Composer Cy Coleman gave Broadway some of its most iconic melodies:

Big Spender, Real Live Girl, Hey, Look Me Over, and the list goes on and on. He

was the King of 60s smooth swing and had never once closed a show out of town….until….

Along with a wild crew including a Pulitzer Prize winning journalist,

a testy choreographer, a director unsure of the material, and a leading man who

was as eccentric offstage as he was on, Cy Coleman tried to bring a bucolic

morality musical to life but Home Again, Home Again shuttered in Canada.

But soon Coleman had an idea for his next musical! A musical

about a musical whose wild crew included a Pulitzer Prize winning journalist, a

testy choreographer, a director unsure of the material, and a leading man who

was as eccentric offstage as he was on, as they all careened to opening on the

great bright way.

See what happened was…well, you will just need to jump into

our episode focusing on Baker’s Dozen/Home Again/Home Again Home Again/10 Days

to Broadway/13 Days to Broadway…..yes….there are more titles.

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Trigger Warning: This episode deals with pedophilia

If there was source material that no one ever thought could

be a musical, you would go to one man to write it. Not Lin Manuel Miranda. Not

Stephen Sondheim. Not even Oscar Hammerstein. You would go to lyricist Alan Jay

Lerner who, along with Frederick Loewe, created Brigadoon, Camelot, and the

juggernaut known as My Fair Lady.

But when Loewe chooses to retire, and Broadway moves to pop,

Alan Jay Lerner has two options. He can either retire himself OR try to outdo

the current crop of edgy young songwriters who are putting sex, drugs, rock and

roll onstage. Could Lerner top them all with the adding songs to the most scandalous

book ever written?

See what happened was….well, you will need to find out for yourself

when we see what happened when Alan Jay Lerner tried to get audiences excited

about turning Vladimir Nabokov’s Lolita, a book centered on the adoration of

nymphets, into a big old musical called Lolita, My Love!

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and

identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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In 1977, Martin Charnin, Charles Strouse, and Thomas Meehan,

looked at one another on the opening night of Annie and said five magic words

to one another “This show will run forever!”

Thirteen years later, Charnin, Strouse, and Meehan looked at

one another on the opening night of Annie 2 and said another five words to one

another “We wrote the wrong show.”

See what happened was…..well, guess you will need to find

out for yourself when we explore how the geniuses behind Annie 1

struggled to find the right elements to make Annie 2 just as brilliant as

her older sister.

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FAIR USE:

Fair use is a legal doctrine that promotes freedom of

expression by permitting the unlicensed use of copyright-protected works in

certain circumstances. Section 107 of the Copyright Act of 1976 provides the

statutory framework for determining whether something is a fair use and

identifies certain types of uses—such as criticism, comment, news reporting,

teaching, scholarship, and research—as examples of activities that qualify as

fair use.

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Join Broadway historian, director, and all around MT nerd Robert W. Schneider for a wild and exhaustively researched celebration of the musicals that had set their sights on Broadway but missed the mark. This trailer looks at the second season of Broadway Bound which is called "YOU'RE ONLY AS GOOD AS YOUR LAST" and explores ten Broadway Bound musicals that were written by major songwriters. From a foul mouthed Little Orphan Annie to dancing woolly mammoths, Broadway Bound: The Musicals That Never Came To Broadway podcast is sure to open your eyes to some of the most bizarre, brilliant, and bold musicals that tried to get themselves on the Great Bright Way!

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When we think of "out of town" tryouts we think of Boston, New Haven, Philadelphia, Detroit, Tokyo…..

Yes, Tokyo!

In the 1970s Tokyo had become the center of Japanese culture and it was giving its citizens home grown movies, literature, plays, and paintings but it had not given its public a musical that was cultivated in Japan. So what better option than an hour adaptation of Gone With The Wind?

Well, what happened was…..well were gonna let Miss Scarlett herself, Lesley Ann Warren, tell you in this week’s episode of which explores Gone With the Wind: The Musical! Well, fiddle- dee- dee!

BROADWAY BOUND PLAYERS

Ray Hebel as Joe Layton

Cameron Kalajian as Akira Takarada

CJ Schneider as Harold Rome

Molly Stillens as Florence Rome

Jake Urban as Rex Reed

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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This one is a heart-breaker, friends.

A real, honest to Sondheim heart-breaker.

Like Avenue Q beating Wicked heart-breaker because, unless without a deus ex machina at Paramount Studios, we will never, ever see a musical that everyone says was one of the greatest musicals of the 1990s.

Starring Christine Ebersole, Gregory Harrison, and......wait, why should I tell you when book writer Martin Casella and ensemble members John Bolton and Christopher Sieber can as they back on 1993's Paper Moon.

BROADWAY BOUND PLAYERS

Charles Kirsch as The New York Times Critic

Matt Koplik as The New York Times Reporter

CJ Schneider as Larry Grossman

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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What do a nine minute song about a bird, the chest hair of Israel's greatest entertainer, an FBI pursuit of a missing lead sheet, and a list of firings as long as Paul Sorvino's range have in common? They were all part of the madcap, wild, manic, and tumultuous ride of Stephen Schwartz and Joseph Stein's The Baker's Wife.

Get ready as original cast members Carole Demas, Kurt Peterson, Teri Ralston, as well as original press agent Joshua Ellis, look back on Topol, Patti LuPone, David Merrick, and a meadowlark longing to break free.

BROADWAY BOUND PLAYERS

Nicole Weitzman as Patti LuPone

Cole Winston as Stephen Schwartz

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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What happens when the doctor becomes the patient?

Abe Burrows, the greatest script doctor of the Golden Age, had agreed to direct and write the musical adaptation of Breakfast at Tiffany's. Only problem is no one told him what they wanted...or expected...

Soon, it was a troubled musical with different titles, different book-writers (including Edward Albee), America's cutest TV stars floundering without cameras, the Abominable Showman himself, David Merrick, and.....well, why have us tell you when ten time Emmy Award winning director James Burrows (Cheers, Friends) looks back on his father's work and his own experience as the assistant stage manager of Holly Golightly/Breakfast At Tiffany's: The Musical

BROADWAY BOUND PLAYERS

Caleb Funk as Edward Albee

Andrew Leggieri as Jeff

Alaina Mills as Holly

Brody Redman as Abe's friend

CJ Schneider as New York Times critic

Jake Urban as Angel, Policeman, and Howard

Cole Winston as Stage Directions

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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Gwen Verdon was Charity. Raul Julia was Guido. Angela Lansbury was Juliet......then was not.

Federico Fellini was Italy’s most iconic film director of the 1960s so its no surprise that many of his films have been turned into musicals. But, there is a Fellini movie that screams to be a musical, even more so than any of the others and it almost was…with Angela Lansbury in the title role….grab a pizza, open some chianti, and get ready to hear all about the greatest musical that never was: Enter Juliet!

BROADWAY BOUND PLAYERS

Aaron Gooden as Lucien

Ray Hebel as Ely Jacques Kahn

Brian Michael Henry as George

Laura Mason as Carolyn Leigh

CJ Schneider as Morton DaCosta

Daniel Schwartzberg as Larry Adler

Nicole Weitzman as Juliet

Cole Winston as Stage Directions

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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It was supposed to be the musical that turned Latinx characters in musical theater from hoodlums and gang members to heroes and inspirations! A musical that was steeped in the rhythms of Latinx history and a story that would examine assimilation and appropriation within the immigration experience. So why was creator Arne Glimcher leaving his heart, and show, in San Francisco? Well you see what happened was…..well, we are going to let composer Carlos Frazetti tell us in this episode of Broadway Bound which will focus on the 2005 heart-breaker The Mambo Kings!

BROADWAY BOUND PLAYERS

Bryan Austermann as The Variety Reporter

Erin Fagundes as The San Jose Mercury News Reporter

Andres Felipe as Oscar Hijuelos and Sergio Trujillo

Jordan Ari Gross as The San Francisco Chronicle Reporter

Daniel Schwartzberg as Michael Riedel

Sean Stephens as The Oakland Tribune Reporter

Antonio Urrutia as Jaime Camil

Nicole Weitzman as The San Francisco Examiner Reporter

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Fair use is a legal doctrine that promotes freedom of expression by permitting the unlicensed use of copyright-protected works in certain circumstances. Section 107 of the Copyright Act of 1976 provides the statutory framework for determining whether something is a fair use and identifies certain types of uses—such as criticism, comment, news reporting, teaching, scholarship, and research—as examples of activities that qualify as fair use.

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