Learn the process of recording a Broadway Cast Album

Angela Lansbury, recording Gypsy, 1973
Angela Lansbury, recording Gypsy, 1973 (Photo courtesy: Michael Putland)

If you enjoy Broadway musicals as much as I do and if you haven’t heard these four extraordinary podcasts before you’re in for a treat—and a bit of a behind-the-scenes education:

MasterworksBroadway.com celebrated their launch with a brilliant, insightful series of podcasts that explores the history, the development, and the importance of the original cast recording. Five experts—from the legendary producer Thomas Z. Shepard to theater historian and writer Laurence Maslon—discuss how cast recordings are made and why they matter.

  • The first episode charts the history of the Broadway cast recording and how it came to be an important part of the Broadway experience.
  • The second episode takes you behind the scenes in the decision to record a Broadway musical, then the challenge of actually making the recording, usually in a single day
  • In the third episode, our experts share favorite stories, memories and insights from their experiences in the often frantic few hours that give birth to an original Broadway cast recording
  • The final episode in this series leaves the spotlight to multi-Grammy winner Thomas Z. Shepard, one of the greatest of all producers of original cast recordings, talking about his own experience with Broadway recordings in a celebrated career that spans half a century.



By Stephen Brockelman

As a Sr. Writer at T. Rowe Price, I work with a group of the best copywriters around. We belong to the broader creative team within Enterprise Creative, a part of Corporate Marketing Services. _____________________________________________ A long and winding road: My path to T. Rowe Price was more twisted than Fidelity’s green line. With scholarship in hand, I left Kansas at 18 to study theatre in New York. When my soap opera paychecks stopped coming from CBS and started coming from the show’s sponsor, Proctor & Gamble, I discovered the power of advertising and switched careers. Over the years I’ve owned an ad agency in San Francisco; worked for Norman Lear on All in the Family, Good Times, Sanford and Son, and the rest of his hit shows; and as a member of Directors Guild of America, I directed Desi Arnaz in his last television appearance— we remained friends until his death. In 1988 I began freelancing full time didn’t look back. In January 2012 my rep at Boss Group called and said, “I know you don’t want to commute and writing for the financial industry isn’t high on your wish list, but I have a gig with T. Rowe Price in Owings Mills…” I was a contractor for eight months, drank the corporate Kool-Aid, became a TRP associate that August, and today I find myself smiling more often than not.

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