Yul Brynner, at the time starring in the iconic role of the King in the Broadway revival of "The King And I", talks about how Oscar Hammerstein was ahead of his time and how audiences are catching up with his ideas of human rights and women's lib, and how the revival audiences react differently than the audiences during the original production.

Actor John Wood, at that time, the star of the Broadway production of"Tartuffe" explains how Moliere's plays work better in America than in Britain, how the play is universal and how audiences identify with the core of the play.

Actress Betsy Palmer having just finished a run in "Eccentricities of a Nightingale", discusses her time on "I've Got A Secret", the wide range of emotions in Bernard Slade's "Same Time Next Year" (the long-running play she was starring in at the time) and how she originally was not interested in the play.

Just two years out of Yale Drama School, Meryl Streep discusses her first musical in New York "Happy End", which was just after her renowned production of "The Cherry Orchard" at The Public Theater; the importance of training and what she learned from Jack Nicholson.

Composer John Kander, having just opened "The Act", talks about his and Fred Ebb's history working with Liza Minnelli in "Flora The Red Menace", "Cabaret" and "New York, New York"; and how Liza saved the original Broadway run of "Chicago" in just one week.

Comic actor, Jack Gilford, while appearing in "Sly Fox", talks about his backstage life, spontaneity on stage and his respect for George C. Scott and Gretchen Wyler, his co-stars at the time.

The original "Zach", Robert LuPone explains the unique gestation of Michael Bennett's seminal work, "A Chorus Line", how all of the actor's stories were the same and yet different, how it is universal and how everyone has someone to root for.

Playbill publisher Arthur T. Birsh describes the evolution of his publication over the years, how it is more than just a "program", and how he is able to make it available free to theatre audiences.

Composer-lyricist Stephen Schwartz, with three shows running simultaneously on Broadway ("Pippin", "Godspell" and "The Magic Show"), explains the composing-lyric writing process that he uses, how emotions inform the music, and his urge to move on to other projects.

Costume designer Florence Klotz talks about the vast amount of research needed just to get started on a design, her trip to Japan to research "Pacific Overtures", working with other designers to focus the audience on the main character, and how it is different from designing for movies.