New York Magazine Celebrates Broadway

Summary

Podcast Title: All Of It
Host: Alison Stewart
Episode: New York Magazine Celebrates Broadway
Release Date: April 18, 2025
Duration: Approximately 29 minutes

---

Introduction

In this vibrant episode of ALL OF IT, hosted by Alison Stewart, the spotlight shines on the rich tapestry of Broadway through New York Magazine's latest feature, Legends of Broadway. This special segment celebrates the enduring legacy of Broadway by showcasing a stunning portfolio of photographs and heartfelt interviews with 29 iconic Broadway stars, spanning over six decades of theatrical excellence.

Legends of Broadway Feature

Alison Stewart kicks off the discussion by highlighting the significance of the Legends of Broadway spread, which features luminaries such as Barbara Streisand, Andre de Shields, Dick Van Dyke, Rita Moreno, Lin Manuel Miranda, Mandy Patinkin, and Audra McDonald. These celebrated actors reflect on their most memorable roles, offering listeners a nostalgic journey through Broadway's illustrious history. The feature is complemented by captivating portraits captured by renowned photographer Mark Seliger and insightful essays by esteemed critics Frank Rich and Mark Harris.

Behind the Scenes: Insights from Mark Seliger and David Haskell

Joining Alison are two key figures behind the feature: Mark Seliger, the photographer responsible for the evocative images, and David Haskell, Editor-in-Chief of New York Magazine. Their conversation delves into the creative process and the challenges of encapsulating the essence of each performer and their iconic characters within a single frame.

Mark Seliger shares his approach:

"[...] the idea behind the portfolio is really about a performative experience. Getting to know the characters the actors played was first and foremost"
(02:38)

He emphasizes the collaborative nature of the shoots, working closely with stylists and allowing actors to embody their characters fully, creating multiple stages within his studio to facilitate genuine performances.

David Haskell elaborates on the selection process:

"We wanted to celebrate a manageable number of Broadway legends and do so with performances that resonated both with audiences and the actors themselves."
(06:06)

He highlights the mutual respect among performers and the intimate slice of American culture Broadway represents, underscoring the deep connections and motivations that drive these legendary actors.

Capturing Iconic Performances

The episode provides intriguing anecdotes about photographing some of Broadway's most beloved figures:

• Barbra Streisand posed with a 60s-inspired hat and cape, transforming into her younger self:

  "She came out with this beautiful 60s hat and cape. Once she embraced the character, everything just worked itself out."
  (09:06)

• Lin Manuel Miranda is featured as Usnavi from In the Heights, providing a fresh perspective beyond his global hit Hamilton:

  "He was all in," Mark notes about Miranda’s dedication to embodying Usnavi.
  (11:15)

• Dick Van Dyke, approaching his 100th birthday, brought unparalleled energy to the shoot despite initial hesitations:

  "He is 99 years old and just a lot of chutzpah and spunk."
  (17:34)

• Idina Menzel seamlessly recreated her role as Maureen from Rent, showcasing her unique ability to blend character and performer:

  "She just started to belt it out and play the character, found the moment, and it was pretty much over as it started."
  (22:24)

• Joel Gray discusses the transformative process of creating his iconic role as the Emcee in Cabaret:

  "I had to become disgusting, go very vulgar. It was a risk I took to develop that character."
  (24:42)

Listener Engagement: Sharing Broadway Memories

Throughout the episode, Alison Stewart invites listeners to share their favorite Broadway legends and unforgettable performances. Numerous callers contribute personal stories, enriching the conversation:

• Peter reminisces about Yul Brenner’s charismatic performance in The King and I, highlighting the emotional connection between actor and audience:

  "Such charisma, such presence. It was unforgettable."
  (07:43)

• Martin shares his long-standing love for Broadway, recounting memories of seeing Richard Burton, Julie Andrews, and Audra McDonald:

  "Camelot was the most wonderful show I think I ever got to see."
  (09:06)

• Steven praises the portrayal of Idina Menzel in Rent, celebrating her unique presence on Broadway:

  "We think she's so unique on Broadway. Redwood is such a heartfelt, you know, feelings musical."
  (21:39)

• Rosalind mournfully requests the inclusion of Zero Mostel, honoring his indelible impact on Broadway:

  "He was beyond human. He does belong in your story."
  (23:19)

• Yasmin reflects on the shared cultural affinity New Yorkers have for Broadway, emphasizing its central role in the city’s artistic landscape:

  "This is just the center of this art form. I feel really lucky to be able to be part of it."
  (28:19)

Emotional Resonance and Reflections

The feature not only celebrates Broadway's storied past but also captures the emotional depth and personal connections these legends have with their craft. Mark Seliger recounts moments when actors were moved to tears upon seeing their portraits, underscoring the profound impact of the project:

"Seeing the emotional experiences they were having from seeing the image was just pretty wonderful."
(26:42)

David Haskell reflects on the timeless nature of Broadway performances:

"The sense of past in the present is something that I'll always appreciate."
(27:49)

Conclusion

Alison Stewart wraps up the episode by reaffirming the significance of celebrating Broadway's legends through this remarkable feature. The collaboration between Mark Seliger and New York Magazine not only honors the past but also bridges it with the present, ensuring that the magic of Broadway continues to inspire future generations.

Listeners are left with a renewed appreciation for the artistry and dedication that define Broadway, as well as a deeper understanding of the intricate processes behind capturing its legends in such a meaningful way.

---

Notable Quotes:

• Mark Seliger (02:38): "It was a very performative experience. Getting to know the characters the actors played was first and foremost."

• David Haskell (06:06): "The actors who are performing at the very top of their game are motivated by each other in a really moving way."

• Mark Seliger (09:06): "Once she became that person, it all of a sudden just worked itself out."

• David Haskell (24:42): "I had to become disgusting, go very vulgar. It was a risk I took to develop that character."

---

Episode Highlights:

• In-depth discussion on the creation and significance of New York Magazine's Legends of Broadway feature.
• Personal anecdotes and behind-the-scenes insights from photographer Mark Seliger and Editor-in-Chief David Haskell.
• Heartfelt listener contributions sharing cherished Broadway memories.
• Exploration of the emotional and artistic connections between Broadway legends and their iconic roles.

---

Join the Conversation:

Listeners are encouraged to share their favorite Broadway legends and memorable performances by calling or texting WNYC at 212-433-9692, adding their voices to this celebration of Broadway's enduring legacy.

Transcript

[Alison Stewart]

All of it is supported by Progressive Insurance. Do you ever think about switching insurance companies to see if you could save some cash? Progressive makes it easy to see if you could save when you bundle your home and auto policies. Try [e-mail] Progressive Casualty Insurance Company and affiliates. Potential savings will vary. Not available in all states. Listener Supported WNYC Studios this is all of it. I'm Alison Stewart live from the WNYC Studios in soho. Thank you for sharing part of your day with us. I'm really grateful you are here. On today's show, we'll learn about the hilarious and gut wrenching new play We Had a World. Artist Rasheed Johnson is here to talk about his new exhibit at the Guggenheim along with its curator, Naomi Beckwith. And former National Poet Laureate Tracy K. Smith will read some of her work and help us celebrate Poetry Month. Get ready to call in with your favorite poems. That is our plan. So let's get this started with some legends of Broadway. Barbara Streisand, Andre de Shields, Dick Van Dyke, Rita Moreno, Lin Manuel Miranda, Mandy Patinkin, Audra McDonald. These are just some of the names featured in the recent Vulture and New York magazine feature Legends of Broadway for their annual yesteryear issue. The spread includes 29 different actors speaking about some of their most memorable roles. And Those roles span 65 years of Broadway history, from 1960s Bye Bye Birdie to the current revival of Gypsy. It also includes amazing photos taken by renowned portrait photographer Mark Seliger. Joining me now to discuss the feature is Mark Seliger. Hi, Mark.

[Mark Seliger]

Hi there. How are you, Alison?

[Alison Stewart]

I am doing well. And the editor in chief of New York magazine, David Haskell. Hi, David.

[David Haskell]

Hi, Alison.

[Alison Stewart]

Listeners, we want to hear from you. Who is your favorite Broadway legend? What is a Broadway character or a performance that has always stuck with you? Who is someone you think deserves to be considered a Broadway legend? Give us a call or text us. Our number is 212-433-WNYC 212-433-9692. You can call in, you can join us on air or you can text that number as well. So, David, why did your team decide to cover Broadway for this annual yesteryear issue?

[David Haskell]

Well, you know, every April, the magazine celebrates its anniversary by exploring New York City history through a different lens each year. And this year we we took on Broadway and the New York stage. And so in addition to featuring essays by Frank Rich and Mark Harris, we realized we had this incredible opportunity to create a photography portfolio of legends of the American theater. And what we realized early on. And what made Mark just the absolute perfect photographer to work with on it was the opportunity to capture not just the performers, but. But actually the performances.

[Alison Stewart]

Mark, what did you see as your primary goal for this photography assignment?

[Mark Seliger]

Well, the idea behind, you know, the concept, the. Of the. The portfolio is really about. It was a very performative experience. So getting to know the characters the actors played was first and foremost on. On the. On the front end. And then Daniel Edley, our stylist, was amazing and fun. Finding pieces that, you know, nodded towards that particular performance and the character and then really bringing the subjects in and letting them play. So we sort of created multiple stages in my studio and gave them an opportunity to just be who they were in the particular performance. So it was great from that. It was kind of a dream job for me. But I think for a lot of the actors, it was a dream job because they didn't have to be themselves. They could be their favorite role.

[Alison Stewart]

It's interesting, in the course of taking the picture, the photos not only capture the essence of the actor, but the character they played as well. And it looks like some of them are singing during it. Was that the case?

[Mark Seliger]

Yeah, I mean, there were some real, real high moments where, like, Patti Lupin would sing next to her soundtrack and, you know, everybody just kind of stopped and, and gawked at the beauty of her voice. And. And, you know, the same thing with. With the way that, you know, we had William Daniels, who is in his 90s, and his wife would recite a line and then he would have, you know, the return. And so it was. It was a lot of acting. We had Jeffrey Wright, who in. In his particular performance of Underdog.

[Alison Stewart]

Yeah, yeah.

[Mark Seliger]

He insisted on doing his own stunt where he would. Where he would fall backwards in a chair and we would try to catch him. And, you know, he would say, no, no, no, no, no. I don't really want anybody to be back there. Let me just do this. And we must have done it about 15 times. Fortunately, he did not hurt himself. But, you know, that moment of true action which happens, you know, was kind of the beauty of it all. And I think that that's really what we tried to open up, was the idea that there was this real time experience happening within a single image.

[Alison Stewart]

David, many of these actors talked about the pressure they felt. Why do you think there was this unique pressure that comes with being a Broadway star?

[David Haskell]

Well, you know, I'm sure there's a lot of answers to that. I bet both of us would be pretty nervous to be on stage tonight. But I do think one element or one answer that comes through in this project is how much they're really performing for one another, that there's so much mutual respect among the performers who take the stage. And there is a real dialogue, not only in the sort of literal situations where you might be putting on a revival and sort of nodding to previous incarnations of the role, but far beyond that. There were a lot of conversations we had with the actors about the roles that matter to them. And you can just feel that even though it has this sort of star wattage, and especially this season on Broadway, you can tell George Clooney and the rest, there's just a kind of global celebrity aspect of it. It's actually an intimate, an intimate slice of American culture. And the actors who are performing at the very top of their game are motivated by each other in a really moving way.

[Alison Stewart]

We're getting some texts here. Brian Dennehy in Death of a Salesman, Al Pacino in the Merchant of Venice, Gregory Hines appearing in both Sophisticated Ladies, which was a celebration of Duke Ellington's music, and Jelly Slash Jam, which told the story of Jelly Roll Moulton. Both unforgettable. Let's also talk to Peter. Hi, Peter. Thanks for calling all of it. You're on the air. Oh, hi.

[Mark Seliger]

I'm just recalling a magnificent performance by Yul Brenner in a revival of the King and I, which I saw at the Gershwin, or it was the Urus at the time, a huge theater where Wicked is playing now. And I was in the cheapest seats in the back row and just having this amazing experience that he was doing the show for me and that he knew I was there. And I would never say Yul Brenner was the greatest actor in the world, but such charisma, such presence. And I found out many years later he was quite not well at the time. His health wasn't great, but it was unforgettable.

[Alison Stewart]

Thank you so much for calling. My guests are photographer Mark Seliger and editor in chief of New York magazine, David Haskell. Were talking about their new spread of photos and interviews covering 29 Broadway stars. It's called the Legends of Broadway. Listeners, we'd love to have you join our conversation. Who is your favorite Broadway legend? What's a Broadway character or performance that has always stuck with you? Our Phone lines are open. 2124-3396-9221-2433. WNYC mark, which shoot proved that was a little difficult, was a little difficult to complete.

[Mark Seliger]

Well, I mean, I have to say that every time we, you know, we go into a session, every session is going to have its. Its own, you know, its own set of challenges. Probably our biggest cover that we were able to, you know, bring together, bring to fruition was Barbra Streisand. Now everybody knows Barbra Streisand, maybe. Maybe they don't know. Sort of the Broadway, Broadway Barbara. But I had never photographed her. She's 83 years old, kind of shy in terms of, like, the experience of being photographed, but really knows her lighting. So for me, it was setting up the collaboration, which she was very much a part of. And she really wanted to have having the right references in order to be able to show her lighting. So I pulled, you know, what I considered to be the best pictures of Barbra Streisand ever taken. Since I hadn't photographed her, I was using, you know, anything I could find. So the Avedon images of Barbara back in the 60s were my favorite. And the lighting was very particular. So Barbara came out and, you know, she looked like an older Barbara. But the minute that she put on this beautiful. We had this beautiful 60s hat that Daniel got, and she came out with kind of a cape coat that she loved, black. And we started to take pictures, she turned into Barbara. So there was a moment of hesitation. And yet once she became that person, it all of a sudden just worked itself out. So, you know, I can't say that I was completely uncomfortable at first, but I would say that I had a little bit of anxiety about getting where I needed to go. But once it happened, it happened. So it was really, really fun.

[Alison Stewart]

Let's talk about Lin Manuel Miranda. People might be surprised that Lin is in here for in the Heights, not Hamilton. Let's.

[Mark Seliger]

You know, what do you know? Why?

[Alison Stewart]

Tell me why.

[Mark Seliger]

Because we originally had photo. I had photographed him years ago for Hamilton, and his request was that we don't revisit that, because that image had already been out in the world. And so in the Heights was a great, you know, obviously a great performance, an early performance for him. So he had an opportunity to kind of to him in that role. So that was kind of where we went with that. And once we settled on that being the character, it was. He was all in.

[Alison Stewart]

Let's listen to a little bit of Lynn's performance as Usnavi from the show in the Heights. Yeah.

[Mark Seliger]

I'm a street light choking on the heat the world spins around While I'm frozen to my seat the people that I know will keep on Rolling down the street but every day is different so I'm switching up the beat? Cause my parents came with nothing they.

[Alison Stewart]

Got a little more? Sure we're poor, but yo, at least.

[Mark Seliger]

We got the store it's all about the legacy they left with me is destiny and one day I'll be on.

[Alison Stewart]

A beach with Sonny Writing checks to.

[Mark Seliger]

Me I hang my flag upon this place we came to work and to.

[Alison Stewart]

Live and we got a lot in.

[Mark Seliger]

Common Reminds me that I came from miles away?

[Alison Stewart]

Dr. PR we are not stopping every day until the day we go from poverty to slave stock options I got.

[Mark Seliger]

Today and today's all we got so.

[Alison Stewart]

We cannot stop this is our block in the Heights I know Lin Manuel Miranda whenever I hear him. David Andre De Shields, he seemed like he was on a mission to both promote and protect the legacy of the Wiz. What did he have to say to you about what that project meant to him and to black audiences?

[David Haskell]

Yeah, I'm glad you singled this one out. I really recommend everyone listening now to spend some time with the interview that we did with him in particular. He feels such a obligation, I think it's the right word, to protect the legacy of not just his performance, but that show in that production. And he was saying that he. He felt that the film adaptation, which is probably most people's reference, didn't live up to the. To the show itself. So it's really important to him to just stress how great it is. And, you know, if you look at that portrait of him that Mark took, and then you can see we published in sort of postage stamp size, some references for the reader to have. Have the experience of seeing. Seeing the performances in their original production. It's just an uncanny sort of return or channeling of the power of the original role. And I think that that's true. In general, I really recommend studying these pictures closely because as we were trying to find a way to show history, a history of live performance, that's a really difficult thing to capture. And what Mark was able to do was pull out of these subjects a very contemporary picture that's also, of course, referencing 30, 40, 60 years ago. And you can sort of see it all at once. You can see that in Andre's. You can see it in Joel Gray's Liza Minnelli's. It's just an incredible sort of uncanny experience.

[Alison Stewart]

Let's hear a little bit of Andre De Shields from the Wiz. This is believe in yourself. Believe there's a reason to be. Believe you can make time stand still and the next know from the moment you try, if you believe.

[David Haskell]

I know you will believe in yourself.

[Alison Stewart]

That's from a 2013 performance by Andre de Shields. Let's talk to Martin in the Bronx. Hey, Martin. Oh, hi, Alison. Well, I've been fortunate enough. I've been going to Broadway for, like 65 years, starting when my parents took me. It was either 1960, 61, where I got to see Richard Burton, Julie Andrews, and Robert Goulet. I'm going to start to cry in Camelot. What a show that stands out in my mind as the most wonderful show I think I ever got to see. And it was in the Majestic Theater that I happened to go to this week to see Audra in Gypsy. But another iconic performance, it should have been around 1965, where I got to see Richard Kiley in Man of La Mancha. He was incredible. Anyway, thank you. You should be on A Legend of people who have seen Broadway shows. That's what you should be on. Martin, thanks for calling in. We'll have more with our Legends of Broadway, David Haskell and Mark Seliger after a quick break. This is all of it. You are listening to all of IT on wnyc. I'm Alison Stewart. My guest photographer, Mark Seliger, and editor in chief of New York Mag, David Haskell. We're talking about their new spread of photos and interviews covering 29 Broadway stars. It's called the Legends of Broadway. Mark, Dick Van Dyke is included in this spread. He's set to turn 100 in this this December. You get how lively he is in this photo, but he did take some convincing to be a part of it. Would you share that story with us?

[Mark Seliger]

Sure. We were, we were working on Dick for a couple of weeks, and fortunately, I had bumped into Judd Apatow, who's very good friends with him, and he texted Arlene, Dick's wife, and got her to agree to the shoot. So we met them. He was doing a little cabaret performance at a local Malibu store coffee shop. And we set up and, you know, got got ready. And he came in and he was just delightful, telling us that, you know, bye Bye Birdie was his favorite role that, you know, in theater and that they had messed up once again, they'd messed up in the movie, but he was really proud of that role. Went in for a shave, went in for a little grooming, and he was falling asleep. And she said, it is possible we could do this a different day. And I was like, oh, my gosh, we cannot. We have to do it now. So Got dick up. He did his sound check for his little cabaret performance, Chitty Bye Bang Bang Bang, and then came in front of the camera and just turned it on. And he was, you know, he's a song and dance man. And it was just, it was just an absolute delight. I wish I could show you my little video on my phone of, of him dancing around because to see him in action was just incredible. 99 years old and just a lot of. A lot of chutzpah and a lot of spunk.

[Alison Stewart]

Let's get to some text. Philip Seymour Hoffman, Death of a Salesman. Mark Rylance in Jerusalem, Nicole Scherzinger in Sunset Boulevard. Shana Tau and the whole cast of suffs in the 1960s. John Wright as Billy Bigelow and Carousel at Lincoln center all these years. The most unforgettable of all, of course, the dad to Bonnie Raitt. Let's talk about revivals. David, you have Nathan Lane in Guys and Dolls, Audra McDonald in Gypsy. How did you decide when a performer in revival deserved the spotlight considering all their other performances they've had?

[David Haskell]

Well, the whole project was a puzzle. And, you know, like, at the heart of it was finding a way to celebrate a, you know, a sort of enormous but also manageable number of Broadway legends and to do so with performances that really, you know, resonated with audiences in the sense that. In the sense of sort of making a career moment for them, but then also resonated with the, with the actors themselves and then also trying to space things out. And so, of course, Patti LuPone, for instance, there are many different options we could go. She has delivered a wide number of incredible performances. And so there was a lot of just playing back and forth. But I think that revivals, in some cases you mentioned too. Bebe Neuwirth, also in Chicago. Her revival was 30 years ago this year, I think. But that, of course was, I think, 20 years after the original. And it's, you know, Beebeus was just a great example of one that is indelible in the minds of so many, so many theater lovers alive today and mattered so much to her personally. It's sort of a no brainer to work with her on that. And Mark, you had such a beautiful. That you captured there.

[Mark Seliger]

Yeah, we had a moment where, you know, we were working out the posing and she was, you know, all in, in terms of, you know, playing the character. And then at the very last shot that we did, which was pretty physical, she came over and she looked at the monitor and she started to cry. She Was like, you captured, you know, the essence of the character, and yet me at this point in my life, and it was very moving. Everybody on set was brought to tears by just seeing the emotional experiences she was having from seeing the image. So it was pretty wonderful.

[Alison Stewart]

Let's take a few more calls. Steven is calling in from Chelsea. Hi, Steven. Thanks for taking the time to call all of it today. Hey, Allison, it's Stephen at the protein bakery. Remember me? I love listening to you. Oh, hi, Steven. I'm your cookie guy. Yeah, so I just wanted to hear. I just wanted to hear more about the Idina Menzel shoot. I just saw her for the fifth time last night in Redwood with the staff of the protein bakery. And we love the show so much, and we love her so much. We think she's so unique on Broadway. And Redwood is such a heartfelt, you know, feelings musical. And to see her recreate Maureen for the shoot was so exciting to me. Mark, you want to.

[Mark Seliger]

Yeah, yeah, it was. It was. It was fantastic. I mean, for her performance in Rent, she came with her original shirt, which was fantastic. So did Andre. He came with his original costume, which, you know, was a blessing, I think, for our costume designer. But she just jumped right into performance and. And, I mean, I think probably with Adina, it was the shortest shoot we had of the entire sessions. She just started to belt it out and play the character, found the moment, and, you know, it was pretty much over right as it started. It's perfect. And I'd worked with her before for a piece for New York magazine, so we had a relationship, and it was great.

[Alison Stewart]

Let's talk to Rosalind, who's also calling in from Manhattan. Hi, Rosalind. Thank you so much for calling. Hi. Hi. Thanks. Thanks for taking my call. You cannot do this without mentioning 0mostel. And it's too bad he's not around to be in your project, but his presence on Broadway filled the space. He was beyond human. He was amazing. I think he got his start in Rhinoceros in the early 60s. And then, of course, he did the Sondheim Funny Thing Happened on the Way to the Farm, where he played a slave trying to win his freedom by helping his master get a girl. And then, you know, the classic that everyone thinks of but I don't think is necessarily his best, was Tevye and Fiddler. The man was beyond a human. He was a star. So he does belong in your story. Thank you so much for calling, Rosalind. I wanna talk about Joel Gray. David. Joel Gray is featured in the piece of course, legendary for his role as the emcee in Cabaret. We actually just had Orville Peck on the show last week, who took over as the role of the emcee in Cabaret, which is on Broadway right now. What did Joel share with you about his process for creating what is now an overused word, but it is actually true in this case, an iconic character?

[David Haskell]

Well, I think what he gets into in his conversation with us is he had to cross a threshold of taste. He had to. We have a quote from him saying, I was disgusting. He had to get disgusting and go very vulgar. And it was after a few different iterations of trying out the role that. And he was working with Hal Prince, the director, and. And he just talks about, at a certain point, he tried a version that was just so filthy. And that Hal said was, that's it, you know, and it's kind of incredible that it's now become so iconic that it's sort of, as you say, it's. It's like canon. But I think what he. What he gets at is just how uncomfortable and what a risk he took, you know, in order to develop in the first place. And, you know, we. We have 29 actors in this portfolio. We were able to create eight different covers. And in those cases, you can see a picture of Marx in the inside in the portfolio and also on the COVID And it's. It's really quite a pleasure to see both of the Joel Gray pictures because they just together give you such energy.

[Alison Stewart]

Here's a bit of Joel from his performance as the emcee in the 1972 film starring Liza Minnelli. This is Wilkeman.

[Mark Seliger]

Welcome. Frontier, Clue, Cliche.

[Alison Stewart]

Anciente. Happy to see you.

[Mark Seliger]

Plaid.

[Alison Stewart]

Rest is stay. Mark, have you heard from any of the actors that you took pictures of?

[David Haskell]

I've.

[Mark Seliger]

I've heard from several. Yeah, I heard from Joel, I heard from Patty, I heard from Andre, I heard from Barbara, and I heard from Liza. Yeah, I've heard from a lot of people that they were very happy with the. Not only from the end results, but they really enjoyed the sessions. And I think, to me, that's the greatest compliment is that if they can come in and they can enjoy the moment of the session and come out with the outcome is to their liking, then we've done a pretty good job. And I also think Broadway is one of those experience that everybody in the world gravitates towards in New York, and it's just kind of a shared affinity that we all have in. In terms of the city. So it was, it was a, you know, it was a celebration of history. It was a celebration of craft and of. And of, you know, of fantasy.

[Alison Stewart]

David, what do you understand about Broadway that you didn't at the beginning of this project?

[David Haskell]

I think it relates to time. I think it's just that the. Probably not all, but if you're lucky as an actor, you have, over the course of your career, performances that stay inside you. They don't ever leave. They have the technical skill to conjure it again, but they also just have it in the first place. And I think that sense of past in the present is, is something that I'll always appreciate.

[Alison Stewart]

We're going to get one more call in. This is Yasmin calling in from Port Washington. Yasmeen, you're on the air. Hi. Hi. Thank you for taking my call. I love what I think Mark just said about New York being the center of this. I just, I'm a born and bred New Yorker. I'm in my 50s, and I remember my parents taking me to like when A Chorus Line opened and Chita Rivera in Kiss of the Spider Woman. And guys mentioned Patti Lupone. Like, we saw her in Evita and Anything Goes. And I saw Dustin Hoffman and Deathma Silverman. And I just remember growing up seeing these, you know, tremendous stars. And I think that's sort of one of the beauties of being in New York. We all have that in common, that this is just the center of the, this art form. And I feel really lucky to be able to be part of it. Thanks for calling, Yasmeen, and thanks to David Haskell and Mark, Legends of Broadway and New York Magazine. You can pick it up now. Thank you so much for joining us and sharing the process.

[Mark Seliger]

Thank you.

[Alison Stewart]

Sometimes it feels like the world is moving at hyperspeed and you can't keep up because it's one thing than another. And don't forget the meeting and the yoga class and the dinner reservation. But then you get into the all new Nissan Murano and you feel the breeze from the panoramic moonroof while the massaging seats melt away the tension of the day. And you realize that sometimes the greatest rush is not rushing at all. Shop the all New Murano at nissanusa.com Panoramic Moonroof, massaging leather appointed seats are available. Features. Since WNYC's first broadcast in 1924, we've been dedicated to creating the kind of content we know the world needs. Since then, New York Public Radio's rigorous journalism has gone on to win a Peabody Award and a Dupont Columbia Award, among others. In addition to this award winning reporting, your sponsorship also supports inspiring storytelling and extraordinary music that is free and accessible to all. To get in touch and find out more, visit sponsorship.wnyc.org.