PARDO'S TURN

My hometown hero, Danny Gardner, sings and dances one of the most iconic movie scenes of all time, the title sequence of SINGIN' IN THE RAIN. We have a great discussion about the film, the role, and his long history with it. Did you know that Gene Kelly danced in character shoes and dubbed in the taps later? I didn't!

Joan Almedilla, who played Lady Thiang in the National Tour of THE KING AND I with her son CJ Uy, talks about life on the road with her family, working with Bart Sher, and playing this iconic role. The analysis was one of my favorites to unpack; don't miss this episode!

The Organized Actor herself, Leslie Becker, comes on to sing Jerry Herman's classic "If He Walked Into My Life" from MAME. We talk about Jerry Herman, his female-centric shows, and his strong melodies, in addition to discussing Leslie's own writing.

NYC vocal ensemble Marquee Five continues the celebration of Leonard Bernstein with their arrangement of "Something's Comin'." I have been playing with M5 for the past few years, since we all did a production of CITY OF ANGELS together at the Goodspeed Opera House. Members are Sierra Rein, Lynsey Buckelew, Vanessa Parvin, Mick Bleyer, and Adam West Hemming, who is also their arranger/MD.

My amazing wife steps away from behind the camera to perform and discuss one of our favorite songs, "Maybe" from Annie. In my analysis, I discuss the smart marriage of music and lyrics, the key mapping of the bridge, and the overall under-appreciation of ANNIE as a musical. Chrissy's conversation is mostly about how ANNIE inspires countless young girls to start singing, and how the song "Maybe" still has resonance for adults, especially those who may have been adopted at an early age.

Broadway Baritone Ben Davis sings "Were Thine That Special Face" from Cole Porter's KISS ME KATE. My analysis covers the song's seductive harmony, and Porter's use of the "beguine." The discussion with Ben centers mostly on being a baritone in the 21st century, and performing in venues, both big and small.

The delightful Jenn Gambatese rediscovers the role of Annie Oakley, which she performed at Goodspeed in 2010 with "I Got Lost In His Arms." As a scholar and a music geek, she combed through the analysis with me for this episode, discussing the melodic contour, and the function of a few key chords. She also discusses her new organization, Broadway Heals.

Susan Haefner performs and discusses Harlold Arlen's classic "It's Only a Paper Moon," which she performed in the original musical TENDERLY, the story of Rosemary Clooney. We discuss how this standard of the American Songbook can be stretched in a number of different directions, and try out two renditions: an uptempo, and a ballad. Susan also talks about transitioning from New York as a Broadway actor to the quiet hills of Vermont, where she teaches, and works steadily at three regional theaters in the surrounding area. Also, forgive the somewhat random insertion of the theme to "The Third Man." I had some technical difficulties in the web series version of the episode, and was scrolling a disclaimer at that point. (It didn't really translate to the podcast)

Rather than singing one song, this episode contrasts two of Eliza Doolittle's ditties: "Wouldn't It Be Loverly" with "I Could Have Danced All Night." The analysis talks about the comparative vocal range, tempo, harmony, and style. The conversation with Julie Benko discusses the current revival, the false notion that it's not a feminist musical, and her new album, DISCOVERING JULIE BENKO! Enjoy.

Broadway vet and regional star Ellen Harvey takes her turn as Mrs. Lovett from Stephen Sondheim's musical thriller, SWEENEY TODD. We discuss the challenges and gifts that come with preparing a Sondheim role, the use of the waltz throughout the score, and her non-stop patter lyrics. Don't miss this powerhouse performance by a real pro of the stage.