September 22, 2024 • 17 mins
Michael Riedel and Christine Nagy recently spoke with four-time Academy Award nominee Marsha Mason who discussed stepping in for Mia Farrow after she contracted COVID-19. Mason also shared insights about her transition from acting to directing. THE ROOMMATE is playing at the Booth Theatre.
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Episode Transcript
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Speaker 1 (00:02):
iHeartRadio Broadway presents Inside Broadway, the podcast about everything theater.
It's where you hear what happens from the ticket window
to the stage door, with the stars and creative forces
that make it all come alive. Here are your hosts,
wo Rs Michael Riedle and Light FM's Christine Nagy and Michael.
Speaker 2 (00:24):
I am so pleased to meet this lady, someone I've
admired for so long, legendary actress Marcia Mason, who saved
the day surprisingly jumped into stepping stepping into the roommate
on Broadway for Mia Farrow. We've got to get the
whole story from Marcia herself. Hi Marcia, how are you?
Speaker 3 (00:44):
Hi?
Speaker 4 (00:44):
Christine, I'm just fine, Thank you.
Speaker 2 (00:47):
I am glad to hear that. So you you're involved
with this show as a co director. But she had
to step in on stage, didn't you?
Speaker 4 (00:56):
Yes? I did me. Unfortunately, one of our stage managers, Kelly,
got on COVID and it was like a very difficult
situation because there had been no rehearsal time for understudies
or whatever. So I wound up going on with the
script and making the announcement to the audience, and they
(01:20):
were incredibly supportive and if it weren't for Patty Lapone,
probably it wouldn't have happened. She was just argangually supportive
and wonderful to me, and we did, I think, a
really good job and the audience really liked it, and
I was thrilled to be able to help the show.
Speaker 5 (01:44):
Now, Marsha, when you went on with Patty, did you
turn off your cell phone?
Speaker 2 (01:52):
Yes?
Speaker 4 (01:52):
Absolutely, But you know, unfortunately we have not had a
great deal of interruptions regarding that. I think audiences are
finally being educated and good goodness knows Patty was an
important part of that. She's amazing. She's amazing.
Speaker 5 (02:15):
So I'm just curious, as you know, you and Patty
are you know, your great you're great warriors in this business.
And I don't think you've worked with her before the
old days when you were but when you were a
young actress and just thrown into something and you just
have to run with it.
Speaker 4 (02:32):
That's right, and Patty really really knows that. I mean,
her level of experience, professionalism and talent is just amazing.
And knowing that she was out there, that she was
there for me one hundred and ten percent, and she
was she was totally focused on making sure that I
(02:53):
was comfortable that we could do it. And her she
you know, she was like this big cheerleader backstage before
we went on. And I'll be totally forever grateful and
have her back because of this. She's a remarkable person.
Speaker 2 (03:11):
I really feel like this is going to be like
one of those legendary Broadway stories too. It's incredible. So
can you tell us about the show The Roommate? Now
it's just starring Mia Farrow and Patti Lapone, So it's
a two person two person plays and Marsha Mason.
Speaker 4 (03:28):
Yes, well, just for four performances hopefully.
Speaker 2 (03:35):
And what's the show about? What's the storyline the show?
Speaker 4 (03:39):
The story of the Roommate is about two women who
come to who are kind of thrown together. They don't
know each other, and in the course of one month
they learn from each other in a fabulously funny and
touching and emotion way that's just constantly a surprise, and
(04:06):
the audience is just loving the material. When I read
the material originally, I didn't even know, I must tell you, honestly,
I didn't know it was as funny as it is,
but it is. It's hysterically funny, and it's wonderfully touching,
and it's about relationships and friendships and changing your life
(04:31):
and being courageous.
Speaker 2 (04:33):
It's just running through December fifteenth. I just want to
add that because as we talk about this, you're going
to want to get tickets.
Speaker 5 (04:39):
Yeah, But Marsha, if Christina and I come to see it,
will you be on that night for us?
Speaker 4 (04:46):
Well, now I'm hoping not. I'm hoping you'll get to
see Mia because the two of them, they have a
great affection for each other. They're old, old friends. They
met years ago in Connecticut because their children went to
the same school, and all these years they've been very close,
(05:10):
and so to have that kind of relationship on the
stage makes the relationship between them in these characters just
very very special. It's wonderful to watch. I've got to
tell you, it's really terrific.
Speaker 5 (05:27):
We are talking to the great actress, Marsha Mason. When
was there a moment in your career as an actress
where you thought, I want to be a director.
Speaker 4 (05:38):
You know, it came sort of like in the eighties,
nineteen eighties. I wanted to have because I kept feeling
that I understood material in a certain way. And maybe
I gained that because of my relationship with Neil Simon
(05:58):
and his and the her you know collaboration that we had.
But I began to have visions when I would read
plays and I thought, wow, this could be wonderful, you know,
to be able to explore it, and so I started out.
My very first job was actually at second stage because
(06:22):
Carol Rothman and her then partner Robin offered me the
opportunity to do a play and it was successful and
I got my feet wet, and I just continued to
do it whenever I could. And over the years, you know,
(06:45):
there was a big space of time where I didn't direct.
I was living in New Mexico and working whenever. But
then I really felt more and more because there were
parts really of they for me. After you pass a
certain age in film and stuff. I mean, yes, there
was stuff that I did in television and I was
(07:08):
very happy doing it, but I began to really focus
on directing so that I could continue to be a
creative individual.
Speaker 2 (07:17):
And Marsha, I wanted to, if you don't mind, go
back a little further, because my mom's favorite movie was
The Goodbye Girl. Yes, so I have the most beautiful
memories of watching that with her, seeing you how fun
and funny that was. What's your memory of it and
how do you feel reflecting on it today?
Speaker 4 (07:39):
Well, it was It was absolutely joyful. First of all, Dreyfus,
Richard Dreyfus and I had a great chemistry, just instantaneous.
We read the script together one day with Ray Stark
and Neil. We just connected in a kind of inimitable way,
(08:00):
you know, I can't even describe it. And so the
actual shooting of it was just so much fun. And
it's very interesting to me that a lot of mothers
and daughters watched the film, and it came at a
certain time when the films in the seventies were kind
(08:23):
of dark and not sort of family oriented, and so
we had no idea we had the hit that we did.
We just thought it was a modest film and we
hoped it would do well, But we didn't realize that
it was in the zeitgeist sort of because all of
(08:43):
a sudden, everybody kept saying, oh my gosh, we have
a film that we can take, you know, girlfriends to boyfriends,
to daughters, to families to So I think that was
part of the reason that it has lived as long,
and fortunately it still stands up, you know, because the
(09:05):
writing was so good and we had such a good
time doing it.
Speaker 5 (09:10):
And you know, Christine, you've seen the movie recently and
I looked at it just the other day, that moment Marsha,
when you when you lose the shopping bag and the
spaghetti just spills out on the street, And was that
what did Neil write?
Speaker 4 (09:25):
That?
Speaker 5 (09:26):
Was that planned? Did the director do that? I mean,
it's it's it's a great.
Speaker 3 (09:31):
Movies.
Speaker 4 (09:32):
Yeah, I the way I I mean, we did improvise
some things, you know what I mean. We were given
Richard and I were given free reign in some instances.
So I remember I thought that would be a fun
thing to do, and they didn't want me to do
it because they were nervous that I would hurt myself.
(09:54):
But I said, no, no, I can do it. And
so it turns out that that's is You're not alone.
Often people tell me that they particularly liked that scene,
and how did.
Speaker 2 (10:07):
Your life change after that? Because I would imagine at
that point, now people are recognizing you things. Things had
to be different after that movie.
Speaker 4 (10:16):
Well they were actually different before because I was just
a working actor doing rep at act when I was
offered Cinderella Liberty, and all of a sudden, there I
was being nominated for a Golden Globe and for an
(10:37):
Academy Award, and then I made a commitment to come
to New York and do a play and it was
a Neil Simon play called The Good Doctor. And we
wound up getting married after three weeks. So that's really
where everything turned. Yeah, but I got to enjoy together
(10:59):
the success of The Goodbye Girl, and I think that
really made it great for us, you know.
Speaker 5 (11:06):
Yeah, I remember Marsha interviewing you all these years. That
moment in chapter two. I think it was that you
were in with Neil when he put his hand on
your shoulder, and that's when you thought, I'm in love
with this guy.
Speaker 3 (11:20):
Is true?
Speaker 4 (11:21):
Yes, it was. It was The Good Doctor. It was
not Chapter two. It was a Good Doctor, that's right.
And it was the first day of rehearsal, and it
really was a otherworldly experience because we were doing a
reading around the table in the theater that he owned,
(11:42):
and he came around and I was still seated at
the table and he just placed his hand on my shoulder.
I reached up totally spontaneously and tapped it three times,
and I'm telling you, it was like an electric went
through me, so much so that I excuse myself and
(12:03):
I had to go to the bathroom and just calm
down because it was such an otherworldly experience. So it
was rather important and maybe that's part of the reason
why it all happened so fast.
Speaker 5 (12:20):
Yeah, and you know, Marsha I I just before we
let you go, I have to say, you know, Neil
and I were somewhat friendly over the years, and I
do remember his last wife, Elaine Joyce, calling me up
and saying, you've got to see Neil because he was
drifting into dementia.
Speaker 4 (12:40):
Dementia.
Speaker 5 (12:40):
Yeah, but she told me that his hand would always
go up in the air and he was always writing
all the time. Did you see him before he died?
Speaker 4 (12:51):
Yes? Uh huh, Yes, I mean I didn't see him
at the very very end, but we were able. I
mean every time that we saw each other, it was
always with great affection. And actually when the last time
we worked together was in the nineties when I did
(13:12):
Prisoner of Second Avenue in London with Richard at the
Royal Haymarket, and we had this opportunity and he was
just dating Elaying then and we had a great experience
together working on that show. So I felt it was
(13:33):
really a special relationship.
Speaker 5 (13:36):
Well, there's never going to be anybody like Neil Simon again,
I mean, he was one of.
Speaker 3 (13:40):
The great great playwrights I know.
Speaker 4 (13:43):
And I think no odd in Marsha, Jack, Yes.
Speaker 5 (13:47):
You should direct with Jack O'Brien, you should direct his
great trilogy BLOCKSI Blues, Broadway Back.
Speaker 4 (13:55):
Yes, I love those plays. I think they're beautiful. Yeah,
I have directed chapter two and yeah twice I think so. Yeah,
I love his material.
Speaker 2 (14:10):
Marcia, thank you so much, I mean for being so
open and sharing your story and really incredible and thank
you for saving the day you for The Roommate as
you did, of course, and yeah, we really look forward
to seeing it. It's The Roommate starring Mia Farrow and
Patty Lapone and co directed by Marsha.
Speaker 4 (14:30):
Yes, and thank you you too.
Speaker 2 (14:34):
It's at the Booth Theater through December fifteenth. It's a
it's really a pleasure to meet you. Thank you so much. Marshall.
Speaker 4 (14:39):
Oh lovely to meet and so nice to talk to
you again.
Speaker 5 (14:43):
Minel So Christine, It's just it's a great great to
talk to somebody like Marsha Mason.
Speaker 3 (14:51):
And you saw The Goodbye Girl recently, right.
Speaker 2 (14:54):
Yeah, Like, if it's on, I'll watch it. It's one
of those movies that you can't look away from. And
like I said, I have the most beautiful memories of
it because my mom would always watch it. So there's
there's a nice tie in for me.
Speaker 4 (15:06):
You know.
Speaker 5 (15:07):
Now I'm trying to remember the who wrote the theme
song I eat.
Speaker 2 (15:11):
That was just going through my head too.
Speaker 3 (15:13):
The Goodbye Girl. Who was that theme songwriter?
Speaker 2 (15:17):
I know, we're gonna I think it.
Speaker 3 (15:18):
Was the guy from Bread.
Speaker 5 (15:20):
I think he was in the group Bread in the
seventies and he wrote and I'm just You're goodbye girl.
Speaker 2 (15:26):
I can't remember it now, but producer Natalie We're gonna
help us. She's gonna help us.
Speaker 3 (15:31):
Lead singer of Bread David Gates. David Gates, lead singer
of Bread. Yeah, yeah.
Speaker 2 (15:36):
And what Marcia was saying, you know, I just kind
of feel like that was such a happy, more lighthearted
movie that was real. It was like relatable, but during
a darker period for film, so it stood out beautifully.
Speaker 5 (15:51):
So Yeah, No, it's true because back in those days,
as she was talking about, you know, the movies were
very dark, with Taxi and some of the other movies
that were about, you know, the falling a part of
New York. And what Neil Simon did so brilliantly with
as with that movie was he showed you these actors
who are still struggling to survive in New York City
(16:13):
and they will cling on and so will the city.
Speaker 2 (16:18):
Yeah. I love it. So any any plans to see
any shows coming up for you?
Speaker 5 (16:24):
I'm going to the Outsiders, Great, the musical that won
the Tony Awards. I'm going tomorrow night with Clive Davis,
my old buddy, and so I will give you a
full report.
Speaker 3 (16:35):
Have you seen it?
Speaker 2 (16:36):
No, I haven't seen it. I'm actually going to go
see Cabaret for the second time again. Yes, going to
see it again. Adam Lambert is now taking over the
lead role. So we're going to go check that out
Saturday afternoon, and possibly I guess we'll be talking with
Adam Lambert sometime very soon.
Speaker 5 (16:56):
I would only say this about Cabaret. My old friend,
a dear friend, John Candor, who wrote the music.
Speaker 3 (17:04):
He's still with us at ninety seven years old.
Speaker 5 (17:07):
John Candor, God bless but he is the last of
the great Broadway composers of that era and he's still
with us.
Speaker 2 (17:14):
So that music isn't anyway.
Speaker 3 (17:16):
Let me know what incredible?
Speaker 5 (17:17):
But I will come on. What good is sitting alone
in your room? Come here the music play? How better
of a lyric by Fred Ebb and a melody from
John Candor?
Speaker 3 (17:33):
Is that?
Speaker 2 (17:33):
And you're able to pull it off with bronchitis? Absolute you?
Speaker 3 (17:37):
Thank you very much, He'll talk soon.
Speaker 2 (17:40):
We'll see you next time. Thanks.
Speaker 5 (17:42):
That's it for a son inside by bye bye.
iHeartRadio Broadway presents Inside Broadway, the podcast about everything theater.
It's where you hear what happens from the ticket window
to the stage door, with the stars and creative forces
that make it all come alive. Here are your hosts,
wo Rs Michael Riedle and Light FM's Christine Nagy and Michael.
Speaker 2 (00:24):
I am so pleased to meet this lady, someone I've
admired for so long, legendary actress Marcia Mason, who saved
the day surprisingly jumped into stepping stepping into the roommate
on Broadway for Mia Farrow. We've got to get the
whole story from Marcia herself. Hi Marcia, how are you?
Speaker 3 (00:44):
Hi?
Speaker 4 (00:44):
Christine, I'm just fine, Thank you.
Speaker 2 (00:47):
I am glad to hear that. So you you're involved
with this show as a co director. But she had
to step in on stage, didn't you?
Speaker 4 (00:56):
Yes? I did me. Unfortunately, one of our stage managers, Kelly,
got on COVID and it was like a very difficult
situation because there had been no rehearsal time for understudies
or whatever. So I wound up going on with the
script and making the announcement to the audience, and they
(01:20):
were incredibly supportive and if it weren't for Patty Lapone,
probably it wouldn't have happened. She was just argangually supportive
and wonderful to me, and we did, I think, a
really good job and the audience really liked it, and
I was thrilled to be able to help the show.
Speaker 5 (01:44):
Now, Marsha, when you went on with Patty, did you
turn off your cell phone?
Speaker 2 (01:52):
Yes?
Speaker 4 (01:52):
Absolutely, But you know, unfortunately we have not had a
great deal of interruptions regarding that. I think audiences are
finally being educated and good goodness knows Patty was an
important part of that. She's amazing. She's amazing.
Speaker 5 (02:15):
So I'm just curious, as you know, you and Patty
are you know, your great you're great warriors in this business.
And I don't think you've worked with her before the
old days when you were but when you were a
young actress and just thrown into something and you just
have to run with it.
Speaker 4 (02:32):
That's right, and Patty really really knows that. I mean,
her level of experience, professionalism and talent is just amazing.
And knowing that she was out there, that she was
there for me one hundred and ten percent, and she
was she was totally focused on making sure that I
(02:53):
was comfortable that we could do it. And her she
you know, she was like this big cheerleader backstage before
we went on. And I'll be totally forever grateful and
have her back because of this. She's a remarkable person.
Speaker 2 (03:11):
I really feel like this is going to be like
one of those legendary Broadway stories too. It's incredible. So
can you tell us about the show The Roommate? Now
it's just starring Mia Farrow and Patti Lapone, So it's
a two person two person plays and Marsha Mason.
Speaker 4 (03:28):
Yes, well, just for four performances hopefully.
Speaker 2 (03:35):
And what's the show about? What's the storyline the show?
Speaker 4 (03:39):
The story of the Roommate is about two women who
come to who are kind of thrown together. They don't
know each other, and in the course of one month
they learn from each other in a fabulously funny and
touching and emotion way that's just constantly a surprise, and
(04:06):
the audience is just loving the material. When I read
the material originally, I didn't even know, I must tell you, honestly,
I didn't know it was as funny as it is,
but it is. It's hysterically funny, and it's wonderfully touching,
and it's about relationships and friendships and changing your life
(04:31):
and being courageous.
Speaker 2 (04:33):
It's just running through December fifteenth. I just want to
add that because as we talk about this, you're going
to want to get tickets.
Speaker 5 (04:39):
Yeah, But Marsha, if Christina and I come to see it,
will you be on that night for us?
Speaker 4 (04:46):
Well, now I'm hoping not. I'm hoping you'll get to
see Mia because the two of them, they have a
great affection for each other. They're old, old friends. They
met years ago in Connecticut because their children went to
the same school, and all these years they've been very close,
(05:10):
and so to have that kind of relationship on the
stage makes the relationship between them in these characters just
very very special. It's wonderful to watch. I've got to
tell you, it's really terrific.
Speaker 5 (05:27):
We are talking to the great actress, Marsha Mason. When
was there a moment in your career as an actress
where you thought, I want to be a director.
Speaker 4 (05:38):
You know, it came sort of like in the eighties,
nineteen eighties. I wanted to have because I kept feeling
that I understood material in a certain way. And maybe
I gained that because of my relationship with Neil Simon
(05:58):
and his and the her you know collaboration that we had.
But I began to have visions when I would read
plays and I thought, wow, this could be wonderful, you know,
to be able to explore it, and so I started out.
My very first job was actually at second stage because
(06:22):
Carol Rothman and her then partner Robin offered me the
opportunity to do a play and it was successful and
I got my feet wet, and I just continued to
do it whenever I could. And over the years, you know,
(06:45):
there was a big space of time where I didn't direct.
I was living in New Mexico and working whenever. But
then I really felt more and more because there were
parts really of they for me. After you pass a
certain age in film and stuff. I mean, yes, there
was stuff that I did in television and I was
(07:08):
very happy doing it, but I began to really focus
on directing so that I could continue to be a
creative individual.
Speaker 2 (07:17):
And Marsha, I wanted to, if you don't mind, go
back a little further, because my mom's favorite movie was
The Goodbye Girl. Yes, so I have the most beautiful
memories of watching that with her, seeing you how fun
and funny that was. What's your memory of it and
how do you feel reflecting on it today?
Speaker 4 (07:39):
Well, it was It was absolutely joyful. First of all, Dreyfus,
Richard Dreyfus and I had a great chemistry, just instantaneous.
We read the script together one day with Ray Stark
and Neil. We just connected in a kind of inimitable way,
(08:00):
you know, I can't even describe it. And so the
actual shooting of it was just so much fun. And
it's very interesting to me that a lot of mothers
and daughters watched the film, and it came at a
certain time when the films in the seventies were kind
(08:23):
of dark and not sort of family oriented, and so
we had no idea we had the hit that we did.
We just thought it was a modest film and we
hoped it would do well, But we didn't realize that
it was in the zeitgeist sort of because all of
(08:43):
a sudden, everybody kept saying, oh my gosh, we have
a film that we can take, you know, girlfriends to boyfriends,
to daughters, to families to So I think that was
part of the reason that it has lived as long,
and fortunately it still stands up, you know, because the
(09:05):
writing was so good and we had such a good
time doing it.
Speaker 5 (09:10):
And you know, Christine, you've seen the movie recently and
I looked at it just the other day, that moment Marsha,
when you when you lose the shopping bag and the
spaghetti just spills out on the street, And was that
what did Neil write?
Speaker 4 (09:25):
That?
Speaker 5 (09:26):
Was that planned? Did the director do that? I mean,
it's it's it's a great.
Speaker 3 (09:31):
Movies.
Speaker 4 (09:32):
Yeah, I the way I I mean, we did improvise
some things, you know what I mean. We were given
Richard and I were given free reign in some instances.
So I remember I thought that would be a fun
thing to do, and they didn't want me to do
it because they were nervous that I would hurt myself.
(09:54):
But I said, no, no, I can do it. And
so it turns out that that's is You're not alone.
Often people tell me that they particularly liked that scene,
and how did.
Speaker 2 (10:07):
Your life change after that? Because I would imagine at
that point, now people are recognizing you things. Things had
to be different after that movie.
Speaker 4 (10:16):
Well they were actually different before because I was just
a working actor doing rep at act when I was
offered Cinderella Liberty, and all of a sudden, there I
was being nominated for a Golden Globe and for an
(10:37):
Academy Award, and then I made a commitment to come
to New York and do a play and it was
a Neil Simon play called The Good Doctor. And we
wound up getting married after three weeks. So that's really
where everything turned. Yeah, but I got to enjoy together
(10:59):
the success of The Goodbye Girl, and I think that
really made it great for us, you know.
Speaker 5 (11:06):
Yeah, I remember Marsha interviewing you all these years. That
moment in chapter two. I think it was that you
were in with Neil when he put his hand on
your shoulder, and that's when you thought, I'm in love
with this guy.
Speaker 3 (11:20):
Is true?
Speaker 4 (11:21):
Yes, it was. It was The Good Doctor. It was
not Chapter two. It was a Good Doctor, that's right.
And it was the first day of rehearsal, and it
really was a otherworldly experience because we were doing a
reading around the table in the theater that he owned,
(11:42):
and he came around and I was still seated at
the table and he just placed his hand on my shoulder.
I reached up totally spontaneously and tapped it three times,
and I'm telling you, it was like an electric went
through me, so much so that I excuse myself and
(12:03):
I had to go to the bathroom and just calm
down because it was such an otherworldly experience. So it
was rather important and maybe that's part of the reason
why it all happened so fast.
Speaker 5 (12:20):
Yeah, and you know, Marsha I I just before we
let you go, I have to say, you know, Neil
and I were somewhat friendly over the years, and I
do remember his last wife, Elaine Joyce, calling me up
and saying, you've got to see Neil because he was
drifting into dementia.
Speaker 4 (12:40):
Dementia.
Speaker 5 (12:40):
Yeah, but she told me that his hand would always
go up in the air and he was always writing
all the time. Did you see him before he died?
Speaker 4 (12:51):
Yes? Uh huh, Yes, I mean I didn't see him
at the very very end, but we were able. I
mean every time that we saw each other, it was
always with great affection. And actually when the last time
we worked together was in the nineties when I did
(13:12):
Prisoner of Second Avenue in London with Richard at the
Royal Haymarket, and we had this opportunity and he was
just dating Elaying then and we had a great experience
together working on that show. So I felt it was
(13:33):
really a special relationship.
Speaker 5 (13:36):
Well, there's never going to be anybody like Neil Simon again,
I mean, he was one of.
Speaker 3 (13:40):
The great great playwrights I know.
Speaker 4 (13:43):
And I think no odd in Marsha, Jack, Yes.
Speaker 5 (13:47):
You should direct with Jack O'Brien, you should direct his
great trilogy BLOCKSI Blues, Broadway Back.
Speaker 4 (13:55):
Yes, I love those plays. I think they're beautiful. Yeah,
I have directed chapter two and yeah twice I think so. Yeah,
I love his material.
Speaker 2 (14:10):
Marcia, thank you so much, I mean for being so
open and sharing your story and really incredible and thank
you for saving the day you for The Roommate as
you did, of course, and yeah, we really look forward
to seeing it. It's The Roommate starring Mia Farrow and
Patty Lapone and co directed by Marsha.
Speaker 4 (14:30):
Yes, and thank you you too.
Speaker 2 (14:34):
It's at the Booth Theater through December fifteenth. It's a
it's really a pleasure to meet you. Thank you so much. Marshall.
Speaker 4 (14:39):
Oh lovely to meet and so nice to talk to
you again.
Speaker 5 (14:43):
Minel So Christine, It's just it's a great great to
talk to somebody like Marsha Mason.
Speaker 3 (14:51):
And you saw The Goodbye Girl recently, right.
Speaker 2 (14:54):
Yeah, Like, if it's on, I'll watch it. It's one
of those movies that you can't look away from. And
like I said, I have the most beautiful memories of
it because my mom would always watch it. So there's
there's a nice tie in for me.
Speaker 4 (15:06):
You know.
Speaker 5 (15:07):
Now I'm trying to remember the who wrote the theme
song I eat.
Speaker 2 (15:11):
That was just going through my head too.
Speaker 3 (15:13):
The Goodbye Girl. Who was that theme songwriter?
Speaker 2 (15:17):
I know, we're gonna I think it.
Speaker 3 (15:18):
Was the guy from Bread.
Speaker 5 (15:20):
I think he was in the group Bread in the
seventies and he wrote and I'm just You're goodbye girl.
Speaker 2 (15:26):
I can't remember it now, but producer Natalie We're gonna
help us. She's gonna help us.
Speaker 3 (15:31):
Lead singer of Bread David Gates. David Gates, lead singer
of Bread. Yeah, yeah.
Speaker 2 (15:36):
And what Marcia was saying, you know, I just kind
of feel like that was such a happy, more lighthearted
movie that was real. It was like relatable, but during
a darker period for film, so it stood out beautifully.
Speaker 5 (15:51):
So Yeah, No, it's true because back in those days,
as she was talking about, you know, the movies were
very dark, with Taxi and some of the other movies
that were about, you know, the falling a part of
New York. And what Neil Simon did so brilliantly with
as with that movie was he showed you these actors
who are still struggling to survive in New York City
(16:13):
and they will cling on and so will the city.
Speaker 2 (16:18):
Yeah. I love it. So any any plans to see
any shows coming up for you?
Speaker 5 (16:24):
I'm going to the Outsiders, Great, the musical that won
the Tony Awards. I'm going tomorrow night with Clive Davis,
my old buddy, and so I will give you a
full report.
Speaker 3 (16:35):
Have you seen it?
Speaker 2 (16:36):
No, I haven't seen it. I'm actually going to go
see Cabaret for the second time again. Yes, going to
see it again. Adam Lambert is now taking over the
lead role. So we're going to go check that out
Saturday afternoon, and possibly I guess we'll be talking with
Adam Lambert sometime very soon.
Speaker 5 (16:56):
I would only say this about Cabaret. My old friend,
a dear friend, John Candor, who wrote the music.
Speaker 3 (17:04):
He's still with us at ninety seven years old.
Speaker 5 (17:07):
John Candor, God bless but he is the last of
the great Broadway composers of that era and he's still
with us.
Speaker 2 (17:14):
So that music isn't anyway.
Speaker 3 (17:16):
Let me know what incredible?
Speaker 5 (17:17):
But I will come on. What good is sitting alone
in your room? Come here the music play? How better
of a lyric by Fred Ebb and a melody from
John Candor?
Speaker 3 (17:33):
Is that?
Speaker 2 (17:33):
And you're able to pull it off with bronchitis? Absolute you?
Speaker 3 (17:37):
Thank you very much, He'll talk soon.
Speaker 2 (17:40):
We'll see you next time. Thanks.
Speaker 5 (17:42):
That's it for a son inside by bye bye.
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