Our debut episode has local theatre director Joe Slabe discuss not only the genius of Stephen Sondheim but also the genius of his collaborators on West Side Story.
Nick Driscoll gives an actor's perspective on how you can perform Tony's first song in West Side Story. Kyle marvels that Sondheim was invested in the song matching the character this early in Sondheim's career.
Christifer Duxbury is a local dance instructor and choreographer who lends insight as to why certain dance movements are chosen over others. Kyle and Christifer provide commentary for the film version of West Side Story during the Dance at the Gym sequence.
Karen Unland is the president of The Alberta Podcast Network, powered by ATB, which promotes and supports Alberta-made podcasts and connects their audiences with Alberta-based businesses and organizations. Karen claims that Kyle is a better feminist than she she is while they discuss the song Maria from West Side Story.
Erik Stadnik joins the podcast to revel in the beauty of the music but also (what he thinks) is the dumbness of the lyrics in the song Tonight from West Side Story. This is the first duet sung by Tony and Maria. It could be looked at as beautiful or perhaps just the lustiness of young love.
Isaac Bernier-Doyle dials in from London, England to discuss why the song "America" from West Side Story may be more relevant today than when it was originally written. This song shows off Anita's temper and verbal mastery. The rest of the characters try to match wits as best they can.
What's considered cool nowadays? Stephen Sondheim definitely didn't create the word cool, but he used it to great effect in West Side Story. While this may not be his most lyrically complex song it certainly has a purpose. Ben Zuk joins the podcast with his thoughts on the song and why it is so physically demanding to the performers.
One Hand, One Heart is when our main characters sing about their future wedding. The music to this song was written first and Sondheim felt a bit hampered by that. Kyle invites filmmaker, musician, and actor William White onto the podcast to discuss this romantic song. Plus, they wonder if Sondheim is (maybe) just a bit too harsh on himself.
A quintet that's really a quartet. Regardless, Michael Vecchio from Highlevel Showdown is here to discuss a song where all the principle cast of West Side Story are singing at once. You would think that would sound like madness but it somehow works.
The rivalry between the Jets and the Sharks has come to a boiling point. They have been left with no choice but to battle each other in dance. Also with knives. Jared Ebell, of Decidedly Jazz Danceworks, joins the podcast to discuss his history as a dancer and how Jerome Robbins' choreography stands the test of time.
I Feel Pretty may be the most well known song from West Side Story. Is it a frivolous tune meant to ease the audience into Act Two, or is it empowering to see a woman sing about feeling beautiful? Tara Koett, a teacher at Lindsay Thurber Comprehensive High School, and her two students sit down to discuss their different views.
"Somewhere" is another romantic song from West Side Story, but according to Adam Kostanuick it's the most mature. It's certainly a song that has inspired many people. It's been covered by many pop stars. It's message of looking towards the future for better days is also something that resonates with people even today. Perhaps even more-so today than ever before.
Ben Zuk returns to the podcast to discuss a song that was supposed to end in a four letter word. Instead it has one of the best punchlines in musical theatre. Gee, Officer Krupke details the reasons why the Jets are the way that they are and it might be just as relevant today as it was when it was written. Plus, it's the only Sondheim song that appears in Curb Your Enthusiasm.
Layan Elwazani is currently a standby for The Band's Visit, which is playing right now at the Ethel Barrymore Theatre in New York City. Layan has an extensive knowledge about Stephen Sondheim and has even had the chance to be in a couple of productions of West Side Story. She brings with her an actor's outlook that is fascinating to hear, especially when it comes to the characters of Maria and Anita. It's a good thing this week features a song which is really a confrontation between them.
Joe Slabe returns to the podcast to discuss the ending to West Side Story and the wider cultural impact it has had. Do you know what beat West Side Story for the Best Musical Tony Award? You'll find out that and how the show could be adapted for a modern audience.
After an entire season talking about the lyrics of West Side Story, we now turn our attention to the film version. I invited on Shane Lawrence to discuss the artistry of the movie and why it still remains such a cultural touchpoint almost 60 years later.
Here she is girls! Here she is boys! Here's the season all about Gypsy on Putting It Together. On this first episode of the new season Kyle invites on William C. White. William brings his conducting and composing knowledge and fills in a bunch of knowledge about Stephen Sondheim, Jule Styne, and vaudeville.
Some People is a song sung by a desperate woman. Or, perhaps, it could be looked at as an ode to the entrepreneur. At any rate Karen Unland returns to the show to discuss how Rose's first song of the show informs her character and how–depending on the performer–it can change the interpretation we have of them.
Nathaniel Claridad brings his experience as an actor, a director, and a (reluctant) producer to discuss Small World. This is a song in stark contrast to Mama Rose's first song, Some People. Instead of the brash chutzpah that has already been shown, this song is soft and intimate. Each actress to portray Rose has had a slightly different approach to singing it and the discussion turns to whether it works better to be sung sweetly or sensually.
An episode where it's just Kyle! We explore many of the different "trunk songs" and a couple of the cut songs from Gypsy. This is an evolution from the Great American Songbook, which Jule Styne would have been greatly familiar with. Plus, you'll learn how Jule and Kyle share a special connection.
Isaac Bernier-Doyle returns to the show to explore two (somewhat?) contentious songs. Kyle certainly discovers that he likes a certain song less and another song he begins to appreciate more. Also, what would happen if Mr. Goldstone were combined with Little Lamb as Sondheim once considered? It's a fascinating alternate universe. How do you like them egg rolls?
Federico Tedeschi is an Italian student who has a deep love for Stephen Sondheim. After researching who made the music for Tim Burton's Sweeney Todd he discovered an entire body of work that he happily consumed. In this episode he discusses with Kyle how Europeans aren't as interested in musical theatre as they are with other art forms, how this song is necessary for the whole show, and how Rose may be a tragic figure.
Darby Turnbull calls in from Melbourne to discuss his life as an actor and creator, plus offers insight into If Momma Was Married. What some may disregard as a fluffy song is actually a deeply layered character piece where two sister talk openly about their mother and wish for a better future.
Adam Kostanuick returns to discuss why Tulsa's song in Gypsy may or may not be needed. Plus we delve deep into what Harris tweed is and why Kyle should consider buying a jacket made from it.
Eric Matthew Richardson is a composer who lives in Chicago. He may or may not have some radical things to say about Everything's Coming Up Roses, the song that closes Act 1 of Gypsy. Certainly he is knowledgable about the song and the history of the show. Plus, we hear some audio snippets from Arthur Laurents as he discusses not only Gypsy, but what makes a good musical director.
Who knew a seemingly simple song could have so many different recordings? Matt Sampson calls in from Durham, North Carolina to offer his insight on a song sung by a trio of amigos. Or, could it be that it's actually Rose psychologically manipulating people to her whim? Also Kyle struggles to recall an anecdote from the seminal 1994 film The Little Rascals.
John Mulaney and Seth Meyers co-wrote an episode of the IFC show Documentary Now! In it they parody the classic documentary about the musical Company. Kyle invites on Eric Matthew Richardson to discuss their thoughts about what worked, what didn't, and wonder if anyone is going to understand it.
Sometimes you just need to shake it 'til you break it. Erik Stadnik returns to discuss burlesque dancers needing a gimmick. This song is all about the visuals, so does it work to to just listen to? Listen to find out! Plus, weirdly, MMMBop is referenced.
The moment we've all been waiting for. Mama Rose comes to the realization that she's been forcing her children onto the stage not for their benefit but for hers. But, can we also feel sympathy for her? Layan Elwazani returns to delve into that question, plus play the game How Many Tonys Was This Show Nominated For?
I force Matt Mort to watch the 1962 film Gypsy to wrap up our conversation of the musical this season. We spend a few minutes talking about the movie and then spend the rest of the episode discussing my eccentricities and existential crises.
Federico Tedeschi returns to the podcast to discuss Plautus, Roman drama, and a little farce. The new season is here! A Funny Thing Happened on the Way to the Forum is the first Broadway musical that Stephen Sondheim was (finally) able to write both lyrics and music. Comedy Tonight is the most famous song from the show. On this episode Federico and Kyle discuss whether it holds up, if it's actually funny, and the differences between the original and the revivals.
Love is a theme in many songs. For Hero this might just be the first time. Karen Unland returns to discuss young love and whether Sondheim is able to capture it effectively. Especially considering that he didn't find love until he turned 60.
Is freedom the necessary essence of democracy? Maybe or maybe not. Erik Stadnik returns to discuss how Pseudolus not only desires freedom but also desires to be looked at as a man. Pseudolus wants to be a real person. Perhaps Sondheim was trying to give characterization to caricatures.
The song Lovely appears twice in the show. The first is between two lovers, and the second is between two liars. Gus Gowland, UK-based musical theatre composer, joins the show to discuss which works better. Gus and Kyle try their best to be winsome while also making reference to the 1980s sitcom Perfect Strangers.
Pretty Little Picture is certainly a witty song, but is it funny? William C. White returns to offer his opinions on a song that Sondheim considers one of his best. They also debate whether Zero Mostel or Nathan Lane sing it better.
Is Forum sexist or does it just feature sexist characters? Matt Sampson return to try and answer that questions, while also playing his piano to show how clever Sondheim can be, even with a generic list song.
There are no gibbering fools on this week's podcast. At least no more than usual. Elizabeth Keep joins the show for the first time to discuss the two songs I'm Calm and Impossible. Are they funny? Do you need to see the staging for them to work? Those and other fraughter things are to be expected this week.
Miles Gloriosus is a brutish man who would be called "problematic" in our modern times. However, is there more to him than meets the eye? Christine Chen joins Kyle in discussing whether Miles is more bluster than barbarian. Also, at the end, there's a conversation about their favourite Sondheim show of all time.
The character of Domina is usually considered a shrewish old woman who wrecks the fun for all the other characters. But perhaps there is more to her than that two dimensional depiction. Zina Lee joins Kyle to discuss her song, the treatment of women in the show, and whether gender swapping should be encouraged in the modern theatre.
Philia's only solo song is one that shows how clueless she is about her whole situation. It might be a song that Sondheim fans disregard, but there are a few things worthy of consideration. Paul Matwychuk also discusses with Kyle about whether there might be a way for Philia to be portrayed differently, and whether the show should ever be revived.
Federico Tedeschi returns to wrap up our season on A Funny Thing Happened on the Way to the Forum. We discuss the weirdness of the Funeral Sequence, the appropriate way the Finale ends, and then have the return of the game How Many Tonys Was This Show Nominated For?
Kyle invites on Janet and Lucia of Repodcasting to discuss the film version of Forum, and figure out who would star in it if it were remade today.
The trailer for the upcoming season on the troubled Broadway show Anyone Can Whistle.
The failure of Anyone Can Whistle is legendary. It closed after 9 performances. Madeline Botteri and Joel DeCandio, of The Sondheim Project, join Kyle in discussing how the first song of the show helps (and doesn't help) set the stage for what's to come.
Miracle Song can be looked at as a satirical takedown of religion. There are certainly gospel elements to the music and blatant Christian imagery. Christine Chen returns to talk to Kyle about this and whether this should have been the opening number.
There Won't Be Trumpets was cut from the show but still made it onto the cast album. It grew in popularity from there and now appears anytime Anyone Can Whistle is revived. Did it deserve to be cut? Suzanna and Kyle discuss that and how Fay may be the hero she wants somebody else to be.
Justin Guarini has acted and sang all over the world. One of his most cherished performances was as Bobby in Stephen Sondheim's Company, at the Bucks County Playhouse. He discusses that show, theatre in general, and reveals the advice he'd give to young actors.
Simple is a long song. And, as it turns out, not so simple. This was the first time where Sondheim combined music, speaking, multiple characters, and multiple melodies into one song. David and Kyle try to break it apart and figure out what works and what doesn't.
Kyle's ability to do a French accent isn't very good. But this song, Come Play Wiz Me, is a fascinating example of pastiche. It's a musical style in which Stephen Sondheim is well known for. Eric Matthew Richardson returns to offer his expertise on that, plus gives a bunch of references ranging from Shakespeare to Monty Python.
Is whistling easy, or is it hard? Darby Turnbull returns to the podcast to discuss the song Anyone Can Whistle. In the conversation truths are revealed, lessons are learned, and gay themes are discovered.
Listeners called and wrote in questions for Kyle to answer about Broadway, Sondheim, and the podcast itself. This is a special episode that celebrate the last 50 episodes and (hopefully) gets you excited for the next 50.
There's a Parade in Town is a song that was written because Angela Lansbury demanded it. Sometimes it can be hard to think about Angela Lansbury as a diva, especially if you've seen interviews with her and can see how gracious she normally is. In this episode Jonathan Chisolm helps Kyle to square those two sides of her personality.
Everybody Says Don't may seem like another song that fits into the theme of "be yourself no matter what the world says." But guest Will C. White discusses with Kyle why you shouldn't overlook this part of Anyone Can Whistle. Plus, does Ira Gershwin suck?
Sometimes you got to to lean on yourself. Kyle talks with himself about a song where people say they can rely on each other. But could they be just as likely to stab each other in the back? The answer is yes.
Fay has been holding out for a hero the entire show, but now she realizes it needs to be her that's the hero. Local actor Riley Galarneau joins Kyle to discuss character motivation, being pushed to do uncomfortable things, and 80s power ballads.
This episode starts with an extended ballet sequence that leads directly into a song that was eventually cut. Tim Kov and Anna Hulkower, from My Little Tonys, join the discussion and reveal secret Sondheim facts while deciding on whether the cut song should have stayed and whether the dance should have left.
It's a weird way to end a show, but then again with Anyone Can Whistle everything has been a bit odd. Karen Unland and her daughter Elizabeth (from the podcast That's a Thing?!) join the show to discuss With So Little To Be Sure Of. They also talk about the difficulty with love songs, whether this song is inconsistent with the characters singing it, and they try to guess how many Tony Award nominations the show received.
The new season of Putting It Together debuts on October 30th! This will be different from previous episodes, as we take a look at Do I Hear a Waltz in a three episode miniseries. It will explore the history, the problems, but most importantly the music.
A short history of Richard Rodgers with speculation about what he and Sondheim were feeling before they started their only collaboration. Part 1 of the three episode mini-series on Do I Hear a Waltz features William C. White and Layan Elwazani along with some old audio clips and lots of great music.
Do I Hear a Waltz? was actually the third time that Arthur Laurents adapted his original story. It started as a play, became a movie, and then was musicalized. Were any worthwhile?
So much talent and yet what was produced seems so bland. In this final episode of the Do I Hear a Waltz? mini-season, we go through a quick history of the musical, a few of the songs, and then try to put this show into context. Also, where's the T?
Evening Primrose was an episode of Stage 67. It was a collaboration between Stephen Sondheim and James Goldman years before Follies debuted. From it came four songs, a few of which are among the best of Sondheim's career.
Is it possible for Charles and Ella to escape the department store and make a life with each other in this mixed up world we live in? Kyle invites on Erik Stadnik to discuss that further and go in-depth with the last two songs of Evening Primrose.
Company was the "coming out" of Stephen Sondheim as a composer to be reckoned with. In this episode Eric Matthew Richardson returns to talk about the 1970s, minimalism, and why a show that shouldn't work absolutely does.
On this episode Kyle invites on Juan Quibrera to share and swear together. This is the first song to feature the character Joanne. Her observations help to inform the entire show. But there's a lot to unpack with these lyrics about relationships.
Tara Young was born and raised in Alberta. She dreamed of working in the theatre and by 20 had already had the fortune of dancing on stage with Liza Minnelli. Soon after Susan Stroman selected her to work on Celebration of Sondheim at Carnegie Hall. In this interview you'll hear about her career but more importantly about Tara's life and what she finds the most joy in now.
The definitive list of the best songs Stephen Sondheim wrote before 1970. Or, at least, the definitive list until I change my mind.
How can you feel sorry and grateful at the same time? I'm sure the Germans have a word for it. Lauren Shippen joins Kyle to discuss this odd feeling along with relationships and vulnerabilities.
No bulls needed to be coerced in the recording of this podcast. Christine Chen returns to unpack the word "crazy" and discuss if changing the original lyrics of this song was a good idea.
A bunch of guys try to convince Bobby to tell them about his sexual conquests. But maybe there's more to this song than that? Matt McClendon joins Kyle to discuss the Kamasutra and Sazerac Slings.
Someone Is Waiting contains foreshadowing for a couple of songs that appear in Company later in the show. Federico Tedeschi returns to explain why this is such an important song. Plus, a formal apology is given for the events of last week.
By bus, train, or plane people keep coming to New York. Matthew Sampson joins Kyle to discuss a song that was written for a specific performer but hides a whole lot of meaning to the rest of the show.
A wedding day can be stressful. The character Amy decides to sing through her anxiety as fast as she possibly can. Kyle is joined by Hallie Casey to discuss relationships, updated lyrics, and a book written in 1852.
How, exactly, do you marry someone a little? That's what Darby Turnbull and Kyle discuss in this last song of Act One. It seems like Bobby's delusions are getting the best of him. Plus the conversation drifts into topics of mental health, Showboat, and stress eating.
Victoria Gordon will be starring in Sondheim on Sunday: A 90th Birthday Salute. Victoria is an acclaimed performer, director, and producer based out of Los Angeles. In this episode she discusses with Kyle her inspirations, her love of Sondheim, and why her concert was always inevitable.
Act 2 of Company opens with an ode to vaudeville. Dr. Ashley Pribyl joins Kyle to discuss how this upbeat song is actually incredibly sad. And what do all those numbers mean?
Maternalistic worries, dance breaks, and hot sex. That about sums up Poor Baby and Tick Tock. Two songs which are intertwined with each other. Adrianna Boris joins Kyle to break it all down as well as tell some stories about Elaine Stritch.
Is Barcelona an example of masculine apathy, or is Bobby actually trying to find a connection? Alex Luber joins Kyle to discuss that and some of the other oddities of this song.
Here's to the crowd that just listens! Jonathan Chisolm returns to discuss Elaine Stritch, Mahler, and the girls who just watch. Plus a great discussion on who has performed this song the best.
Michael Price is a writer for The Simpsons and the creator of F Is for Family. He joins Kyle to discuss one of the most important (if not THE most important) song from Stephen Sondheim's career.
You might think that disco and Sondheim don't go together. But Joshua Hinck and Scott Wasserman are two of the collaborators that put together a fusion of Stephen Sondheim's lyrical beauty with the distinctive musical style that defines disco.
This is what its all been leading to. Being Alive is the culmination of the entire show. Eric Matthew Richardson returns to discuss being held too tight and why Kyle is sitting in his chair.
Phone rings, door chimes, etc. This coming Wednesday (December 11) the new season about Company will debut! Here's a sneak peak of what to expect.