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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
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.

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.
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

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.

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
--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

--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

--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
--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
--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!

--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

out for people to identify with, and

hopefully that helps them through their

--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

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.
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

--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.
--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

--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

00:16:02,440 --> 00:16:09,220

--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

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

V.O.: Catch both parts of ANGELS IN AMERICA at the Neil Simon

IMOGEN: When we return, we sit down with CAROUSEL Tony nominees Jessie Mueller, Joshua Henry,
Lindsay Mendez, Alexander Gemignani and Renee Fleming.
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

--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

--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.

-- 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

-- 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


--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?

--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

-- This is the same conversation I had with

-- 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.
-- 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

--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!

-- 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

-- Yes!
-- Oh, Calcutta
-- Nope.
--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
IMOGEN: We leave you with senior citizens

doing hip hop moves in HALF TIME.
RYAN: See you next week!



The Broadway.com Show - 6/1/18: Tina Fey, CAROUSEL's Jessie Mueller, Joshua Henry & More

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阿明 2018 年 12 月 28 日 に公開


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