so many areas and with so many great other collaborators than myself
--One of the most admirable things about Bart is he really he's very loyal and he
really does build each show kind of builds on the next one. Some of the
things that you discovered on one show you can carry over into the next one
--They're they're largely you know got about 100 years worth of experience
on them, so they're pretty great.
--Although this is the fifth time My Fair Lady has
been on Broadway, the beloved classic still presents challenges to be solved
by the design team
--My Fair Lady turned out to be one of the most difficult
tasks we ever took on. We would quietly call it the the Ring cycle of musicals
meaning it was like like trying to do Vaughner or something that's really big
One of the reasons it's so difficult is it's very very demanding in terms of
location.
--We wanted the study to be as real as possible and we wanted one of
the issues with the study in My Fair Lady is that so much of the play happens
there. And in the original set, it was just one space. --We came up with a
turntable idea in a multi-faceted sort of world, which we could turn and live in
and out of and move and really get a sense of transformation.
--Then you've got a which is all of Cathy's fantastic costumes and we knew that that
really had to be kind of surreal. So we just put it against a glowing white
background with this ethereal kind of a canopy that that drapes over it.
--I felt that if the men and the women were of the same palette, it would give the
illusion of a larger population where it wasn't divided between men and women. By
making it all in mauves and greys, stone colors and
off-whites, it kind of kind of pulled everybody together. And then out of that,
by having Eliza with black and white, you know we keep our eye on our leading lady
and have you know know where to look within those scenes
--With its themes of
transformation and independence, My Fair Lady is a story for all time and this
year's stunning revival delivers in every way. --My Fair Lady is one of the
great shows of all time. It happens to be the first musical that I ever saw in my
life when I was a kid in Dallas Texas. And it's a great story, fantastic story
that's even more relevant now than when it was first done
--We all work so hard on
everything we do, and when its success in the audiences appreciate what all the
collaborators have done, when all of that comes together and we have that positive
feedback, it's just great. There's nothing like it.
V.O.: MY FAIR LADY is playing at the Vivian Beaumont Theater.
RYAN: The new musical HALF TIME is based on the true story of 10 senior citizens who audition
to dance at halftime for a major basketball team. Directed by Jerry Mitchell and featuring
a bevy of familiar names, including Lillias White, Georgia Engel, Donna McKechnie and
Andre De Shields, this feel-good show is playing New Jersey’s Paper Mill Playhouse. See the
seniors bust a move in rehearsal.
[music]
--It's based on a documentary called Gotta Dance, and it's about this group of
senior dancers who performed halftime at a basketball game, but they perform
hip-hop.
--What I love about the show is what hip-hop means. How it started, how it
was a form of expression, a statement of saying, I'm here and I stand up and I
should be counted and I'm important
--It's opened up a platform for all of us
elders, who are out there who still have some fire and some life in us, and we
want to show it off
--Parents will bring their their grandparents and their grandkids
it brings everybody together and it it makes the generation gap disappear
--It teaches us not to give up just because things are hard, and not and to continue
to challenge ourselves and follow our dreams. and I think that that's a really
important message and something that anybody can really relate to.
RYAN V.O.: Learning hip hop choreography is just as much of an adjustment for the performers
of HALF TIME as it is for the characters they portray. Mitchell and the cast spoke about
taking on the fancy footwork.
--they really are learning hip hop. Nick
is teaching them all of the the authentic hip hop stuff and they
really really been met the challenge --The beauty of this show is when we came
together it was very much like the premise, the conceit of the show. We
didn't know one another, and that's one of the exciting elements of the show you
are actually experiencing us bonding for the first time.
--If you aches and pains
attached I will not lie about that . Now all of us have been doing lots of Epsom
salt baths. Ice on the knees but it's it's worth
it.
[music]
--V.O.: Catch HALF TIME at the Paper Mill Playhouse
through July 1.
BETH: The Tony-nominated revival of ANGELS IN AMERICA offers up a fantastical world that
switches location, time period and mood swiftly. We spoke with director Marianne Elliott and
her design team members Ian MacNeil and Edward Pierce about creating the space for this theatrical
masterpiece to focus on the humanity of its epic storytelling.
--When Ian McNeal and I started designing it, we wanted a
whole concept for the whole of the two plays. Start somewhere that you think is
recognizable. You know polished, but maybe sort of kind
of theater that you've seen before. And then evolved into something which is
more imaginary, more surprising, more hallucinatory. With this kind of
progression from one thing to something else, we also felt like it should become
more and more obvious in a way that you are in a theater. --By the end of the story,
we are in the empty theater space. That is the penultimate moment of the design
really, showing how spare we can be and what very little you need to to
tell the story. And then as you back away from that, it is all a reaction to the
theater space and the experience that that audience has in that moment
--When there's an empty stage, there's an awful lot of craft on our parts to make the
human figure strong in what seems to be a place with nothing in it. It looks like
there's nothing there, but where your eye lands is actually quite controlled. You
really need to guide the eye, so that the human figure is not stranded.
--With it's slick, neon edge design that even extends to the Angels in America poster the
creative team further explores the themes of Tony Kushner's epic drama.
--The neon came from the idea of heaven, heaven according to the Angels or the
Angel of America is a place which is falling apart, is
disheveled, has been abandoned by God. There's a moment in heaven where it
talks about the generator failing. So we felt like that was a kind of pulsing
electricity thing, and we felt that if angels and in America was sort of set
around now-ish. I mean, I know it's 1985 but we wanted to try and make it feel
more now as well, it felt like the idea of electric lights, Electric Light
fizzing, light going out. Every scene is framed somewhat by a neon frame
--There are 67 or so scene changes between the two plays and we span from Central Park
to apartments on the Lower East Side, offices, hallucinogenic visions of
Antarctica. It spans. The end result of having sat in your theater seat for
nearly eight hours experiencing this wonderful story and all of these
characters, and all of these places that we've taken you, is that by the end, as
much as you might have been enamored with any individual moment, you realize
that there was an absolute slaughter amount of stuff that is like where has
it all gone? And that also allows you to breathe when you leave that all of this
journey it also is as empty as it was full.
V.O.: Catch both parts of ANGELS IN AMERICA at the Neil Simon Theatre.
IMOGEN: When we return, we sit down with CAROUSEL Tony nominees Jessie Mueller, Joshua Henry,
Lindsay Mendez, Alexander Gemignani and Renee Fleming.
[Music] don't waste another minute critics are
calling it paradise on Broadway and Entertainment Weekly says escape to
Margaritaville will knock your flip-flops off it will transport you on
a high from start to finish so don't miss Broadway's goodtime musical don't
let the party start without you get your tickets today
--The new Broadway staging
of Rodgers and Hammerstein's Carousel is the most honored musical revival at this
year's Tony Awards, earning 11 nominations in total. Among that tally,
are 5 nods for the show stars Jessie Mueller and Joshua Henry as ill fated
lovers Julia and Billy Lindsay Mendez and Alexander Gemignani
as Sardine sweethearts Carrie and Enoch and opera icon Renee Fleming as
Nettie Fowler, who delivers the stirring You'll Never Walk Alone
we recently gathered the talented fivesome for a photo shoot and also set
them down for a quick chat about the everlasting power of the 73 year old
classic.
--We are sitting with, Oh my god. Hi! 20 nominees in one show. That's
crazy. That doesn't happen all the time. --On two couches
--SO first of all congratulations, that's nuts --Thank you.
--And some first timers
-- This couch. The red couch --We'll tell you everything you need to know.
--I love this show. This is my favorite classic
musical. I always say this. Carousel is number
one for me. Is being great in a great musical sort of easier?
--When it's classic, and you know it works, I think it lends itself to the personalities
that can come and sort of reinterpret it, like a great Shakespeare or something like
that. --And there's so much emotion built into the
music right away, and people know a lot of the music so their expectation is already
high. And if you sing it, then it works.
--Did you know the music? --All of it.
--Yeah? -- All of it. I did not know the show. I'd
never seen it. Did you guys know
it all? I knew most of it, yeah. But, I wasn't
that familiar with the script, so to read it and then to see how all of this music that
we all know so well fits into telling this incredible story, it was this really cool
for us to kind of like dive into it again, I think.
And fun to do something like this with people like this. Because, to me, it always defines
like my Julie is because of his Billy, and her Carrie. And you know what I mean? Her
Nettie. And even like your Enoch. It really does, like when you're in a room with the
best of the best, it just comes together that way. It ups your game and everybody just brings
so much to it.
--I think it actually says a lot that I've
seen you play Carrie. You played Carrie at Lincoln Center.
-- And now I can't imagine it any other way. Like, Lindsay is Carrie to me. I I really
mean that though. Like I wouldn't I wouldn't be able to kind of redefine it in my brain
anymore. It's it's always you, Lindsay. -- I got in your head. [whispers] I got in
your head. -- It says a lot about the material that you
actually it's not so, you know, I'm a Julie. I'm a Carrie. It feels like you're able to
lend yourself to these roles in in a great way?
-- With with all just like great respect to all of the productions
with all the classic shows that have come before us, the trope of sort of like kind
of person who plays each role, I don't think Jack and Justin were interested in that, so
much. I think they were interested in community and how do these people function together
in a community? And how do they not? Who are the people who don't function within the community?
Or work their way in or work their way out? I think if you take that lens on on Carousel,
you get this very sort of like deep tapestry of of rich colors that these people live their
lives with. And the resulting things that we all feel on stage, there's this thing of
like I can't really imagine it another way, as Jessie was saying, because it's so feels
ingrained.
[Music] [Music]
--Josh, what is it like to sing a "Soliloquy" every night?
--It's incredible. I love a song like that,
or "If I Loved You", which was the first song musical theater than I ever learned.
--Did you sing both parts? [laughs]
--I sang the selection, which was just like
-- Like, [sings] chorus!
--I Love you... but it's like you're saying,
the material is so rich that it challenges you every night.
For me, it just feels like you can't think about it. You know, that the intro starts
and it's like skydiving. You can't reach up to the plane again. You're already falling.
It's so much fun.
--Jack O'Brien, great director has directed
so many amazing plays and musicals on classics works over the years. What was sort of the,
the mission when you started? --When I first talked to him, he really wanted
to lead into the spiritual aspect of this piece.
-- This is the same conversation I had with him.
-- Yeah, and really the theme of redemption and what that means,
how asking the questions about do we get second chances? What does it mean to be loved? Like
the adventure of that, the innocence of that, the purity of that, what that can be.
["If I Loved You"]
--He just kept saying over and over He's like, let's ask the questions. Let's keep asking
the questions. Because people know this well, let's not sort of rely on
that. Let's make sure we get every point, if we have a question, let's ask the question.
Let's not just do it the way it's always been done because that's how it's been done. To
have a director that that lets you do that, and not make doesn't make you feel in the
room that like you're wasting time, you know what I mean?
but gives permission for that kind of work?
--And it built so much trust between us. I feel like there wasn't there just isn't
a moment that we haven't all discussed together. And so we can all serve the piece rather than
serving ourselves.
-- I think that unlocks a real non-precious way to view something that you could potentially
try to hold with kid gloves and miss the sort of like deeper part of the thing. And so,
ironically, by not being precious with it and being able blow the dust aside and ask
all the questions you want to ask, you honor it and a much, for me, a much truer way.
--It's authentic that way, yeah.
--And it can handle it. The piece can handle
it. The more we dug into it, the more we open up, I feel like the more we found. It's not
like you open it up and there's just not the depth to be found. It's there.
--Were there any specific moments that were specifically challenging for any of you? Or
exciting to work on?
--I'll never forget the first time we started
going into the bench scene. --If I Loved You. I was so nervous. I was like,
Let's not work on it.
[laughs]
-- We got time!
--I was like, We got time, right? We can just crack that one open in like a week. Everybody
loves the song. There will be a bench. -- The twists and turns in that piece are
so intricate, and trying to find them truthfully, --Truthfully, yeah.
--I remember we got into the room and we were sitting this close to each other, and we were
doing the scene just like this. And it felt great, and then we had to sing. And there
was this big divide between the performance volume and the intimacy of the scene. And
it took so long to find what that was, and to just feel
--The balance of that. We re-blocked that how many times?
I don't know. We're on like version 12.5. --You know what else was hard? Was the stuff
with the three women. With you? --Yes, that's true
--Calling, when we would kind of hold Julie to task about her relationship with Billy.
Both those moments between the three of us, we worked so much. Remember that scene, and
then Also "What's the Use of Wondering?" --We have an obligation in 2018 to like make sure we're
saying you know the right thing with holding Julie up, and also you know calling her out,
I think. And it took us till probably the last preview to figure some of that stuff
out. --Yeah. Yeah, making sure that women were
authentic, yes. --And strong.
--And strong and complex.
--I was so stunned in the preview process,
completely stunned. I just assumed a classical piece like this, it had been around for 75
years, what are you gonna do? You're just gonna do it as well as you can. No, no, no.
Things were added and cut and added again and moved around and things were re-blocked
five times. It was extraordinary. And in the end, people who came, who I know, who came
early on in the preview, so then saw it later just said they could not believe the difference
in how much more exciting it was?
I first was introduced to the power of this show many years ago, and I love any
opportunity to see a new version of it, and a new cast do it and, and it's sort of undeniable.
What is it like for you on stage to to sort of be in something that, you know, how's that?
-- Why, why do you love it, Paul? I'm curious. --Yeah. What do you think it is?
--It moves me so tremendously, I mean, -- Because of its
sort of epic nature or the depth of it or a combination like what do you think
it is?
--I'm just a moderator here! [laughs]
-- I'm really interested! I think part of the beauty, I guess the reason I'm asking
that question is, to me, part of the beauty is that I can tell why. I can't define it.
It is bigger than one person. It's even bigger than a group. I think it's about tapping into
something very deep and very human and very innate and very complex about what it's like
to spend your time on this planet. -- And thinking about the people who leave
you who are still looking out for you. We all hope for that, I think.
-- The idea that you're not alone! -- And, and so getting to see a piece about
that, there's that. And then there's this score, which is like, when that prologue starts,
it's overwhelming. The sound of what they made I just think all of it together makes
it's just it's magic. -- One more thing: Is there any other show
you can all imagine doing together? --Yes, we already talked about it.
-- We talked about it.
--We talked about Guys and Dolls. What was the other one we were talking about the other
day?
-- Yes!
-- Oh, Calcutta
-- Nope.
[laughs] --Sure she wasn't it.
--Well, you're gonna be doing Carousel for a while, so I'm thrilled. And it's at the Imperial
Theatre and everyone needs to go see it. And thank you all for being here.
--Thanks Paul --Thank you, Paul
BETH: When we come back, we hit the rehearsal room for a sneak peek at the Paper Mill Playhouse
production of HALF TIME.
--It's Broadway's most nominated new
musical with 12 20 nominations including Best Actor Best Director yes
choreography the school and best musical of the year Sponge Bob Squarepants the
Broadway musical get your tickets now.
--Hey! It's Idina Menzel here and you're
watching the Broadway.com Show.
--RYAN: Thank you for watching THE BROADWAY.COM
SHOW. IMOGEN: We leave you with senior citizens
doing hip hop moves in HALF TIME. RYAN: See you next week!
[Music]