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Closing Night

Closing Night

著者： Patrick Oliver Jones
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 Step into the captivating world of Broadway musicals with Closing Night, a theater history podcast unraveling the short lives of musicals and play on Broadway. In Season 1, we explored the turbulent history of the Marquis Theatre, one of Broadway's youngest venues, beginning with the controversial demolitions that birthed its legacy. For Season 2, the focus shifts to some infamous productions that closed before actually opening on Broadway. Relive the excitement and at times artistic chaos that almost brought these musicals to Broadway and what led up to their closing night. Whether you're a theater enthusiast, creative artist, or history buff, you'll enjoy the journeys of theatrical gems that have come and gone.@2024 WINMI Media アート エンターテインメント・舞台芸術 世界
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  • Face Value

    Face Value
    2025/09/30
    Talking about race in the theater has never been easy, and back in the late ’80s and early ’90s it could feel downright hostile. When conversations around representation and casting came up, especially on Broadway, they often turned into battles where the establishment closed ranks and those pushing for change were left on the outside. ⁠Last time⁠, we explored one of the most heated examples of that tension: the uproar over Miss Saigon casting a white actor, Jonathan Pryce, in the role of a Vietnamese character. For playwright David Henry Hwang, that experience of protesting against the system and losing left scars he would eventually process through his art. Fresh off the success of M. Butterfly, he set out to write a farce called Face Value, a play built on mistaken racial identities and inspired directly by that controversy. But unlike his earlier triumph, this one stumbled badly—closing in previews and becoming one of Broadway’s most infamous flops. Today we’ll look back at how Face Value came to be, why it collapsed so quickly, and how even in failure it left its mark on the conversation around race and representation on stage. --- Click ⁠⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠⁠ for a transcript and list of all resources used. Produced by Patrick Oliver Jones and WINMI Media with Dan Delgado as co-producer. Theme music created by Blake Stadnik. Other background music includes: "Quickening" by ⁠malictusmusic⁠ and "Relaxed Background" by ⁠Music for Creators⁠, both licensed under a Attribution 4.0 International License. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    26 分
  • Miss Saigon

    Miss Saigon
    2025/08/31
    When a white actor was recently announced to replace Darren Criss in Maybe Happy Ending, it sparked a fresh wave of debate over racial casting on Broadway. For Asian Americans like playwright David Henry Hwang and actor B.D. Wong, it felt like déjà vu, echoing a controversy they had spoken out against more than 30 years ago with Miss Saigon. That blockbuster musical became the center of a storm back in 1990 when Jonathan Pryce was chosen to reprise his Eurasian character from the London production when it transferred to Broadway. This decision ignited protests, ultimatums, and the first major reckoning with yellowface in American theater. In this episode, we look back at Miss Saigon, the clash between producer Cameron Mackintosh and Actors’ Equity, and how that moment set the stage for Hwang’s satirical play Face Value—and continues to reverberate today. --- Click ⁠⁠⁠⁠⁠here⁠⁠⁠⁠⁠ for a transcript and list of all resources used. Produced by Patrick Oliver Jones and WINMI Media with Dan Delgado as co-producer. Theme music created by Blake Stadnik. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    37 分
  • Let My People Come

    Let My People Come
    2025/07/31
    With July 31st being National Orgasm Day (that's right, it has its own day), we celebrate by diving into the fascinating, forgotten history of the 1974 musical Let My People Come. This groundbreaking show, by Earl Wilson, Jr., ran for over 1300 performances, offering an all-inclusive, sexually liberated vision for a pre-AIDS 1970s audience. We also explore its uninhibited embrace of pleasure, acceptance for all, and why this audacious production, despite its Grammy-nominated cast recording, famously never "opened" and held the record for the most preview performances ever. Discover the vibrant legacy of a downtown musical that truly embodied the spirit of sexual freedom! --- Theme music created by Blake Stadnik. Click ⁠⁠⁠⁠here⁠⁠⁠⁠ for a transcript and list of all resources used. Produced by Patrick Oliver Jones and WINMI Media with Dan Delgado as co-producer. Learn more about your ad choices. Visit megaphone.fm/adchoices
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    38 分
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