I remember when I showed up the morning of the show 8 or 10 volunteers had gotten there before me and were putting up our 1st runway. I was in tears. People were volunteering to help backstage. I knew on that day the event had a future. #grateful#fullout#Repost @broadwaytheatreposters with @get_repost
“The Lusty Month of May” By the time BROADWAY BARES III came around, in 1993 it was decided that the show would be produced annually. The production was moved to a real nightclub setting, at Club USA, smack in the middle of not-yet-cleaned-up Times Square. It featured dancers from the casts of MISS SAIGON, THE WILL ROGERS FOLLIES, CRAZY FOR YOU, and KISS OF THE SPIDER WOMAN. The third edition raised $30,000 for Broadway Cares/Equity Fights AIDS. #broadwaybares#fullout#broadway#burlesque#showart#windowcard#broadwayposters#whatwedotogethermakesadifference#gayhistory
“Paint Your Wagon” was Lerner and Loewe’s 1951 follow up musical to the highly popular and acclaimed “Brigadoon” (1947). This California gold rush era musical had an entirely original libretto by Lerner, although he based some of it on newspaper accounts he read while doing research. The show would not prove nearly as successful as “Brigadoon” although it did last a respectable 289 performances. The show’s reputation was not exactly burnished by an absolutely terrible film version released in 1969 with a heavily revised plot and some new songs by Lerner and Andre Previn. The biggest problem with the show was probably its tone which was harsh and cold. “Brigadoon,” by contrast, had been warm and richly romantic. There was also a Mormon bigamist character and a subplot involving wife swapping which, while authentic (Lerner had come across this element during his research), did not sit well with audiences of the era and is considered so sexist by modern standards as to make the show unrevivable. Agnes De Mille was back on hand as choreographer and provided her customarily integrated ballets. While this had worked beautifully in the Highlands of Scotland, it seemed less suited to Lerner’s American Prairie (although her western ballet “Rodeo” with an Aaron Copland score had been a success in 1942 and “Oklahoma” had been a smash in 1943). After the show closed she would collect the choreography into a dance suite entitled “Gold Rush.” I think everyone agrees whatever problems the show might have had, the marvelous score was not among them. Lerner’s lyrics were polished, witty, and sang beautifully while Loewe’s music demonstrated once again his ability to adapt his richly European style to whatever setting was at hand. His melodies were lush but filled with Western character, helped along by Ted Royal’s stylish, banjo laden orchestrations. The score would produce some pop standards including “I Talk To the Trees” and “They Call the Wind Maria,” although I’m quite partial to the under-appreciated “Another Autumn” which is so hauntingly beautiful it qualifies as an art song. #paintyourwagon#broadwaymusical#lernerandloewe#agnesdemille#broadwayposters#showart
Broadway Bares the 1st poster! #Repost @broadwaytheatreposters with @get_repost
We’re kicking off 28 days of Broadway Bares with the poster from the very first BROADWAY BARES which took place on April 8, 1992 at the legendary NYC gay club Splash. The event featured eight of Broadway’s hottest male dancers including the show’s creator Jerry Mitchell. Each dancer made up their own solo strip routine. It was also the debut of what has now become known as the “Rotation.” The one night only event raised over $8000 for Broadway Cares. 📷credit: Christopher Bazzani #broadwaybares#fullout#broadway#burlesque#showart#windowcard#broadwayposters#whatwedotogethermakesadifference
We’re kicking off 28 days of Broadway Bares with the poster from the very first BROADWAY BARES which took place on April 8, 1992 at the legendary NYC gay club Splash. The event featured eight of Broadway’s hottest male dancers including the show’s creator Jerry Mitchell. Each dancer made up their own solo strip routine. It was also the debut of what has now become known as the “Rotation.” The one night only event raised over $8000 for Broadway Cares. 📷credit: Christopher Bazzani #broadwaybares#fullout#broadway#burlesque#showart#windowcard#broadwayposters#whatwedotogethermakesadifference#gayhistory
Original window card for the 1968 production of “Zorba.” Tom Morrow’s iconic imagery of a cartwheeling Zorba would remain a fixture of the show’s artwork, although the ghostly figure behind him (the spirit of Madam Hortense) would be deemed too grim for a Broadway musical and would soon be dropped. This early poster has billing for Margalit Ankory as “The Leader.” She would be replaced with Lorraine Serabian. The show was not a success although it did run for 305 performances in a season that also produced “Hair,” “1776” and “Promises, Promises.” There were multiple Tony noms but the only win was for Boris Aronson’s visually striking set design. #zorba#broadwaymusical#broadway#broadwayposters#theaterposter#showart#haroldprince#borisaronson#tommorrow
What goes into a podcast show art redesign?
We recently redesigned Podfader based on a need to find show art that was easier to brand and see on small screens.
The original show art that was selected at launch served as a metaphor to what Podfader was about: the antithesis to podcasts about podcasting by addressing the dark side of podcasting -- podfading.
To illustrate that message, an image of a mountain climber stuck halfway up the mountainside was used to symbolized the experience many podcasters feel during their podcasting journey.
In the redesign, the same mountain climber imagery was used, replacing the hard to see photo with a simplified silhouette. Additionally, the entire background was converted into flat vector layers to give the new graphics depth and scale.
To stand out against all the blue used in other podcasts about podcasting, a purple color palette was selected based on colors in the original show art and the new Apple Podcasts logo. Both helped connect Podfader to the past and the future.
The design now communicates how the imminent danger of a fall -- or a podfade -- is a risk all who make this climb must face, while also communicating that there is still a chance that you can make it if you keep climbing that podcasting mountain.
The Podfader redesign now:
1. Stands out on Apple Podcasts and other podcasting apps.
2. Has a color palette that can be reduced to support 4-color printing.
3. Can now be repurposed for use in creating a trademarked logo, t-shirt designs, stickers, and other marketing materials.
Welcome to the new Podfader! Please subscribe and listen by visiting podfader.com today!