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  • 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 yearThe 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 MENhave 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.

  • 00:16:02,440 --> 00:16:09,220 [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

  • 00:20:52,080 --> 00:20:55,540 -- 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]

RYAN: Welcome to THE BROADWAY.COM SHOW, filmed in New York's historic Brill Building. I'm

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