Neil Haskell News

In this episode: Victoria Bailey, Executive Director of TDF, talks about TKTS celebrating 45 years and parent company TDF celebrating 50 years in 2018. TDF (Theatre Development Fund) is an organization that believes the performing arts should be available to everybody. They sell the idea of going to all theatre, not shows in particular and that Broadway is for everyone. Victoria Bailey has been with the company for 17 years, started at Yale, and was the GM at MTC for 19 years. She believes that theatre creates empathy for lives different than our own, that TDF/TKTS has created theatre goers for generations, and is a prime example of having a successful life in the arts separate from the footlights.

In this episode: Victoria Bailey, Executive Director of TDF, talks about TKTS celebrating 45 years and parent company TDF celebrating 50 years in 2018. TDF (Theatre Development Fund) is an organization that believes the performing arts should be available to everybody. They sell the idea of going to all theatre, not shows in particular and that Broadway is for everyone. Victoria Bailey has been with the company for 17 years, started at Yale, and was the GM at MTC for 19 years. She believes that theatre creates empathy for lives different than our own, that TDF/TKTS has created theatre goers for generations, and is a prime example of having a successful life in the arts separate from the footlights.

#EduHam is a series of HAMILTON Wednesday matinees made available to New York City schools with a high concentration of students from low-income families for the ticket price of only $10. This educational partnership, made possible through a $1.46 million grant by The Rockefeller Foundation, is not only providing 20,000 NYC public school students with the opportunity to see HAMILTON on Broadway, but provides educational material by Gilder Lehrman to incorporate material from the musical into the American History curriculum.

In this episode: Broadway's Shannon Lewis grew up in a rural Canadian suburb and at age 19 was hand picked by Susan Stroman to make her Broadway debut, after a 'Crazy for You' casting director saw her in a Toronto theme park show. The essence of this podcast is having integrity, the importance of the respect of your peers, and to have your talent and drive ready, so that when someone opens a door for you, you can walk right in. With an impeccable work ethic that takes every opportunity seriously; whether in the ensemble, as a deputy, or as a principle; as well as having Gwen Verdon as a champion, the real Shannon Lewis is coming out of hiding. @realshanlew 

In this episode: Broadway's Shannon Lewis grew up in a rural Canadian suburb and at age 19 was hand picked by Susan Stroman to make her Broadway debut, after a 'Crazy for You' casting director saw her in a Toronto theme park show. The essence of this podcast is having integrity, the importance of the respect of your peers, and to have your talent and drive ready, so that when someone opens a door for you, you can walk right in. With an impeccable work ethic that takes every opportunity seriously; whether in the ensemble, as a deputy, or as a principle; as well as having Gwen Verdon as a champion, the real Shannon Lewis is coming out of hiding. @realshanlew 

The new Broadway cast of Hamilton did not throw away their (snap)shot, get an inside look at the founding fathers and co in the latest photos!

In this episode: Broadway's Shannon Lewis grew up in a rural Canadian suburb and at age 19 was hand picked by Susan Stroman to make her Broadway debut, after a "Crazy for You" casting director saw her in a Toronto theme park show. The essence of this podcast is having integrity, the importance of the respect of your peers, and to have your talent and drive ready, so that when someone opens a door for you, you can walk right in. With an impeccable work ethic that takes every opportunity seriously; whether in the ensemble, as a deputy, or as a principle; as well as having Gwen Verdon as a champion, the real Shannon Lewis is coming out of hiding. @realshanlew 

Stephen Flaherty has two shows currently running on Broadway with 'Anastasia' and 'Once on this Island', a Tony award for 'Ragtime' and says that having an artistic faith is the best way to survive as a writer. In this episode he discusses how he had to audition for two of his biggest jobs, what true and honest collaboration is, and that in the theatre medium there is no such thing as final cut. He has learned that some of the best ideas came out of desperation, his greatest songs weren't written sitting in front of a piano, and that eventually you have to make a choice. You will learn soon enough if it was the right one.

In this episode: The topic of race in theatre and the whitewashing on the professional stage with special guests Ann Harada and Charlie and the Chocolate Factory's Alan H. Green. In this episode, the topics of white privilege, color-blind casting, and the systematic disenfranchisement of people based on the color of their skin are hashed out and discussed at an honest mature level. We live in a time that hatred is spouted so freely, when the ultimate goal should be to see people for what's under their skin. Everyone has an innate worth and sense of equality and that POC are as much as, not less than. The theatre world is known for being all-inclusive, so let's educate ourselves and understand there is enough for everyone.

In this episode: The topic of race in theatre and the whitewashing on the professional stage with special guests Ann Harada and Charlie and the Chocolate Factory's Alan H. Green. In this episode, the topics of white privilege, color-blind casting, and the systematic disenfranchisement of people based on the color of their skin are hashed out and discussed at an honest mature level. We live in a time that hatred is spouted so freely, when the ultimate goal should be to see people for what's under their skin. Everyone has an innate worth and sense of equality and that POC are as much as, not less than. The theatre world is known for being all-inclusive, so let's educate ourselves and understand there is enough for everyone.

In this episode: James Walsh is a jack of all trades, who masters them all. His newest endeavors include director with 'As Much as I Can,' a theatrical event focusing on HIV infection in the African American community, and as playwright with an original new play beginning previews this weekend at Queens Theatre in the Park. 'Jimmy And Carolyn' is a hysterical, true-to-life world premiere which opens officially September 22nd. Jimmy and wife Carolyn drive from Florida to idyllic Weekapaug, Rhode Island to celebrate Jimmy's birthday at the fancy beach house of their gay son and his life partner from Costa Rica. Once the pepperoni loaf has been devoured, the Italian cookies eaten, the cigarettes smoked, and the Pinot Grigio drunk, amid the laughter, dark truths are exposed as the family struggles to make sense of their irreconcilable memories of the past, and the choices they face as they move forward. In this episode James discusses taking control of ones own career, being impervious to negativity, and the importance of finding the keyhole into the center of your performance. http://queenstheatre.org/jimmy-and-carolyn

In this episode: James Walsh is a jack of all trades, who masters them all. His newest endeavors include director with 'As Much as I Can,' a theatrical event focusing on HIV infection in the African American community, and as playwright with an original new play beginning previews this weekend at Queens Theatre in the Park. 'Jimmy And Carolyn' is a hysterical, true-to-life world premiere which opens officially September 22nd. Jimmy and wife Carolyn drive from Florida to idyllic Weekapaug, Rhode Island to celebrate Jimmy's birthday at the fancy beach house of their gay son and his life partner from Costa Rica. Once the pepperoni loaf has been devoured, the Italian cookies eaten, the cigarettes smoked, and the Pinot Grigio drunk, amid the laughter, dark truths are exposed as the family struggles to make sense of their irreconcilable memories of the past, and the choices they face as they move forward. In this episode James discusses taking control of ones own career, being impervious to negativity, and the importance of finding the keyhole into the center of your performance. http://queenstheatre.org/jimmy-and-carolyn

In this episode: James Walsh is a jack of all trades, who masters them all. His newest endeavors include director with 'As Much as I Can,' a theatrical event focusing on HIV infection in the African American community, and as playwright with an original new play beginning previews this weekend at Queens Theatre in the Park. 'Jimmy And Carolyn' is a hysterical, true-to-life world premiere which opens officially September 22nd. Jimmy and wife Carolyn drive from Florida to idyllic Weekapaug, Rhode Island to celebrate Jimmy's birthday at the fancy beach house of their gay son and his life partner from Costa Rica. Once the pepperoni loaf has been devoured, the Italian cookies eaten, the cigarettes smoked, and the Pinot Grigio drunk, amid the laughter, dark truths are exposed as the family struggles to make sense of their irreconcilable memories of the past, and the choices they face as they move forward. In this episode James discusses taking control of ones own career, being impervious to negativity, and the importance of finding the keyhole into the center of your performance. http://queenstheatre.org/jimmy-and-carolyn

Hamilton and Bandstand's Andy Blankenbuehler has 3 Tony Awards, 3 shows running on Broadway, and 3,000 ideas in his head. He was always determined to be his best and to do this he realized that he had to stop apologizing, accept that problems gave him the best ideas, and that he works best when he is over prepared. He stopped performing because he wanted to tell stories and the ensemble (a group of distinct individuals) is the lens the story is told through. Having had to deal with personal tragedy and suffering, he knows first hand that art heals the soul. He must find an identity and do it as best he can, and that he married a superhero.

In this episode: Broadway Debut Special Episode with Mary Claire King (War Paint) Elliot Mattox (Charlie and the Chocolate Factory) and Kristen Smith Davis (Anastasia). These three talented performers are over the moon about making their debut in the 2017 season. They share their surprises, expectations, and fears and learned that sometimes you just have to stop and breathe. The biggest shock was realizing that when confronted with this ominous task at had, they were more than capable and that when preparation meets opportunity, embrace it.

In this episode: Broadway Debut Special Episode with Mary Claire King (War Paint) Elliot Mattox (Charlie and the Chocolate Factory) and Kristen Smith Davis (Anastasia). These three talented performers are over the moon about making their debut in the 2017 season. They share their surprises, expectations, and fears and learned that sometimes you just have to stop and breathe. The biggest shock was realizing that when confronted with this ominous task at had, they were more than capable and that when preparation meets opportunity, embrace it.

In this episode: Broadway Debut Special Episode with Mary Claire King (War Paint) Elliot Mattox (Charlie and the Chocolate Factory) and Kristen Smith Davis (Anastasia). These three talented performers are over the moon about making their debut in the 2017 season. They share their surprises, expectations, and fears and learned that sometimes you just have to stop and breathe. The biggest shock was realizing that when confronted with this ominous task at had, they were more than capable and that when preparation meets opportunity, embrace it.

Earlier this month, BroadwayWorld announced the results for our second annual Broadway's Backbone Best Musical Ensemble Award, which went to the company of Miss Saigon. Charlie and the Chocolate Factory's Jake Ryan Flynn helped to present this year's award, and you can check out how it all went down below!

In this episode: ROMAN HOLIDAY's associate Hair Designer Mitchell Beck talks about how the hair department is the first  to arrive at the theatre, the last to leave, and they are usually kept in the basement.  He wasn't ready for New York City, but after 14 years of touring, realized it was NYC or back to Indiana.  He shares that hair in theatre, TV, and film are all the same language, just a different dialect; that creating wigs is similar to sculpting; and that the hair room is like the kitchen of the party... the best place to be.