Closing Night

One of the most enduring and iconic tales of the Christmas season comes from famed British writer Charles Dickens. His 1843 novel, A Christmas Carol, would become his most famous work, and the character of Scrooge is part of our lexicon now, being synonymous with someone who doesn’t enjoy the holidays. With many so stage and screen adaptations of this story, it surprised me to find out that its first appearance on Broadway wasn’t until 1981—a musical by Michael Legrand and Sheldon Harnick. Famed British actor and Star Trek captain, Patrick Stewart, would bring a one-man version of the Dickens classic to Broadway four different times at four different theaters, with the last time being in 2001 at the Marquis Theater. Follow on Instagram and listen to Closing Night on your favorite podcast app. --- Closing Night is a production of WINMI Media with Patrick Oliver Jones as host and executive producer. Dan Delgado is the editor and co-producer, not only for this podcast but also for his own movie podcast called The Industry. Maria Clara Ribeiro is co-producer. Click here to find the transcript for this episode and a full list of links and resources used. Learn more about your ad choices. Visit megaphone.fm/adchoices

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

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

You know the book. You know the movie. But do you know the Broadway musical that lasted just three days? In the mid-1960s, producer David Merrick (the notorious "Abominable Showman") had a glittering vision: transform Truman Capote's beloved Breakfast at Tiffany's into a Broadway musical. He assembled a dream team: beloved TV star Mary Tyler Moore as Holly Golightly, heartthrob Richard Chamberlain, and legendary director Abe Burrows. What could go wrong? Almost everything. In this episode, we unravel the chaotic, star-studded saga of Breakfast at Tiffany's. From disastrous out-of-town tryouts and frantic rewrites to a rough stint on the road before trying to make it to Broadway, this is the story of a glamorous failure that became one of the most infamous flops in theater history. Discover how a show with every ingredient for success spiraled into a legendary disaster that nearly derailed the careers of its leading stars. --- 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. One of the pieces of background music in this episode is "Mom n' Pa" by Beat Mekanik and is used under a Attribution 4.0 International License. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special bonus episode, we continue the story of Lolita, My Love—the infamous Alan Jay Lerner musical that never made it to Broadway. After its chaotic out-of-town run and abrupt closure in 1971, the show remained a cautionary tale of ambition and controversy. But in 2019, it finally had its long-overdue New York debut, thanks to the York Theatre Company’s Musicals in Mufti series. Director Emily Maltby joins the podcast to share the behind-the-scenes process of reviving Lolita, My Love for a modern audience. From navigating the show's difficult subject matter to collaborating with historian Erik Haagensen on a newly reconstructed script, Emily offers thoughtful insights into the delicate art of giving misunderstood musicals a second life. It’s a revealing look at how this controversial work finally found its voice on a New York stage—nearly five decades after its original failure. --- Theme Music created by Blake Stadnik. Produced by Patrick Oliver Jones and WINMI Media with Dan Delgado as co-producer. Learn more about your ad choices. Visit megaphone.fm/adchoices

In 1958, Vladimir Nabokov’s Lolita shocked American readers with its provocative tale of obsession and manipulation—just as Alan Jay Lerner’s musical Gigi, featuring the now-cringeworthy “Thank Heaven for Little Girls,” was charming its way to nine Oscars. Though vastly different in tone, both stories revolved around older men’s fixation on adolescent girls. Which makes it all the more surprising that Lerner, the man behind Gigi’s sugar-coated serenade, would take on Lolita for the stage just over a decade later. In this episode, we explore Lolita, My Love—a musical adaptation plagued by rewrites, walkouts, and uncomfortable audience reactions. With music by James Bond composer John Barry and direction from a team trying to toe the line between art and provocation, the production aimed high but never made it to Broadway. Instead, it became one of theater’s most fascinating failures, collapsing under the weight of its subject matter—and proving that some stories may simply resist musicalization. --- 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

In the early 1980s, producer Joseph Tandet put the failure of the 1974 movie musical of The Little Prince behind him and set his sights on Broadway. He secured the rights and assembled an award-winning creative team—including Academy Award-winning composer John Barry and his lyricist Don Black as well as three-time Tony winner Hugh Wheeler. But what unfolded behind the scenes was anything but magical. From rewrites and cast changes to last-minute creative disagreements, The Little Prince and the Aviator was plagued by setbacks from the very beginning. The show never officially opened on Broadway, but it made it all the way to the theater, with sets built, actors rehearsed, and a score ready to be sung—until everything fell apart. In this episode, we explore the chaotic and fascinating path of a musical that almost was, using firsthand accounts from Tandet’s revealing memoir and a personal interview with Anthony Rapp, who was just 10 years old when he was cast in the title role. It’s a story of ambition, mismanagement, and the delicate balance between creative vision and theatrical reality—and why some shows never make it to opening night. --- 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

The Little Prince has been enchanting readers of all ages since 1943, when French aviator Antoine de Saint-Exupéry first introduced the boy from a distant planet. Inspired by his own life and a desert crash landing, this poetic tale has become one of the most translated and best-selling books in the world. In this episode, we begin a two-part look at The Little Prince on stage and screen—both versions produced by Joseph Tandet. There’s the ambitious 1982 Broadway-bound musical starring Michael York and a young Anthony Rapp, which never made it past previews. And before that, the 1974 movie musical directed by Stanley Donen and featuring Lerner and Loewe’s final collaboration—complete with Bob Fosse, Gene Wilder, and a surprisingly rocky production history. 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

History and politics have long found their way onto the Broadway stage, from Hamilton and 1776 to Parade and Fiorello! But in 1989, one musical took a wildly unconventional approach—bringing the infamous Senator Joseph McCarthy to life in Senator Joe. Helmed by Hair and Jesus Christ Superstar director Tom O’Horgan, this audacious and bizarre production featured everything from Brechtian satire to a musical number inside McCarthy’s alcohol-ravaged liver. Yet, after only three Broadway previews, the show collapsed under the weight of its own chaos, ending in scandal when its producer was arrested in a phone booth. How did Senator Joe go so wrong? And why did anyone think a musical about McCarthyism would work in the first place? This episode dives into the missteps, mayhem, and misguided ambition that turned a political firebrand into one of Broadway’s most infamous flops. Theme Music created by Blake Stadnik. Click here to find a transcript for this episode and a full list of materials and resources used. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this bonus episode of Closing Night, we dive into more of the stories and backstage drama that surrounded the ill-fated Lone Star Love. This is the full interview with dance captain Jeremy Benton, where he reveals further details of what really happened behind the scenes. From the involvement of Randy Quaid and his wife Evi, whose erratic behavior grew in unexpected ways, to the memorable Cheesecake Factory meeting that became a pivotal moment in the show's history, Jeremy shares candid anecdotes that shed light on the chaos and creativity that brewed during rehearsals and performances. You’ll also learn more about Evi’s tumultuous past, and how the havoc she brought to Lone Star Love was just one example in a long history of troublemaking for this tempestuous individual. Closing Night Theme Music created by Blake Stadnik. “Lazy Day” by Jason Shaw is licensed under a Attribution 3.0 United States License. “Sunday Morning” by Maarten Schellekens is licensed under a Attribution 4.0 International License. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this bonus episode of Closing Night, we revisit a compelling conversation with Broadway star Lauren Kennedy. While exploring the tricky politics and pressures of theater careers, Lauren candidly shares her experiences after Sunset Boulevard and Side Show that led into Lone Star Love. You heard only a couple of quotes from her in the main episode, but here you’ll get the full discussion of the intriguing yet chaotic behind-the-scenes story of a production that was derailed by unexpected challenges and the whims of a high-profile star. Lauren gives an insider's view on how creative visions can clash and projects can unravel despite the promise of a Broadway opening. The episode also touches on her connection with composer Jason Robert Brown and The Last Five Years, and how it prompted her transition into directing and producing, leading to her current role as the Executive Director of Theatre Raleigh. Listen to Lauren's full episode (and bonus episode) on Why I’ll Never Make It. Closing Night Theme Music created by Blake Stadnik. “Mountain Sun" by Jason Shaw is licensed under a Attribution 3.0 United States License. Learn more about your ad choices. Visit megaphone.fm/adchoices

What happens when Shakespeare meets Texas, bluegrass, and a Broadway-bound disaster? Lone Star Love had all the makings of a crowd-pleasing hit—an inventive twist on The Merry Wives of Windsor, music by The Red Clay Ramblers, and a history of successful regional productions. But when the show set its sights on Broadway, everything started to unravel. From an A-list comedian dropping out to Randy Quaid coming in with an oversized codpiece (and even bigger demands), this is a backstage saga filled with twists, turmoil, and a production that never made it to the Great White Way. In this episode, we’re diving deep into the wild journey of Lone Star Love, exploring its promising start, the chaotic Seattle tryout, and the fallout that left Broadway dreams in the dust. With behind-the-scenes drama, big personalities, and a show that spiraled into theatrical infamy, this is a cautionary tale of how even the best-laid plans can go hilariously—and disastrously—off track. Theme Music created by Blake Stadnik. Click here to find a transcript for this episode and a full list of materials and resources used. Learn more about your ad choices. Visit megaphone.fm/adchoices

The idea of an Annie Part II had actually been floating around since 1982, while the original Annie was still on Broadway, and rather than a traditional sequel, the production was framed as a continuation of the original story, beginning six weeks after the events of Annie, with Miss Hannigan devising her revenge from prison. This continuing story was initially set to open on Broadway in 1983, just months after the original closed. However, it would take until June of 1989 before the show would finally announce an opening date, first in Washington, DC then on Broadway. However, what started out as Miss Hannigan’s Revenge became a revenge of a different kind altogether. And the events that followed underscore a broader truth about Broadway (one that resonates throughout the episodes of this podcast): that even the most seasoned and award-winning of creators can still produce a flop. So was the tumultuous journey and hard-knocked life of Annie 2. Click here to find a transcript for this episode and a full list of materials and resources used. Learn more about your ad choices. Visit megaphone.fm/adchoices

Season 2 of Closing Night is finally here—the theater history podcast that takes you behind the curtain to uncover stories about famous and forgotten Broadway show that closed too soon. While season 1 focused on musicals that came and went from the Marquis Theatre, this season I’m tackling a whole new kind of theatrical heartbreak: shows that never actually opened on Broadway.  These are the productions that fizzled out during out-of-town tryouts or preview performances, including Lone Star Love, The Little Prince and the Aviator, Lolita, My Love, Let My People Come, and Breakfast at Tiffany’s, among others. Episodes start at the end of January and will drop once a month throughout the year, with the first episode being all about Annie 2: Miss Hannigan’s Revenge, which was actually slated to open at the Marquis Theatre but was canceled after a disastrous run in Washington, DC. Make sure to follow Closing Night on your favorite podcast app and stay connected on Instagram at @closingnightpodcast. Learn more about your ad choices. Visit megaphone.fm/adchoices

There’s a unique category of musicals that only come around once a year. And it is this annual tradition that makes Christmas musicals so special. They're not just a way to celebrate the holiday season—they tap into that universal feeling of nostalgia, warmth, and tradition. These shows bring people together in a way that few others can, offering an escape into a world of joy, wonder, and yes, a little bit of holiday magic. Whether it’s through music, story, or the sheer spectacle, Christmas on Broadway has a way of making the season feel even more magical. From the big, iconic productions that have defined the Christmas season like White Christmas and Elf to lesser-known gems like Here's Love and Flahooley that still manage to capture the spirit of the holidays, we’re going to look at the shows that not only helped define what Christmas can mean on Broadway but also why they remain so beloved long after the final curtain falls. Check out my episode on Patrick Stewart and and his one-man version of A Christmas Carol. --- Click here for a transcript and full list of the resources and materials used in this episode. Closing Night is a production of WINMI Media. I'm Patrick Oliver Jones, host and executive producer. Dan Delgado is editor and producer, not only for this podcast but also for his own movie podcast called The Industry. Theme music for Closing Night composed and created by Blake Stadnik. I’ll be back in the new year with season 2 of Closing Night. I know, it’s taken awhile, but I think you’ll find its been worth the wait when we talk about more shows as they head toward Closing Night. Learn more about your ad choices. Visit megaphone.fm/adchoices

In this special video podcast combo between Why I’ll Never Make It and Closing Night, I’m joined by theater historian and author Jennifer Ashley Tepper, who has written a truly remarkable book - Women Writing Musicals: The Legacy That the History Books Left Out.  Jennifer’s work is the first comprehensive exploration of women who have shaped Broadway and Off-Broadway musicals over the last century and beyond. From Tin Pan Alley composers to protest writers of the 1970s, and the voices shaping today’s theater landscape, this book is a treasure trove of history and inspiration. Together, we explore the hurdles these women faced, their remarkable stories, and the profound ways they’ve shaped the art form. And Jennifer’s book resonates deeply with both podcasts: Why I’ll Never Make It delves into the challenges of building a creative career Closing Night reflects on the legacy of shows may not always get the spotlight they deserve In our conversation, we highlight trailblazers like Pauline Elizabeth Hopkins, a Black playwright and novelist whose multi-hyphenate career began in the late 1800s; then there’s Gretchen Cryer and Nancy Ford, the longest-running female duo in musical theater history that began in 1955 and continues today; and then Shaina Taub, the Tony Award-winning force behind the Broadway musical Suffs. These are just a few of the extraordinary women we discuss—names that, thanks to Jennifer's book, are finally getting their due. --- Why I’ll Never Make It and Closing Night are independent productions of WINMI Media and Patrick Oliver Jones. To support the ongoing efforts of these podcasts please subscribe or donate. Thank you!  Learn more about your ad choices. Visit megaphone.fm/adchoices

Few musicals have captured the hearts of audiences quite like Disney's ALADDIN. But did you know the beloved stage adaptation of the classic animation almost never came to be? This podcast pulls back the curtain on the untold story of ALADDIN's journey from conception to Broadway triumph. Join 11-time Emmy Award winning entertainment journalist for NY1 and NY1OnStage host Frank DiLella on an in-depth exploration that begins with the initial spark of a stage adaptation. We'll delve into the challenges faced during out-of-town tryouts, the unwavering determination to overcome them, and the celebration of reaching over a decade on Broadway – a remarkable feat in the world of musical theatre. This captivating series features exclusive conversations with the original cast and creative team behind ALADDIN including Alan Menken, Casey Nicholaw, James Monroe Iglehart, Adam Jacobs, Courtney Reed, Sonya Balsara, Adi Roy and more as they recount their experiences with the show. Whether you're a lifelong Disney fan, a theatre enthusiast, or simply captivated by the magic of storytelling, this series is a must-listen. Unveil the untold story of ALADDIN and discover the passion, resilience, and drive that created a Broadway sensation. Learn more about your ad choices. Visit megaphone.fm/adchoices

Last month, Closing Night went live at 54 Below here in New York City, exploring the songs and stories of the Marquis Theatre with Broadway performers and singers—many of whom have performed in shows at the Marquis and some of them even joined us this past podcast season. Patrick Oliver Jones / Diego Prieto - "I Am I, Don Quixote” (Man of La Mancha) Jane Summerhays / Patrick Oliver Jones - "You Would If You Could" (Me and My Girl) John Bolton - "The Good Old Days" (Damn Yankees) Jonathan Shew - "What Do I Need With Love?" (Thoroughly Modern Millie) Lisa Howard - "Get Out and Stay Out" (9 to 5) Leah Horowitz - "All for Laura" (The Woman In White) Diego Prieto - "I Really Like Him" (Man of La Mancha) E. Clayton Cornelious - "Advice from a Caterpillar" (Wonderland) John Bolton - "Someday Baby" (Paper Moon) Nadina Hassan - “Gimme Gimme” (Thoroughly Modern Millie) Bows - “There’s No Business Like Show Business” (Annie Get Your Gun) And so I wanted to let you hear these stories and songs for yourself. You can also watch the concert on YouTube. Follow Closing Night on Instagram @closingnightpodcast Learn more about your ad choices. Visit megaphone.fm/adchoices

The second season of Closing Night is set to premiere this June. But while we all eagerly await the curtain rising on our next act, here's a story about a show that famously closed on its opening night. There are actual plans to do a future season about Broadway productions that only lasted one performance. But now there's one show to take off the list of potential episodes, all because of the podcast being sharing today, a podcast that feels like a time machine, whisking us away to different eras, and immersing us in captivating stories of yesteryear. It’s called History Daily, but it isn't your average history podcast. It's a real treasure trove of tales from the past, delivered straight to your ears every weekday. From monumental battles to the quirkiest fashion trends, from groundbreaking scientific discoveries to the drama of politics, sports, and even theater—History Daily covers it all. Now, back in December, the host Lindsay Graham and his production team over at History Daily featured an episode from this podcast (remember the one all about Andrew Lloyd Webber's short-lived Broadway production of The Woman in White?). Lindsay talked about that production and shared the episode with his listeners. So now it's my turn to share one of their episodes. Much like Closing Night, History Daily is more than just a recounting of dates and names—it's about the lives, the struggles, and the triumphs of those who came before us. And you're about to hear a tale so legendary in the world of theater that it's become synonymous with failure: a play called Moose Murders. So let's journey back to February 22, 1983, as we unravel the mystery behind one of Broadway's biggest flops. It's a reminder that even the darkest nights in theater history have a story worth telling. Learn more about your ad choices. Visit megaphone.fm/adchoices

Get ready for a night of Broadway magic as 54 Below Celebrates the Marquis Theatre on March 19th! The concert will feature performances by those who were there at the Marquis, like Tony Award nominee Kate Baldwin from Thoroughly Modern Millie, Tony Award winner Richard Maltby, Jr. from Nick & Nora, E. Clayton Cornelious from Wonderland, Leah Horowitz from The Woman in White, and Lisa Howard from 9 to 5 and Escape to Margaritaville. Patrick Oliver Jones will be hosting as well as singing that night, which just happens to be his birthday, so you don't miss this exclusive one-night-only event on March 19th, where tickets start at just $35. Visit the website 54below.com to secure your seat for this fun-filled evening, whether in person or via livestream online! **Use code MTHEATRE5 for $5 OFF Main Dining Room and Bar Rail cover charge.** Learn more about your ad choices. Visit megaphone.fm/adchoices