TV Technical Issues
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Mon 5/06: very brief KQED DT9 OTA outage
(DT9.1, 9.2, 9.3) This morning we had a very brief outage of our over the air (OTA) coverage for KQED 9.1/9.2/9.3, which lasted apx 4 minutes. Most tuners will have found the channel again as soon as service was restored, but some may need to be rescanned for channel 9. This outage did not affect [...]
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Mon 4/22: KQEH OTA signal back on air
(DT54.1 through DT54.5) The Over the Air (OTA) signal from our KQEH transmitter on Monument Peak was restored at apx 6:35pm this evening. Most tuners should automatically find the signal, however some OTA viewers may need to do a rescan to restore reception.
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Mon 4/22: KQEH OTA planned overnight outage extended
Unexpected technical problems have been discovered at the KQEH transmitter site during planned maintenance overnight. KQED crews have identified the problem and are working to correct it as soon as possible. Please check back to this blog for status updates. Service to Comcast and other providers are uninterrupted.
TV Technical Issues
To view previous issues and how they were resolved, go to our TV Technical Issues page.
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Broadway: The American Musical
This 6-part series chronicles the history of this uniquely American art form. Hosted by Julie Andrews, it tells two stories: the 100-year history of musical theater, and the story of its relationship to 20th-century American life, from the immigrant experience at the turn of the century to today's Broadway, where big budget new productions and revivals of classic favorites compete side by side for box office success. Peppered throughout are legendary moments in Broadway history and first-person accounts from dozens of theater luminaries - among them late greats such as Adolph Green, Brendan Gill, Peter Stone, "Ziegfeld Girl" Dana O'Connell, Al Hirschfeld and Frances Gershwin Godowsky, and many other writers, lyricists, producers, performers, directors and scholars. Among them are Mel Brooks, Carol Channing, Betty Comden, Kitty Carlisle Hart, Jerry Herman, Margo Jefferson, John Kander and Fred Ebb, Joel Grey, Harvey Fierstein, Robert Kimball, Chita Rivera, John Lahr, Rocco Landesman, Jerry Orbach, Arthur Laurents, Harold Prince, Gerald Schoenfeld, Stephen Sondheim, Tommy Tune, Ben Vereen and George Wolfe.
Broadway: The American Musical Previous Broadcasts
Putting It Together (1980 - Present) (Episode #106H)
KQED Life: Tue, Nov 20, 2012 -- 4:00 AM
Legendary as the "Abominable Showman," notorious producer David Merrick re-conquers Broadway in 1980 with a smash adaptation of the movie musical 42nd Street. But soon the biggest hits are arriving from an unexpected source - London. Producer Cameron Mackintosh redefines the business of show business as Cats, Les Miserables, The Phantom of the Opera and Miss Saigon become international blockbusters. Sondheim's Sunday in the Park With George defies categorization, while Jerry Herman's crowd-pleasing La Cage aux Folles has two men sing a love song to each other for the first time on Broadway - a breakthrough soon overshadowed by the rising decimation of the AIDS crisis on Broadway. Yet with Julie Taymor's triumphant re-imagining of The Lion King, Disney leads an astonishing resurrection of 42nd Street. Composer Jonathan Larson scores a bittersweet victory with the rock-flavored Rent, and the old-style musical is reborn in Mel Brooks' The Producers, which becomes the first must-see musical comedy in decades, despite a ticket price of $ 480 for each VIP seat. After 9/11, Broadway - like the rest of America - emerges from the darkness. Broadway's corporate dominance continues to grow, as evidenced by new shows such as Wicked, the biggest hit of the 2003-04 season with 10 Tony nods. "Oh, I've been hearing about Broadway disappearing ever since I put on long pants," says illustrator Al Hirschfeld. "I mean, it's been the fabulous invalid. You know, but it survives, it survives." The episode features interviews with writer/producer Mel Brooks, actor Kristin Chenoweth, Walt Disney Corporation CEO Michael Eisner, actor/ bookwriter Harvey Fierstein, composer/lyricist Jerry Herman, actor Nathan Lane, playwright/director James Lapine, producer Rocco Landesman, director Arthur Laurents, Nederlander Theaters chairman James Nederlander Sr., director Susan Stroman and composer Andrew Lloyd Webber. Highlights include home movies of Jonathan Larson working as a waiter before leaving his job to create Rent, and exclusive behind-the-scenes footage of Wicked in rehearsal and opening on Broadway.
Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105H)
KQED Life: Tue, Nov 20, 2012 -- 3:00 AM
West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever. Rock'n'roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure touriststo New York for years to come.
Putting It Together (1980 - Present) (Episode #106H)
KQED Life: Mon, Nov 19, 2012 -- 10:00 PM
Legendary as the "Abominable Showman," notorious producer David Merrick re-conquers Broadway in 1980 with a smash adaptation of the movie musical 42nd Street. But soon the biggest hits are arriving from an unexpected source - London. Producer Cameron Mackintosh redefines the business of show business as Cats, Les Miserables, The Phantom of the Opera and Miss Saigon become international blockbusters. Sondheim's Sunday in the Park With George defies categorization, while Jerry Herman's crowd-pleasing La Cage aux Folles has two men sing a love song to each other for the first time on Broadway - a breakthrough soon overshadowed by the rising decimation of the AIDS crisis on Broadway. Yet with Julie Taymor's triumphant re-imagining of The Lion King, Disney leads an astonishing resurrection of 42nd Street. Composer Jonathan Larson scores a bittersweet victory with the rock-flavored Rent, and the old-style musical is reborn in Mel Brooks' The Producers, which becomes the first must-see musical comedy in decades, despite a ticket price of $ 480 for each VIP seat. After 9/11, Broadway - like the rest of America - emerges from the darkness. Broadway's corporate dominance continues to grow, as evidenced by new shows such as Wicked, the biggest hit of the 2003-04 season with 10 Tony nods. "Oh, I've been hearing about Broadway disappearing ever since I put on long pants," says illustrator Al Hirschfeld. "I mean, it's been the fabulous invalid. You know, but it survives, it survives." The episode features interviews with writer/producer Mel Brooks, actor Kristin Chenoweth, Walt Disney Corporation CEO Michael Eisner, actor/ bookwriter Harvey Fierstein, composer/lyricist Jerry Herman, actor Nathan Lane, playwright/director James Lapine, producer Rocco Landesman, director Arthur Laurents, Nederlander Theaters chairman James Nederlander Sr., director Susan Stroman and composer Andrew Lloyd Webber. Highlights include home movies of Jonathan Larson working as a waiter before leaving his job to create Rent, and exclusive behind-the-scenes footage of Wicked in rehearsal and opening on Broadway.
Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105H)
KQED Life: Mon, Nov 19, 2012 -- 9:00 PM
West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever. Rock'n'roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure touriststo New York for years to come.
Putting It Together (1980 - Present) (Episode #106H)
KQED 9: Sun, Nov 18, 2012 -- 1:00 PM
Legendary as the "Abominable Showman," notorious producer David Merrick re-conquers Broadway in 1980 with a smash adaptation of the movie musical 42nd Street. But soon the biggest hits are arriving from an unexpected source - London. Producer Cameron Mackintosh redefines the business of show business as Cats, Les Miserables, The Phantom of the Opera and Miss Saigon become international blockbusters. Sondheim's Sunday in the Park With George defies categorization, while Jerry Herman's crowd-pleasing La Cage aux Folles has two men sing a love song to each other for the first time on Broadway - a breakthrough soon overshadowed by the rising decimation of the AIDS crisis on Broadway. Yet with Julie Taymor's triumphant re-imagining of The Lion King, Disney leads an astonishing resurrection of 42nd Street. Composer Jonathan Larson scores a bittersweet victory with the rock-flavored Rent, and the old-style musical is reborn in Mel Brooks' The Producers, which becomes the first must-see musical comedy in decades, despite a ticket price of $ 480 for each VIP seat. After 9/11, Broadway - like the rest of America - emerges from the darkness. Broadway's corporate dominance continues to grow, as evidenced by new shows such as Wicked, the biggest hit of the 2003-04 season with 10 Tony nods. "Oh, I've been hearing about Broadway disappearing ever since I put on long pants," says illustrator Al Hirschfeld. "I mean, it's been the fabulous invalid. You know, but it survives, it survives." The episode features interviews with writer/producer Mel Brooks, actor Kristin Chenoweth, Walt Disney Corporation CEO Michael Eisner, actor/ bookwriter Harvey Fierstein, composer/lyricist Jerry Herman, actor Nathan Lane, playwright/director James Lapine, producer Rocco Landesman, director Arthur Laurents, Nederlander Theaters chairman James Nederlander Sr., director Susan Stroman and composer Andrew Lloyd Webber. Highlights include home movies of Jonathan Larson working as a waiter before leaving his job to create Rent, and exclusive behind-the-scenes footage of Wicked in rehearsal and opening on Broadway.
Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105H)
KQED 9: Sun, Nov 18, 2012 -- 12:00 PM
West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever. Rock'n'roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure touriststo New York for years to come.
Putting It Together (1980 - Present) (Episode #106H)
KQED 9: Sat, Nov 17, 2012 -- 4:00 AM
Legendary as the "Abominable Showman," notorious producer David Merrick re-conquers Broadway in 1980 with a smash adaptation of the movie musical 42nd Street. But soon the biggest hits are arriving from an unexpected source - London. Producer Cameron Mackintosh redefines the business of show business as Cats, Les Miserables, The Phantom of the Opera and Miss Saigon become international blockbusters. Sondheim's Sunday in the Park With George defies categorization, while Jerry Herman's crowd-pleasing La Cage aux Folles has two men sing a love song to each other for the first time on Broadway - a breakthrough soon overshadowed by the rising decimation of the AIDS crisis on Broadway. Yet with Julie Taymor's triumphant re-imagining of The Lion King, Disney leads an astonishing resurrection of 42nd Street. Composer Jonathan Larson scores a bittersweet victory with the rock-flavored Rent, and the old-style musical is reborn in Mel Brooks' The Producers, which becomes the first must-see musical comedy in decades, despite a ticket price of $ 480 for each VIP seat. After 9/11, Broadway - like the rest of America - emerges from the darkness. Broadway's corporate dominance continues to grow, as evidenced by new shows such as Wicked, the biggest hit of the 2003-04 season with 10 Tony nods. "Oh, I've been hearing about Broadway disappearing ever since I put on long pants," says illustrator Al Hirschfeld. "I mean, it's been the fabulous invalid. You know, but it survives, it survives." The episode features interviews with writer/producer Mel Brooks, actor Kristin Chenoweth, Walt Disney Corporation CEO Michael Eisner, actor/ bookwriter Harvey Fierstein, composer/lyricist Jerry Herman, actor Nathan Lane, playwright/director James Lapine, producer Rocco Landesman, director Arthur Laurents, Nederlander Theaters chairman James Nederlander Sr., director Susan Stroman and composer Andrew Lloyd Webber. Highlights include home movies of Jonathan Larson working as a waiter before leaving his job to create Rent, and exclusive behind-the-scenes footage of Wicked in rehearsal and opening on Broadway.
Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105H)
KQED 9: Sat, Nov 17, 2012 -- 3:00 AM
West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever. Rock'n'roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure touriststo New York for years to come.
Putting It Together (1980 - Present) (Episode #106H)
KQED 9: Fri, Nov 16, 2012 -- 10:00 PM
Legendary as the "Abominable Showman," notorious producer David Merrick re-conquers Broadway in 1980 with a smash adaptation of the movie musical 42nd Street. But soon the biggest hits are arriving from an unexpected source - London. Producer Cameron Mackintosh redefines the business of show business as Cats, Les Miserables, The Phantom of the Opera and Miss Saigon become international blockbusters. Sondheim's Sunday in the Park With George defies categorization, while Jerry Herman's crowd-pleasing La Cage aux Folles has two men sing a love song to each other for the first time on Broadway - a breakthrough soon overshadowed by the rising decimation of the AIDS crisis on Broadway. Yet with Julie Taymor's triumphant re-imagining of The Lion King, Disney leads an astonishing resurrection of 42nd Street. Composer Jonathan Larson scores a bittersweet victory with the rock-flavored Rent, and the old-style musical is reborn in Mel Brooks' The Producers, which becomes the first must-see musical comedy in decades, despite a ticket price of $ 480 for each VIP seat. After 9/11, Broadway - like the rest of America - emerges from the darkness. Broadway's corporate dominance continues to grow, as evidenced by new shows such as Wicked, the biggest hit of the 2003-04 season with 10 Tony nods. "Oh, I've been hearing about Broadway disappearing ever since I put on long pants," says illustrator Al Hirschfeld. "I mean, it's been the fabulous invalid. You know, but it survives, it survives." The episode features interviews with writer/producer Mel Brooks, actor Kristin Chenoweth, Walt Disney Corporation CEO Michael Eisner, actor/ bookwriter Harvey Fierstein, composer/lyricist Jerry Herman, actor Nathan Lane, playwright/director James Lapine, producer Rocco Landesman, director Arthur Laurents, Nederlander Theaters chairman James Nederlander Sr., director Susan Stroman and composer Andrew Lloyd Webber. Highlights include home movies of Jonathan Larson working as a waiter before leaving his job to create Rent, and exclusive behind-the-scenes footage of Wicked in rehearsal and opening on Broadway.
Tradition (1957-1979)/Putting It Together (1980 - Present) (Episode #105H)
KQED 9: Fri, Nov 16, 2012 -- 9:00 PM
West Side Story not only brings untraditional subject matter to the musical stage, it ushers in a new breed of director/choreographer who insists on performers who can dance, sing and act. But by the time Jerome Robbins' last original musical, Fiddler on the Roof, closes after a record run of 3242 performances in 1972, the world of Broadway has changed forever. Rock'n'roll, civil rights and Vietnam usher in new talents, many trained by the retiring masters, taking musical theater in daring new directions with innovative productions like Hair, the first Broadway musical with an entire score of rock music. By the end of the 1970s, Broadway becomes the centerpiece of a remarkably successful public relations campaign that will lure touriststo New York for years to come.
Oh, What A Beautiful Mornin' (1943-1960) (Episode #104H)
KQED Life: Tue, Nov 13, 2012 -- 4:30 AM
The new partnership of Richard Rodgers and Oscar Hammerstein II changes the face of Broadway forever, beginning with the record- breaking Oklahoma! in 1943, featuring a landmark ballet by Agnes De Mille. Carousel and South Pacific then set the standard for decades to come by pioneering a musical in which story is all-important. For challenging the country to confront its deep-seated racial bigotry, South Pacific wins the Pulitzer Prize. In On the Town, an exuberant team of novices - Leonard Bernstein, Betty Comden, Adolph Green and Jerome Robbins - captures the energy, humor and pathos of New York City during World War II. Irving Berlin triumphs again with Annie Get Your Gun, featuring Ethel Merman and the unofficial anthem of the American musical theater, "There's No Business Like Show Business." In shows like Guys and Dolls, My Fair Lady and Kiss Me, Kate, sophisticated adaptations of literary material prevail. "Cole Porter led the way in writing adult songs about love and sex," says theater historian Robert Kimball. "He defied the censors. He, probably more than any other songwriter in this century, made it possible for the openness that we have in all popular music." In 1956, Alan Jay Lerner and Frederick Loewe triumph with My Fair Lady, featuring an 18-year- old Julie Andrews. TV's "The Ed Sullivan Show" becomes the most important showcase for Broadway musicals. Yet with the death of Oscar Hammerstein II soon after the premiere of The Sound of Music in 1959, the curtain begins to lower on a golden age. The episode features interviews with actor Julie Andrews, writer/lyricist Betty Comden, choreographer Agnes De Mille, writer/lyricist Adolph Green, Oscar Hammerstein's grandson Andy Hammerstein, choreographer Michael Kidd, author James Michener, theater historian Steve Nelson, musician John Raitt, choreographer Jerome Robbins, Richard Rodgers' composer/ daughter Mary Rodgers and conductor Michael Tilson-Thomas. Highlights include never-before-broadcast footage of Jerome Robbins' choreography for On the Town, 1960 TV footage of Rex Harrison re- enacting "I'm an Ordinary Man" from My Fair Lady, and the first American broadcast of 1950 footage of the original Guys and Dolls cast performing in London.
I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103H)
KQED Life: Tue, Nov 13, 2012 -- 3:30 AM
The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and theremarkable WPA production of The Cradle Will Rock, about a steel stri ke - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of World War IIgalvanizes the country, and America's troubadour, Irving Berlin, rall ies the troops with "This Is the Army."
Oh, What A Beautiful Mornin' (1943-1960) (Episode #104H)
KQED Life: Mon, Nov 12, 2012 -- 10:30 PM
The new partnership of Richard Rodgers and Oscar Hammerstein II changes the face of Broadway forever, beginning with the record- breaking Oklahoma! in 1943, featuring a landmark ballet by Agnes De Mille. Carousel and South Pacific then set the standard for decades to come by pioneering a musical in which story is all-important. For challenging the country to confront its deep-seated racial bigotry, South Pacific wins the Pulitzer Prize. In On the Town, an exuberant team of novices - Leonard Bernstein, Betty Comden, Adolph Green and Jerome Robbins - captures the energy, humor and pathos of New York City during World War II. Irving Berlin triumphs again with Annie Get Your Gun, featuring Ethel Merman and the unofficial anthem of the American musical theater, "There's No Business Like Show Business." In shows like Guys and Dolls, My Fair Lady and Kiss Me, Kate, sophisticated adaptations of literary material prevail. "Cole Porter led the way in writing adult songs about love and sex," says theater historian Robert Kimball. "He defied the censors. He, probably more than any other songwriter in this century, made it possible for the openness that we have in all popular music." In 1956, Alan Jay Lerner and Frederick Loewe triumph with My Fair Lady, featuring an 18-year- old Julie Andrews. TV's "The Ed Sullivan Show" becomes the most important showcase for Broadway musicals. Yet with the death of Oscar Hammerstein II soon after the premiere of The Sound of Music in 1959, the curtain begins to lower on a golden age. The episode features interviews with actor Julie Andrews, writer/lyricist Betty Comden, choreographer Agnes De Mille, writer/lyricist Adolph Green, Oscar Hammerstein's grandson Andy Hammerstein, choreographer Michael Kidd, author James Michener, theater historian Steve Nelson, musician John Raitt, choreographer Jerome Robbins, Richard Rodgers' composer/ daughter Mary Rodgers and conductor Michael Tilson-Thomas. Highlights include never-before-broadcast footage of Jerome Robbins' choreography for On the Town, 1960 TV footage of Rex Harrison re- enacting "I'm an Ordinary Man" from My Fair Lady, and the first American broadcast of 1950 footage of the original Guys and Dolls cast performing in London.
I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103H)
KQED Life: Mon, Nov 12, 2012 -- 9:30 PM
The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and theremarkable WPA production of The Cradle Will Rock, about a steel stri ke - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of World War IIgalvanizes the country, and America's troubadour, Irving Berlin, rall ies the troops with "This Is the Army."
Oh, What A Beautiful Mornin' (1943-1960) (Episode #104H)
KQED 9: Sun, Nov 11, 2012 -- 1:00 PM
The new partnership of Richard Rodgers and Oscar Hammerstein II changes the face of Broadway forever, beginning with the record- breaking Oklahoma! in 1943, featuring a landmark ballet by Agnes De Mille. Carousel and South Pacific then set the standard for decades to come by pioneering a musical in which story is all-important. For challenging the country to confront its deep-seated racial bigotry, South Pacific wins the Pulitzer Prize. In On the Town, an exuberant team of novices - Leonard Bernstein, Betty Comden, Adolph Green and Jerome Robbins - captures the energy, humor and pathos of New York City during World War II. Irving Berlin triumphs again with Annie Get Your Gun, featuring Ethel Merman and the unofficial anthem of the American musical theater, "There's No Business Like Show Business." In shows like Guys and Dolls, My Fair Lady and Kiss Me, Kate, sophisticated adaptations of literary material prevail. "Cole Porter led the way in writing adult songs about love and sex," says theater historian Robert Kimball. "He defied the censors. He, probably more than any other songwriter in this century, made it possible for the openness that we have in all popular music." In 1956, Alan Jay Lerner and Frederick Loewe triumph with My Fair Lady, featuring an 18-year- old Julie Andrews. TV's "The Ed Sullivan Show" becomes the most important showcase for Broadway musicals. Yet with the death of Oscar Hammerstein II soon after the premiere of The Sound of Music in 1959, the curtain begins to lower on a golden age. The episode features interviews with actor Julie Andrews, writer/lyricist Betty Comden, choreographer Agnes De Mille, writer/lyricist Adolph Green, Oscar Hammerstein's grandson Andy Hammerstein, choreographer Michael Kidd, author James Michener, theater historian Steve Nelson, musician John Raitt, choreographer Jerome Robbins, Richard Rodgers' composer/ daughter Mary Rodgers and conductor Michael Tilson-Thomas. Highlights include never-before-broadcast footage of Jerome Robbins' choreography for On the Town, 1960 TV footage of Rex Harrison re- enacting "I'm an Ordinary Man" from My Fair Lady, and the first American broadcast of 1950 footage of the original Guys and Dolls cast performing in London.
I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103H)
KQED 9: Sun, Nov 11, 2012 -- 12:00 PM
The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and theremarkable WPA production of The Cradle Will Rock, about a steel stri ke - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of World War IIgalvanizes the country, and America's troubadour, Irving Berlin, rall ies the troops with "This Is the Army."
Oh, What A Beautiful Mornin' (1943-1960) (Episode #104H)
KQED 9: Sat, Nov 10, 2012 -- 4:00 AM
The new partnership of Richard Rodgers and Oscar Hammerstein II changes the face of Broadway forever, beginning with the record- breaking Oklahoma! in 1943, featuring a landmark ballet by Agnes De Mille. Carousel and South Pacific then set the standard for decades to come by pioneering a musical in which story is all-important. For challenging the country to confront its deep-seated racial bigotry, South Pacific wins the Pulitzer Prize. In On the Town, an exuberant team of novices - Leonard Bernstein, Betty Comden, Adolph Green and Jerome Robbins - captures the energy, humor and pathos of New York City during World War II. Irving Berlin triumphs again with Annie Get Your Gun, featuring Ethel Merman and the unofficial anthem of the American musical theater, "There's No Business Like Show Business." In shows like Guys and Dolls, My Fair Lady and Kiss Me, Kate, sophisticated adaptations of literary material prevail. "Cole Porter led the way in writing adult songs about love and sex," says theater historian Robert Kimball. "He defied the censors. He, probably more than any other songwriter in this century, made it possible for the openness that we have in all popular music." In 1956, Alan Jay Lerner and Frederick Loewe triumph with My Fair Lady, featuring an 18-year- old Julie Andrews. TV's "The Ed Sullivan Show" becomes the most important showcase for Broadway musicals. Yet with the death of Oscar Hammerstein II soon after the premiere of The Sound of Music in 1959, the curtain begins to lower on a golden age. The episode features interviews with actor Julie Andrews, writer/lyricist Betty Comden, choreographer Agnes De Mille, writer/lyricist Adolph Green, Oscar Hammerstein's grandson Andy Hammerstein, choreographer Michael Kidd, author James Michener, theater historian Steve Nelson, musician John Raitt, choreographer Jerome Robbins, Richard Rodgers' composer/ daughter Mary Rodgers and conductor Michael Tilson-Thomas. Highlights include never-before-broadcast footage of Jerome Robbins' choreography for On the Town, 1960 TV footage of Rex Harrison re- enacting "I'm an Ordinary Man" from My Fair Lady, and the first American broadcast of 1950 footage of the original Guys and Dolls cast performing in London.
I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103H)
KQED 9: Sat, Nov 10, 2012 -- 3:00 AM
The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and theremarkable WPA production of The Cradle Will Rock, about a steel stri ke - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of World War IIgalvanizes the country, and America's troubadour, Irving Berlin, rall ies the troops with "This Is the Army."
Oh, What A Beautiful Mornin' (1943-1960) (Episode #104H)
KQED 9: Fri, Nov 9, 2012 -- 10:00 PM
The new partnership of Richard Rodgers and Oscar Hammerstein II changes the face of Broadway forever, beginning with the record- breaking Oklahoma! in 1943, featuring a landmark ballet by Agnes De Mille. Carousel and South Pacific then set the standard for decades to come by pioneering a musical in which story is all-important. For challenging the country to confront its deep-seated racial bigotry, South Pacific wins the Pulitzer Prize. In On the Town, an exuberant team of novices - Leonard Bernstein, Betty Comden, Adolph Green and Jerome Robbins - captures the energy, humor and pathos of New York City during World War II. Irving Berlin triumphs again with Annie Get Your Gun, featuring Ethel Merman and the unofficial anthem of the American musical theater, "There's No Business Like Show Business." In shows like Guys and Dolls, My Fair Lady and Kiss Me, Kate, sophisticated adaptations of literary material prevail. "Cole Porter led the way in writing adult songs about love and sex," says theater historian Robert Kimball. "He defied the censors. He, probably more than any other songwriter in this century, made it possible for the openness that we have in all popular music." In 1956, Alan Jay Lerner and Frederick Loewe triumph with My Fair Lady, featuring an 18-year- old Julie Andrews. TV's "The Ed Sullivan Show" becomes the most important showcase for Broadway musicals. Yet with the death of Oscar Hammerstein II soon after the premiere of The Sound of Music in 1959, the curtain begins to lower on a golden age. The episode features interviews with actor Julie Andrews, writer/lyricist Betty Comden, choreographer Agnes De Mille, writer/lyricist Adolph Green, Oscar Hammerstein's grandson Andy Hammerstein, choreographer Michael Kidd, author James Michener, theater historian Steve Nelson, musician John Raitt, choreographer Jerome Robbins, Richard Rodgers' composer/ daughter Mary Rodgers and conductor Michael Tilson-Thomas. Highlights include never-before-broadcast footage of Jerome Robbins' choreography for On the Town, 1960 TV footage of Rex Harrison re- enacting "I'm an Ordinary Man" from My Fair Lady, and the first American broadcast of 1950 footage of the original Guys and Dolls cast performing in London.
I Got Plenty O' Nuttin' (1930-1942)/Oh, What A Beautiful Mornin' (1943-1960) (Episode #103H)
KQED 9: Fri, Nov 9, 2012 -- 9:00 PM
The Great Depression proves to be a dynamic period of creative growth on Broadway, and a dichotomy in the musical theater emerges. Productions like Cole Porter's Anything Goes offer glamour and high times as an escape, while others - such as Of Thee I Sing, which satirizes the American political system, and theremarkable WPA production of The Cradle Will Rock, about a steel stri ke - deal directly with the era's social and political concerns. When Bing Crosby records "Brother, Can You Spare a Dime," the doleful Broadway ballad takes the hit parade by surprise. The onset of World War IIgalvanizes the country, and America's troubadour, Irving Berlin, rall ies the troops with "This Is the Army."
Syncopated City (1919-1933) (Episode #102H)
KQED 9: Wed, Nov 7, 2012 -- 2:00 AM
Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow..." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. "There was this period in which everybody was leaping across borders and boundaries," says director/producer George C. Wolfe. "There was this incredible cross-fertilization, cultural appropriation." While brash American women flapped their way to newfound freedoms, heroines of Broadway like Marilyn Miller become a testament to pluck and luck. It's the age of "Whoopee" and the " Charleston," Runnin' Wild and George White's Scandals. In 1921, a jazz show like no other arrives: Shuffle Along, which features a rich, rousing score by Noble Sissle and Eubie Blake, reopening Broadway's doors to black talent. Unique talents like the Marx Brothers and Al Jolson - a Jewish immigrant and Prohibition's biggest star - rocket to stardom. The Gershwin brothers, the minstrels of the Jazz Age, bring a "Fascinating Rhythm" to an entire nation. Innovative songwriting teams like Richard Rodgers and Lorenz Hart ignite a new age of bright melodies and clever lyrics with the massive hit Manhattan. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion. The episode features interviews with actor Carol Channing, Gershwin sister Frances Gershwin Godowsky, Jolson & Co. creator Stephen Mo Hanan, critic Margo Jefferson, writer Miles Krueger, New Yorker theater critic John Lahr, radio host/music critic Jonathan Schwartz, theater historians Max Wilk and Robert Kimball, and director/producer George C. Wolfe. Highlights include rare performance footage of composer Eubie Blake and a specially animated sequence of Rodgers and Hart's 1927 hit "Thou Swell" from A Connecticut Yankee.
Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)
KQED 9: Wed, Nov 7, 2012 -- 1:00 AM
When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and th e brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.
Syncopated City (1919-1933) (Episode #102H)
KQED Life: Tue, Nov 6, 2012 -- 4:00 AM
Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow..." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. "There was this period in which everybody was leaping across borders and boundaries," says director/producer George C. Wolfe. "There was this incredible cross-fertilization, cultural appropriation." While brash American women flapped their way to newfound freedoms, heroines of Broadway like Marilyn Miller become a testament to pluck and luck. It's the age of "Whoopee" and the " Charleston," Runnin' Wild and George White's Scandals. In 1921, a jazz show like no other arrives: Shuffle Along, which features a rich, rousing score by Noble Sissle and Eubie Blake, reopening Broadway's doors to black talent. Unique talents like the Marx Brothers and Al Jolson - a Jewish immigrant and Prohibition's biggest star - rocket to stardom. The Gershwin brothers, the minstrels of the Jazz Age, bring a "Fascinating Rhythm" to an entire nation. Innovative songwriting teams like Richard Rodgers and Lorenz Hart ignite a new age of bright melodies and clever lyrics with the massive hit Manhattan. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion. The episode features interviews with actor Carol Channing, Gershwin sister Frances Gershwin Godowsky, Jolson & Co. creator Stephen Mo Hanan, critic Margo Jefferson, writer Miles Krueger, New Yorker theater critic John Lahr, radio host/music critic Jonathan Schwartz, theater historians Max Wilk and Robert Kimball, and director/producer George C. Wolfe. Highlights include rare performance footage of composer Eubie Blake and a specially animated sequence of Rodgers and Hart's 1927 hit "Thou Swell" from A Connecticut Yankee.
Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)
KQED Life: Tue, Nov 6, 2012 -- 3:00 AM
When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and th e brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.
Syncopated City (1919-1933) (Episode #102H)
KQED Life: Mon, Nov 5, 2012 -- 10:00 PM
Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow..." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. "There was this period in which everybody was leaping across borders and boundaries," says director/producer George C. Wolfe. "There was this incredible cross-fertilization, cultural appropriation." While brash American women flapped their way to newfound freedoms, heroines of Broadway like Marilyn Miller become a testament to pluck and luck. It's the age of "Whoopee" and the " Charleston," Runnin' Wild and George White's Scandals. In 1921, a jazz show like no other arrives: Shuffle Along, which features a rich, rousing score by Noble Sissle and Eubie Blake, reopening Broadway's doors to black talent. Unique talents like the Marx Brothers and Al Jolson - a Jewish immigrant and Prohibition's biggest star - rocket to stardom. The Gershwin brothers, the minstrels of the Jazz Age, bring a "Fascinating Rhythm" to an entire nation. Innovative songwriting teams like Richard Rodgers and Lorenz Hart ignite a new age of bright melodies and clever lyrics with the massive hit Manhattan. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion. The episode features interviews with actor Carol Channing, Gershwin sister Frances Gershwin Godowsky, Jolson & Co. creator Stephen Mo Hanan, critic Margo Jefferson, writer Miles Krueger, New Yorker theater critic John Lahr, radio host/music critic Jonathan Schwartz, theater historians Max Wilk and Robert Kimball, and director/producer George C. Wolfe. Highlights include rare performance footage of composer Eubie Blake and a specially animated sequence of Rodgers and Hart's 1927 hit "Thou Swell" from A Connecticut Yankee.
Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)
KQED Life: Mon, Nov 5, 2012 -- 9:00 PM
When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and th e brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.
Syncopated City (1919-1933) (Episode #102H)
KQED 9: Sun, Nov 4, 2012 -- 1:00 PM
Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow..." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. "There was this period in which everybody was leaping across borders and boundaries," says director/producer George C. Wolfe. "There was this incredible cross-fertilization, cultural appropriation." While brash American women flapped their way to newfound freedoms, heroines of Broadway like Marilyn Miller become a testament to pluck and luck. It's the age of "Whoopee" and the " Charleston," Runnin' Wild and George White's Scandals. In 1921, a jazz show like no other arrives: Shuffle Along, which features a rich, rousing score by Noble Sissle and Eubie Blake, reopening Broadway's doors to black talent. Unique talents like the Marx Brothers and Al Jolson - a Jewish immigrant and Prohibition's biggest star - rocket to stardom. The Gershwin brothers, the minstrels of the Jazz Age, bring a "Fascinating Rhythm" to an entire nation. Innovative songwriting teams like Richard Rodgers and Lorenz Hart ignite a new age of bright melodies and clever lyrics with the massive hit Manhattan. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion. The episode features interviews with actor Carol Channing, Gershwin sister Frances Gershwin Godowsky, Jolson & Co. creator Stephen Mo Hanan, critic Margo Jefferson, writer Miles Krueger, New Yorker theater critic John Lahr, radio host/music critic Jonathan Schwartz, theater historians Max Wilk and Robert Kimball, and director/producer George C. Wolfe. Highlights include rare performance footage of composer Eubie Blake and a specially animated sequence of Rodgers and Hart's 1927 hit "Thou Swell" from A Connecticut Yankee.
Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)
KQED 9: Sun, Nov 4, 2012 -- 12:00 PM
When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and th e brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.
Syncopated City (1919-1933) (Episode #102H)
KQED 9: Sat, Nov 3, 2012 -- 4:00 AM
Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow..." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. "There was this period in which everybody was leaping across borders and boundaries," says director/producer George C. Wolfe. "There was this incredible cross-fertilization, cultural appropriation." While brash American women flapped their way to newfound freedoms, heroines of Broadway like Marilyn Miller become a testament to pluck and luck. It's the age of "Whoopee" and the " Charleston," Runnin' Wild and George White's Scandals. In 1921, a jazz show like no other arrives: Shuffle Along, which features a rich, rousing score by Noble Sissle and Eubie Blake, reopening Broadway's doors to black talent. Unique talents like the Marx Brothers and Al Jolson - a Jewish immigrant and Prohibition's biggest star - rocket to stardom. The Gershwin brothers, the minstrels of the Jazz Age, bring a "Fascinating Rhythm" to an entire nation. Innovative songwriting teams like Richard Rodgers and Lorenz Hart ignite a new age of bright melodies and clever lyrics with the massive hit Manhattan. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion. The episode features interviews with actor Carol Channing, Gershwin sister Frances Gershwin Godowsky, Jolson & Co. creator Stephen Mo Hanan, critic Margo Jefferson, writer Miles Krueger, New Yorker theater critic John Lahr, radio host/music critic Jonathan Schwartz, theater historians Max Wilk and Robert Kimball, and director/producer George C. Wolfe. Highlights include rare performance footage of composer Eubie Blake and a specially animated sequence of Rodgers and Hart's 1927 hit "Thou Swell" from A Connecticut Yankee.
Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)
KQED 9: Sat, Nov 3, 2012 -- 3:00 AM
When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and th e brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.
Syncopated City (1919-1933) (Episode #102H)
KQED 9: Fri, Nov 2, 2012 -- 10:00 PM
Gossip columnist Walter Winchell gives Broadway a nickname that becomes synonymous with all of New York: "It is the Big Apple, the goal of all ambitions, the pot of gold at the end of a drab and somewhat colorless rainbow..." With the advent of Prohibition and the Jazz Age, America convulses with energy and change, and nowhere is the riotous mix of classes and cultures more dramatically on display than Broadway. "There was this period in which everybody was leaping across borders and boundaries," says director/producer George C. Wolfe. "There was this incredible cross-fertilization, cultural appropriation." While brash American women flapped their way to newfound freedoms, heroines of Broadway like Marilyn Miller become a testament to pluck and luck. It's the age of "Whoopee" and the " Charleston," Runnin' Wild and George White's Scandals. In 1921, a jazz show like no other arrives: Shuffle Along, which features a rich, rousing score by Noble Sissle and Eubie Blake, reopening Broadway's doors to black talent. Unique talents like the Marx Brothers and Al Jolson - a Jewish immigrant and Prohibition's biggest star - rocket to stardom. The Gershwin brothers, the minstrels of the Jazz Age, bring a "Fascinating Rhythm" to an entire nation. Innovative songwriting teams like Richard Rodgers and Lorenz Hart ignite a new age of bright melodies and clever lyrics with the massive hit Manhattan. But as the Roaring Twenties come to a close, Broadway's Jazz Age suffers the one-two punch of the "talking picture" and the stock market crash, triggering a massive talent exodus to Hollywood and putting an end to Broadway's feverish expansion. The episode features interviews with actor Carol Channing, Gershwin sister Frances Gershwin Godowsky, Jolson & Co. creator Stephen Mo Hanan, critic Margo Jefferson, writer Miles Krueger, New Yorker theater critic John Lahr, radio host/music critic Jonathan Schwartz, theater historians Max Wilk and Robert Kimball, and director/producer George C. Wolfe. Highlights include rare performance footage of composer Eubie Blake and a specially animated sequence of Rodgers and Hart's 1927 hit "Thou Swell" from A Connecticut Yankee.
Give My Regards to Broadway (1893-1927)/Syncopated City (1919-1933) (Episode #101H)
KQED 9: Fri, Nov 2, 2012 -- 9:00 PM
When Florenz Ziegfeld Jr. first hits New York in 1893, the intersection of Broadway and 42nd is nobody's idea of "the crossroads of the world." But by 1913, "The Ziegfeld Follies really were an amalgamation of everything that was happening in America, in New York, at that time," says writer Philip Furia. Ziegfeld's story introduces many of the era's key figures: Irving Berlin, a Russian immigrant who becomes the voice of assimilated America; entertainers, such as Jewish comedienne Fanny Brice and African-AmericanBert Williams, who become America's first "crossover" artists; and th e brash Irish-American George M. Cohan, whose song-and-dance routines embody the energy of Broadway. This is also the story of the onset of a world war and the Red Summer of 1919, when labor unrest sweeps the nation - and Broadway.
