Host Luisa Lyons chats with Eddie Aronoff, the founder of Stage Russia and Art Seen Films, companies which specialize in distributing plays and musicals filmed live in Russia and South Korea to cinemas and homes around the world.
Discover how Eddie is supporting artists who have had to flee Russia, the world of K-musicals, how Kanopy is making theatre available to anyone with a library card, untapped markets for filmed theatre, and how filmed theatre can be a much needed olive branch in the world. Eddie Aronoff is a New York City film producer/distributor based in Moscow, Russia. He's the managing director of Stage Russia HD and Art Seen Films, with a specialty of bringing international filmed theatrical performances to cinemas and streaming platforms worldwide.In 2015, Aronoff founded Stage Russia HD in an attempt to share Russian theatre, with an eye towards bridging the cultural gap between East and West. In 2022, he launched Art Seen Films, adding Korean musicals to his roster of filmed performances, the first of which, "Phantom the Musical" featuring Kyuhyun, garnered strong reviews for its lavish film production values and galvanized musical theatre fans in the US, Canada, the EU, Mexico and Indonesia. Since the release of "Phantom", Art Seen Films has released "Werther the Musical" and in the coming months will be distributing three new K-Musicals, "Crash Landing on You", "Elisabeth" and “Hero". Show Links Musicals to Stream Listen to the PodcastWatch on YouTube
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Host Luisa Lyons chats with Doug Reside, curator of the Billy Rose Theatre Division at the New York Public Library and author of Fixing the Musical: How Technology Shaped the Broadway Repertory, which looks at how the musicals that we remember, and the ones that are the most performed, are the musicals that were able to use the technologies of their time such as cast recordings, sheet music, and video, to document and share the work with those who would never see the original production on stage.
Doug shares his background in English and Computer Science, the challenges of preserving theatre history and the challenges of digital preservation, and we dive into his book Fixing the Musical and the fascinating history behind filming Broadway for public distribution, what needs to happen to make film recordings as ubiquitous as cast recordings, and how you can access the Theatre on Film and Tape Archive at the New York Public Library! Doug Reside is the Curator of the Billy Rose Theatre Division at New York Public Library for the Performing Arts and manages all aspects of the division’s collections and public services. He joined NYPL in 2011 first as the digital curator for the performing arts before assuming his current position in 2014. Prior to joining NYPL, Reside served on the directorial staff of the Maryland Institute for Technology in the Humanities at the University of Maryland. He holds a PhD in English from the University of Kentucky. SHOW LINKS (The below are affiliate links and as an associate, Filmed Live Musicals may earn a small commission from qualifying purchases made through these links at no extra cost to you.) Fixing the Musical: How Technology Shaped the Broadway Musical
The Filmed Live Musicals podcast is also available on Apple Podcasts, Spotify, and on YouTube. Listen elsewhere? Find the show on your favorite podcast app here.
Like what you hear? Rate and review us on Apple or Spotify! Let's get social! Find us on Facebook, Instagram, Twitter, and YouTube. Want to support the preservation of the history of filmed stage musicals and the curation of one easy place to find them all? Become a patron or make a tax-deductible donation! Filmed Live Musicals is created by Luisa Lyons, an Australian actor, writer, and musician. Luisa holds a Masters in Music Theatre from London's Royal Central School of Speech and Drama and now lives, works, and plays in New York. Learn more at www.luisalyons.com and follow on Twitter, Instagram, and Facebook. When I first started researching At the Drop of a Hat (1962), and its sequel At the Drop of Another Hat (1967), I wasn't expecting to need to dedicate a whole lot of time to it. It's just two white dudes singing comedy songs right?!
As I delved deeper into the comedic duo of Flanders and Swann, I became intrigued by their stories. Both were fascinating men who were immensely brilliant writers and, by all accounts, absolutely charming individuals. As a young man, Michael Flanders had contracted polio and as a result became a wheelchair user. From what I can gather, Michael Flanders was the first actor in a wheelchair to perform on Broadway and in the West End. Writers of the day barely gave this fact a mention, and one author infuriatingly noted that maybe Flanders "could surely step out" of his chair. Flanders faced many difficulties as a performer in a wheelchair, and he was devastated that despite the fact he could perform, other wheelchair users were not permitted in the theatre. He became a passionate advocate for the rights of people with disabilities, a cause his wife Claudia Cockburn also became involved in and was awarded an Order of the British Empire for her work. Donald Swann was born in Wales, the child of a British national father born in Russia and a Muslim mother from southern Russia in what is now Turkmenistan. Swann was a conscientious objector in the war and as a result of his service with the Friends' Ambulance in became fascinated with the music and culture of Greece. Through their revue At the Drop of a Hat, the duo performed not only in the West End and on Broadway, but across the United States, in Switzerland, Australia, New Zealand, and Hong Kong. The taping of their two shows in 1962 and 1967 also revealed history about concerns of filming live theatre, how performers should be remunerated for broadcasts, and the role of theatre on television. Information about the filming of At the Drop of Another Hat was relatively easy to find. The show had been filmed at the Ed Sullivan Theater in New York and was released on VHS. The footage is currently available on YouTube, under the erroneous title "The Only Flanders & Swann Video." Watching the video, it struck me that Flanders sometimes seemed to be in a bad mood, and some of the audience members even appeared to be bored. I later learned that the studio taping took over 7 hours. Flanders and Swann were reportedly frustrated by the stops and starts to adjust lighting and angles, and the audience were likely exhausted. I kept finding mention of At the Drop of a Hat being filmed, but couldn't find information on where or when. This lead me to one of my all time favorite pastimes, delving into the archives at the Billy Rose Theatre Division at the New York Public Library for the Performing Arts. The archive holds literally hundreds of boxes containing the papers of Alexander H. Cohen, the groundbreaking American producer who bought Flanders and Swann to Broadway. Due to space and COVID restrictions, and limited time to spend at the library, I was only able to access exactly 6 boxes per appointment, and I had to choose from the hundreds of boxes which 6 boxes might hold the answers to my questions. I hit the jackpot in a folder labelled "Alexander H Cohen Papers, Billy Rose Theatre Collection, Theatre - At the Drop of a Hat Correspondence 1957." Letters exchanged between Cohen, Michael Flanders, and Flanders and Swann's agents at MCA, detailed that At the Drop of a Hat had been filmed with an invited audience at the BBC's Studio 4 in London. It was filmed as part of the Festival of the Performing Arts, a short-lived cultural television program sponsored by the New Jersey Standard Oil Company. The program was only supposed to be aired in the US, but the BBC immediately wanted to air it in the UK. The letters detail Flanders and Swann's concerns over a UK release, which included worries about the impact on future ticket sales, and also proper renumeration for such a broadcast. British Equity had just emerged from a 7 month strike against ITV over payments based on potential audience size, and Flanders and Swann wanted to ensure they were properly compensated. Although it has not been released since airing on either British or American television, truncated video footage of At the Drop of a Hat may still exist, as Donald Swann discusses watching it, with some trepidation, many years later in his autobiography. I'm so glad that my research led me to the work of Flanders and Swann. While some of their comedy is a little dated, much of the music and witty songs are as delightful and fun as when they were first performed over seventy years ago. You can learn more about At the Drop of a Hat and At the Drop of Another Hat in the database! What if I told you there was a place where you could legally access filmed live musicals for free? The answer will either make your eyes roll, or fill your heart with joy. It’s your local library. Libraries are treasure troves of information and resources. I have been an active member of 20 libraries in 4 different cities across 3 countries during my time on this planet. Libraries have allowed me to feed my potentially expensive habit of voracious reading and consumption of all things musical. Being a member of the New York Public Library is one of my greatest joys. Much of this very site has been researched, and written, from within the walls of the Performing Arts Library at Lincoln Center, and the many branches of the NYPL dotted across Manhattan. With my shiny red library card, I have access to countless books, recordings, databases, and expertise, all for free. In a world and time where seeing a live musical is often prohibitively expensive, I encourage you to visit your local library and see what they have on offer. There are currently 71 musicals in the database available on DVD. Check in at your local library to see if they have a copy, and if they don’t, see if you can request one. In my experience, libraries are accommodating to new requests, and chances are you are not the only person looking for the content. This post was written in celebration of the 60th anniversary of National Library Week in the United States. Producing this website is a labor of love that requires hours of time, and money to run the site and conduct research. If you enjoy what you find here, please consider becoming a Patron. You will be supporting research into filmed live musicals and allow me to continue growing the database.
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