Give My Regards to the Broadway Episode!

Summary

Stuff You Should Know: "Give My Regards to the Broadway Episode!" Summary

In the April 24, 2025 episode of "Stuff You Should Know", hosts Josh, Chuck, and Jerry delve into the vibrant and storied world of Broadway. This comprehensive discussion navigates through Broadway’s rich history, its evolution into a global theater hub, iconic productions, the mechanics behind its success, and even its notable flops. Whether you're a theater enthusiast or a casual listener, this episode offers an engaging exploration of everything Broadway has to offer.

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1. Introduction to Broadway

The episode kicks off with the hosts expressing their mutual passion for Broadway. Chuck shares his growing interest in musicals and their tradition of annual Broadway trips, highlighting their excitement about upcoming shows like the highly anticipated Broadway revival of "Glengarry Glen Ross" featuring stars such as Kieran Culkin, Bill Burr, and Bob Odenkirk (04:23).

Jerry adds, "Broadway, as in the American home of musicals. The great White Way. You know, where musical theater goes to live and thrive and give it a shot at stardom." (03:16)

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2. The Origins of Broadway

The discussion traces Broadway’s roots back to 1732, highlighting its establishment on an old Lenape tribe trail connected to the 13-mile stretch of Manahatta. Initially known as De Heerstraat by the Dutch settlers, it was later anglicized to Broadway.

Chuck explains, "Give my regards to Broadway is from Little Johnny Jones from 1904, written by George M. Cohan." (02:40).

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3. Establishment of the Theater District

Oscar Hammerstein I, an immigrant who transitioned from sweeping cigar factory floors to inventing a cigar machine, played a pivotal role in Broadway’s early development. By founding theaters like the Harlem Opera House and the Olympia Theater, Hammerstein laid the groundwork for Broadway as a theater district.

Jerry notes, "Within like a decade, Oscar Hammerstein I built like three major theaters in New York City. And he helped pretty much establish this theater district." (14:27).

The Shubert Brothers further solidified Broadway’s prominence by owning and operating a significant portion of its theaters. Their legacy continues as the Shubert Organization now owns 17 out of 41 Broadway theaters.

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4. Broadway's Golden Era: Rodgers and Hammerstein

The partnership between Richard Rodgers and Oscar Hammerstein II revolutionized Broadway with the creation of the book musical—where songs are integral to the plot rather than mere interludes. Their landmark production "Oklahoma!" set a record with 2,212 performances (24:41), establishing them as giants in the industry.

Subsequent hits like "South Pacific," "The Sound of Music," and "The King and I" further cemented their legacy, intertwining compelling narratives with unforgettable music.

Chuck emphasizes, "Giants to this day of the industry, South Pacific, the Sound of Music, the King and I. I mean, their names are basically synonymous with musical theater." (25:25).

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5. Evolution of Broadway Productions

Broadway has continuously evolved, embracing new themes and production styles. The introduction of concept musicals like "Showboat" tackled serious social issues such as racism head-on, integrating both white and black performers—a progressive move for its time (22:51).

Jerry highlights, "It was a very dramatic story. It wasn't like, you know, feel good, forget your troubles, come on, get happy kind of thing." (23:42).

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6. The Transformative Years: 1950s to 1970s

The mid-20th century saw Broadway embracing blockbuster productions akin to the Marvel Cinematic Universe, with shows like "West Side Story," which introduced the triple threat concept—actors who could sing, dance, and act simultaneously (25:57).

Chuck adds, "West Side Story was one of the first ones in 1957 to be like, hey, you're the lead actor. You're also singing, you're also dancing. Cause that's all part of it." (25:57).

"Cabaret" emerged as a groundbreaking concept musical, offering a thematic exploration of Weimar-era Berlin and the rise of Nazism through its narrative and musical cohesion (27:41).

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7. Modern Broadway: Blockbusters and Innovations

Broadway’s modern era is characterized by high-budget productions with impressive special effects and enduring popularity. "Phantom of the Opera" stands out with its record-breaking run of 13,981 performances, showcasing elaborate set designs and memorable music (32:42).

Wicked, another contemporary favorite, made headlines as the first show to achieve a $5 million weekly gross in December 2024, driven by a combination of popular demand and the success of its film adaptation (42:36).

Jerry states, "Wicked set a weekly record in December of this past year. Obviously buoyed by the popularity of the movie, but the first ever show to have a $5 million week." (42:36).

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8. Iconic Contemporary Musicals

The hosts discuss several modern musicals that have left indelible marks on Broadway:

• "Rent": Jonathan Larson's rock musical addressing addiction, poverty, and AIDS, though Larson tragically passed away before witnessing its premiere (38:07).

• "Mamma Mia!": A jukebox musical featuring ABBA's hits, exemplifying the trend of building shows around popular existing songs (39:14).

• "Hamilton": Lin-Manuel Miranda's groundbreaking fusion of hip-hop and historical narrative, reflecting Broadway's continual innovation (41:25).

Jerry reflects on "Company", a series of vignettes about romantic relationships, highlighting Stephen Sondheim's contribution to transforming musical storytelling (29:37).

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9. Broadway’s Flops: Lessons in Production

Despite its successes, Broadway has seen its share of failures, which the hosts discuss candidly:

• "Moose Murders" (1983): Infamously closed after a single performance, criticized for its poor execution and baffling title. Jerry mentions, "It's widely considered like the worst show that ever hit Broadway." (44:37).

• "Carrie" (1988): An ambitious adaptation of Stephen King’s novel that failed spectacularly, closing after just five performances despite its $8 million budget (44:37).

• "Turn Off the Dark" (2011): Directed by Julie Taymor with music by Bono and The Edge, this show was plagued with technical issues during its long preview period of 182 performances, becoming one of Broadway’s most notorious flops (45:42).

Chuck summarizes, "Anyhow, it's tough to qualify that because there's plenty of bad shows out there, but Moose Murders just became like the symbol for the worst shows on Broadway." (44:37).

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10. Broadway’s Cultural Impact and Listener Engagement

Broadway's influence extends beyond the stage, inspiring various cultural phenomena and even other Broadway shows. The hosts proudly mention that their podcast has inspired two Broadway productions, illustrating the reciprocal relationship between media and theater.

Additionally, the episode features a heartfelt listener mail segment from Cody in Raleigh, celebrating how the podcast has provided companionship to his widowed mother. This personal story underscores the podcast’s role in listeners' lives.

Jerry responds warmly, "Happy birthday, Bonnie. You can't see me right now, but I'm making a heart out of my hands." (51:08).

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11. Current State and Future of Broadway

The episode concludes with an overview of Broadway’s current financial health and popularity. The 2023-2024 season reported total grosses of $1.54 billion, attracting more than 12 million attendees and maintaining an average occupancy rate of 89.9% (42:36). This robust performance highlights Broadway's enduring appeal and its ability to adapt to contemporary tastes and economic conditions.

Chuck remarks, "The largest Broadway theater. If you've never been, you might be used to like Broadway in your hometown at like the 5,000 seat theater or something like they have here at the park." (06:32).

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Conclusion

This episode of "Stuff You Should Know" offers an in-depth exploration of Broadway, from its historical foundations to its modern-day spectacles. Through engaging dialogue, personal anecdotes, and critical analysis, Josh, Chuck, and Jerry provide listeners with a thorough understanding of Broadway’s evolution, its triumphs, and its challenges. Whether discussing legendary musicals, groundbreaking productions, or infamous flops, the hosts paint a vivid picture of why Broadway remains a cornerstone of American culture.

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Notable Quotes:

• Jerry: "Broadway, as in the American home of musicals. The great White Way." (03:16)
• Chuck: "Give my regards to Broadway is from Little Johnny Jones from 1904, written by George M. Cohan." (02:40)
• Jerry: "It's widely considered like the worst show that ever hit Broadway." (44:37)
• Chuck: "Wicked set a weekly record in December of this past year... the first ever show to have a $5 million week." (42:36)
• Jerry: "Happy birthday, Bonnie... I’m making a heart out of my hands." (51:08)

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This summary encapsulates the essence of the "Give My Regards to Broadway" episode, providing listeners with a rich and engaging overview of Broadway’s legacy and its continuous influence on the world of theater.

Transcript

[Chuck Bryant]

You're listening to an iHeart podcast with T Mobile. No Trendspotter has to deal with Trendspotty service because T Mobile helps keep you connected from the heart of Portland to right where you are on America's largest 5G network. Switch now keep your phone and T Mobile will pay it off at the $800 per line via prepaid card. Visit your local T Mobile location or learn more@t mobile.com KeepAndSwitch up to four lines via virtual prepaid card. Last 15 days qualifying unlock device credit service port in 90 plus days device and eligible carrier and timely redemption required card is no cash access. It expires in six.

[Josh Clark]

You know when you're really stressed or not feeling so great about your life or about yourself, Talking to someone who understands can really help. But who is that person? How do you find them? Where do you even start? Talkspace Talkspace makes it easy to get the support you need. With Talkspace, you can go online, answer a few questions about your preferences and be matched with a therapist. And because you'll meet your therapist online, you you don't have to take time off work or arrange childcare. You'll meet on your schedule wherever you feel most at ease. If you're depressed, stressed, struggling with a relationship, or if you want some counseling for you and your partner or just need a little extra one on one support, Talkspace is here for you. Plus Talkspace works with most major insurers and most insured members have a $0 copay. No insurance, no problem. Now get $80 off of your first month with promo code SPACE80 when you go to talkspace.com match with a licensed therapist today at Talk. Save $80 with code [e-mail] welcome to.

[Chuck Bryant]

Stuff youf Should Know, a production of iHeartRadio.

[Jerry]

Hey and welcome to the podcast. I'm Josh and there's Chuck and Jerry's here too. And this is a good old fashioned toe tapping feel good event of the century that we like to call Stuff.

[Chuck Bryant]

You Should Know I cannot stop sing they say the neon lights up right on Broadway.

[Jerry]

It's one of my least favorites. Is that from A Chorus Line?

[Chuck Bryant]

I don't know. I was singing that earlier. I was singing Give My Regards to Broadway.

[Jerry]

Wow. You haven't been singing the one I've been singing.

[Chuck Bryant]

What have you been singing?

[Jerry]

There's no business like show business like no business. I know, that's great.

[Chuck Bryant]

I do not know the neon lights 1. I should have looked that up. But I do know. Give my regards to Broadway is from Little Johnny Jones from 1904, written by George M. Cohan.

[Jerry]

Neon Lights is a craftwork song. You're way off.

[Chuck Bryant]

Oh, well.

[Jerry]

Little Johnny Jones is the most, like, 1920s play title or musical title I've ever heard.

[Chuck Bryant]

I didn't know Kraftwerk. They say the neon lights are bright. Is that how theirs goes?

[Jerry]

It's a little different.

[Chuck Bryant]

Okay.

[Jerry]

It's really good, though. I think it's actually the best song about Neon Lights.

[Chuck Bryant]

Oh, that's a bold statement.

[Jerry]

I know. I'm with you.

[Chuck Bryant]

By the way, this is a listener suggestion. So big thanks to Sarah Nagy for sending this in.

[Jerry]

Ooh, nice. Thanks, Sarah. We should probably say for anybody who didn't bother looking at the title, we're talking about Broadway today. Broadway, as in the American home of musicals. The great White way. You know, where musical theater goes to live and thrive and give it a shot at stardom.

[Chuck Bryant]

That's right. And non musical theater.

[Jerry]

True, true. I'm more of a play guy than a musical guy myself. I remember going to see La La Land in the theater and being like, I had no idea this is a musical. Luckily, it turned out really well, but.

[Chuck Bryant]

Oh, okay, good.

[Jerry]

At first I was like, you gotta be kidding me. Kind of like, you know, when you go to drink, take a sip of water and it turns out to be coke and it's really shocking. But then you're like, oh, okay, Coke's fine. It was a lot like that. The movie version of that.

[Chuck Bryant]

Yeah. I think I've detailed this a little bit. But I've gotten more into musicals and I enjoy musical theater and Broadway and we try to go to a show when we're in New York. And now we're doing an annual Broadway only trip, like where we go see a few of them.

[Jerry]

That's a pilgrimage is what they call that.

[Chuck Bryant]

Yeah, pilgrimage. But I do love the plays. And we are, in fact going to see Glengarry Glen Ross in May.

[Jerry]

Haven't you seen the movie?

[Chuck Bryant]

I have, but this has got that killer cast on Broadway. I don't know if you heard about it or not.

[Jerry]

No, I haven't. Honestly, I haven't kept up with Broadway lately.

[Chuck Bryant]

Yeah, this has got Glengarry Glen Ross with Kieran Culkin and Bill Burr and Bob Odenkirk and others.

[Jerry]

Wow, that is a killer cast.

[Chuck Bryant]

So I grabbed tickets for that right when they went on sale. And I'm going, and my friends are like, how'd you get tickets, man? You're so lucky. I'm like, I just logged on and got them when they went on sale.

[Jerry]

You logged on to your Internet.

[Chuck Bryant]

Yeah. You know, just get on a. If you're into that kind of thing, you just jump on a little like a Broadway direct email list and then you'll get the haps on all the haps.

[Jerry]

So you mentioned T. Is it T? Tkt.

[Chuck Bryant]

Oh yeah, the TKTS booth.

[Jerry]

Yes. Are they online too? Or is that like a physically stand there in person kind of thing?

[Chuck Bryant]

Yeah, that is the ticket service run for the not for profit Theater Development Fund. And that is if you're in New York and you're like, man, I wish I could go to a show, but I don't want to jump on a resale website and pay a ton of money. There are booths in Times Square and satellite booths at South Street Seaport and Lincoln center where you can get day of. You can go get day of tickets for people that are like, I can't go Broadway. Can you help me sell these?

[Jerry]

Yeah. And apparently if you go with like an hour or so before the booth opens, the line, once it does open will only be about an hour. That's how long it takes to clear out, typically. And people who are in line know what they want to see and they want the best seats. And yeah, that's what they're going for. That's why they're standing in line. But if you're like, hey, I'm in New York, let's catch a show. I don't care what show. You can just show up like a couple hours after the thing opens and walk right up and pick a show.

[Chuck Bryant]

Yeah. And I gotta say, and you know, we'll get to this or I might as well say it now. The largest Broadway theater. If you've never been, you might be used to like Broadway in your hometown at like the 5,000 seat theater or something like they have here at the park.

[Jerry]

At the Performing Arts Center.

[Chuck Bryant]

Yeah, or the Performing Arts Center. But in New York they're pretty small. The largest one is the gershwin Theater at 1933 seats. The smallest of the. How many theaters is it total? 42, 7.

[Jerry]

41 theaters, 41.

[Chuck Bryant]

The smallest is the Hayes at 597. So, you know, if you're in town, you want to check out a show. In most of those theaters, most of the seats are pretty great and it's fairly intimate.

[Jerry]

I don't know much about it lately. Like I left off with Phantom of the Opera. That was probably the last musical I was ever really into, so. But I know that since I've been into it like they've become blockbuster productions.

[Chuck Bryant]

Yeah.

[Jerry]

Very much along like the Marvel Cinematic Universe movie franchise stuff where it's like just put a ton of money into it and people come from all over and you'll make 10 times what you put into it. And that, I mean that's a fairly new development. Is it like that basically across the board now or surely that's like a handful of powerhouse shows and the rest of them are more normal and hence ticket prices are more normal. Do you know, I mean, from my.

[Chuck Bryant]

Experience stuff, you know, if you go to see some of the classics, they're, you know, they're big productions, but they're not maybe not as like special effects heavy. They definitely, I feel like have jazzed them up a lot more in more recent years with more sort of jaw dropping moments of like kind of I can't believe they did that live kind of stuff.

[Jerry]

Like when the salesman from Death of a Salesman flies out over the crowd at that one scene.

[Chuck Bryant]

But like for instance, last time we went, we saw on the.

[Jerry]

That's the best thing she came up with.

[Chuck Bryant]

We saw. One of the ones we saw was the new ish Death Becomes her, which is. I can't recommend enough. It is one of the funniest musicals you will ever see. But it wasn't some lavish production. But they had a couple of very well placed sort of special effects that were very fun. And so I think you need to sort of wow the crowd a little bit more these days.

[Jerry]

Okay. So you're not going to find like a 1950s, 60s style musical comedy that isn't relying at all on special effects there anymore.

[Chuck Bryant]

No, I mean, but maybe not special effects, but the sets are still very big and there's a lot of money poured into it. Your plays are gonna be a little more like stripped down.

[Jerry]

So. Okay, last question. Ticket prices from what I've seen are like eye popping. Pretty expensive. Like 200 bucks.

[Chuck Bryant]

Yeah, I think Wicked was the most expensive. It was 290 average price.

[Jerry]

Man. Ouch. So there's gotta be tickets that are like that the normal person can afford, right?

[Chuck Bryant]

Yeah, yeah. I mean that's the average ticket price. So the cheaper seats for like a show like Wicked are, I don't know, probably in the hundred and something. Which is still, I mean that's a lot of money. But I don't know that you can go like if your question is, can you go see a Broadway show for like 45 bucks?

[Jerry]

Yes, that's my question.

[Chuck Bryant]

I don't know. And I doubt it.

[Jerry]

Yeah. All right, well, that's a bit of a shame, I have to say.

[Chuck Bryant]

Although I'll have to look at my Glengarry tickets. I don't know that those were, like, crazy expensive, but I'll check while you talk.

[Jerry]

Okay, well, I'm gonna start talking about the history of Broadway.

[Chuck Bryant]

Let's do it.

[Jerry]

So Olivia helped us out with this. Kudos to her. Cause this was a huge, huge topic and she wrangled it greatly. But the. The street itself, Broadway is really, really old. It's actually built on an old Lenape tribe trail that connected the tribes along the 13 miles of Manahatta. So this is like pre Contact. Yeah. Broadway was already in existence when the Dutch showed up and they said, this is New Amsterdam. Eventually we'll rename it New York.

[Chuck Bryant]

Yeah.

[Jerry]

They called it De Heerstraat.

[Chuck Bryant]

Yeah.

[Jerry]

Which is gentleman's way. So apparently here with two E's in the middle means gentlemen in Dutch if you want to impress people at your next party. Yeah, but they just called it Bredveg or Broadway Broad Road in the English. Well, we're just going to call that Broadway from now on.

[Chuck Bryant]

Yeah. So that's the street, Broadway. The theater district is between Times Square to 53rd street and then the side streets from 6th to 8th Avenues. And like I said, it's 41 theaters. And with that smallest one, the Hays, being 597, they're all at least 500, almost 600. I mean, can you squeeze three more seats in there, Hayes?

[Jerry]

Maybe standing room only.

[Chuck Bryant]

And like I said, the Gershwin is the largest at 1933. And you know, that's where theater happens. And we're going to talk a little bit about sort of the early theater days. Because if you're talking New York theater, you're gonna have to go back to 1732 to see the first, or at least the first record of a performance of a play there. It was called the Recruiting Officer, and that was some Londoners traveling through town. And it was at the new theater on Nassau Street. But that was near Broadway, but not anywhere close to the theater district. It was way, way downtown in what would now be the financial district.

[Jerry]

You're not going to mention the name of the owner of the new theater.

[Chuck Bryant]

Building, Governor Rip Van Dam, which is.

[Jerry]

A really great hotel. Check in name.

[Chuck Bryant]

Yeah, that's good. Included just with the governor.

[Jerry]

Yeah, Governor.

[Chuck Bryant]

Okay.

[Jerry]

They'll give you special treatment.

[Chuck Bryant]

Yeah.

[Jerry]

So, yeah, you said that was in what is now the financial district. So slowly but surely it started to kind of move to what was called the Longacre Square. Yeah, but before that there was a lot of theaters that had opened up sporadically away from what we now consider Broadway and the think the first. I don't know if we said it or not because you corrected me when I said like musicals. You're like, well, plays too. But most people when they're talking about Broadway, think they're thinking about musicals. Right. So the first musical, as far as anybody can tell, that was performed in New York was called the Beggar's Opera. It was about thieves and sex workers. It was a musical comedy. It sounds like it was somewhat like one of the plays that would come in the 19th century or one of the musicals where there were like kind of breaks in between where they. Some stand up comedian would come out or a juggler maybe or somebody would perform a song. But the songs didn't have much to do with the story, if anything at all.

[Chuck Bryant]

Yeah, and we'll get to that. That was sort of the way it went for a while. It was sort of like songs and sketches and stuff like that. As that was what a music. But we wouldn't have any of this stuff. It hadn't been for some pretty notable people, the first one. Well, he's actually the first Oscar Hammerstein. What would be two notable Oscar Hammersteins?

[Jerry]

Yeah, this is Oscar Hammerstein I.

[Chuck Bryant]

That's right. He moved from Germany, of course, to New York City in 1864. And was a cigar factory floor sweeper until he invented a cigar machine and made quite a bit of money doing so. Such that he could start funding the opening of his passion, which was opera. So he opened the Harlem Opera house first in 1889 and then that very first one in Longacre Square, which will be notable in about a minute and a half. Cause you will learn what that became. Hammerstein's Olympia Theater at Broadway and 43rd and 44th. And then after that the Republic Theater was in 1899, which is still there, but is now the new Victory Theater.

[Jerry]

Gotcha. Which I think is for young audiences, right? Pretty sure, yeah. I'm almost positive.

[Chuck Bryant]

It is like really bawdy kids plays.

[Jerry]

Yeah, like Avenue Q. Yeah, exactly. So within like a decade, Oscar Hammerstein I built like three major theaters in New York City. And he helped pretty much establish this theater district or the concept that New York had a theater district or it was a theater town, I guess. Plus, and this is probably a fairly overlooked component of it, the Interborough Rapid Transit system. The train helped too because it could get people around New York much more easily than before. So with those two things, Hammerstein and the IRT converging, New York suddenly had like everything it needed. All the ingredients to become like a world class theater destination.

[Chuck Bryant]

Yeah, for sure. So the writing was on the wall. He opened those theaters. Other people were like, hey, we can invest money in this now that it's becoming a thing. The New Amsterdam Theater and the Lyceum Theater were both built around the same time in the early 1900s. And then, oh boy, we're probably more than a minute and a half after I promised it. But in 1905, Longacre Square was renamed for the newly relocated New York Times offices. And thus it became Times Square.

[Jerry]

Ta da. That's it.

[Chuck Bryant]

I was like, was it New York Times Square?

[Jerry]

And I was like, no, dummy, just Times Square.

[Chuck Bryant]

Just Times Square. And it was around the same time that these three brothers, Lee, Samuel and Jacob Schubert, a very popular theater name to this day, they opened up a bunch of theaters in New York and elsewhere. And the Shubert Organization still owns and operates 17 of those 41 theaters.

[Jerry]

That's a bunch. That's almost half of the theaters on Broadway.

[Chuck Bryant]

They got it locked down, baby.

[Jerry]

So all of this hubbub and activity of building theaters and attracting, like, really good performers and plays and musicals, by the time World War I rolled around, like, New York was on the map for theater, and Broadway was the theater district for New York by this time. And one of the things that really helped things along kind of picked up where Oscar Hammerstein, the first and the irt, left off to really, like, give things a real goose was the Ziegfeld Follies, which I know we talked about in our episode on Vaudeville November 2022, we talked about that a lot. But the idea that, like, you could go to the theater and you could see some amazing performances and hear some funny comedy and see some crazy dances or great dances like that drew people to theaters, like everyday people who might otherwise not have gone to the theater.

[Chuck Bryant]

Yeah, for sure. And you know, some of the, some of the songs that you, you know, even if you're not a fan of this kind of thing just kind of leaked into the public consciousness. Like, give my regards to Broadway from George Cohen. He also wrote Yankee Doodle Dandy and Over There. During World War I, this is when Irving Berlin came around, One of, as you'll see, kind of a series of poor Jewish immigrant families that came to New York. And the children of those families ended up being like these amazing Broadway writers and composers. He wrote Things like Annie, get your gun and there's no business like show business. Your old favorite.

[Jerry]

That's right. He also wrote White Christmas, which I read is the best selling Christmas song of all time.

[Chuck Bryant]

Which was not on Broadway.

[Jerry]

No, well, it ended up on Broadway. It was in the movie Holiday Inn. And then they retro created a musical based on the movie.

[Chuck Bryant]

They retconned it.

[Jerry]

Right. Another pair that were really huge at this time were George and Ira Gershwin brothers, another Jewish immigrant family. They created Funny Face girl, Crazy Porgy and Bess. And some of these, as we'll see, were pretty kind of groundbreaking, especially at the time. But they also launched some stars careers. Like Ethel Merman. Who you think of when you think of somebody singing. There's no business like show business. I think Ethel Merman.

[Chuck Bryant]

Yeah. In the movie Airplane.

[Jerry]

Right, exactly. That's where I first learned about it. Ginger Rogers, Fred Astaire, of course, Greta Garbo, Dance on air.

[Chuck Bryant]

And it wasn't just musical theater at the time. This sort of post World War II era also had some pretty legendary plays like the Iceman cometh from Eugene O'Neill and Lorraine Hansberry's Raisin in the Sun. Of course. But it was Times Square after all. So in World War II, that's when you started seeing some. You know, the usual thing that would happen was like burlesque theater, eventually peep show, maybe regular movie theater and then porn theater.

[Jerry]

Yeah. And you better know the difference.

[Chuck Bryant]

Yeah.

[Jerry]

I say that we take a break and we come back and we talk about the establishment of Broadway shows as we know them.

[Chuck Bryant]

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[Jerry]

Yeah. So when you clock out, LinkedIn clocks in. LinkedIn makes it easy to post your job for free, share it with your network and get qualified candidates that you can manage all in one place.

[Chuck Bryant]

That's right, those qualified candidates. You know, at the end of the day, the most important thing to your small business is going to be the quality of those candidates. And with LinkedIn you can feel confident that you're going to be getting the best.

[Jerry]

Yeah. And actually, based on LinkedIn data, 72% of small businesses using LinkedIn say that LinkedIn helps them find high quality candidates.

[Chuck Bryant]

Just post your job for [e-mail] that's LinkedIn.comSYSK and you can post your job for free. Terms and conditions apply.

[Josh Clark]

You know, when you're really stressed or not feeling so great about your life or about yourself, talking to someone who understands can really help. But who is that person? How do you find them? Where do you even start? Talkspace. Talkspace makes it easy to get the support you need. With Talkspace, you can go online, answer a few questions about your preferences, and be matched with a therapist. And because you'll meet your therapist online, you don't have to take time off work or arrange childcare. You'll meet on your schedule wherever you feel most at ease. If you're depressed, stressed, struggling with a relationship, or if you want some counseling for you and your partner or just need a little extra one on one support, Talkspace is here for you. Plus, Talkspace works with most major insurers and most insured members have a $0 copay. No insurance, no problem. Now get $80 off of your first month with promo code space80 when you go to talkspace.com match with a licensed therapist today at talkspace.com save $80 with code [e-mail] learning stuff with Joshua.

[Jerry]

Stuff you should do. Okay, so one Hammerstein did some amazing stuff with Broadway, creating Broadway. But this family was showing off and they produced Oscar Hammerstein ii, who's the grandson of Oscar Hammerstein I. And he got together with a composer named Jerome Kern and they just started making some amazing, groundbreaking for the time, especially new kinds of musicals that just that gave us Broadway as we know it today.

[Chuck Bryant]

Yeah. Like if you go to a musical today, you're not assured to, but more than likely you're gonna be seeing what's called a book musical. And that is when the musical, when the songs are central to the plot and the storyline and moving things along, it's not just like and here's a song to add to this musical review kind of thing.

[Jerry]

Right.

[Chuck Bryant]

They still have those sometimes, but it's kind of a throwback. Like these days, the book musical as a direct descendant of Hammerstein 2 and Jerome Kern is sort of the way to go.

[Jerry]

Right. They came up with Showboat Together, which was an enormously groundbreaking show. It combined both white and black performers on the same stage, which if you remember a Harry Belafonte episode that was a. No, no. Well into the 50s and 60s. These guys made this show in 1927.

[Chuck Bryant]

Yeah. I mean, people were not doing that at time. At the time they also had blackface in that review because that was something they were Also doing at the time. But it was also pretty, you know, progressive in some ways by, like, having an integrated cast.

[Jerry]

Yeah. And, I mean, a lot of the themes were about racism, and it just kind of took it head on. It was a serious, dramatic story. It wasn't like, you know, feel good, forget your troubles, come on, get happy kind of thing.

[Chuck Bryant]

Yeah. And just to be clear, it was truly integrated. I wasn't saying the blackface was integration. It had real integration and also blackface, which I don't quite understand, but I don't either. Yeah, I don't know. I don't know how they were doing things in 1927.

[Jerry]

Like, when a woman is in an episode of Monty Python, it's like, why are you guys in drag then?

[Chuck Bryant]

Right, Exactly. So Hammerstein is doing his thing, doing pretty well. Jerome Kern's great. But all of a sudden, a dude lopes onto the scene named Richard Rodgers, and Hammerstein said, rogers and Hammerstein. That sounds. That has a nice ring to it. They're old buddies, old former classmates from Columbia years earlier. And Rodgers approached Hammerstein and said, hey, there's this play, Green Grow the Lilacs from Lynn Riggs. Why don't we turn that into a musical? And why don't we do a little different? Like, why don't you write the word to this thing first? I'll write the music. And I don't know, let's use an exclamation point in the title. Let's just call it Oklahoma.

[Jerry]

Oklahoma, Right, Sure. So this show, this established Richard Rodgers and Oscar Hammerstein, like, this is 1943. It set a record for the most performances at the time. It's long since been just totally demolished. But it had a record performance total of 2212. That was just unheard of back then. So imagine, like, you know, you've got some pretty cool stuff under your belt, but all of a sudden you get together with this new collaborator and you create the show that has the longest running or the largest number of performances ever. Just right off the bat, that's kind of like what these guys became. Like they were just the stars of Broadway productions.

[Chuck Bryant]

Yeah. I mean, giants to this day of the industry, South Pacific, the Sound of Music, the King and I. I mean, their names are basically synonymous with musical theater.

[Jerry]

I read Chuck also that at one point they had three of the longest running plays or shows on Broadway at the time and three other shows in production to be adapted to films all at the same time.

[Chuck Bryant]

Giants.

[Jerry]

Giants. Yeah. We could have just left it at that. Now that I Think about it.

[Chuck Bryant]

So there were some huge, huge shows of the late 20th century that sort of helped redefine Broadway. West side Story was one. This was where the idea of the triple threat came along because they didn't have. For a while there, there was like a separate chorus that did the dancing and stuff. And west side Story was one of the first ones in 1957 to be like, hey, you're the lead actor. You're also singing, you're also dancing. Cause that's all part of it. And all of a sudden, the triple threat was a thing. And that was the real start of another giant of Broadway. Stephen Sondheim.

[Jerry]

Yeah. Who would go on to direct Contagion, which we mentioned recently, too.

[Chuck Bryant]

No, he wrote the lyrics. And then another name you might have heard of, Leonard Bernstein, was a composer for west side Story.

[Jerry]

Yeah, he's great, too. Cabaret was another one by this time. This was 1966. Today you think of Cabaret and it's just a cult classic musical. But at the time, it was groundbreaking in that it introduced a new kind of musical to Broadway, which is actually kind of a throwback to how it used to be. It's called the concept musical. And rather than, you know, a through line story where the songs advance the story and everything, this is more like. There was a theme, though. The theme was the show was set at the Kit Kat Club in Berlin, I think in Weimar era Berlin. Yeah. And through the songs that all kind of have this share this kind of same theme, this concept is created. I think the theme was. I've not seen Cabaret, but I believe that it was a meditation on the rise of Nazism during the Weimar Republic's kind of swinging days.

[Chuck Bryant]

Yeah, yeah. I always wanted to see Cabaret.

[Jerry]

Yeah. Well, let's go see it together for the first time then.

[Chuck Bryant]

I don't know that it's. Is it running? Is there a revival going on?

[Jerry]

Oh, man, I'm going to get myself killed. I'm talking about the movie. Like there's movies for all of these pretty much. So we can just see the movie.

[Chuck Bryant]

There really is. There's two west side Stories, in fact.

[Jerry]

Yeah. Steven Spielberg did one. Yeah.

[Chuck Bryant]

It was good hair. We have to talk about hair from 1968. This is a musical that Olivia points this out. It wasn't just commenting on what's going on in history at the time. It really helped kind of shape it in real time. It was the first rock musical, something I'm a big, big fan of.

[Jerry]

Oh, yeah?

[Chuck Bryant]

Yeah. Like the jukebox.

[Jerry]

Jukebox.

[Chuck Bryant]

Jukebox. I have such a hard time with that. Musicals are. Okay. Not my favorite, but those 70s Jesus Christ superstar and Joseph and the Amazing Technicolor Dreamcoat and hair, like that stuff is so groovy and so cool. Because it's like 60s and 70s.

[Jerry]

Yeah, no, it is super groovy hair. If there's one word to describe hair, it's groovy.

[Chuck Bryant]

Yeah.

[Jerry]

If the other. If you want one more word, it would be nude.

[Chuck Bryant]

Yeah. Or merkin, because there was an all. The whole cast was nude, very famously in one scene. But it did help launch the careers of. Diane Keaton was in that original production, as was Meat Loaf, a man whose house I have been at.

[Jerry]

Oh, of course. So I have no follow up questions whatsoever to that. Instead. Well, okay. What were you doing in Milov's house?

[Chuck Bryant]

I'll tell you offline.

[Jerry]

Okay, cool. So Stephen Sondheim, who you already mentioned, he made a name for himself by writing the lyrics of west side Story. But apparently his big breakout was something called Company, which is a bunch of vignettes about romantic relationships. I have not seen that one either.

[Chuck Bryant]

Yes.

[Jerry]

I feel like a rube talking about all these things that I haven't seen. But I did read about it and I read that the whole thing starts at the main character's 35th birthday party. Walks into the birthday party, and then these vignettes start. And then the thing ends, I think, with him walking into the 35th birthday party. To make it like this all took place in just a moment in time. All of these vignettes did super cool.

[Chuck Bryant]

Have not seen it either. Sondheim, also very well known for Sweeney Todd, the Demon Barber of Fleet Street.

[Jerry]

I have seen that.

[Chuck Bryant]

I have not seen that. But friend of the show, Scott Aukerman highly recommends it. Said it's like one of the best shows he's ever seen.

[Jerry]

It's great.

[Chuck Bryant]

Yeah. I got to check it out.

[Jerry]

A Chorus Line, another movie. That one was kind of meta. It was another concept musical where the whole thing takes place in an audition. And so the whole thing is about theater life, about theater people, but it's actually a musical show. It's pretty cool.

[Chuck Bryant]

Yeah. And that began a run in 1975 of like a dozen years where some of the giants of all time were launched. Chorus line Chicago in 1975, Les Mis in 1987, Cats in 1982, which we'll talk about that a little more in a sec. And then phantom in 88. But cats very famously was a very, very long running show that some People love, some people hate, Some people think it's brilliant. Some people make fun of it. But lyricist Tim Rice got together with composer Andrew Lloyd Webber. The Weber Rice team. They did the amazing technical of Dreamcoat, Jesus Christ Superstar, Evita. And then they said, hey, let's turn this T.S. eliot, old possum's Book of Practical Cats into a musical and have real people dressed up as cats.

[Jerry]

Some people say, like, if you could build a time machine, what would you do? I would go back and prevent Andrew Lloyd Webber from having that thought.

[Chuck Bryant]

I've never seen any iteration of Cats. I want to see something.

[Jerry]

It's the only time outside of an airplane where I tried to make myself go to sleep in public. It was that I was like, I can't even just sit here. Yes. It was at a performance. Like, I can't just sit here. Like, I have to not be conscious for this.

[Chuck Bryant]

Oh, boy.

[Jerry]

And I was too young to leave. I don't think I was driving at the time. I was with my family.

[Chuck Bryant]

Oh, no. You couldn't go, like, fake sick or anything?

[Jerry]

No. I think. I don't have a recollection of the show after a certain point. So I think I might have been successful in falling asleep.

[Chuck Bryant]

Your dad would have been throw up in this bag.

[Jerry]

You'll be fine.

[Chuck Bryant]

And then Phantom was 88. And I think that's another Andrew Lloyd Webber show. But I think that was one of the first ones to really ramp up. Got real designy and included some special effects. And I think that kind of started that trend of making things a little bigger.

[Jerry]

Yeah, for sure. That one I can sing along with basically from start to finish. I love that one.

[Chuck Bryant]

Dun dun, dun dun, dun dun.

[Jerry]

Exactly. I knew exactly what you were doing just then. Cause I'm so familiar with it.

[Chuck Bryant]

We tried to see Phantom at the Fox Theater here in Atlanta. And I actually just joined the Broadway season for next season. The seasons run from May to May, I think on regular Broadway. I'm not sure about the Fox Theater. I think it may be about the same. But we tried to go see Phantom years ago, but we're both so distracted. It was when we were trying to buy our first house, and we were obsessed with this house we were trying to get a bid on. And it was just one of those deals where we were not there, Our head was elsewhere. And we finally just looked at each other, and we were like, we need to get out of here.

[Jerry]

You should definitely see it again. It's a really great show. The music, the lyrics.

[Chuck Bryant]

I gotta see it.

[Jerry]

There's like a one ton chandelier that falls to the stage. Like it's a good show. And I think you're right that it did kick off kind of the mega productions. It ran for 35 years and as far as I know, it holds the record still for the Most performances at 13,981.

[Chuck Bryant]

Wow.

[Jerry]

Remember Oklahoma set something at like 2200 before.

[Chuck Bryant]

Oh, yeah. That's. I mean, impressive at the time, but yeah, that's 35 years is impressive.

[Jerry]

It's pretty amazing. So yeah, I love that show. I'm just going to say it probably five more times throughout this.

[Chuck Bryant]

So we got to talk a little bit about Times Square. Even before the 70s came along, it was a pretty rowdy place. In the early teens There was a 1am curfew because it was such a rowdy place. There were speakeasies there during Prohibition burlesque in the 30s and then from the 60s and into the 90s. I think I've mentioned this before. When I first started going to New York in the mid-90s, there were still peep shows there. It was right before the final cleanup happened, thanks to a few different mayors, but Mayor Ed Koch, certainly David Dinkins, and then eventually Giuliani would finish up the work of cleaning up Times Square.

[Jerry]

Yeah, David Dinkins was the one who I think maybe had the biggest impact, or we should mention John Lindsay in the early 70s. He created a tax incentive where if you built in Times Square a new building, you could get a pretty good tax break. But you had to build a theater on the ground floor to try to bring the theater back to the area. I thought that was a pretty ingenious idea. But to me, David Dinkins probably had the biggest impact, good or bad, by making a deal with Michael Eisner, who was running Walt Disney at the time. And he said, just do your thing here, Disney. Like, we got a lot of perverts running around here. We need some Disney to counterbalance this stuff and maybe even overwhelm it. And it worked like if you pour enough Disney onto an area, the perverts just turn and run.

[Chuck Bryant]

Right. So they started, they dipped their toe in the pond with renovating and renting out the New Amsterdam Theater, which at that point New York City had acquired in 1992 as part of the 42nd Street Development Program because it was one of those that followed the for less theater than movie theater than porn theater model. I don't know if that was an official model. And then as they were remodeling that in 94. Before they were finished, Disney opened Beauty and the Beast at the Palace Theater. Of course, the adaptation of the 91 animated film. And it was almost a $12 million budget. The most expensive musical ever at the time and ended up running for about 13 years to total grosses of about 430mil.

[Jerry]

That's just insane even today. But this was the mid-90s.

[Chuck Bryant]

Yeah. I mean, the returns on Broadway, if you can get a smash hit going, you know, it's not like you have to sink $200 million into it like you do a big budget movie.

[Jerry]

Yeah, there's a lot of front loaded cost. But then, yeah, after you get it up and running and it's going, it can just go by itself, basically, for sure.

[Chuck Bryant]

Should we take our second break?

[Jerry]

Oh, geez, I wasn't expecting that, but sure, let's do that.

[Chuck Bryant]

All right, we'll be right back and finish up on Broadway right after this.

[Josh Clark]

You know when you're really stressed or not feeling so great about your life or about yourself, talking to someone who understands can really help. But who is that person? How do you find them? Where do you even start? Talkspace. Talkspace makes it easy to get the support you need. With Talkspace, you can go online, answer a few questions about your preferences, and be matched with a therapist. And because you'll meet your therapist online, you don't have to take time off work or arrange childcare. You'll meet on your schedule wherever you feel most at ease. If you're depressed, stressed, struggling with a relationship, or if you want some counseling for you and your partner or just need a little extra one on one support, Talkspace is here for you. Plus, Talkspace works with most major insurers and most insured members have a $0 copay. No insurance, no problem. Now get $80 off of your first month with promo code space80 when you go to talkspace.com match with a licensed therapist. Today at talkspace.com save $80 with code [e-mail] learning stuff with Josh.

[Jerry]

Stuff you should know.

[Chuck Bryant]

All right, so Broadway, you can go for escape a spare. You always have been able to. You still can. But starting in the mid-90s with rent, people really started tackling some heavier topics. Jonathan Larson's rock musical talked about addiction and suicide and poverty and aids. Rent was another one. I left. It was fine, but it was another situation where I was with friends and everyone. I can't remember. There was some weird distraction where everyone was like, do you want to leave? I think our seats were bad or something. And it just wasn't happening. But I want to see Rent again. Larson very tragically died at 35 years old of an aortic aneurysm the night before it premiered Off Broadway.

[Jerry]

I know, that's insane.

[Chuck Bryant]

Just a brutal, brutal story.

[Jerry]

Yeah. Because it's such a legendary show to just have this show that you probably. I'm sure he was like, I think this is gonna be big. And then he dies right before even seeing it perform once. That's just sad to me.

[Chuck Bryant]

Very sad.

[Jerry]

And then another thing that kind of came along. There were plenty of escapist shows, we should say, and there still are. And a really good example from fairly recent times is Mamma Mia. Which is one of those jukebox. It is hard to say, isn't it? The jukebox musical, which is. It takes existing songs everybody knows and loves and then puts. Creates like a musical around them. And Mamma Mia did that back in 2001 with ABBA songs.

[Chuck Bryant]

Yeah. And you know, I haven't seen many of those, but they did one of like the 80s rock. The Billy Joel's had one. Bob Dylan had one.

[Jerry]

Don't forget Dee Snider from Twisted Sisterhead. Rockabilly's.

[Chuck Bryant]

Yeah, that's what I meant. The 80s rock one, that was Rock of Ages.

[Jerry]

Right.

[Chuck Bryant]

But you know, it's a thing I prefer something with. I mean, they have stories built around the songs, like you said, so they can be okay. But I prefer something a little more straight ahead, not based like original music, I guess, is what I'm trying to.

[Jerry]

Yeah, there's some good ones.

[Chuck Bryant]

Clumsily get out.

[Jerry]

Yeah, there's some good ones though. There's a Carole King basically bio musical that features. I didn't either. I didn't either.

[Chuck Bryant]

Big fan of Wicked. Still recommend it. Finally saw it last year on Broadway. Unfortunately, it was not the wickedly talented Adil Dazeem, but that's where she made her name along with. Who was the original. Was it Kristin Chenoweth, I believe.

[Jerry]

Yes, it was.

[Chuck Bryant]

Yeah.

[Jerry]

I always loved her in Pushing Up Daisies. Do you remember that show?

[Chuck Bryant]

I do, but I did not see that.

[Jerry]

Oh, you should go back and watch it. I saw it not too long ago and it really holds up. It is a very charming show.

[Chuck Bryant]

We should call this episode Josh and Chuck. Haven't seen this.

[Jerry]

Yeah, pretty much just put a colon before it and we can add that. Okay.

[Chuck Bryant]

Hamilton is one I did not see. But we would be remiss if we did not mention it because it was such a Landmark play, Lin Manuel Miranda, of course. Hip Hop into historical Context on Broadway, which is a huge smash hit. I saw it, the TV version of the filmed musical, and listened to it quite a bit, but I never saw it live.

[Jerry]

That's okay, Chuck. I'll let you off the hook.

[Chuck Bryant]

It was too expensive.

[Jerry]

Yeah, it really was, wasn't it? Those were some high priced tickets for a while. Cause everybody was talking about that show.

[Chuck Bryant]

Well, and it was all sold out. So the only way to get tickets was to pay like 1200 bucks. At the time it would probably be even more. But now you can go see it. And I bet you can get tickets for regular price.

[Jerry]

Sure. I gotta mention this one. I've not seen this. Believe it or not, everybody. It's called Dear Evan Hansen. It's from 2016, but I did read a couple of articles on it and it sounds totally off the wall where the title character is mistaken for the best friend of a teenager who's just died by suicide. And so he suddenly becomes very popular. And like everybody wants to know what this kid was like. And he uses it to basically become popular and liked. Whereas otherwise he was just kind of overlooked. You know, kid on the sides. And there's all this horrible stuff that starts to happen and it unravels. And I think he's publicly unmasked at some point.

[Chuck Bryant]

Yeah, that's on my list. A couple of good friends have seen it and said it's great. So I'm gonna go see that soon. I hope these make a lot of money. Like I said, Wicked set a weekly record in December of this past year. Obviously buoyed by the popularity of the movie, but the first ever show to have a $5 million week. And last season, the 2324 season, again ran from May to May. Total grosses of $1.54 billion, more than 12 million attendees, over 71 productions, with an average occupancy of 89.9. So the average Broadway show isn't even sold out. It's close to 90%.

[Jerry]

Wow. Can we talk about a few flops?

[Chuck Bryant]

Yeah, I'm gonna pick out a couple of these. I'm gonna pick out moose murderers from 1983. It is a farce, obviously, but it was bankrolled by an oil heiress named Lily Robertson and directed by her husband and starring the oil heiress Lily Robertson, who bankrolled it. Which should tell you it's not headed toward a great thing. Also because it's called Moose Murders. And it closed after one single performance. And New Yorker art critic Brendan Gill said that it would insult the intelligence of an audience consisting entirely of amoebas.

[Jerry]

Yeah, I wrote about that. It seems like it was just a completely amateur production from start to finish. Like, everybody was. Basically had no idea what they were doing. And if you want to just be delighted, go read articles about the flop that was Moose Murders, because it's widely considered, like, the. The worst show that ever hit Broadway. In a lot of ways, though, it's tough to qualify that because there's plenty of bad shows out there and some have been forgotten. But for some reason, Moose Murders just became like the symbol for the worst shows on Broadway.

[Chuck Bryant]

Yeah. I mean, there's different ways to qualify it. Like, is it just bad bad, or is it notoriously flop because of how much money it cost and it flopped? That was the case with a couple of them. But Carrie, an adaptation of the Stephen King horror novel as a musical in 1988, closed after 16 previews and five regular performances at an $8 million budget. So it's widely considered one of the biggest sort of just expensive flops of all time.

[Jerry]

Yeah. There's a song about killing a pig in it, I think, to get the blood to pour on. Yeah. And the lyrics go, it's a simple little gig. You help me kill a pig.

[Chuck Bryant]

Yeah. And believe it or not, it wasn't like an amateurish production. It was directed by Terry Hands, who ran the Royal Shakespeare Company for 13 years and was choreographed by Debbie Allen. So it was. It was a big money thing that just was. Sounds like not a very good idea.

[Jerry]

It was a terrible idea. And I read it was terribly executed, too, in the end that just, you know, they really tried, though. I think that's the difference.

[Chuck Bryant]

Well, it has been revived with cult status off Broadway, like in the 2010s. So it's one of those.

[Jerry]

I would go see that. I would go see that.

[Chuck Bryant]

Yeah.

[Jerry]

And then I think the biggest flop, as far as money goes, is Turn off the Dark from 2011. That's another one that just. Anybody who has anything to do or any interest in Broadway, they know about this flop.

[Chuck Bryant]

Yeah. I mean, that had all the right ingredients, too. Broadway legend and film director Julie Taymor, who directed the Lion King on Broadway. They got Bono and the Edge to write the music. It was huge special effects, and it was just problem after problem after problem, all like, you know, kind of front page, or at least front page of the arts headline kind of problems.

[Jerry]

Yeah. So when you're performing a show or putting on a production, you have what are called Previews where people can come. The critics are not allowed to see it yet, but normal people can come and watch it. But under the understanding that they're going to be stopping in the middle of performance, taking notes, maybe giving notes, there's going to be technical glitches and it's. They're working it out still in front of an audience. And I think the first preview of spider man went 3 1/2 hours for the first act alone. And there were. It holds the record for the largest number of previews. The more previews they have, the more problems you have. Obviously, it had 182 preview shows before it ever opened.

[Chuck Bryant]

Yeah. And I've been to some previews. I saw Sarah Jessica Parker and Broderick do the. Oh, which one was it? The Neil Simon one a couple years ago. And that was in previews. Don't let the idea of a preview turn you off because, like, usually they just go straight through and it's just like a regular performance. Like, I've never seen a preview that. Where anyone stopped and did anything weird. And critics do actually see those because they will review the show before opening night because they have seen the preview.

[Jerry]

Okay. I thought I read somewhere that critics are not allowed. So maybe there's like a special pre.

[Chuck Bryant]

There may be a window or something. Yeah, yeah, that would be my guess. I'm not sure how that works, but I know it's always. I'm not sure if it's like movies. I know movies. Sometimes they won't let the critics see it before its release. And that always means it stinks.

[Jerry]

Yeah.

[Chuck Bryant]

So I'm not sure if Broadway does that or not, actually.

[Jerry]

Well, Chuck, that's Broadway. We could keep talking about this for hours and hours and hours, but I feel like we're. We probably haven't seen most of the stuff we would talk about.

[Chuck Bryant]

I've seen quite a few in recent years and I'll be going to more and more. So maybe we'll revisit this in 10 years and I'll be more up to speed.

[Jerry]

Okay, fair enough. Sounds good. And we'll have seen Carrie together by then.

[Chuck Bryant]

I hope so. And before we end, I think we would be remiss if we didn't mention that we recently learned that we have for sure literally inspired not one, but two Broadway shows from this show, right?

[Jerry]

Yeah, it's pretty amazing, Chuck. I think we first learned about it in Town and Country magazine. They did an article called How a Secret British Spy Mission Became a Broadway Hit. And I think someone sent it to Us. And I was like, oh, that's interesting. And as I read a little deeper, I found that they mentioned us specifically as the inspiration for this hit musical.

[Chuck Bryant]

Yeah, that's amazing. And the other one we found out from the producers of the show, they emailed us, the one I think is it off Broadway on Sacco and Vinzetti, right?

[Jerry]

That's right. Yeah. So big thanks to those guys for letting the world know that we helped inspire that, because that is quite an honor. And I think we would also be remiss to not say break a leg.

[Chuck Bryant]

That's right.

[Jerry]

Do you have anything else?

[Chuck Bryant]

I have nothing else.

[Jerry]

Okay, well, since Chuck said he has nothing else and neither do I, I think it's time for listener mail.

[Chuck Bryant]

Yeah, I'm gonna call this rare shout out. We don't do shout outs much just because we get a lot of requests to. And it would just be shout outs every week, but this one touched me. And this is from Cody in Raleigh, North Carolina. Hey, guys. In 2018, my dad passed away, leaving behind my mom, who after 54 years of marriage, had never lived alone. She struggles with grief and anxiety induced insomnia as a result. So I suggested she listen to stuff you should know for middle of the night companionship to help her get her mind off her troubles. She did, and she's been a huge fan ever since. She calls you my guys. And this parasocial relationship has been a true lifesaver for her. When I call her up, day or night, the podcast is off and on in the background, keeping her company while she does dishes or rests. Y'all are about the same age as me and my brother, so she feels like an. She feels an anti like affection for you. Her 80th birthday is in April, and I believe we've already missed it by the time this would come out. But I've been struggling with what to do for her as a fun surprise outside the party she's having this week. And Cody asked for us to send like a video or something, but I said, how about this? We'll do a rare shout out and say hello to your wonderful mother on her 80th birthday, Bonnie Nichols. Bonnie, we love you and we feel like you're our Auntie Bonnie as well. And it makes me feel really happy to know that you're out there with us, listening to us. So that parasocial relationship goes both ways. So happy birthday, auntie.

[Jerry]

Yeah, happy birthday, Bonnie. You can't see me right now, but I'm making a heart out of my hands.

[Chuck Bryant]

Yeah, that's lovely.

[Jerry]

That's really great. Seriously, thanks for listening to us, Bonnie. I'm glad we could help and keep you company. And if you want to be like Bonnie. Wait, who was it that wrote in? Her son?

[Chuck Bryant]

Yeah, it's Cody.

[Jerry]

Cody. If you want to be like Cody and tell us about the Bonnie in your life, we'd love to hear that kind of stuff. You can send it via email to stuffpodcastheartradio.com.

[Chuck Bryant]

Stuff youf Should Know is a production of iHeartRadio.

[Josh Clark]

For more podcasts My Heart Radio, visit the iHeartRadio app, Apple Podcasts, or wherever you listen to your favorite shows. You know when you're really stressed or not feeling so great about your life or about yourself, talking to someone who understands can really help. But who is that person? How do you find them? Where do you even start? Talkspace Talkspace makes it easy to get the support you need. With Talkspace, you can go online, answer a few questions about your preferences, and be matched with a therapist. And because you'll meet your therapist online, you don't have to take time off work or arrange childcare. You'll meet on your schedule wherever you feel most at ease. If you're depressed, stressed, struggling with a relationship, or if you want some counseling for you and your partner or just need a little extra one on one support, Talkspace is here for you. Plus Talkspace works with most major insurers and most insured members have a $0 copay. No insurance, no problem. Now get $80 off of your first month with promo code SPACE80 when you go to talkspace.com match with a licensed therapist today at talkspace.com $80 with code [e-mail].