PODCAST EPISODE 127- CHAZZ PALMINTERI
If you listen to only one of my podcasts, make it this one.
We all know that Chazz’s life story became the play A Bronx Tale, which became the movie, A Bronx Tale, which has now become the musical, A Bronx Tale.
But the irony is . . . Chazz’s story of how he made all that happen could be a movie too.
He was almost 40-years-old. He was broke. He was driving a broken down car. Read more.
“The story is the star.” – Chazz Palminteri
PODCAST EPISODE 122 – SARA FITZPATRICK
If you have your ear to the Broadway advertising ground these days, you’ll hear the rumble of more and more Broadway Producers allocating even more money to online initiatives. Why sure, we’ve been advertising our shows on the world wide interwebs for several years now, the targeting technology has advanced so much over the past few years months that we’re shifting into another, higher gear, and putting the pedal to the metal in this medium.
Luckily we Producers have people like Sara Fitzpatrick to sit in our passenger seat and guide us along the way. Read more.
“People want to be a part of the conversation.” – Sara Fitzpatrick
PODCAST EPISODE 62 – PASEK & PAUL
If you’ve been listening to this podcast for a bit, then you’ve heard sessions with some of the industry’s greatest writers. From Stephen Schwartz to Tim Rice to Lynn Ahrens, we’ve had a whole ton of ’em . . . with more to come.
But I thought it’d be interesting for you to hear from a team at the beginning of their career who think of all those guys and dolls I mentioned as their heroes.
Imagine if we had Stephen Schwartz after Godspell but before Pippin. Or Tim Rice sometime around Chess. Read more.
“Ultimately, we’re trying to do one person’s job because it’s not music and lyrics, it’s a song. So we’re trying to get as close to one creative impulse as possible.” – Benj Pasek and Justin Paul
PODCAST EPISODE 4 – STEVEN SCHWARTZ
I first met Stephen when we started putting together the revival of Godspell and was immediately blown away by his ability to get to the heart of any musical moment and mine it for all that it’s worth . . . but at the same time he had an innate understanding of the business of Broadway. I remember thinking one day during a meeting that if he wasn’t composing Broadway megahits like Wicked and Pippin or writing Academy Award-winning tunes like “Colors of the Wind,” this guy would have made a helluva Producer.