Half Hour with Jeff & Richie (Post-Show Broadway Discussions and Interviews)

Why is there still no Tony Award category for wig design? Most audiences never even realize the actors on stage are wearing wigs, and that is exactly the point. On this Spotlight Series episode of “Half Hour,” we sit down with Nikiya Mathis, the first wig designer to receive a special Tony Award, for Jocelyn Bioh’s Jaja’s African Hair Braiding. Nikiya takes us from doing her classmates’ hair as an acting student at NYU Tisch to designing Schoolgirls; or, The African Mean Girls Play on Broadway. She shares how her crews get actors salon ready in about five minutes, how she pulled off a full hair transformation on an actor who never leaves the stage, and why her wig design journey taught her more about leadership than acting ever did. Plus, we hear about her Tony night and a wig moment with Andre De Shields at Cats: The Jellicle Ball that we will not be forgetting anytime soon.

Follow Nikiya on Instagram at @nikiyamathis and her hair page @our_black_tresses.

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In this episode of “Half Hour,” we discuss Midnight, the new musical written and directed by Todrick Hall at the Daryl Roth Theatre. Few new musicals take risks like this, and Midnight takes them on purpose. That ambition has divided audiences online, and we wanted to know whether it lands. We talk about the score, the scale of the storytelling, standout lighting, costumes, sound, and scenic design, and the ensemble that carries it. We also ask what the show needs before a possible move to Broadway. Have you seen Midnight, or only read about it? Let us know in the comments.

Follow and connect with all things @HalfHourPodcast on ⁠Instagram⁠⁠, ⁠⁠TikTok⁠⁠, and YouTube. Share your thoughts on this production in the Spotify comments, and let us know what you would like us to cover next. If you enjoy these post-show discussions, follow Half Hour and leave a rating and review so more theater lovers can find the podcast.
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In this episode of “Half Hour,” we discuss Slam Frank, the satirical musical now in its second Off-Broadway run at the Orpheum Theatre. Few shows split an audience like this one. Some people walk out, some call it a ten out of ten, and plenty leave unsure whether they were supposed to laugh at all. Whether you’re deciding if it’s for you or won’t make it downtown before the limited run ends, this conversation gives you the full picture.

With music and lyrics by Andrew Fox and a book by Joel Sinensky, Slam Frank follows an ultra-progressive theater company staging The Diary of Anne Frank as an Afro-Latin hip-hop musical. We talk about the show-within-a-show framing, its satire of theater culture, how it compares to The Producers, and why we walked to the subway in silence before landing in two different places on it. We also get into Sam LaFrage’s direction, Esosa Oviasu’s choreography, a score that nods to Hamilton, the live camera work, and performances from Olivia Bernábe as Anne and Amelia Louise Barr as Margot. We close with whether this show belongs on Broadway or should build its home Off-Broadway.

Loved it or hated it? Tell us why in the Spotify comments.

Follow and connect with all things @HalfHourPodcast on Instagram⁠, ⁠TikTok⁠, and YouTube. Share your thoughts on this production in the Spotify comments, and let us know what you would like us to cover next. If you enjoy these post-show discussions, follow Half Hour and leave a rating and review so more theater lovers can find the podcast.
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Why does it feel like a few companies decide which shows we see and how much we pay to get in? On this Spotlight Series episode of “Half Hour,” we sit down with antitrust scholar Spencer Weber Waller, author of Power and Greed: Monopolies, Mergers, and Cartels on the American Stage, who spent years digging through the Shubert Archive, tucked in the attic of the Lyceum Theatre, to find out. Spencer shares what surprised him in those files, including records from the Justice Department’s monopoly case against the Shuberts, and explains antitrust law in plain English. We trace how the Theatrical Syndicate controlled bookings, how the Shubert brothers fought back, why vaudeville faded, and what this history means for today’s Live Nation/Ticketmaster case: break it up, or make it change its ways?

Get Spencer’s book, Power and Greed: https://www.amazon.com/dp/1350578096

Follow and connect with all things @HalfHourPodcast on Instagram, TikTok, and YouTube. If you enjoy these discussions, follow “Half Hour” and leave a rating and review so more theater lovers can find the podcast.
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In this episode of "Half Hour," we take a deeper look at School Girls; Or, The African Mean Girls Play, Jocelyn Bioh's comedy now making its Broadway premiere with Manhattan Theatre Club at the Samuel J. Friedman Theatre. Set at Aburi Girls Boarding School in Ghana in 1986, the play follows Paulina, the school's queen bee, as she sets her sights on the Miss Ghana pageant. Then a pageant recruiter arrives and a new student from America changes the competition. We break down how the 80-minute play opens like a familiar teen rivalry and turns into something more serious, and how Bioh uses a single school cafeteria to explore colorism, class, beauty standards, and the reach of American pop culture. We also talk about Whitney White's direction, which reunites her with Bioh after Jaja's African Hair Braiding, the performances from Denée Benton, Jasmine Amy Rogers, Patina Miller, and Heather Alicia Simms, the costume, wig, hair, and makeup design, and the ending that stayed with us after we left the theater. We close with early Tony predictions and who we think should see it before the limited run ends.

Follow and connect with all things @HalfHourPodcast on ⁠⁠⁠⁠Instagram⁠⁠⁠⁠, ⁠⁠⁠⁠TikTok⁠⁠⁠⁠, and ⁠⁠⁠⁠YouTube⁠⁠⁠⁠. Share your thoughts on this production in the Spotify comments, and let us know what you would like us to cover next. If you enjoy these post-show discussions, follow Half Hour and leave a rating and review so more theater lovers can find the podcast.
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