In this third episode, BE MORE CHILL star Lauren Marcus sings one of our favorite songs from one of our favorite shows, "Somewhere That's Green" from LITTLE SHOP OF HORRORS. We discuss the strength of the writing, the under-appreciation of the show among musical theatre elites, her unique history with the character of Audrey, and her approach to characters that are often painted with a broad brush.

In the inaugural episode of Pardo's Turn, Broadway legend Chuck Cooper, best known for his Tony Award-winning performance in THE LIFE sings the iconic "Ol' Man River" from the groundbreaking 1927 musical SHOW BOAT. The analysis centers on the use of the pentatonic scale, and some clever reharmonizations. Chuck and I discuss the historical significance of the song, and his personal journey with it, especially in relation to the Paul Robeson lyrics, which he sang for its rendition in PRINCE OF BROADWAY.

Noël Coward Award Winner and three time Drama Desk Nominee Nancy Anderson masterfully performs the American Songbook Standard, "What'll I Do?" by Irving Berlin. My analysis focuses primarily on Berlin's use of mode mixture, while our discussion centers on the transition from American Operetta to Depression-Era Melancholy.

Broadway heartthrob James Snyder sings and discusses "If I Loved You" from the R&H classic, CAROUSEL. The analysis contrasts this complex and musically dense "not at all in love" type song with its simpler counterparts from other shows. James and I also talk about navigating the monumental "Bench Scene," and his own history with Billy Bigelow, as his wife was pregnant with their first child.

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.

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.

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)