Let's start about 2/3 of the way through. No, not there. Let's start at the very beginning! A very good place to start. Host writer/composer David Rackoff looks at this very impressive song from Rodgers & Hammerstein. These would be some tough lyrics to write. And what is "do re mi" anyway? And what is a non-rhotic accent, and why does it make the lyrics even better? We look at all that, and more on this episode. 

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Pardon me, is everybody here, because if everybody's here I'd like to thank you all for clicking on this podcast. Today, host writer/composer David Rackoff looks at how "Getting Married Today" by Stephen Sondheim works. And boy, does it work (and "werk")! How do you go about writing a great patter song? We even get "David's tips for performing a patter song". And how does Jonathan Bailey fit into all of this? Listen to find out!

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Actors and singers, today you will learn to read music in five minutes! (Okay, not five minutes, and not totally learn to read music). But writer/composer David Rackoff will give you a foothold in connecting the song you're going to sing to the sheet music with all the dots and lines that you're holding in your hands. It's a place to start. If you are already an ace sight-singer, this episode is not for you! But for everyone else, whether you have a high school audition coming up, or you're a professional actor who's already been cast in a musical, I think this will help you get a little more confident and little more musical.

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One of the best songs in any genre in the history of the world ever. Host writer/composer David Rackoff uncovers what makes this song so spectacular. You will have heebie-jeebies for Beebe's Bathysphere. (And you'll find out what all of the crazy references mean!) Stephen Sondheim outdoes himself on this powerful showstopper. 

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Get into the nuts and bolts of songwriting with host writer/composer David Rackoff. We look at why songwriters would choose to write the music first. Or why they would choose to write the lyrics first. What are the pros and cons of each approach? And what happens then? How does the sausage get made?

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I'm sure you shiver with anticip-- SAY IT! --pation for today's episode. We look at the music, lyrics, and extravagant weirdness of this song, and this show. Host writer/composer David Rackoff also looks at the cultural significance of The Rocky Horror Show. And why does this song beckon to queer high school theater kids so strongly? Get your rice and newspapers ready, and let's dive in to "Over at the Frankenstein Place".

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This week, writer/composer David Rackoff looks at the amazing Laurie Beechman, and what makes her voice and storytelling so special. If you don't know who she is yet... you're welcome. And if you know, well, then you know. She shone on stage in "Annie", "Joseph and the Amazing Technicolor Dreamcoat," Cats", "Les Misérables", in solo cabaret shows, and on recordings. She had one of the most powerful belts of all time. And she could break your heart with her thoughtful tender soft notes. Songwriters from David Friedman to Andrew Lloyd Webber (not to mention your host, David Rackoff) consider Laurie Beechman to be a singular talent.

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Host writer/composer David Rackoff explains why "Burn" from Lin-Manuel Miranda's "Hamilton" is actually a happy song. (What?!) We break down the music, lyrics, and performance of what is the "end of Act I" of Act II of "Hamilton" song. We look at how simple building blocks can create a powerful, cathartic, gorgeous theatrical piece.

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What's more important than a perfect rhyme? A perfect scan. Every stress in the lyrics must fit with the stresses in the music. This is why (good) musical theater writers stress about stresses. Host writer/composer David Rackoff looks at what that means, how it works, and what it sounds like when it doesn't work. Examples (some good, some not-so-good) from "Into the Woods", "Defying Gravity", "Sunset Blvd.", and "Sweeney Todd". If you've never thought about this before, you will after listening to this episode!

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Does it mean, "No worries for the rest of your days"? Kind of... This is one of the most shocking, funniest, and perhaps deepest songs in all of musical theater. The makers of "South Park" have created this delightful bit of blasphemy. Host writer/composer David Rackoff takes a close look at the music, lyrics, and context of this song. And we discuss who exactly should be offended by it. The answers may surprise you!

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