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I am very pleased to share with you part one of my recent conversation with authors Paige Allan and Stacy Wolf about their fascinating new book, Feminist Approaches to Musical Theater. Paige Allen is a writer, researcher, and storyteller. She holds a Masters degree in Women's, Gender, and Sexuality Studies from the Oxford University of and an BA in English from Princeton University, USA. Stacy Wolf is Professor of Theater and American Studies at Princeton University and is the author of the acclaimed books Changed for Good: A Feminist History of the Broadway Musical and A Problem Like Maria: Gender and Sexuality in the American Musical. Long-time listeners will remember Stacy from Episodes 44 and 45 of Broadway Nation, in which we talked about her book Beyond Broadway: The Pleasure and Promise of Musical Theatre Across America. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second half of my recent conversation with Tony Award-winning composer, lyricist, arranger, and music producer MARC SHAIMAN about his new, New York Times bestselling book, NEVER MIND THE HAPPY. During his five-decade career, Marc has found enormous success in nearly every aspect of show business, but in this episode, we focus on his experiences on Broadway, including CATCH ME IF YOU CAN, CHARLIE AND THE CHOCOLATE FACTORY and, most especially, the behind-the-scenes history and development of his smash-hit musical HAIRSPRAY. Become A PATRON of Broadway Nation! This episode is made possible in part by the generous support of our Patron Club Members, including our newest patron, PAULA & STEVE REYNOLDS. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

During the 1930s Broadway was severely impacted by the economic disaster of the "Great Depression". However, somehow out of all that hardship and struggle came an extraordinary period of artistic achievement and spectacular continuing development for the Broadway Musical. The inventors of these shows included several new and defining masters of the musical, as well as many of the bright lights of the 1920’s, who now achieved their full wattage in the 1930’s. Among these were Dietz & Schwartz., Lindsay & Crouse, Cole Porter, Rodgers & Hart, The Gershwins, and George "Mr" Abbott. Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today on Broadway Nation is the Tony Award-winning composer, lyricist, arranger, and music producer, MARC SHAIMAN, who has found spectacular success in nearly every aspect of the entertainment industry, including film, television, and theater, but is probably best known to fans of this podcast as the composer and co-lyricist of the Broadway smash hit musical HAIRSPRAY. Marc joins us today to tell us about his star-studded new book, NEVER MIND THE HAPPY, which recently became a New York Times bestseller. In this candid, hilarious, and at times quite moving memoir, Shaiman looks back over five decades of his amazing career. I found this to be a delightful conversation filled with behind-the-scenes stories and impromptu musical punctuations that I suspect you will not soon forget! Become A PATRON of Broadway Nation! This episode is made possible in part by the generous support of our Patron Club Members, including our newest patron, Arnold Hirshon. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is Barry Joseph, the author of the recent book, Matching Minds with Sondheim. Since his death,  there have been so many books about Stephen Sondheim and various aspects of his life and his career, including an amazing number of really terrific books, and I have had the honor of having many of the authors of those books as guests on this podcast. And Barry Joseph’s book is right up there with the best of them, but it is also a completely unique and original way of looking at Sondheim. As Barry describes it, Matching Minds with Sondheim is “an exploration into the barely understood, hardly known, side-aspect of who Steven Sondheim was when he was not writing lyrics and composing music. Puzzles and games were a side hobby of his that he had a passion for throughout his life — from when he was very young until he passed away. And throughout those many decades, through parlor games, board games, treasure hunts, word puzzles, mechanical puzzles and video games, his passion, interest and creativity was expressed in a whole other way than we get to see when it's on the stage.” The book also serves as a sort of “alternate biography” of Sondheim and explores how his life, Broadway career, and gaming hobby were intricately intertwined. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the fourth and final episode in which Albert Evans and I go in search of the 1934 smash-hit musical The Great Waltz, one of the longest-running shows of the 1930s. The goal of this occasional series of podcasts, In Search of Lost Broadway, is to try to rediscover big hit Broadway musicals from the past, which today are almost entirely unknown to us and forgotten. This week, we explore several high-profile reincarnations of The Great Waltz in the 1960s and 70s, all of which stem from a heavily revised version, with new lyrics by the team Robert Wright and George Forrest, that was first produced by impresario Irwin Lester at his Los Angeles Civic Light Opera company in 1949 and then was revived and revised in 1953 and 1965. The highly acclaimed 1965 version was announced several times for Broadway but never materialized there. It did, however, open in London in 1970, where it became a major hit, running more than 600 performances. Then, in 1972, in the wake of the massive success of The Sound of Music film, The Great Waltz became a major motion picture starring Horst Buchholz and Mary Costa, again with new lyrics by Wright & Forrest. Finally, we discuss the Walt Disney TV-movie version of the Johann Strauss story, titled The Waltz King, which aired on The Wonderful World of Disney in 1963. If you missed the previous episodes in the series, you may want to catch up with those before listening to this one. Become A PATRON of Broadway Nation! This episode is made possible in part by the generous support of our Patron Club Members, including our newest patron, Ann Drourr. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Because this is a Broadway history podcast, I don’t usually comment on recently opened productions, since we can’t know yet whether they will be historically significant. The exceptions, of course, are major revivals of Broadway musicals from the past. And since I’ve been around for a while and had the opportunity to see the original 1986 London production of Chess, which ran for three years, as well as the 1988 Broadway production, which closed after only 68 performances, and a few weeks ago, the current Broadway revival of the show, I thought I might be interesting today to talk about the history of this show and share my thoughts on all three major productions. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members such as Kelly Allen. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

On this week’s Broadway Nation podcast, Albert Evans and I once again go “In Search of Lost Broadway,” as part of our occasional podcast series in which we try to rediscover significant hit Broadway musicals from the past that today are almost entirely unknown and forgotten. This is the third episode in which we go in search of the 1934 smash hit bio-jukebox-musical, The Great Waltz — one of the longest-running shows of the 1930s. Today, Albert and I discuss and review two adaptations of this musical that were produced one a year apart in the mid-1950s: a radio version starring Gordon MacRae on his The Railroad Hour show,  and a live television extravaganza starring Patrice Munsel, Keith Andes, and Burt Lahr. If you miss the earlier episodes in this series, you may want to go back and catch up with them before listening to this one. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members such as Kelly Allen. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second of two special holiday episodes of Broadway Nation. Just like the first, this is an audio version of a Broadway Nation Live! performance that was given in December of 2019 at the Vashon Center For The Performing Arts on Vashon Island, WA. If you prefer to watch a video of this performance you can stream it on their website at: vashoncenterforthearts.org In Part One we looked at how the Jewish-Russian immigrant songwriter, Irving Berlin — in addition to being one of the prime inventors of the Broadway Musical — also created an entirely new category of popular song: “the Christmas Standard.” In this episode we explore how Berlin was aided and abetted in that endeavor by the son of Irish and German immigrants from Washington State who became one of the most popular performers of all time — Bing Crosby. Along with Judy Garland I call Bing one of Broadway’s greatest stars who never appeared on Broadway. But first, we start off with Albert Evans’ amazing in-depth analysis of the genius of Irving Berlin, and the inspiration and craft that is behind the most popular song of all time. As you will remember, the last episode ended with me introducing Albert and asking him this question: “Why? Why is White Christmas the most popular song of all time?” You won’t want to miss his answer! This live show features musical performances by Cayman Ilika, Eric Ankrim, Chris DiStefano, and Albert Evans.    Happy New Year! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is a special holiday reprise of one of Broadway Nation's most popular episodes: It's an audio version of a Broadway Nation Live! performance that was presented in December of 2019 at the Vashon Center For The Performing Arts on Vashon Island just outside of Seattle, WA. Several previous episodes of Broadway Nation have explored the crucial role that the Jewish Russian immigrant songwriter, Irving Berlin, played in the invention of the Broadway Musical. This time I share the story of how he also invented an entirely new category of popular song – the Christmas standard.   This live show features musical performances by Cayman Ilika, Eric Ankrim, Chris DiStefano, and Albert Evans.  Happy Holidays! Become a PATRON of Broadway Nation! I want to thank our Broadway Nation Patron Club members, such as Larry Spinelli, whose generous support helps to make it possible for me to bring this podcast to you each week. If you would like to support the creation of Broadway Nation, here is the information about how you too can become a patron. For a just $7.00 a month you will receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast.  All patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please just click on this link: ⁠https://broadwaynationpodcast.supercast.tech/⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week Albert Evans joins me once again as we go “In Search of Lost Broadway.” Specifically, the 1934 smash-hit musical The Great Waltz, conceived, directed, and lighted by Hassard. Short, with a book by Moss Hart, choreography by Albertina Rasch, based on the Viennese operetta and London hit, Waltzes From Vienna with English lyrics by Desmond Carter, and featuring the music of both Johann Strausses, I and II. If you missed the first episode in this series, you may want to catch up with that before listening to this one. Today, because 2025 marks the 200th anniversary of the birth of Johann Strauss II,  I begin by taking a brief survey of his surprisingly substantial legacy on Broadway,  including  26 Broadway productions featuring his music between 1882 and 1990. Then Albert and I begin to explore the long legacy of The Great Waltz, which includes multiple film and stage productions spanning from the 1930s to the 1970s, with a special focus in this episode on the fourth incarnation of this musical: the 1938 MGM film operetta, also titled The Great Waltz. But is it indeed a movie version of the Broadway show? That's the big question we try to solve. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

You are invited to join me on December 11 at 5:00 PM at The Museum of Broadway where Tony and Olivier Award-winning lyricist , David Zippel, will be interview me about my new book, Broadway Nation: How Immigrant, Jewish, Queer, and Black Artists Invented the Broadway Musical. Reserve your FREE seats now at https://www.themuseumofbroadway.com/calendar Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second in our occasional series of episodes that I'm calling "In Search of Lost Broadway,” in which my longtime  colleague Albert Evans and I try to unearth and rediscover musicals that were very significant and influential Broadway hits in their day but now have disappeared from almost all discussion of Broadway's past and receive only the briefest mentions in the history books. Today, we focus on a big hit musical of the 1930s that I highly doubt anyone listening to this podcast has ever seen live on stage. That show is THE GREAT WALTZ.  It opened on Broadway in 1934  and became one of the longest-running musicals of the decade.  It was the creation of three very significant Broadway artists of what I call the “Silver Age” of Broadway: bookwriter MOSS HART, choreographer ALBERTINA RASCH, and, most notably, the musicals conceiver, director, and lighting designer HASSARD SHORT — who I have come to believe is one of the most important and yet most under-acknowledged Queer inventors of the Broadway musical. Our goal (at least until someone invents a time machine so that we can journey back to see the show) has been to identify and evaluate firsthand accounts, reviews, scholarship, recordings, films, videos, et cetera (including three movie versions and a live television production) in terms of how effectively they can help us to understand, appreciate and even, to some degree, experience the original Broadway production.  Another reason I selected this show for us to focus on right now is because just a few weeks ago,  October 25th, 2025,  marked the 200th anniversary of the birth of JOHANN STRAUSS II,  who even though he died in 1899,  had an amazingly significant presence on Broadway during the 20th century, including 27 showsfeaturing his music between 1882  and 1990. Albert and I will review that list of musicals on the next episode. Here is your Broadway Nation Ep 192: In Search of Lost Broadway: The Great Waltz companion guide to related media: A studio cast recording of Waltzes From Vienna, the score of which seems to have been carried over into the Broadway production of The Great Waltz:  Onstage and behind-the-scenes newsreel footage of the original production of The Great Waltz:  The full 1934 film version of Waltzes From Vienna, directed by Alfred Hitchcock. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode was recorded in 2021 just five days after it was announced that Stephen Sondheim had died and as it happened my friend, colleague and frequent co-host and contributor to Broadway Nation, Albert Evans, was spending the Thanksgiving weekend with me, and so we were together when this news began to break and during the incredible reaction and response this loss over the days that followed. The coverage of Sondheim’s life and legacy in both traditional and social media had been phenomenal including four full pages in the NY Times, extended tributes on TV, radio and other newspapers, trending on Twitter and a near total domination of all theater related social media — all richly deserved of course — but still somewhat unexpected for someone who was primarily a theater artist.  I think this reflects the hidden importance and impact of the Broadway musical on American and world culture. Most of the time the media simply ignores Broadway but once in a while it breaks through and reveals how ingrained it is in the fabric of our lives.  For this episode, rather than talk about Sondheim’s one of a kind place in the history of the Broadway musical and his impact on the form — as we have done on so many other episodes — Albert and I took our inspiration from the many personal memories that people have been posting and sharing about their own interactions with Sondheim, and especially how his shows and songs have impacted and affected their lives. So, before the weekend was over Albert and I decided to switch on the microphone and look back to the very first times that the work of Stephen Sondheim entered our lives. We would love to hear about your first time experiencing of the artistry of Stephen Sondheim and feature those memories on an upcoming episode. And we have made it extremely easy for you to share them. Just go the Broadway nation website at ⁠www.Broadway-nation.com⁠ and on the bottom right corner of the home page you will find a microphone icon. Simply click on that and share with us you’re first Sondheim experiences! Learn more about your ad choices. Visit megaphone.fm/adchoices

 My guest this week is DAN ELISH, author of a new novel called KING OF BROADWAY. As you will hear, the plot of this novel was inspired by a real life interaction that Dan had with the legendary Broadway songwriter Stephen Sondheim. While the majority of authors I interview on Broadway Nation are historians or scholars who have created non-fiction works about the history of the Broadway musical, every once in a while it is my great pleasure to feature a fiction writer who has taken what I call a "novel approach" to Broadway. These have included, on episode 90: Laura Frankos and her time travel novel Broadway Revival, on episode 1 32: Stephen Cole and his time travel novel,  MARY and ETHEL and Mikey Who?,  on episode 1 37: Jack Viertel's novel Broadway Melody, and most recently on episode 1 55: Chad Beguelin's Showmance, which like the novel we discuss today, is set in the world of contemporary Broadway. Dan Elish co-wrote the book to the Broadway musical 13 (music & lyrics by Jason Robert Brown) which has been performed all over the world and is now a movie on Netflix. Dan is also the bookwriter and co-lyricist of the off-Broadway musical, The Evolution of Man. Additionally, he's the author of twelve novels for readers of all ages including the real-life children's novel, The Worldwide Dessert Contest which in King of Broadway becomes the basis for a fictional Broadway musical. Become A PATRON of Broadway Nation! This episode is made possible in part through the generous support of our Patron Club Members. If you are a fan of Broadway Nation, I invite you to become a PATRON! For as little as $7.00 a month, you can receive exclusive access to never-before-heard, unedited versions of many of the discussions that I have with my guests — in fact, I often record nearly twice as much conversation as ends up in the edited versions. You will also have access to additional, in-depth conversations with my frequent co-host, Albert Evans, that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And if you are very enthusiastic about Broadway Nation, there are additional PATRON levels that come with even more benefits. If you would like to support the work of Broadway Nation and receive these exclusive member benefits, please click on this link: ⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠https://broadwaynationpodcast.supercast.tech/⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠⁠ Thank you in advance for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices