This is thee second part of my conversation with author Joshua Rosenblum about his new book CLOSER THAN EVER — THE UNIQUE SIX-DECADE SONGWRITING PARTNERSHIP of RICHARD MALTBY, JR, and DAVID SHIRE.

We dicuss Maltby's work on the musicals Ain't Misbehavin', Fosse, Song And Dance, Miss Saigon, and The Pirate Queen, and the Maltby/Shire shows, Baby, Closer Than Ever, BIG, and Waterfall.

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For as little as $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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.

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My guest today is Joshua Rosenblum, author of Closer than Ever — The Unique Six-Decade Songwriting Partnership of Richard Maltby, Jr. and David Shire.

This remarkable new book chronicles the sixty-six-year (and counting) partnership of two of the most gifted songwriters of our time and provides us with full behind-the-scenes accounts of their musicals interspersed with deep-dive analyses of some of their standout individual songs. To tell their story, Rosenblum draws on his extensive experience as a composer, Broadway conductor, music journalist, and professor of musical theater composition at Yale. Maltby and Shire are quoted liberally throughout the book in exclusive interviews that create the impression that one is spending time with two inspiring creative artists who happen to be great company.

In part one of our conversation, Maltby & Shire’s origin story, the challenges of their early musicals, their association with Barbra Streisand, their long friendship and rivalry with Stephen Sondheim, and the surprising success of their first hit revue, Starting Here, Starting Now, and its influential Grammy-nominated original cast album.

Among the well-known Broadway figures who feature prominently in the Maltby/Shire story are Stephen Sondheim, Hal Prince, Barbra Streisand, Michael Stewart, Francis Ford Coppola, Susan Stroman, John Weidman, Charles Strouse, Garth Drabinsky, Jason Robert Brown, and Jonathan Tunick.

Joshua Rosenblum teaches Composing for Musical Theater at Yale University and Conducting at New York University. As a composer/lyricist, he wrote the scores to the off-Broadway musicals Fermat's Last Tango, Bush is Bad, and Einstein's Dreams (four Drama Desk Nominations). He has conducted fourteen Broadway and off-Broadway shows and has performed as pianist with the New York Pops at Carnegie Hall, the City Center Encores! Orchestra, and the American Symphony. A longtime contributor of reviews and features to Opera News, Rosenblum is a summa cum laude graduate of Yale College and holds a master's degree in Piano from the Yale School of Music.

Become A PATRON of Broadway Nation!

This episode is made possible in part through the generous support of our Patron Club Members such as John Schroeder.

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 discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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.

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You may not know Trude Rittmann's name, but you have heard her music. During the "Golden Age of Broadway" (and beyond), she composed music for 33 Broadway musicals, including Carousel, Brigadoon, South Pacific, Fininan’s Rainbow, The King and I, My Fair Lady, Gentlemen Prefer Blondes, Peter Pan, The Sound of Music, and Camelot. 

In this episode, Albert Evans and I tell the story of one of the least known, but most significant, women who invented the musical.

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 On this episode, I have a big announcement, so I asked my buddy, friend, colleague, and Broadway Nation’s favorite co-host and guest host, ALBERT EVANS, to join me today to turn the tables on me and ask me the questions rather than me being the interviewer.

As you may have guessed from the episode title, the announcement is that I have a book coming out called BROADWAY NATION (sound familiar?) and the subtitle will be similar to what you've heard before as well: HOW IMMIGRANT JEWISH, QUEER AND BLACK ARTISTS INVENTED THE BROADWAY MUSICAL. 

It's coming out on July 24th, 2025 from Metheun Drama which is an imprint of Bloomsbury, which is a renowned publishing company with a 100-year history of publishing plays and books about drama books, theater, and musical theater. Many of the authors and books that I have featured on this podcast over the past few years have been published by Metheun Drama/Bloomsbury.

If you are inclined to want to make sure you get this book at the earliest possible moment it is on presale right now on Amazon everywhere you might buy a book. However, you can get a discount on the Bloomsbury website as follows:

Paperback: $34.95, but you can buy it for $32.45 on the Bloomsbury site.

Hardback: $100.00  but you can get it for $90.00 on the Bloomsbury site.

Ebook: $31:45.

Here is the link!:

https://www.bloomsbury.com/us/broadway-nation-9781350428317/

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 On this episode, Albert Evans returns to Broadway Nation to discuss a topic we don't often broach on this podcast: Movie Musicals. Of course, movie musicals go hand in glove with Broadway musicals and many film musicals originated as Broadway musicals including several we talk about here because our principal topic is Movie Musicals that won the Academy Award for Best Picture.

Coming up this weekend we, of course, have the possibility of the blockbuster Wicked becoming another Broadway musical to win Best Picture. It will be fascinating to see what happens. There are a lot more nominees for Best Picture today than there were when West Side Story, My Fair Lady, The Sound of Music, Oliver! or Chicago won the Oscar.

It's an interesting topic, and I knew that Albert was the perfect person to discuss it with me. Like me, he's seen all of these movies, most of them multiple times, and we both did do a bit of reviewing of some of the films we have seen less recently.

Let us know if you agree with our assessments!

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 discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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 just click on this link:

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My guest again this week is Christopher S. Connelly, author of the fascinating new book

HELEN MORGAN — THE ORIGINAL TORCH SINGER AND ZIEGFELD'S LAST STAR.

On this episode, Christopher and I look at Helen Morgan's life and career during the 1930s, both in Hollywood and on Broadway. And we delve a bit into her personal story, including the love of her life and her several marriages. we end by looking at her extraordinary legacy, including the two filmed biographies of her life that both came out in the same year, both named The Helen Morgan Story.

Christopher S. Connelly is a film and theater historian. His work has appeared in Etcetera magazine and the Kino Lorber DVD release of Mamoulian's Applause. He is also an actor, Roman Catholic cantor, and chorister for the Atlanta Opera. When he is not writing or performing, he works IT for the Georgia Institute of Technology.

Become A PATRON of Broadway Nation!

This episode is made possible in part through the generous support of longtime Patron Club Member Mark Stanton.

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 discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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 just click on this link:

https://broadwaynationpodcast.supercast.tech/

Thank you in advance for your support!

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My guest again this week is Christopher S. Connelly, author of the fascinating new book

HELEN MORGAN — THE ORIGINAL TORCH SINGER AND ZIEGFELD'S LAST STAR.

 The topics discussed in this episode include:

Christopher S. Connelly is a film and theater historian. His work has appeared in Etcetera magazine and the Kino Lorber DVD release of Mamoulian's Applause. He is also an actor, Roman Catholic cantor, and chorister for the Atlanta Opera. When he is not writing or performing, he works IT for the Georgia Institute of Technology.

Become A PATRON of Broadway Nation!

This episode is made possible in part through the generous support of longtime Patron Club Member Ann Welsh.

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 discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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 just click on this link:

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Thank you in advance for your support!

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This week my, guest is Christopher T. Connelly, the author of the fascinating new book HELEN MORGAN — THE ORIGINAL TORCH SINGER AND ZIEGFELD'S LAST STAR.

 There are a number of individuals who were very big Broadway stars back in what I call the Silver Age of Broadway (the 1920s and 30s), But who today are mostly overlooked and left out of the conversation. Performers who were on a level with Jolson and Cantor and Fanny Bryce, but whose fame has almost entirely faded. Of course most musical theater fans will know the name Helen Morgan, and know that she originated the role of "Julie" in Show Boat. But if you are like me, you will be largely unaware, of the incredible range of her talents, the depth and breadth of her career, and the level of her stardom. And I have no doubt that you'll be as fascinated by this book and by this conversation as I was.

Christopher S. Connelly is a film and theater historian. His work has appeared in Etcetera magazine and the Kino Lorber DVD release of Mamoulian's Applause. He is also an actor, Roman Catholic cantor, and chorister for the Atlanta Opera. When he is not writing or performing, he works IT for the Georgia Institute of Technology.

Become A PATRON of Broadway Nation!

This episode is made possible in part through the generous support of longtime Patron Club Member MARK STANTON.

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 discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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 just click on this link:

https://broadwaynationpodcast.supercast.tech/

Thank you in advance for your support!

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The progressive and disruptive social movements of the 1960s and 70s had a huge impact on the Broadway Musical and were reflected back into the culture by them. These include the Civil Rights movement, Women’s Liberation, Black Power, and the Gay Liberation Movement.

The Stonewall Rebellion in 1969 brought gay issues into the mainstream and during the 1970s LGBTQ+ people would become “out, loud, and proud” in significant numbers.

Of course, it makes sense that this new visibility and feeling of liberation would be felt on Broadway where there had always been a large representation of queer people throughout the industry, including in positions of leadership. As a result queer characters and stories began appearing on Broadway -- especially in plays -- but also in a few musicals as well.

In this episode I explore the growing visibility of openly queer content on Broadway in musicals such as Hair, Coco, Applause, Seesaw, A Chorus Line, La Cage Aux Folles, and the works of William Finn.

I also recount the devastating effect that the AIDS Crisis had on Broadway during the 1980s and 90s when a whole generation of creative talent was eliminated or sidelined by the disease. 

AIDS claimed the lives of hundreds of actors, singers, musicians, stage managers, production assistants, and designers -- as well as scores of dancers that had been trained by Bennett, Fosse, Champion, and Tune and might have one day become influential directors and choreographers themselves.

The devastation of AIDS opened the door to the “British Invasion” that would soon dominate Broadway.

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This is the final episode of a three-part conversation with author Elizabeth T. Craft regarding her recent book, Yankee Doodle Dandy — George M. Cohan and the Broadway Stage, the first book major work about Cohan in fifty years. If you missed the first two episodes in this series, you may want to catch up with those before listening to this one.

In this episode, Elizabeth Craft and I discuss the final decades of Cohan’s remarkable career, during which he continued to establish and define the very nature of celebrity, including the significant impact he had on young Oscar Hammerstein II and the next generation of Broadway innovators. Elizabeth also shares with us how, during the 1920s, in a series of hit musicals, Cohan, for the first time, put his Irish American heritage and identity at the center of his work, which was not without controversy. Along the way, she reveals the truth behind Cohen’s claim that he was born on the 4th of July, provides us with an inside view of the making of the classic 1941 Cohan bio-musical, Yankee Doodle Dandy, and sums up his enduring legacy as the primary inventor of the myth of Broadway.  

Become A PATRON of Broadway Nation!

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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 discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And 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 just click on this link:

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Thank you in advance for your support!

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