1 00:00:06,633 --> 00:00:13,600 >>> IT MAY HAVE PREMIERED ON 2 00:00:08,300 --> 00:00:16,400 PRODUCT WAY THIS 1943 BUT STILL 3 00:00:11,366 --> 00:00:18,733 ROPES IN AWED YNSS. 4 00:00:13,600 --> 00:00:20,466 HEDY WEISS IS HERE TO REVIEW 5 00:00:16,400 --> 00:00:21,300 ROGERS AND HAMMERSTEIN'S 6 00:00:18,733 --> 00:00:23,066 OKLAHOMA AND OTHER HIGHLY 7 00:00:20,466 --> 00:00:24,266 RECOMMENDED SHOWS. 8 00:00:21,300 --> 00:00:25,366 HOW MANY PRODUCTIONS OF OKLAHOMA 9 00:00:23,066 --> 00:00:26,966 HAVE YOU SEEN. 10 00:00:24,266 --> 00:00:28,633 WHAT MAKES THIS ONE DIFFERENT? 11 00:00:25,366 --> 00:00:31,100 >> PEOPLE ROLL THEIR EYES WHEN 12 00:00:26,966 --> 00:00:33,800 YOU SAY OKLAHOMA. 13 00:00:28,633 --> 00:00:37,133 FIRST OF ALL ROGERS AND 14 00:00:31,100 --> 00:00:40,500 HAMMERSTEIN WERE JAPANESEYUSES 15 00:00:33,800 --> 00:00:41,933 AND IT IS A BRILL KRANT SHOW. 16 00:00:37,133 --> 00:00:45,600 AND THIS GEORGE PLACE DID 17 00:00:40,500 --> 00:00:47,333 PRODUCTIONINGS THAT I THINK 18 00:00:41,933 --> 00:00:48,933 OUTRANK MEN BROADWAY REVIVALS. 19 00:00:45,600 --> 00:00:50,466 AND THEY HAVE A GREAT ORGANIZE 20 00:00:47,333 --> 00:00:53,033 STRA, THEY HAVE A REAL 21 00:00:48,933 --> 00:00:55,266 ORCHESTRA, WHICH SOMETIMES THESE 22 00:00:50,466 --> 00:00:57,333 DAYS YOU MAY NOT FIND ON 23 00:00:53,033 --> 00:00:59,900 BROADWAY AND FABULOUS VOICES. 24 00:00:55,266 --> 00:01:02,166 WE HEAR IN A CLIP, THAT IS A 25 00:00:57,333 --> 00:01:05,866 MONTAGE AND IF YOU HEAR KAURLY'S 26 00:00:59,900 --> 00:01:11,533 VOICE, YOU WILL NEVER HEAR 27 00:01:02,166 --> 00:01:14,266 ANYTHING TO BEAUTIFUL. 28 00:01:05,866 --> 00:01:16,166 ♪ PLENTY OF HOPES 29 00:01:11,533 --> 00:01:19,633 OKLAHOMA WHERE THE WIND COMES 30 00:01:14,266 --> 00:01:22,200 SWEEPING DOWN THE PLAIN 31 00:01:16,166 --> 00:01:24,733 AND THE WAVE AND WHEAT SURE 32 00:01:19,633 --> 00:01:29,200 SMELL SWEET WHEN THE WIND COMES 33 00:01:22,200 --> 00:01:32,300 AROUND THE RAIN 34 00:01:24,733 --> 00:01:34,900 OKLAHOMA EVERY NIGHT MY HONEY 35 00:01:29,200 --> 00:01:37,200 AND I SIT ALONE AND TALK AND 36 00:01:32,300 --> 00:01:38,633 WATCH THE HAWK MAKING LAZY 37 00:01:34,900 --> 00:01:40,766 CIRCLES IN THE SKY ♪ 38 00:01:37,200 --> 00:01:41,966 >> HE HAS A GREAT VOICE. 39 00:01:38,633 --> 00:01:45,533 I GOOGLED HIM THIS AFTERNOON, HE 40 00:01:40,766 --> 00:01:49,733 IS FROM OKLAHOMA. 41 00:01:41,966 --> 00:01:52,300 >> NOT ONLY THAT, HE PROPOSED TO 42 00:01:45,533 --> 00:01:54,100 HIS CO-STAR THERE, ON OPENING 43 00:01:49,733 --> 00:01:54,533 NIGHT AND I DIDN'T SEE IT, BUT, 44 00:01:52,300 --> 00:01:56,500 SO A COUPLE OF STAGE AND 45 00:01:54,100 --> 00:01:58,866 OFFSTAGE. 46 00:01:54,533 --> 00:02:00,133 AND I HAVE TO SAY WHEN HE WALKS 47 00:01:56,500 --> 00:02:01,766 DOWN THE AISLE SINGING OH WHAT A 48 00:01:58,866 --> 00:02:03,033 BEAUTIFUL MORNING, ONE OF THE 49 00:02:00,133 --> 00:02:05,233 MOST THRILLING MOMENTS, THE 50 00:02:01,766 --> 00:02:05,633 VOICE IS AMAZING. 51 00:02:03,033 --> 00:02:07,666 >> YOU SAY IT IS A MUST-SEE 52 00:02:05,233 --> 00:02:09,300 PRODUCTION. 53 00:02:05,633 --> 00:02:10,066 AND I CAN UNDERSTAND WHY. 54 00:02:07,666 --> 00:02:13,066 BACK TO THE HISTORY OF THE PAR 55 00:02:09,300 --> 00:02:14,866 MONTH THEATER. 56 00:02:10,066 --> 00:02:17,366 THEY ARE ON A ROLL, AREN'T THEY? 57 00:02:13,066 --> 00:02:19,233 >> SIXTEEN NO, MA'AMMIATIONS 58 00:02:14,866 --> 00:02:21,333 THAT WE WILL KNOW ABOUT BUT MORE 59 00:02:17,366 --> 00:02:25,133 THAN THAT, THEY FIGURED OUT HOW 60 00:02:19,233 --> 00:02:26,766 DO DO IT RIGHT. 61 00:02:21,333 --> 00:02:30,000 THEY ALMOST THERE 30,000 62 00:02:25,133 --> 00:02:32,000 DESCRIBE DESCRIBERS AND THAT IS 63 00:02:26,766 --> 00:02:32,700 A REAL COUP, THE LEVEL, IT COULD 64 00:02:30,000 --> 00:02:34,266 BE OPERA HOUSE OR BROADWAY, 65 00:02:32,000 --> 00:02:36,633 SPECTACULAR. 66 00:02:32,700 --> 00:02:37,366 THEY SPEND COMMON BUT IT IS NOT 67 00:02:34,266 --> 00:02:43,233 JUST MONEY, BECAUSE THAT IS NOT 68 00:02:36,633 --> 00:02:44,333 ALWAYS THE THING. 69 00:02:37,366 --> 00:02:45,333 THEY HAVE FABULOUS TALL SENT, A 70 00:02:43,233 --> 00:02:48,200 BRILLIANT JOB THERE. 71 00:02:44,333 --> 00:02:48,533 ANOTHER PRODUCTION THAT YOU 72 00:02:45,333 --> 00:02:49,466 THINK HIGHLY OF, THE SCOTTSBORO 73 00:02:48,200 --> 00:02:52,266 BOYS. 74 00:02:48,533 --> 00:02:53,500 A STUNNER. 75 00:02:49,466 --> 00:02:56,700 TELL US ABOUT IT AT RAVEN 76 00:02:52,266 --> 00:02:57,000 THEATER, WE DIDN'T TALK ABOUT 77 00:02:53,500 --> 00:02:58,966 THEM MUCH, AND THEY DO VERY GOOD 78 00:02:56,700 --> 00:03:01,233 WORK. 79 00:02:57,000 --> 00:03:03,033 YOU CAN TELL THIS STORY ABOUT 80 00:02:58,966 --> 00:03:06,700 THE BLACK BOYS IN THE 19 81 00:03:01,233 --> 00:03:09,600 THIRD'S, TEENAGERS WHO GOT 82 00:03:03,033 --> 00:03:12,000 RAILROADED INTO WHAT HAS BECOME 83 00:03:06,700 --> 00:03:14,400 A NOTORIOUS CASE. 84 00:03:09,600 --> 00:03:15,933 YOU COULD HAVE TOLD IT AS A 85 00:03:12,000 --> 00:03:20,033 DOCUMENT TRY BUT WHAT THEY DO 86 00:03:14,400 --> 00:03:24,366 IS, IT IS A VAUDEVILLE AND SO 87 00:03:15,933 --> 00:03:25,366 YOU GET THE SECURE BITING EDGE, 88 00:03:20,033 --> 00:03:26,433 IT IS REALLY GOOD, CAST OF NINE 89 00:03:24,366 --> 00:03:29,033 YOUNG AFRICAN-AMERICAN ACTORS, 90 00:03:25,366 --> 00:03:31,066 SUPERB. 91 00:03:26,433 --> 00:03:33,100 WE HAVE A CLIP, IN WHICH WE SEE 92 00:03:29,033 --> 00:03:36,400 THEM DOING THE VAUDEVILLE 93 00:03:31,066 --> 00:03:37,966 VERSION OF HOW THEY GOT 94 00:03:33,100 --> 00:03:49,366 RAILROADED. 95 00:03:36,400 --> 00:03:51,200 ♪ SECOND ONLY TO THE CIRCUS AS 96 00:03:37,966 --> 00:03:54,200 THE GREATEST SHOW ON EARTH 97 00:03:49,366 --> 00:03:57,666 THAN IT WAS LIKE WALKING INTO A 98 00:03:51,200 --> 00:04:05,866 DREAM WHERE I WAS KBREETSED BY 99 00:03:54,200 --> 00:04:08,333 THE PEOPLE AND TOLD 100 00:03:57,666 --> 00:04:10,700 CONGRATULATIONS, 101 00:04:05,866 --> 00:04:12,433 >> YOU CAN SEE DANCING AND 102 00:04:08,333 --> 00:04:14,700 TRADITIONAL SONGS THAT WE SING 103 00:04:10,700 --> 00:04:15,566 ARGS BRILLIANT RETELLING THE 104 00:04:12,433 --> 00:04:17,400 STORY AND GOOD TO BE REMINDED OF 105 00:04:14,700 --> 00:04:20,833 THIS CASE. 106 00:04:15,566 --> 00:04:22,766 AND NOT TO BE CONFUSED WITH THE 107 00:04:17,400 --> 00:04:25,266 MUSICAL THE SCOTTSBORO BOYS. 108 00:04:20,833 --> 00:04:26,966 THERE IS A MUSICAL DONE ON 109 00:04:22,766 --> 00:04:29,266 BROADLY WAY BRIEFLY AND IT 110 00:04:25,266 --> 00:04:30,333 HASN'T GOTTEN TO CHICAGO YET BUT 111 00:04:26,966 --> 00:04:31,633 I COULD NOT SEE THAT THERE WOULD 112 00:04:29,266 --> 00:04:33,733 BE ANYTHING BETTER THAN WHAT WE 113 00:04:30,333 --> 00:04:34,433 ARE SEE AT RAVEN. 114 00:04:31,633 --> 00:04:39,500 AND THE REBEL, WORLDS PREMIERE, 115 00:04:33,733 --> 00:04:40,933 TELL BUS THAT. 116 00:04:34,433 --> 00:04:42,966 >> A WORLD PREMIERE, BUT, REVEL 117 00:04:39,500 --> 00:04:44,533 WITH A V. 118 00:04:40,933 --> 00:04:48,500 HOUSE THEATER IN CHICAGO, 119 00:04:42,966 --> 00:04:52,200 ASSOCIATE ENSEMBLE GROUP. 120 00:04:44,533 --> 00:04:54,366 THIS IS BASED ON THE ANCIENT 121 00:04:48,500 --> 00:04:57,733 GREEK DRAMA THE BACCHAE. 122 00:04:52,200 --> 00:04:59,833 IT IS HE INVENTEDDED BY PUTTING 123 00:04:54,366 --> 00:05:02,333 IT IN 1 NINE 30'S APPALACHIA. 124 00:04:57,733 --> 00:05:03,866 AND INSTEAD OF BEING ABOUT THE 125 00:04:59,833 --> 00:05:07,400 GOD THAT LURESED WOMAN UP TO 126 00:05:02,333 --> 00:05:09,133 MOUNT A PEOPLE PUSS THIS IS 127 00:05:03,866 --> 00:05:11,600 ABOUT A PREACHER WHO WOOS THE 128 00:05:07,400 --> 00:05:13,766 UNHAPPY WOMEN THIS THE TOWN TO A 129 00:05:09,133 --> 00:05:15,666 MOUNTIAN IN THE APPALACHIANS. 130 00:05:11,600 --> 00:05:19,800 WE HAVE A SCENE IN WHICH WE SEE 131 00:05:13,766 --> 00:05:20,166 THE SHERIFF LEARN HIS OWN WIFE 132 00:05:15,666 --> 00:05:21,833 IS AMONG THOSE TAKEN UP TO THE 133 00:05:19,800 --> 00:05:23,366 MOUNTIAN. 134 00:05:20,166 --> 00:05:23,766 >> THAT'S WHAT SHE'S DOING? 135 00:05:21,833 --> 00:05:24,800 >> THAT'S WHAT I'M SAYING 136 00:05:23,366 --> 00:05:26,066 SHERIFF. 137 00:05:23,766 --> 00:05:29,033 I DON'T KNOW. 138 00:05:24,800 --> 00:05:30,600 WHETHER KNOWS WHAT IS GOING ON 139 00:05:26,066 --> 00:05:31,933 UP THERE. 140 00:05:29,033 --> 00:05:34,000 >> I'M NOT THE SHERIFF. 141 00:05:30,600 --> 00:05:36,733 THAT IS YOUR JOB. 142 00:05:31,933 --> 00:05:40,633 I HAVE TO SEE IF I CAN GET THE 143 00:05:34,000 --> 00:05:41,700 BANK TO WAIT ANOTHER WEEK OR SEE 144 00:05:36,733 --> 00:05:44,066 IF THE FACTORY CAN GET GOING. 145 00:05:40,633 --> 00:05:44,633 BUT YOU'RE THE SHERIFF. 146 00:05:41,700 --> 00:05:46,200 >> HOW LONG HAS SHE BEEN UP 147 00:05:44,066 --> 00:05:49,066 THERE 148 00:05:44,633 --> 00:05:50,700 >> ALL DAMN DAY. 149 00:05:46,200 --> 00:05:53,300 I HEAR NEAR DRINKING. 150 00:05:49,066 --> 00:05:57,500 MY WAIVE DRINKS. 151 00:05:50,700 --> 00:06:00,400 >> WHAT YOU DIDN'T SEE IS YOU 152 00:05:53,300 --> 00:06:01,533 SEE THIS FANTASTIC CLOG DANCING 153 00:05:57,500 --> 00:06:03,033 AND AMAZING MUSIC AND THIS 154 00:06:00,400 --> 00:06:04,600 REMOVABLE SET WITH PLANNINGS AND 155 00:06:01,533 --> 00:06:07,633 YOU GET THE SENSE OF THE 156 00:06:03,033 --> 00:06:11,100 MOUNTIAN AND THE TOWN, AND IT IS 157 00:06:04,600 --> 00:06:12,466 A VERY VIBRANT PRODUCTION, AND 158 00:06:07,633 --> 00:06:15,000 NOT GREEK TO ME, IT IS FUN. 159 00:06:11,100 --> 00:06:16,166 >> EVERY TROUK I HAVE SEEN AT 160 00:06:12,466 --> 00:06:18,200 THE HOUSE THEATER IS HIGH LYNN 161 00:06:15,000 --> 00:06:19,666 INVENTIVE. 162 00:06:16,166 --> 00:06:21,733 >> VERY PHYSICAL. 163 00:06:18,200 --> 00:06:23,866 THEY REALLY KNOW HOW TO USE THE 164 00:06:19,666 --> 00:06:24,233 SPACE AND HOW TO DESIGN SETS 165 00:06:21,733 --> 00:06:26,600 THAT ALMOST HAD A CINEMATIC 166 00:06:23,866 --> 00:06:30,333 QUALITY. 167 00:06:24,233 --> 00:06:30,966 >> THE NEXT ONE IS A PRICE A 168 00:06:26,600 --> 00:06:33,066 REVIVALAL OF SORTS, AN ARTHUR 169 00:06:30,333 --> 00:06:34,900 MILLER PLAY. 170 00:06:30,966 --> 00:06:36,600 ABOUT TWO ESTRANGED BROTHERS, 171 00:06:33,066 --> 00:06:38,900 ONE IS A COP AND ONE IS A 172 00:06:34,900 --> 00:06:39,833 SUCCESSFUL SURGEON AND THEY HAD 173 00:06:36,600 --> 00:06:41,200 A RIFT EARLIER ON THAT HAS TO DO 174 00:06:38,900 --> 00:06:42,800 WITH THE FATHER. 175 00:06:39,833 --> 00:06:45,466 THE FATHER IS DEAD AND THEY HAVE 176 00:06:41,200 --> 00:06:49,300 TO GET RID ALL OF THE FURNITURE 177 00:06:42,800 --> 00:06:50,800 AND ANTIQUES AND THIS BRINGS 178 00:06:45,466 --> 00:06:52,800 THEM TOGETHER BRIEFLY, AND THE 179 00:06:49,300 --> 00:07:05,533 GREAT CHARACTER IN THIS 180 00:06:50,800 --> 00:07:05,533 PRODUCTION WHICH IS DIRECTED BY 181 00:06:52,800 --> 00:07:05,533 LOU CONTI, THE ACTOR 182 00:07:07,366 --> 00:07:10,800 MIKE 183 00:07:08,200 --> 00:07:12,866 NUSSBAUM. 184 00:07:08,566 --> 00:07:15,533 HE PLAYS AN ANTIQUE DEALER AND 185 00:07:10,800 --> 00:07:17,333 HE REALLY DWEENT TO BUY IT BUT 186 00:07:12,866 --> 00:07:19,000 HE WANTS SOMETHING TO LIVE FOR, 187 00:07:15,533 --> 00:07:20,466 THE MOST FANTASTIC CHARACTER 188 00:07:17,333 --> 00:07:24,833 ROLE THAT YOU WILL EVER SEE, IF 189 00:07:19,000 --> 00:07:26,666 YOU DIDN'T CATCH HIM, YOU ARE 190 00:07:20,466 --> 00:07:29,700 REALLY MISSING SOMETHING. 191 00:07:24,833 --> 00:07:31,200 WE HAVE AN INTRODUCTION WHERE 192 00:07:26,666 --> 00:07:32,300 THE BROTHERS SQUABBLE, AND YES I 193 00:07:29,700 --> 00:07:34,133 THINK YOU SEE A LITTLE BIT OF 194 00:07:31,200 --> 00:07:37,200 MIKE NUSSBAUM. 195 00:07:32,300 --> 00:07:39,366 >> IT IS IMPORTANT TO ME, BUT 196 00:07:34,133 --> 00:07:40,066 WHY, IT IS ALL OVER THE DAM. 197 00:07:37,200 --> 00:07:43,700 HE CASS COME TO YOU IN GOOD 198 00:07:39,366 --> 00:07:44,700 FAITH. 199 00:07:40,066 --> 00:07:46,833 I CAN'T SEE WHY YOU CAN'T 200 00:07:43,700 --> 00:07:48,766 CONSIDER THE OFFER. 201 00:07:44,700 --> 00:07:49,966 YOU ARE TURNING IT DOWN. 202 00:07:46,833 --> 00:07:51,300 GOOD GOD, WHAT IS SO DREADFUL 203 00:07:48,766 --> 00:07:53,633 ABOUT TELLING THE TRUTH. 204 00:07:49,966 --> 00:07:55,900 CAN IT BE WORSE THAN THIS? 205 00:07:51,300 --> 00:07:58,033 >> WHAT TRUTH? 206 00:07:53,633 --> 00:07:59,000 >> FOR GOOD'S SAKE... 207 00:07:55,900 --> 00:08:00,300 >> I DIDN'T WANT YOU TO THINK I 208 00:07:58,033 --> 00:08:02,833 COULDN'T MAKE IT. 209 00:07:59,000 --> 00:08:06,666 I'LL DO IT. 210 00:08:00,300 --> 00:08:09,233 >> THERE IS A REASON MY TIMELINE 211 00:08:02,833 --> 00:08:10,066 IS BEING CONSIDERED FOR A NEW 212 00:08:06,666 --> 00:08:11,400 THEATER AT THE SCHOOL UP IN 213 00:08:09,233 --> 00:08:12,600 ANDERSONVILLE, WORKING ON DOING 214 00:08:10,066 --> 00:08:14,400 THIS AND IT LOOKS LIKE THEY ARE