If you're reading this, I expect either you or someone you know has been in a production of "Guys and Dolls." There are so many reasons this show is a classic, from the colorful supporting characters to the silly romantic misadventures to the unbelievably catchy songs. The show has been revived 5 times but the 1992 production really set the template for how to successfully dust off a classic and breathe new life into it. It also was haled as a savior of American musicals at the time and proved the first of 3 key steps in the elevation of Nathan Lane from steady Broadway regular to superstar.

There's no one better suited to analyze the arrival of this singular hit back in 1992 than Phil Crosby, the executive director of Richmond Triangle Players. This is Phil's fourth appearance on the pod and, as per usual, he supplements his first-hand knowledge of the production with behind-the-scenes background on several of the key players in the show. Listen to hear why Phil considers this show "practically perfect."

And more than ever, you are going to want to check out our website, ChasingPhantom.net, for links to two priceless resources: 1) a two-hour opening night special covering "Guys and Dolls" highly-anticipated first official performance on Broadway and 2) the YouTube copy of the DVD "Guys and Dolls: Off The Record," the behind-the-scenes look at the recording of the production's cast album. Check it out!

It's both a relief and a delight when a show that premiered on Broadway more than 50 years ago isn't a challenge or a slog to get through. "Butterflies Are Free" is a play about a young blind man out on his own for the first time but, thanks to its breezy good humor, is also a fun and satisfying romantic comedy. For an older show, it has a wonderfully progressive non-ableist message but, instead of clobbering the audience with it, it lets some fairly realistic characters convey the lessons in a believable way. And as a nice bonus, all of the leads in the movie version are fabulous so you can enjoy this story anytime, oh like maybe on Valentine's Day!

Speaking of fabulous, my guest for the episode is Matt Bloch, an accomplished actor who played the lead character in "Butterflies" back in 2010. Just a college student at the time, he had the challenge of playing a person with a visual disability as one of his first professional gigs. Matt has a lot of insightful and fun things to say about the production he was in and about a more recent show he just appeared in that also prompts interesting thoughts about the portrayal of characters with disabilities on stage.

It's a great conversation that you're going to love! And if you like it, check out my website, ChasingPhantom.net, for previous episodes and more clips and commentary! Also, write me at [email protected] with questions, comments, or concerns, OR if you'd like to be a guest talking about one of Broadway's longest running productions. See you back here in two weeks!

We start off 2024 with an old show that has surprising relevance today because of a very recent -- and somewhat confounding -- revival. "Plaza Suite" first premiered back in Neil Simon's imperial period when his shows were selling out before people even knew what they were about. Three vignettes that share a setting -- the same suite at the Plaza Hotel in NYC -- and a jaded view of American coupledom. It's a lot of dark stuff...when it's not downright uncomfortable.

Rich Griset once again joins the podcast to try to figure out what about this show might compel Matthew Broderick and Sara Jessica Parker to commit to it. It seems one motivation was clearly financial: the production ended up making nearly $30 million on Broadway. Is it just star power that is bringing people in or something more about this very (VERY) dated material? Listen to get our thoughts.

Also, please check out the recently updated website, ChasingPhantom.net, to review the movement of your favorite shows on the big list of Broadway's longest running productions. And see you back here in two weeks!

What a perfect way to end the year in quintessential Broadway fashion! For this episode I'm talking about "Fosse," the 1999 musical dance revue that featured what may be considered the "greatest hits" of choreographer Bob Fosse's career. The show was a smash hit at the turn of the century and was one of several dance-centric shows (e.g., Contact) that were drawing audiences at the time.

And I couldn't be more excited to be talking about Fosse with someone who has danced Fosse routines and studied Fosse techniques at Broadway Dance Center, the dancer / choreographer Kayla Xavier. She edifies me on a number of technical aspects of Fosse's style as we dig into the depiction of his singular talent as featured in this show.

As mentioned, a full broadcast version of "Fosse" is available on YouTube. After you listen to this conversation, I'd recommend checking it out -- it's worth a rewatch.

And of course, please check out previous episodes of the podcast and other write-ups related to Broadway's longest running shows at my website, Chasing Phantom. 

For the first of several Neil Simon creations that this series will consider, we start off with one that may be a "meh" to listen to but is still fun to talk about if only for the speculation about what could have possibly motivated to keep this show running for 3 years.

"They're Playing Our Song" is a fictionalization of the relationship between composer Marvin Hamlisch and the lyricist Carole Bayer Sager. Apologies to those who may love this show but it just doesn't hold up to modern scrutiny. And luckily I've invited a first-class scrutinizer to talk to about the show: Rich Griset, freelance writer and theater critic extraordinaire.

With this episode, Chasing Phantom inaugurates an intermittent series on shows that haven't technically made it over the 1,000 performance mark but are on the fast track to getting there.

SIX was the answer to Broadway fans' pent up demand when the theater world emerged from the pandemic and it's still packing theaters in NYC as well as in houses across the country thanks to its first national tour. While only at 850+ performances at this recording, there's no reason to think that it'll cross the 1,000 performance threshold early next year and start shooting up the longest running shows list.

Given that SIX is a fan-driven show / phenomenon,  we brought on a Chasing Phantom fan on to talk about the show, Kathy Kreutzer. Not only is she a long-time fan of theater, she has many insightful and articulate things to say about it. Is SIX theater or a glorified concert? How close does the show get to the historical facts, and does it really matter. We dig into those questions and more, interspersed as always with some choice sonic nuggets from the production. Enjoy!

Find out more about "SIX" at ChasingPhantom.net.

Look, everyone knows this show was bonkers and, even after running more than 1,000 performances, was possibly the biggest money loser in Broadway's history. It'd be easy to just rag on "Spider-Man: Turn Off The Dark" -- and it certainly deserves to be made fun of -- but I wanted to talk a little bit more about why it failed and also, what little sparks of goodness it might have sparked in its wake.

For that kind of conversation, I couldn't bring in an expert -- few people I know saw this show. So I take on the task myself since I did see it and still have vivid memories of the experience. This will be a different kind of "Chasing Phantom" episode but one I think (hope) you'll enjoy.

Read more about "Spider-Man: Turn Off The Dark" and Broadway's other longest running shows at ChasingPhantom.net.

Marrying slices of Shakespeare with perhaps Cole Porter's finest score, "Kiss Me Kate" is one of the ultimate old Broadway hits. Fashioned as a response to "Oklahoma" and built with sturdy story beats that have allowed it to be revived as recently as 3 years ago, "Kate" has lore and legend to explicate for days.

So OF COURSE we had to bring back in Phil Crosby, Executive Director of Richmond Triangle Players, for another chat. Not only does Phil have plenty to say about "Kate," he adds related background on why the Barter Theatre is called that and what motivated certain casting choices, while also confirming a rumor related to Broadway star Alfred Drake based on his own experience working with him.

Read more about "Kiss Me Kate" and check out related videos at ChasingPhantom.net.

"It transformed my life." That's the kind of statement you want from someone talking about a cultural experience. "Don't Bother Me, I Can't Cope" broke all sorts of barriers on Broadway in 1972 but it is not well known today. Even so, its impact is felt in the people it influenced like my guest, Dr. Tawnya Pettiford-Wates, or as she is affectionately known as, Dr. T.

The celebrated playwright, actor, director, and activist saw "Don't Bother Me" when she was in high school and it was a foundational experience, setting her on the path she's followed in her career. Even if you don't know this show, you'll want to listen to Dr. T talk about how she came to it and what she took away from it.

Find out more about "Don't Bother Me, I Can't Cope" at ChasingPhantom.net and check out the other podcasts in the TimberTodd Pods family at timbertoddpods.com.

For better or worse, the song "Freedom" is one of the most persistent earworms around but what do we think about the show that spawned such a tenacious tune? "Shenandoah" used to be a regional favorite but hardly ever gets produced these days, despite family-friendly themes, an even balance of comedy and tragedy, and a generally tuneful score.

Tom Width, esteemed producing artistic director at Swift Creek Mill Theatre in Colonial Heights has acted in the show and directed it so knows both its history and its appeal. Our conversation not only parses "Shenandoah" but provides insight into the behind-the-scenes  dynamics in producing such a show and why it might not be the first choice for revival these days.

Find out more about "Shenandoah" at ChasingPhantom.net and check out the other podcasts in the TimberTodd Pods family at timbertoddpods.com.