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My guest today is Sheldon Epps whose new book is titled, My Own Directions — A Black Man’s Journey in the American Theatre. There he shares the story of his long and successful career during which he has often been “the first”, “one of the few”, or even “the only” person of color to reach various levels of achievement in the world of theater.  At the center of the book are the two decades Epps served as "Artistic Director" of The Pasadena Playhouse, one of the oldest and most well-known regional theaters in America, and at the time Sheldon took that job, it was also one the whitest! How he met the many challenges of revitalizing that somewhat faded theater company and transforming both its audience and its artistic vision could not be more instructive at a time when theater companies nationwide are struggling with many of these same issues. This is the first of three episode in which you will hear about Sheldon’s very prolific freelance directing career Off-Broadway and at theaters across the country, as well as the two hit musicals he created — Blues In the Night and Play On! — that took him to Broadway, London’s West End and around the world.   Today we will start at the beginning of his story with his childhood in Teaneck, NJ, the inspiration he received from the Broadway musicals of the 1960s and 70s, and the remarkable roles he played in high school. Then we follow his intense acting training at Carnegie Mellon University, his professional debut in multiple productions of Jaques Brel Is Alive And Well And Living In Paris, and the co-founding of his own Off-Broadway theater company, The Production Company, where Blues In The Night had its premiere. This episode is made possible in part by the generous support of "Producer Level” Patrons PAULA and STEVE REYNOLDS If you too would like to support Broadway Nation, I invite you to become a PATRON! For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional patron levels that come with even more benefits. To receive all of these exclusive member benefits – just click on this link: https://broadwaynationpodcast.supercast.tech/ Thank you so much for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Today’s episode is the second half of my conversation with JESSE GREEN, author of the New York Times best seller SHY: The Alarmingly Outspoken Memoirs of Mary Rodgers — undoubtably the most talked about theater book in years! Last week Jesse shared with us how Mary Rodgers selected him to tell her remarkable story — from her childhood growing up surrounded by the brightest lights of the Golden Age of Broadway, but always yearning for love and attention from her father, Richard Rodgers, of Rodgers & Hammerstein — to her teenage years struggling to get out from under the thumb of her very disapproving mother, Dorothy. Today we look at the work and career of Mary Rodgers, including how as a working mother raising six children was not only able to become a successful Broadway composer in her own right (Once Upon A Mattress and The Mad Show), she was then able to reinvent herself and become a best-selling author (Freaky Friday), and eventually the Chair of the Board of The Julliard School. It's a captivating book, and Jesse was a fascinating guest! Enjoy! Broadway Nation Backstage Pass Club This episode is made possible in part by the generous contributions of our Patron Level members, GARY FULLER & RANDY EVERETT.   And if you too would like to support Broadway Nation, I invite you to become a Patron of the show by joining the "Broadway Nation Backstage Pass Club".  For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional patron levels that come with even more benefits. To become one the very first members of the Broadway Nation Backstage Pass Club and receive all of these exclusive member benefits – just click on this link: https://broadwaynationpodcast.supercast.tech/  Thank you so much for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is Jesse Green who, in addition to being the Chief Theatre Critic for the New York Times, is the author of the most acclaimed and talked about theater book in recent memory – SHY: The Alarmingly Outspoken Memoirs of Mary Rodgers. This is the first of two episodes in which Jesse Green shares with us the story of how Mary Rodgers selected him to tell her remarkable, sometime harrowing, and ultimately inspiring story, and how he was able to perfectly capture her unique voice so perfectly, aas well as her bold and unwaveringly candid view of herself. Mary Rodgers grew up in the icy shadow of her father, the legendary Broadway composer, Richard Rodgers, and her disapproving mother, Dorothy. As she reached adulthood her closest friends, colleagues, and romantic partners were Stephen Sondheim, Hal Prince, Leonard Bernstein, Jerome Robbins, Martin Charnin, and Arthur Laurents. Somehow, she became not just a highly successful Broadway composer in her own right­ — most notably with her score for the Broadway and television hit Once Upon a Mattress — but also a renowned author of books for young people including the classic Freaky Friday. There is a reason that this book has become a bestseller, and received so much attention, and it’s not just because it’s filed with sometimes juicy gossip about many of the leading lights and minor players of the Golden Age Broadway. No, at its heart, this is the story of a woman who struggles, and I think ultimately succeeds, in liberating herself from disapproving parents, rampant sexism, and her own fears and insecurities as she journeys to discover art, romance and family on her own terms. Broadway Nation Backstage Pass Club If you love this podcast, I invite you to become a Patron of the show by joining the "Broadway Nation Backstage Pass Club".  For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional patron levels that come with even more benefits. To become one the very first members of the Broadway Nation Backstage Pass Club and receive all of these exclusive member benefits – just click on this link: https://broadwaynationpodcast.supercast.tech/  Thank you so much for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second half of my conversation with author Elysa Gardner whose new book is titled:  Magic To Do — Pippin’s Fantastic, Fraught, Journey To Broadway And Beyond. On our previous episode Elysa shared the story of how PIPPIN’s composer & lyricist, Stephen Schwartz, first began work on the show when he was a student at Carnegie Tech (soon to be Carnegie Mellon) University, where an early and very different version of PIPPIN was first produced. After graduating and returning home to NYC Schwartz began creating an all new version of the show but quickly got sidetracked by Godspell.  The massive success of that little Off-Broadway musical and its chart topping hit song, coupled with his high profile collaboration creating lyrics for Leonard Bernstein’s MASS moved Stephen Schwartz into the front ranks of musical theater songwriters, and quickly led to PIPPIN being optioned for Broadway with a new book by Roger O’Hirson, and to be directed & choreographed by then five time Tony Award winner Bob Fosse. This set the stage for a now legendary backstage power struggle between the 23 year old wunderkind composer and the masterful Broadway showman and hitmaker. And that’s where we pick up our conversation today.  Somehow their contentious and difficult collaboration produced one of the most popular, long-running, and influential musicals of the Modern Era, and later in the episode Elysa and I explore the now 50 year legacy of PIPPIN, especially how it has served as a tremendous inspiration to several generations of Broadway show makers such as Jeanine Tesori and Benj Pasek & Justin Paul, and how it paved the way to the pop music inflected musicals of today. Broadway Nation Backstage Pass Club If you find this podcast to be extraordinary, I invite you to become a Patron of the show by joining the "Broadway Nation Backstage Pass Club".  For a just $7.00 a month you can receive exclusive access to never-before-heard, unedited versions of many of the discussion that I have with my guests — in fact I often record nearly twice as much conversation as ends up in the edited versions. And you will also have access to additional in-depth conversations with my frequent co-host Albert Evans that have not been featured on the podcast. And all patrons receive special “on-air” shout-outs and acknowledgement of your vital support of this podcast. And If you are very enthusiastic about Broadway Nation there are additional patron levels that come with even more benefits. To become one the very first members of the Broadway Nation Backstage Pass Club and receive all of these exclusive member benefits – just click on this link: https://broadwaynationpodcast.supercast.tech/  Thank you so much for your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

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This is the second of two special holiday bonus episodes of Broadway Nation. Just like the first, this is an audio version of a Broadway Nation Live! performance that was given in December of 2019 at the Vashon Center For The Performing Arts on Vashon Island, WA. If you prefer to watch a video of this performance you can stream it on their website at: vashoncenterforthearts.org In Part One we looked at how the Jewish-Russian immigrant songwriter, Irving Berlin -- in addition to being one of the prime inventors of the Broadway Musical -- also created an entirely new category of popular song: “the Christmas Standard”. In this episode we explore how Berlin was aided and abetted in that endeavor by the son of Irish and German immigrants from Washington State who became one of the most popular performers of all time -- Bing Crosby. Along with Judy Garland I call Bing one of Broadway’s greatest stars who never appeared on Broadway. But first, we start off with Albert Evans’ amazing in-depth analysis of the genius of Irving Berlin, and the inspiration and craft that is behind the most popular song of all time. As you will remember the last episode ended with me introducing Albert and asking him this question: “Why? Why, is White Christmas the most popular song of all time?” You won’t want to miss his answer! This live show features musical performances by Cayman Ilika, Eric Ankrim, Chris DiStefano, and Albert Evans.   Happy New Year! Learn more about your ad choices. Visit megaphone.fm/adchoices

Here is the link to join the Backstage Pass Club and support Broadway Nation: https://broadwaynationpodcast.supercast.com/new_landing This is a special holiday reprise of one of Broadway Nation's most popular episodes: It's an audio version of a Broadway Nation Live! performance that was presented in December of 2019 at the Vashon Center For The Performing Arts on Vashon Island just outside of Seattle, WA. Several previous episodes of Broadway Nation have explored the crucial role that the Jewish-Russian immigrant songwriter, Irving Berlin, played in the invention of the Broadway Musical. This time I share the story of how he also invented an entirely new category of popular song – the Christmas standard.   This live show features musical performances by Cayman Ilika, Eric Ankrim, Chris DiStefano, and Albert Evans.  Next week we will be back with part two.  Happy Holidays! Learn more about your ad choices. Visit megaphone.fm/adchoices

This week’s special ENCORE Episode is in celebration of Noel Coward’s birthday! Noel Coward was born just outside of London on December 16, 1899, and in fact he was named him Noel because his birth came so close to Christmas! For some reason, ever since I was very young, this lower middle-class, midwestern American gay boy from Cincinnati, Ohio has had a strong affinity for everything Noel Coward — his songs, his plays, his books, his movies, his TV performances, and his musicals. Why? I have no idea. I am not even sure I can pinpoint my first exposure to his work — but certainly by the time I was in high school I was obsessed with Noel Coward. My best guess is that in 1972, when I was 13 years old (and already an avid cast album collector), the original cast album of the new hit off-Broadway revue Oh Coward! was released. This was a deluxe 2 record recording of the entire show which had been devised by Roderick Cook and made up of dozens of Coward’s songs, poems, revue sketches, and even brief excerpts from his plays. All of this was performed by a terrific three-person cast made up of Barbara Carson, Jamie Ross and Cook himself.    Of course, I didn’t immediately understand all of the context and references — I just knew that I loved it.  What I certainly didn’t understand at the time was that the tittle was a cheeky play on Oh Calcutta!, the infamous nude revue that was causing a sensation at the time. I also didn’t know that Noel Coward’s last public appearance before he died was attending a gala performance of Oh Coward! in NY with Marlene Dietrich as his date. I played that cast album until it was worn out, and at some point I also acquired the cast album to the hit London revue Cowardy Custard which opened that same year. Over the years I have had the enormous pleasure of directing Oh, Coward! three times and I would jump at any chance to do it again. And I also directed Private Lives once, as well. Home sweet heaven for me would be to mount a major Noel Coward Festival! Who wants to join me? This episode is the second of several that highlight the many queer men & women who played a crucial role in the invention of the Broadway musical.  You can find the others at www.Broadway-Nation.com, on the Broadway Podcast Network and wherever you listen to podcasts. Start with Episode 5: Cole Porter & The Queers Who Invented Broadway! Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is author Laura Frankos whose delightful and entertaining new novel is titled Broadway Revival — What If Gershwin Had Lived? Although this is the first work of fiction that I have featured on this podcast, as you will hear, Broadway Revival is filled with fascinating and meticulously researched Broadway history. One of the greatest joys of this book is that it provides all of us the opportunity to go back in time and experience legendary Broadway musicals of the 1930s, 40s, & 50s — at least vicariously — through the eyes of the story’s protagonist David Greenbaum.  Other central characters include George Gershwin, Cole Porter, Vincent Youmans, Jerome Kern, Kurt Weil, Richard Rodgers & Larry Hart. In fact, an alternate subtitle for the book could have been, “The Time Travelers Boyfriend — Larry Hart”! Laura Frankos is also the author of the The Broadway Musical Quiz Book, the mystery novel St. Oswald’s Niche, numerous stories which have appeared in fantasy, mystery, and science fiction magazines, and she also contributed a chapter to the recent book 50 Key Stage Musicals. Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second half of my conversation with my dear friend and frequent co-host, Albert Evans, in which we explore the differences between stage and film musicals. If you missed part one you may want to catch up before listening to this one. Of course, we don’t really hate any movie musicals, and as you heard on the previous episode and will continue to hear on this one, we actually love quite a few of them.  Hollywood and Broadway musicals are closely related to one another and share many of the same writers, directors, choreographers and stars – which is no doubt why many books and other podcasts analyze and discuss them together. But, as you will hear, Albert and I see stage musicals and film musicals as being two very wonderful, but very different things. Enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

This episode is in response to a question I get quite often from listeners: Is Broadway Nation ever going to focus on movie musicals? Well, today is the day! Of course, I don’t really hate any movie musicals. And I love quite a few of them. In fact, it was largely old movie musicals from the 1930s, 40s, and 50s that I watched on TV when I was a kid back in the 60s and 70s that made be fall in love with show business in the first place. No doubt because so many of them were backstage musicals set in the worlds of Vaudeville, nightclubs, and the bright lights of Broadway. The history of stage and film musicals is, of course, closely related, and they share many of the same creators and stars – which is no doubt why many historians and books analyze and discuss them together. I however see stage musicals and film musicals as being two very different things. What are the main differences between them? I am thrilled to be joined today by my dear friend and frequent Broadway Nation co-host, Albert Evans, to explore and define those differences -- and at least for a day -- give film musicals some love (and maybe a little bit of criticism) on this podcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week on Broadway Nation podcast is Paul Salsini, author of the memoir, Sondheim & Me.  Many listeners will know Paul as the founder and original editor of the much beloved magazine, The Sondheim Review, the first only quarterly magazine ever devoted to a living musical theater composer. Paul launched the magazine in 1994 and over the following ten years Paul exchanged notes, letters, faxes and phone calls with Stephen Sondheim — who it was clear was reading every word of every issue of the magazine — and Sondheim often had corrections and comments, or as he called them, “emendations.” On a few occasions these notes and phone calls included “vigorous objections” to what Paul had included the magazine, but overall Sondheim was wonderfully supportive and helpful. Paul’s new book chronicles his unlikely relationship with Sondheim during an eventful period that included the New York premieres of Passion and Saturday Night, the Kennedy Center’s Sondheim Celebration, Broadway revivals of six of Sondheim’s major works, and the decade long development of the musical that would eventually be called Road Show. Learn more about your ad choices. Visit megaphone.fm/adchoices

New episode out now! My guests this week are JULIE BOARDMAN & DIANE NICOLETTI — the founders and driving forces behind the Museum Of Broadway! In this episode Julie and Diane share with us the story of how this first ever Broadway museum has come to be. They profile the team extraordinary talents they put together to create it, and most importantly they give us the inside scoop on what to expect when this highly immersive and experiential museum opens next week on November 15, 2020, in the heart of Times Square. I also chat with BEN WEST who is the MOB’s Resident Historian and the creator of one of its central features — the “Timeline of Broadway” history.   As you will hear, the Museum of Broadway seems to be tailor made for fans of this podcast, and by the end of the episode I have no doubt that you will be as excited about it as I am. The Museum Of Broadway is located at 145 West 45th Street in New York. Tickets are on sale now at: https://www.themuseumofbroadway.com/about Learn more about your ad choices. Visit megaphone.fm/adchoices

This is the second half of my conversation with Adam Abraham, author of the engaging new book Attack Of The Monster Musical – A Cultural History Of Little Shop Of Horrors. If you missed the previous episode you may want to catch up with that one before listening to this one. Last week Adam shared the unlikely behind-the-scenes story of the making of Rodger Corman’s original low budget horror film The Little Shop Of Horrors, and then how that inspired a young writer and director named Howard Ashman to transform it into the stage musical, Little Shop Of Horrors, which quickly became a long running Off-Broadway smash.  This week Adam takes us inside the creation of the hit movie adaptation of the musical -- which opened which opened while the original Off-Broadway stage production was still playing. And we discuss the incredible legacy of Little Shop and its impact on American culture over the past 40 years. Most especially, how it kept the flame alive for American musical comedy during the “British Invasion” of Broadway in the 1980s. Perhaps most importantly we explore the significant influence that Howard Ashman, Alan Menken and Little Shop Of Horrors have had on the several generations of musical theater writers who have followed in their footsteps. Adam Abraham is a Postdoctoral Teaching Fellow at Auburn University, and he also has taught at Virginia Commonwealth University, NYU, and Harvard. His previous books include When Magoo Flew: The Rise And Fall of Animation Studio UPA, and Plagiarizing The Victorian Novel: Imitation, Parody, Aftertext. He has also written for film, television, and theater. Attack of the Monster Musical provides a fascinating, in depth, look into the dynamic partnership of Howard Ashman & Alan Menken and their creation of what I believe is one of the best and most perfectly crafted musicals of all time!   Learn more about your ad choices. Visit megaphone.fm/adchoices

This special Halloween edition of Broadway Nation! This is the first part of my conversation with Adam Abraham, author of Attack of the Monster Musical – A Cultural History of Little Shop Of Horrors.  In this terrific new book Adam relates the unlikely story of how Roger Corman’s schlocky, low budget, 1960’s monster movie was transformed 20 years later into a smash hit, long-running, Off-Broadway musical that became an international sensation and spawned a hit film musical adaptation as well. And of course, today Little Shop Of Horrors is a hit all over again and can currently be seen in another long running off-Broadway production. Adam Abraham is a Postdoctoral Teaching Fellow at Auburn University, and he also has taught at Virginia Commonwealth University, NYU, and Harvard. His previous books include When Magoo Flew: The Rise And Fall of Animation Studio UPA, and Plagiarizing The Victorian Novel: Imitation, Parody, Aftertext. He has also written for film, television, and theater. Attack of the Monster Musical provides us with a fascinating, in depth, look into the dynamic partnership of Howard Ashman & Alan Mencken and their creation of what I believe is one of the best and most perfectly crafted musicals of all time.    Topics discussed in this episode include: How Howard Ashman was influenced by the cast album of GYPSY; how he discovered Roger Corman’s film in the first place; his first musical The Candy Shop; the truth behind the legend that Corman shot the original movie in just two days; NYC’s Off Broadway scene during the late 1970s and early 80s; the WPA Theater; how an early version of Little Shop bombed at the BMI Workshop; the casting of Ellen Greene & Lee Wilcoff (and how Nathan Lane & Faith Prince were almost in the original cast); why the show never moved to Broadway; what Cameron Mackintosh, David Geffin & the Shubert Organization have to do with the show; how the dream team of Ashman & Menken worked together; and the tragic loss of Howard Ashman. Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest this week is Ted Chapin who’s captivating 2003 book Everything Was Possible: The Birth of the Musical “Follies,” has recently been reissued in a revised and updated edition.  As you may know, this book is based on Ted’s first-hand experience as the production assistant on the original Broadway production of the Stephen Sondheim, Hal Prince, & James Goldman landmark musical Follies. Of course, the expression, “I just couldn’t put that book down” is a cliché – but in this case, it has been absolutely true – twice! -- both when I read this book when it was originally released, and again just a few weeks ago when I had the great pleasure of diving into it all over again. On last week’s episode, Peter Filichia, talked about wanting to be able to go back in time and be a “fly on the wall” to witness the inner workings of legendary musicals as they were being put together. Ted’s book allows all of us to do exactly that. This book makes you feel as it you are right there in the thick of it during Follies rehearsal period in New York, and in Boston during its out-of-town tryout’s many trials and tribulations. For 40 years Ted served as the President of The Rodgers & Hammerstein Organization a role that he was personally chosen by the Rodgers and Hammerstein families to take on. On his watch there were eight Tony Award winning Best Revivals of musicals in the R&H catalogue -- On Your Toes, Carousel, Show Boat, Annie Get Your Gun, South Pacific, The King And I – twice! – and Oklahoma! He also supervised major R&H productions In London, on television, and around the world. And Ted is the co-founder of the acclaimed City Center Encores! series, and he currently serves on the boards of City Center, The Kurt Weil Foundation, and the American Theatre Wing. It is always a delight to speak with him – especially in regard to his one-of-a-kind experience of being in the rooms where Follies happened.   Learn more about your ad choices. Visit megaphone.fm/adchoices

My guest today is Peter Filichia who is the author of the new book that he calls The Book of Broadway Musical Debates, Disputes, and Disagreements. As a prolific theater journalist and critic Peter has written for Playbill, Theatermania, Broadway Select, Encore, and if you are in my age range you may even remember a magazine namedTheater Week! You can hear him every week on the Broadway Radio podcast This Week On Broadway. Most significantly he is the author of five previous books about Broadway including: The Great Parade: Broadway’s Astonishing Never To Be Forgotten 1963-1964 Season; Strippers, Showgirls And Sharks: A Very Opinionated History of Broadway Musicals That Did Not Win The Tony Award; Broadway Musicals MVPs: The Most Valuable Players of The Past 50 Seasons; Broadway Musicals: The Biggest Hit & the Biggest Flop of the Season, 1959 to 2009; and Let’s Put On A Musical. I’ve known Peter for many years, and it is always a delight to talk with him. As you will hear – much like me – Peter has never been shy about sharing his often very passionate opinions about all things Broadway, both past and present. We don’t always agree, but I'm always fascinated to hear what he has to say. This is a fun one that I feel certain you will enjoy! Learn more about your ad choices. Visit megaphone.fm/adchoices

As you have probably heard, The Phantom Of The Opera – the longest running show in Broadway history –– recently announced that it will close this coming February, just over 35 years after it first opened on Broadway. This New York production of Phantom has been seen by nearly 20 million people and has grossed $1.3 billion dollars. Globally the show has been seen by 145 million people in 42 countries. Since this week marks the anniversaries of both CATS – which first opened on Broadway on October 7, 1982, and Les Misérables – which first opened in London on October 8, 1985, it seemed like the perfect time to bring back Episode 28 of Broadway Nation which is titled Cameron Mackintosh & The British Invasion of Broadway (or Sondheim vs. the Poperetta). In a recent interview in the New York Times, Mackintosh stated that the weekly running cost for TPOTO were more than $950,000, which is about $100,000 more than it was pre-Covid. And at the same time ticket sales have been down 10 to 15 percent on average.  And when asked why the show was so expensive to run, he went on to say this:  “Many of the long-runners — “Cats,” “Chicago,” “Chorus Line,” even “Hamilton,” which will be a long-runner — they’re all single-set shows with mostly limited costumes. We’ve got 27 musicians. It was a different world that Andrew and I created the show in. Most of my great shows were created during the ’80s, and that world has disappeared. We are in different times.” So, today I thought it would be interesting to journey back to those different times by revisiting one my favorite episodes! Learn more about your ad choices. Visit megaphone.fm/adchoices

This special Encore episode of Broadway Nation celebrates the birthdays this week of two of Broadways greatest composers -- George Gershwin & Vincent Youmans. Both were born 124 years ago in 1898 and they came into the world just one day apart – Gershwin on September 26, and Youmans on September 27. And even though they were both born in NYC, they came from different worlds.  Gershwin’s parents were Russian-Jewish immigrants, and George grew up on the Lower East Side where his father worked in a shoe factory and George dropped put of school at 15 to go to work. Youmans, however, was born into the lap of luxury – his father was a wealthy hat manufacturer, and Vincent grew up in Larchmont, NY, attended the exclusive Trinity School, and eventually Yale University. But despite their differences, over the next 30 years their lives would often be intertwined. Both fell in love with music and show business, both began their careers as Tin Pan Alley song pluggers, and both served as rehearsal pianists on Broadway musicals that were composed by Victor Herbert.  Gershwin made his Broadway debut as a composer in 1918 and had his first hit song the following year with “Swanee”, which had lyrics by Irving Caesar. Their song became an absolute sensation when Al Jolson incorporated it into his hit show Sinbad. Youmans had to wait until 1921 to make his Broadway debut with the musical Two Little Girls In Blue. Interestingly, the lyrics for that show were written by George’s older brother, Ira Gershwin. Both Gershwin and Youmans achieved international fame and fortune on Broadway during the 1920s, creating hit shows and hit songs that still define the era. George archived his greatest successes when he finally teamed up with his brother, Ira. And Youmans biggest hits were created in collaboration with George’s early partner, Irving Caesar. All of this took place during the first decade of what I call the “Silver Age of Broadway” – which is the focus of this episode. Strangely, both composers would die young, way before their time -- Gershwin of a brain tumor in 1937, and Youmans of Tuberculosis a decade later. This episode is dedicated to them and to all the amazing men and women who epitomized the Jazz Age on Broadway. Learn more about your ad choices. Visit megaphone.fm/adchoices

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