I met Daniel Goldfarb back in 1997 when I company managed a workshop of Parade. Daniel was Alfred Uhry’s (who wrote the book) assistant, and I remember people saying . . . “That kid that is booking Alfred’s travel and getting his lunch? He’s going to be a major playwright someday.”

That someday is now, as Daniel’s plays have been produced at every major regional theater in the country, from Williamstown to MTC (more than once) to Playwrights and beyond. I mean, most young playwrights would kill for a show at just ONE of those theaters! He attended both NYU and Julliard and now is on the faculty at NYU.

We had a great time together on this podcast, reminiscing about our days on Parade and also talking about . . .

• NYU or Julliard . . . which program did he like better?  🙂
• Why he writes at coffee shops.
• How he was discovered and how he dealt with the first show not getting all the way to Broadway.
• Critics . . . why they are important, and what he wishes for theatrical criticism in the future.
• How he markets himself, and why it’s challenging.

Daniel has already made quite an impact on the NY theater scene and beyond. But just like someone whispered his potential to me years ago, let me be the one to tell you, his success so far is only the beginning.

Enjoy the podcast!

Click here for my podcast with Daniel!

Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)

Download it here.

When Richard Maltby, Jr. was asked to put together a revue for Manhattan Theatre Club, he said “yes,” even though he didn’t know what that actually meant.

But he did it, and not too much later he was collecting a Tony Award for Best Director of a Musical for Ain’t Misbehavin’, a revue that he conceived.

He went on to do more of those, including one of his own, a work with longtime collaborator David Shire, called Closer Than Ever, which was what all the kids listened to and auditioned with back in the 90’s (including this former Actor turned Producer/Blogger).

Revues weren’t the only thing up his writing sleeves, however. Richard wrote lyrics for Miss Saigon (ever heard of it) and Baby, as well as the book and lyrics for The Pirate Queen and many more.

We talk about all the huge hats he has worn over the years, as well as . . .

• Now what? (What to do when your first show out is a big fat success)
• Why the collaboration process on Miss Saigon was one of the favorites of his career.
• How the revue has morphed into the jukebox musical, and what he thinks of the current lot.
• An old idea for new writers to get attention that still works today.
• What he thinks of the new “style” of musical theater.

Tune in to this week’s episode below!

Click here to listen to my podcast with Richard!

Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)

Download it here.

Joe Iconis had a helluva summer.

Be More Chill, his musical that premiered at Two River Theater in New Jersey in 2015 (!), opened off-Broadway, sold out in an instant, extended, and then the Producers announced the show would move to Broadway.

And not because someone gave it a “must move” review or because a super-rich philanthropist wants to give Joe a shot. Oh no, this show is happening because fans found it on social media, fell in love with it, and demanded that it happen.

And that’s historic . . . and awesome.

Everyone in the biz has known the Kleban and Jonathan Larson Award-winning composer/lyricist of tunes like “Blue Hair” was going to pop at some point . . . but, as only can happen in our industry, no one ever could have predicted it would happen like this.

So how did it happen?

That’s just one of the things Joe and I talked about on my podcast this week.  Listen in to hear him us chat about . . .

• Just how that Be More Chill album went viral (and what you can do to make yours do the same . . . you may not like the answer).
• Why he works with the same “crew” of performers on so many of his shows.
• What doing “concerts” had to do with his success.
• How he dealt with the disappointment of his first show not going all the way when he thought it might.
• The fear of disappointing fans when your show is a social media success.

Click above to listen to my podcast with Joe!

Listen to it on iTunes here. (And if you like the podcast, give it a great review while you’re there!)

Download it here.

I’ll never forget the gasp that came from the audience at the end of Act One when I saw David Auburn’s Proof on Broadway.  It was one of those great twists/reveals/secrets and surprises that make a great play not only great but also flat-out-entertaining.

I remember thinking . . . now that’s a genius craftsman.

And I wasn’t the only one who thought.

Not only is Proof one of the longest running plays of the last few decades (at close to 1,000 performances), but it also won a Tony, a Pulitzer and is produced all over creation.

David and I chatted about the origins of Proof and how he solved it as well as . . .

• How he “warmed up” to writing plays by writing sketches and one-acts first (and a business reason why this is a great place for emerging playwrights to start)
• The most important reason why he thinks Proof was so successful and why it’s done everywhere.
• Why he enjoys directing other people’s work, but doesn’t want to do his own.
• The difference between writing screenplays and stage plays.
• Where he gets his ideas . . . and what he does first when he gets one.

Listen to the podcast with David with the links below, and if you haven’t read Proof, do yourself a favor and get it here.  Not only is it a page-turner, but it’s a master class in and of itself.

Click above to listen to my podcast with David!

Listen to it on iTunes here. (And if you like the podcast, give it a great review, while you’re there!)

Download it here.