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    Arts

    The Theatre Podcast with Alan Seales

    Intimate, personal conversations with the biggest talents from professional theatre, tv, film, and more. Hear their secrets, what makes them laugh, stresses them out, and how they manage the anxiety of success. We feature both stars and creatives such as producers, stage managers, directors, press and marketing agents, or even the people who own the theaters or productions themselves.​

    This is a podcast for artists, made by artists. With over 2 decades of experience in film and theatre both as cast and creative, host Alan Seales speaks with Broadway, TV, film and beyond’s biggest talents to learn more about not only how the world of theatre and performing operate, but also what makes it so real and human. In-depth, personal, behind-the-scenes conversations will highlight special details of the industry that most people may not know exist, will always find out what makes the guests love their craft, what makes them tick, and what truly inspires them.

    Part of the Broadway Podcast Network.

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    Copyright: © The Theatre Podcast / Even Seal Productions

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    Latest Episodes:
    Ep202 - Simon Bailey: A West End Bad Boy with a New Take on Moulin Rouge's 'The Duke' Apr 19, 2022
    Show notes

    Actor Simon Bailey hails from London, where his career on the West End is booming. He trained at the National Youth Theatre of Great Britain, and his West End credits include Heathers: The Musical, Jersey Boys (Tommy DeVito), The Phantom of the Opera (Raoul), Enjolras in the 21st Anniversary cast of Les Miserables, I Can’t Sing! The X-Factor Musical, Romeo and Juliet -The Musical, Pharaoh in Joseph and the Amazing Technicolor Dreamcoat, We Will Rock You, and more. SImon can be seen now in the West End production of Moulin Rouge as The Duke at the Piccadilly Theatre.

    Simon reminisces about his experience as part of the original workshop for Heathers: The Musical in London, and shares why it holds such a big place in his heart. He opens up about landing the role of The Duke, why he’s had so much fun building and developing a darker character, and also talks about why he particularly loves the first 10 minutes of the show when he’s able “to look out and see everybody… just completely entranced in this thing.” Simon also reflects on working as an understudy, and why he feels it’s such an important ground to start from and build on.


    In this episode, we talk about:

    • The community working on the West End
    • Attending the National Youth Theatre, and bypassing drama school
    • Why being an actor now is very different than it was pre-2020
    • His experience as a swing in We Will Rock You
    • Creative freedom from Alex Timbers


    Connect with Simon:

    • IG: @simonbailey1210
    • Twitter: @SimonBailey1210


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • TikTok: @thetheatrepodcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep201 - Michael Maliakel: Making His Broadway Debut as Aladdin Apr 12, 2022
    Show notes

    Michael Maliakel recently made his Broadway debut, following Broadway’s reopening, starring in the title role of Aladdin at the New Amsterdam Theatre. Additional credits include the National Tour of The Phantom of the Opera (Raoul u/s), Anything Can Happen: The Songs of Maury Yeston, Mira Nair’s Monsoon Wedding (Berkeley Rep), and She Loves Me (PlayMakers Rep). You may have also seen Michael on TV in Bull, and FBI.


    As a first generation Indian American, Michael reflects on what he calls his “unexpected journey” to a career in the performing arts, including how his love for music brought him to the Peabody Conservatory to earn a degree in opera. He speaks candidly about representation in the industry, noting that as a child he had no real role models or examples for what his performing arts career could be, but trusted his gut and the way music made him feel alive in order to create space for himself and others like him. Michael also opens up about making his Broadway debut as the title character in a hit Disney musical, including the whirlwind audition process which began in the midst of the COVID shutdown, and the “full goosebumps” moment of his first curtain call as Aladdin.


    In this episode, we talk about:

    • Attending the American Boychoir School in Princeton
    • Using his facebook profile picture as his headshot at an open call
    • The interactive and collaborative experience of choral singing, and theater
    • Touring with Phantom of the Opera as the Raoul understudy
    • His love for Broadway’s Spring Awakening, and Bridges of Madison County


    Connect with Michael:

    • IG @michaelmaliakel


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • TikTok: @thetheatrepodcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep200 - Patti LuPone: Broadway Royalty Apr 05, 2022
    Show notes

    Combined across the Emmys, Grammys, Olivier and Tony Awards, Patt LuPone has 14 nominations and six wins. Her resume includes 27 Broadway credits, including Eva Perón in the original Broadway production of Evita (1st Tony Award), Anything Goes, Sweeney Todd, Noises Off, Rose in the 2008 Broadway revival of Gypsy (2nd Tony Award), Women on the Verge of a Nervous Breakdown, War Paint, Working, Oliver!, The Robber Bridegroom, and The Beggar’s Opera. In London she starred in the original casts of Les Misérables, The Cradle Will Rock, Sunset Boulevard, and the West End revival of Company. She also has a long and illustrious career across TV and film, with credits including Driving Miss Daisy, Frasier, Will and Grace, Ugly Betty, 30 Rock, Glee, American Horror Story, Girls, Penny Dreadful, and of course, Life Goes On. She's a voiceover artist, a cabaret performer, a mom, and performs regularly with the New York Philharmonic, all of which mean you can find her singing across 22 different albums. Patti LuPone was the first American to ever win an Olivier Award, has been inducted into the American Theater Hall of Fame, and can now be seen on Broadway in the revival of Company.


    LuPone recalls her first introduction to the musical Gypsy (playing Louise) in high school, speaking candidly about not understanding the play at the time, and shares how she was initially banned from participating in any of Arthur Laurents work before going on to win a Tony Award for playing Rose. She reflects on going to the “dark side” a lot when COVID shut the industry down, noting it wasn’t that she couldn’t perform but rather that she had nothing to fill that void with, and shares how close-knit and supportive the cast and crew of Company is as a result of the collective trauma and uncertainty they faced together once they resumed rehearsals. LuPone also speaks about the importance of doing her work completely in the rehearsal room, allowing her and the audience to both play and relax once she is onstage, and shares why she looks at the audience every single night.


    In this episode, we talk about:

    • Being in one of the first-ever students in Juilliard’s school of drama in the 70’s
    • Her Marilyn Monroe impression at 3 years old
    • What it is about laughter from an audience that brings her joy
    • What she calls the “Italian blast”, and not having a filter
    • Her “Andrew Lloyd Webber memorial pool”
    • Resenting producers or anybody that underestimates the audience's intelligence


    Connect with Patti:

    • Twitter: @pattilupone
    • IG: @pattilupone
    • Web: pattilupone.com


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep199 - Reeve Carney: He Originally Said 'No' To Hadestown Mar 29, 2022
    Show notes

    Reeve Carney is an actor, singer-songwriter, and musician, who may be best known for originating the role of Peter Parker/Spider-Man in Spider-Man: Turn Off the Dark on Broadway, and playing Orpheus in the original Broadway cast of the Tony Award-winning musical Hadestown. Other notable roles include his portrayal of Dorian Gray in the Showtime series Penny Dreadful, and Riff Raff in the Fox musical television film The Rocky Horror Picture Show: Let's Do the Time Warp Again. Reeve is also the lead singer and songwriter of the band Carney, also consisting of his brother Zane, Aiden Moore, and Jon Epcar, who together have toured with The Veronicas, and opened for Arcade Fire and U2. He recently appeared as Tom Ford in the Oscar nominated film House of Gucci, and can currently be seen performing his original music in his residency at The Green Room 42, or captivating audiences eight times a week as Orpheus in Hadestown on Broadway.

    Reeve chronicles his almost 27 year guitar playing journey, which began at age 12 and led to playing in nightclubs in LA a few years later, where fellow musicians convinced him if he ever wanted to lead a band, he needed to learn how to sing. He recalls meeting Julie Taymor for the first time at one of his band’s shows, and how that meeting set the course for working with Bono and The Edge, and originating the role of Peter Parker/Spider-Man on Broadway. Reeve also shares how he became involved with Hadestown, how the character of Orpheus changed significantly between their run at the National Theatre in London and the Broadway opening, and why he said “no” when asked to be a part of the first reading in 2012.


    In this episode, we talk about:

    • Growing up in a family of artists
    • Being mistaken for Macaulay Culkin
    • Getting signed to Interscope Records when he was 22
    • His electronic effects pedal company called Quarantine Effects USA
    • How Orepheus’s purity of voice is reflected in his character


    Connect with Reeve:

    • Check out his Effects Pedal company: https://quarantineeffectsusa.com/
    • IG: @reevecarney
    • Twitter: @reevecarney


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep198 - Eva Noblezada: Struggling with the word 'Perfect' Mar 22, 2022
    Show notes

    Trigger warning: This episode contains discussion of eating disorders.

    At the age of 25, Eva Noblezada is a two time Tony Award nominee, a Grammy Award winner, and a WhatsOnStage Award winning actress and singer. She starred as Kim in Cameron Mackintosh’s London revival of Miss Saigon when she was 17 years old, and shortly after played Eponine in the West End revival of Les Misérables. Eva later reprised her performance as Kim in the first Broadway revival of Miss Saigon (also her Broadway debut). In 2019, she made her film debut in Yellow Rose starring alongside Lea Salonga, who originated the role of Kim in Miss Saigon. Eva originated the role of Eurydice in Hadestown on Broadway, and it's in Hadestown where she continues to lead, and take audiences “way down under the ground”.


    Eva speaks candidly about her past toxic relationship with the word “perfect”, how it affected her life as a 17 year old all on her own abroad, leading Cameron Mackintosh’s London revival of Miss Saigon, and why she felt like she was “falling for years”. She opens up about living with anxiety, panic attacks, and body dysmorphia, and how she’s learned to come back to herself at those times, and ask the important questions - “Are we in danger? - We're okay”. Talking about Hadestown, Eva shares her thoughts on Eurydice (and playing Eurydice), and her love for the “extra layer of consciousness” that can be seen throughout the whole show.


    In this episode, we talk about:

    • Growing up Filipino Mexican, and discovering musical theater
    • A strong work ethic, instilled by her father
    • The mental and physical toll of an 8 show schedule
    • Meeting Tara Rubin at the Jimmy Awards
    • Pole dancing as fitness, and how society sexualizes women
    • Her “all or nothing” way of life


    Connect with Eva:

    • IG: @livevamaria
    • Twitter: @EvaNoblezada


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep197 - Telly Leung & Cameron Adams: The importance of Ensemblists Mar 18, 2022
    Show notes

    Telly and Cameron discuss the inspiration behind the documentary Ensemble, the catharsis of filming it, and ​​the resilience of the 13 very diverse people in different stages of their life and career who are featured on screen. They share thoughts on George Takei’s legacy as an artist, activist and producer, and how his career encouraged and cleared a path for so many after him. Telly and Cameron express their support of “call out culture” in order to take time for yourself physically and mentally, and reflect on the old adage “the show must go on”. They also open up about what they hope people walk away with after watching their new documentary, Ensemble which dropped on March 11th on Broadway On Demand. Telly, as the producer, and Cameron, as a featured performer, are part of this brand new documentary, which gives an inside look at the private lives of Broadway ensemble members a year after Broadway shut down.


    Telly Leung made his Broadway debut in the 2002 revival of Flower Drum Song, and was named one of 12 Faces to Watch in 2012: Dance, Theater, Architecture, and Art by the Los Angeles Times. He boasts an extensive resume on both stage and screen, and other notable roles include Aladdin in Aladdin on Broadway, the Broadway revival and national tour of Rent, Godspell, The Secret Garden, and In Transit.


    Cameron Adams has over a dozen Broadway credits on her resume after making her Broadway debut in the 2000 revival of The Music Man, and she will return to Broadway and her role in Mrs. Doubtfire when the show re-opens for the second time post COVID.


    In this episode, we talk about:

    • COVID compliance while shooting a documentary
    • Looking back and seeing how far you’ve come
    • Diversifying the power structures of broadway
    • The mythology of Broadway
    • The necessity of becoming a “multi-hyphenate artist”


    Connect with Telly and Cameron:

    • Watch Ensemble on Broadway On Demand
    • IG: @tellyleung & @cameron.nyc


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep196 - Trent Saunders, T. Oliver Reid, Eddie Noel Rodríguez: Being Hermes Mar 15, 2022
    Show notes

    What makes the heart, soul, and sound of Hermes? Ask three different Hermes u/s and get three different answers. That speaks to the brilliance of the Hadestown creative team, and their encouragement to anyone who steps into the winged shoes of Hermes to bring their actual selves to the role. With us in this episode are T. Oliver Reid, Trent Saunders, and Eddie Rodriguez (two Broadway and the national tour understudies respectively), three uniquely different individuals who are all joined together in their privilege of being to play Hermes, the messenger.

    Eddie Noel Rodríguez (Swing, u/s Hermes) is a proud Puerto Rican performer who has lived and worked as a professional artist since he was 14 years old, starting with the folkloric dance company Gíbaro de Puerto Rico traveling the world representing his culture. He has a Bachelor of Arts in Communications from Universidad del Sagrado Corazón with a specialty in telecommunications and theater. He’s collaborating with different Broadway artists to bring musical theater workshops to the artists living in Puerto Rico. Eddie is thrilled, honored and grateful to be in his second national tour with the family of Hadestown. Tour: On Your Feet! (Emilio). Regional: Godspell (Jeffrey), Man of la Mancha (Dr. Carrasco), La Cage Aux Folles (Hanna), Footloose (Willard), Rent (u/s Roger), Piaf (Ensemble), Hair (Ensemble).

    T. Oliver Reid (Swing, u/s Hermes, u/s Hades) Broadway show #13 for this award-winning artist. Broadway: Kiss Me, Kate; Follies; Thoroughly Modern Millie; Never Gonna Dance; La Cage Aux Folles; Chicago; The Wedding Singer; Mary Poppins; Sister Act; After Midnight; Sunset Boulevard; Once on This Island. TV/Film: The Sixth Reel, “Sex & The City,” “The Blacklist.” Educator Trent Saunders (Worker, u/s Orpheus, u/s Hermes) is grateful for the chance, joining this incredible company. He has been building some exciting things with his cohort and family of collaborators, The Saunders Collective (thesaunderscollective.com). Favorite credits: Evita (Che), Aladdin (OBC), American Idiot (St. Jimmy). Love to Tree, the Delfinitas, Mike, the family and all of you. Let’s tell the story!


    In this episode, we talk about:

    • How majoring in telecommunications helped Eddie make it to Broadway
    • Why their unique differences help unify them in the role of Hermes
    • The stress of the vocal ranges required for covering multiple tracks
    • How do get over that "I HAVE TO PEE!" feeling before going on stage
    • Representation of 3 different guys being the same character


    Connect with Trent, T., and Eddie:

    • IG: @eddienoelr, @toliverreid & @trensaun
    • @nyugradacting @columbiamfaacting @ridermusicaltheatre


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep195 - Mauro Refosco: David Byrne's American Utopia Mar 11, 2022
    Show notes

    A professional percussionist, Mauro Refosco has performed and recorded with artists such as David Byrne, The Red Hot Chili Peppers and Thom Yorke’s Atoms for Peace. After beginning his touring career in 1994 as Byrne’s percussionist, he returned to NYC and joined cult creative ensemble The Lounge Lizards, playing experimental punk jazz. He formed his own band, Forro in the Dark, which has recorded four full-length albums and performed at major domestic and international festivals. He’s also composed music and soundtracks for movies, television, fashion shows and Off-Broadway plays. You can now find him walking around barefoot, on Broadway, in American Utopia


    Born in Brazil, he found his way to NYC and ultimately the professional touring world of music. His career exploded alongside other music legends. Once he began to embrace what makes him unique and different, he found his tribe after a short stint bring a NYC-based street performer in Central Park and in the subway. He found his way to an audition for David Bryne, which resulted in an interview(!). The rest, as they say, is history.


    In this episode, we talk about:

    • How his love for soccer led to his professional career as a percussionist
    • How the album “American Utopia” made its way to Broadway as a show
    • The difference a percussion player and a drum player
    • Why Ted Lasso is the greatest show ever
    • Being a NYC busker
    • Why he decided to stop singing backing vocals for David Byrne


    Connect with Mauro:

    • IG: @MauroRefosco
    • Web: MauroRefosco.com
    • Listen to Jomoro (and Blue Marble Sky)
    • Get tickets for American Utopia on Broadway


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep194 - Kay Trinidad and Malcolm Armwood: The Fate of Swings in Hadestown Mar 08, 2022
    Show notes

    Malcolm Armwood made his Broadway debut as a swing in Hadestown, and can currently be seen playing one of the workers. He previously starred in the national tours of Motown: The Musical and Smokey Joe’s Cafe, and other credits include Grease, Ragtime, Hairspray, and Showboat. Kay Trinidad is part of the original Broadway cast of Hadestown, and has continued her role as one of the Fates since Broadway’s reopening. Kay made her Broadway debut in the original cast of The Little Mermaid, and additional credits include the world premiere of Lempicka (Williamstown Theatre Festival), the New York Premiere of BARE: A Pop Opera, Children of Eden in concert at The Kennedy Center, The King and I, and Beauty and The Beast.


    Not only do Kay and Malcolm have a Broadway show in common, they reveal both performing as kids at home in front of their families, and recall memories of each of their early interests in the performing arts. Chatting about the heightened importance of theatre and the arts in the midst of a pandemic, Kay and Malcolm share their thoughts on what they find so compelling about Hadestown, and storytelling in general. They also chat about working with the “powerhouse” creative team behind Hadestown, including the collaboration between cast and crew that went into creating the final product.


    In this episode, we talk about:

    • Singing in front of crowds
    • Why they’ve stuck with Hadestown
    • Missing post-performance stage door visits during COVID
    • Their favorite moments of the show
    • Call out culture, and self care


    Connect with Kay and Malcolm

    • IG: @kaytrinidadkarns & @marmwood214
    • Twitter: @kaytrinidad1
    • And get your tickets to Hadestown!


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.


    Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


    Ep193 - Tara Jackson & Sayo Oni: Taking Us Way Down Underground to Hadestown! Mar 01, 2022
    Show notes

    Tara Jackson and Sayo Oni, both triple threats, recently made their Broadway debuts in Hadestown. Originally from Canada, Tara Jackson was previously part of the Hadestown Canadian premiere, and is now assistant dance captain, a swing, and an understudy for The Fates in Hadestown on Broadway. Sayo Oni recently completed his junior fall semester at Elon University, and can now be seen in Hadestown as a swing and an understudy for Orpheus.

    Tara (who covers 8 tracks) and Sayo (who covers 6 tracks) chat about their experiences as swings and understudies - the unpredictability, the excitement, and the documents they both created to keep all their tracks mapped out. They recall what they were doing professionally when COVID shut the industry down, Tara with a flight booked to join the Broadway cast, and Sayo in his freshman year of college, and share how it affected their lives and careers. Tara and Sayo also take us back to when they were first bitten by the theater bug, and how they found their way to Broadway.

    In this episode, we talk about:

    • Joining the Broadway cast of Hadestown
    • Learning choreography by osmosis
    • Finding theater in high school and college
    • Forming a dentist voice lesson company
    • Family reactions to their career choice


    Connect with Tara and Sayo:

    • IG: @taraatee && @sayo.oni
    • Twitter: @taraatee &&
    • And get your tickets to Hadestown!


    Connect with The Theatre Podcast:

    • Support us on Patreon: Patreon.com/TheTheatrePodcast
    • Twitter & Instagram: @theatre_podcast
    • Facebook.com/OfficialTheatrePodcast
    • TheTheatrePodcast.com
    • Alan's personal Instagram: @alanseales
    • Email me at feedback@thetheatrepodcast.com. I want to know what you think.


    Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.

    Learn more about your ad choices. Visit megaphone.fm/adchoices


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