Actress Debra Monk, winner of a Tony Award in 1993 for Redwood Curtain, talks about her six year journey through the development of the musical Curtains, and passionately reflects on the things she learned from the legendary team of Kander and Ebb on both Curtains and Steel Pier; recalls how she came to create both Pump Boys And Dinettes and Oil City Symphony, and why she worried that she'd never be seen as anything but a country singer after the success of the first show; ponders what prompted Lanford Wilson to write a role specifically for her in the drama Redwood Curtain; and discusses her experiences on two Sondheim shows -- the first Broadway revival of Company and the original Off-Broadway premiere of Assassins.

Producer Dori Berinstein (Tony winner for producing the 2001 revival of One Flew Over the Cuckoo’s Nest) discusses the process behind creating the film ShowBusiness: The Road to Broadway, her unprecedented chronicle of the 2003-2004 theatrical season, including how she winnowed 250 hours of film down to less than two and why the film's narrator Alan Cumming largely ended up on the cutting room floor; talks about how she got in theatre by way of film producing, including her role as a production executive on Dirty Dancing; and surveys her theatrical credits from Bill Irwin and David Shiner in Fool Moon to her current project, Legally Blonde.

Actress Vanessa Redgrave, a Tony winner for the 2003 revival of a Long Day’s Journey into Night, explains why, despite the character name in the program, she's not specifically playing "Joan Didion" in Broadway's The Year Of Magical Thinking; explores the transformation of Wallace Shawn's The Fever from stage monologue to multi-character film; considers the experience of working with the many members of her acclaimed multi-generational family of actors and directors; discusses why she has tackled Shakespeare's Antony And Cleopatra, as both actor and director in five different productions; declares that theatre should really performed outdoors in the blazing sun; and recalls childhood memories of her earliest experiences in the theatre -- as well as idyllic moments in her youth gathered with her parents and siblings around a piano singing Broadway show tunes.

Five-time Tony Award-winning costume designer Catherine Zuber (for The Light in the Piazza, Awake and Sing!, The Coast of Utopia, South Pacific and The Royal Family) talks about the process of costume design and the nature of the collaboration between designers and a director; explains how she chooses her projects -- and how many she takes on each year; recounts the challenge of creating 600 costumes for the Lincoln Center Theatre production of The Coast Of Utopia; describes the development of the costumes for the multiple incarnations (and changing cast members) of The Light In The Piazza; shares how she made the career transition from photographer to designer; and dispenses some tips to aspiring designers about how to develop their skills.

Revered stage veteran Marian Seldes (who won a Tony for 1967’s A Delicate Balance and received a Special Tony Award for Lifetime Achievement in 2010) touches upon a few of the highlights of her storied career, from her current role on Broadway opposite Angela Lansbury in Deuce (a role written specifically for Ms. Seldes by Terrence McNally) to her earliest Broadway appearances with luminaries like Judith Anderson and John Gielgud; her longstanding association with the works of Edward Albee, including her Tony-winning turn in A Delicate Balance; her long run in Equus and her record-setting run in Deathtrap; and her ongoing passion for the stage, from childhood to today.

Tony winner for Grey Gardens, Mary Louise Wilson discusses her journey from workshop to Broadway with the musical Grey Gardens; recalls her Broadway debut in the troubled Judy Holliday vehicle Hot Spot; describes working with legendary stage figures George Abbott, Ellis Rabb and Eva LeGallienne in works as diverse as Flora The Red Menace and Alice In Wonderland; reflects on appearing in two productions of The Women thirty years apart; and considers the extraordinary impact of the Roundabout reinvention of the classic Cabaret.

David Hyde Pierce (who won a Tony for Curtains and an Isabelle Stevenson Award in 2010) talks about joining in the development of the long-aborning Curtains and how he faced the challenge of a full-fledged character-driven musical on Broadway; recalls the circumstances that led him in very short order from his rejection by the Yale School of Drama to his Broadway debut in Beyond Therapy; considers his "on-the-job training" in theatre with such esteemed directors as Peter Brook and Mike Nichols; shares how working with Uta Hagen really opened up new horizons for him as a stage actor; and recaps the experience of translating the humor of Monty Python into the musical comedy format of Spamalot.

Frank Langella (Tony Award winner for Seascape, Dracula and Frost/Nixon) talks about the challenge of making the character of Richard Nixon in Frost/Nixon more than just a caricature, and whether it was easier to develop his performance as such a pivotal American figure for English audiences than it would have been in the U.S.; remembers a man unknown to him (who turned out to be Edward Albee) approaching him at a bar and asking to take on what became his Tony-winning role in Seascape; explains how he was determined to escape the typecasting the plagued Bela Lugosi when he played Dracula; reflects why he's been drawn multiple times to the characters of Sherlock Holmes and Cyrano de Bergerac; recalls how he worked with Arthur Miller to make significant cuts in After The Fall; declares that he's looking forward to directing more in the future, but will never again be a producer; and asks for someone to write him a role in a Broadway musical.

Tony Award-winning choreographer Jerry Mitchell (for the original Cabaret and 2005 and 2010’s revivals of La Cage aux Folles) talks about taking on the dual roles of director and choreographer for the first time with Legally Blonde and charts the development of the musical from the selection of the writing team to its San Francisco tryout to its Broadway debut. He also shares his experience of becoming a professional dancer while still in college, when he was chosen by the legendary Agnes DeMille for the 1980 revival of Brigadoon, his work with two other legends -- Michael Bennett on Scandal and Jerome Robbins on Jerome Robbins' Broadway; how he develops a dance vocabulary for each of his shows according to the needs of the material, with sources as diverse as 60s dances (for Hairspray) and basketball (for The Full Monty); and how dancing nearly naked on a drum for Tommy Tune in The Will Rogers Follies led to Broadway Bares, which has raised millions of dollars for Broadway Cares.

The team of Claude-Michel Schönberg and Alain Boublil (winners of Tony Awards for Best Score and Best Musical for Les Miserables) talk about why they broke from their usual practice of originating their own projects and took on writing The Pirate Queen; how they first began to collaborate in the wake of Jesus Christ Superstar; the immediate success of the concept album and stage version of their first musical, La Révolution Française; what happened in the five year gap between Les Misérables? Paris and London debuts; and why they continue to tweak their Martin Guerre, 11 years after its London debut.