Settling Scores: The Musical Theatre Podcast

It's no surprise that with the recent release of the movie version of Wicked, we here at Settling Scores have chosen to compare and contrast it with the original Broadway cast album we all know and love. However, you may be surprised to hear how much the guys disagree on everything from lyrics to casting to character arcs! Also in this episode, Forrest and Stephanie act out two *thrilling* scenes, Lenny discusses "polishing a turd," and we engage in a friendly debate over the 2004 Tony Awards, which resulted in some seriously eyebrow-raising wins and snubs. So join us for a few hours as we discuss one of the most successful Broadway productions - and now films - of all time: Wicked! And join us over on our Facebook [https://www.facebook.com/settling.scores.podcast] and Instagram [https://www.instagram.com/settlingscorespodcast/] pages to tell us what you think!

Join us down on Skid Row with our latest episode - "Somewhere That's Mean: Settling Scores Feasts on Little Shop of Horrors." Categorizing LSOH (with music by Alan Menken and lyrics/book by Howard Ashman) is a bit tricky. Here’s our best effort: it’s a genre-crossing cult classic chamber musical with elements of dark comedy, horror (obviously), and sci-fi with a ton of catchy Motown-inspired earworms and a giant puppet. Phew. While the musical does venture into heavier themes of ambition, morality, sadism, and the dangers of unchecked desire, the story is balanced with moments of humor and genuine heart, particularly in Seymour’s tender interactions with Audrey, who dreams of escaping her abusive relationship and finding a better life.  Join us as we discover and discuss the roots of this campy, brilliant, B-movie inspired musical and have a bloody good time along the way."   The cast and creative team of the original production of “Little Shop of Horrors.” In the front at center are Howard Ashman, left, wearing plaid, and Alan Menken, lying on the floor. Howard Ashman directing Ellen Greene, who played Audrey. “He just loved me, and when a director just adores your creativity, your creativity blooms,” she said.

Once Upon A Time… In this episode of Settling Scores, Lenny, Forrest, and Stephanie discuss Stephen Sondheim and James Lapine’s fractured fairytale mashup, Into the Woods. Classic stories like Cinderella, Little Red Riding Hood, and Jack and the Beanstalk are all featured in this surprisingly dark and twisty musical, with a bodycount rivaled only by Sondheim's Sweeney Todd. Is this his funniest score? Can any of the new cast albums stand up to the original? Do community theaters program the show too often? Join us as we wade into the weeds to debate these topics and more, in our episode covering Into the Woods. And join us over on our Facebook [https://www.facebook.com/settling.scores.podcast] and Instagram [https://www.instagram.com/settlingscorespodcast/] pages to tell us what you think! Sondheim, Peters, and Lapine   Danielle Ferland, original Little Red   Phylicia Rashad as the Witch   Regent's Park Open Air Theatre, 2010   Into the Woods 2014 Film Cast with Sondheim   Sara Bareilles and Neil Patrick Harris in the Encores! production of “Into the Woods” at New York City Center, 2022

"Join us, leave your fields to flower Join us, leave your cheese to sour Join us, come and waste an hour or two Doodle-ee-doo" In this episode of Settling Scores, we discuss the not-so-simple joys, the seriously strange (...left-handed fleas and balding griffins, anyone??), and the existential angst of Stephen Schwartz and Roger O. Hirson’s medieval musical, Pippin. Along the way, Forrest coins the word, “orgy-ness,” we stand in awe of the Marvelous Mrs. Patina Miller, and revel in the classic “Bob Fosse-ness” of the original 1972 production, directed by Fosse himself, who left future productions with some very large stylistic shoes to fill. Cue the ever-inventive Diane Paulus, whose 2013 Broadway revival of Pippin brought a fresh, circus-inspired approach to the show, which earned widespread acclaim and several Tony Awards.  Which cast recording did Lenny and Forrest choose for their Desert Island Disc dilemma? Does Music Man or Pippin get the “Glory” in our Battle Royale? You’ll have to journey with us “through our anecdotic revue” to find out. And join us over on our Facebook [https://www.facebook.com/settling.scores.podcast] and Instagram [https://www.instagram.com/settlingscorespodcast/] pages to tell us what you think!   Content Warning: This episode contains frank discussions of sexuality, depression, and suicide. Please take care of yourself, and don’t hesitate to ask for help if you need it. Listeners in the US can reach a 24/7, toll-free crisis hotline by dialing or texting 988.

"The Music Man" by Meredith Willson is a classic, big-hearted American musical that premiered on Broadway in 1957 and went on to win five Tony awards. We invite you to fritter away some time with us while we discuss the love (Forrest) and hate (Lenny) relationship we here at Settling Scores have with this show, which features several standards of the musical theatre canon such as Seventy-Six Trombones, Trouble, 'Til There Was You, Pickalittle and Gary, Indiana.  Along the way, we’ll explore several instances of subtle racism in the original score, discuss some fabulous and not-so-fabulous performances (…ahem, looking at you, 2022 revival cast), listen to a cover by none other than the fabulous Ms. Patti LuPone, and of course we’ll “talk, talk, talk, talk, and bicker, bicker, bicker” all the while. “Yessssir, yessssir!”   Synopsis: Charming con-man-with-a-heart-of-gold Harold Hill arrives in the small town of River City, Iowa, posing as a boys’ band organizer. He sweet talks the townspeople into investing in instruments and uniforms for the band he claims he will lead, despite having no musical ability. Along the way, Hill meets and falls for Marian Paroo, the straight-laced town librarian and music teacher, who sees through his scheme, but finds herself falling for him nonetheless. As Hill's deception unravels, he must decide whether to flee or face the consequences, ultimately discovering a deeper connection to the town - and to Marian - than he anticipated. This spirited and infectious musical explores themes of love, trust, and the transformative power of music in a nostalgic portrayal of early 20th-century America. Bona fide happy ending, guaranteed.   And join us over on our Facebook [https://www.facebook.com/settling.scores.podcast] and Instagram [https://www.instagram.com/settlingscorespodcast/] pages to tell us what you think!