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[0:00] Robert Schneider: Before he was a singing Richard Nixon, before he was a mover who barely moved, before he was chasing a Tony Award that always seemed just out of reach, Gene Barry was television royalty. For more than a decade, America welcomed him into their living rooms as the suave Detective Amos Burke, the legendary Bat Masterson, and publishing mogul Glenn Howard on The Name of the Game. Handsome, sophisticated, and impossibly self-assured, Barry had become one of television's most recognizable faces for 15 glorious minutes. There was just one problem. He wasn't a Broadway star, not really. Gene Barry occupied a strange place in show business. He was famous enough to headline a major musical, famous enough to get his name above the title, famous enough to convince investors to write very large checks.

But he was never quite in the same league as Robert Preston, Rex Harrison, Zero Mostel, Richard Kiley. He was a star, but a B-list star, trying desperately to climb into the A-list. And not one but two productions promised to transform Gene Barry from television celebrity into legitimate Broadway leading man. Neither made it. This is the story of Gene Barry's Broadway Gamble, a tale of ambition, politics, celebrity, and two musicals that couldn't survive the weight of their own star. Yes, both Spotlight and Watergate the Musical on today's Broadway Bound, the musicals that never came to Broadway.

[1:27] Robert Schneider: You are my lucky star. Hi, I'm Robert Schneider, and welcome to another episode of Broadway Bound, the musicals that never came to Broadway. All of the stars we discussed this season have been pretty A-list stars. Betty Davis, Angela Lansbury, Robert Preston, all above the title names, all names that would encourage ticket buyers to come out and buy. And if the stars failed, like they did on all the shows this season, their names would carry enough weight that they could get work in other mediums. Bea Arthur went to television. Jerry Lewis went into lecturing. Betty Davis went back to film. But what if the star is B-level, was always B-level, and wanted to ascend to a higher level, and wanted to use musical theater as the way of doing that?

And that is what happened with our star du jour, Gene Barry. Now, today, us in musical theater know Gene Barry as the original George in La Cage aux Folles, from which he was almost fired. But who was he before that? Well, he wasn't always Gene Barry. When he was born in 1919, his name was Eugene Klass, but soon it was clear that young Eugene was quite talented. As a kid, he was a virtuoso on the violin, a singer so strong he was selected for a vocal scholarship during his high school years. Now, the name Eugene Klass would look a bit too ethnic on a Broadway marquee in the 1940s, so he changed it to Gene Barry, as an homage to his idol, John Barrymore. Off to Broadway, but nothing that catapulted him to the league of Broadway stars of the 1940s. His stiffness and great voice were appropriate for revivals of operettas like The New Moon, Rosalinda, The Merry Widow, and opposite the great Mae West in Catherine Was Great.

I love that title, Catherine Was Great. Hollywood was still a bit away because the television industry was booming in New York City, and Barry, with his great looks, chiseled jaw, bedroom eyes, was soon being used for tons of live television, where he could cut his teeth on camera, and of course Hollywood would take notice with that deep baritone and action star charisma. And Barry was soon cast in The Atomic City, The War of the Worlds, The Girls of Pleasure Island, where he played various doctors and military men. But in 1958, Barry hit the big one. A successful television series called Bat Masterson, a western about a well-dressed gambler who used his sword cane to fend off enemies, not guns for this dandy.

Believe it or not, that trait was what got Barry to sign on for the role. Barry didn't want to leave film to play an ordinary cowboy. No, no, no, no. He wanted his cowboy to be unique. So Masterson would stand out from Gunsmoke and Wagon Train, Maverick, The Rifleman, and many others. Now, if you ask people about TV westerns, they will mention the other ones I mentioned before they mention Bat Masterson. Critics loved it, but it was too erudite, and the novelty wasn't strong enough for those who liked westerns. They wanted to see guns, not a sword, and Bat Masterson disappeared after three seasons, not really helping Barry's career in film. Barry went back to Broadway for a one-night-only show in 1961 called Happy as Larry, and he did the usual summer stocks, hoping to stay in the public's eye.

Luckily, in 1963, he got cast as Amos Burke, the single, unconventional millionaire LAPD homicide captain in the TV series Burke's Law, which is like a murder, she wrote, a dead person at the beginning with tons of celebrity suspects. Originally, it was Dick Powell, but Barry, who won a Golden Globe for the role, stepped into his expensive loafers. The show did well, but then producer Aaron Spelling played with the show's formula in its third and last season, making Burke a secret government agent. By 1966, Burke was no longer. But never fear, Barry was back two years later with Robert Stack and Tony Franciosa in a very unique TV show, I like this one, called The Name of the Game, where each week, each of those men would alternate being the leads.

Barry, once again, second choice, took over for George McCready. This show also ran three seasons. After that, Barry traveled to the UK to star in The Adventurer, a British TV series that had Barry playing a spy who posed as a movie star. Different time, folks. As his career lingered, and he filled the days in Hollywood doing episodes of Charlie's Angels, Greatest Heroes of the Bible, where he played Abraham, and Guyana, Call to the Damned, a few guys in New York were working on a show that would bring Barry back into the spotlight, literally.

[5:39] Robert Schneider: Every decade has its own themes, ideas that, when you look back on the art of that period, some things that really stand out. For the 1970s, it was nostalgia and analysis. Producers like Harry Rigby made everything old new again with No No Nanette, producer Ken Weissman made Grease Lightning a household idea, and producer Hal Prince trotted out the stars of yesterday in Follies. In the 70s, therapy, analysis, group, meditation, self-healing—all of that came into vogue. People who were once embarrassed to discuss psychiatry would not shut up about it. Woody Allen's movies were always featuring people chatting about Freud, Jung, and their mantras. Therefore, wouldn't it be great to combine the two?

Okay, it wouldn't be, but some people thought it was great. Specifically, Leonard Starr. Now, if you like comic books, then you might know Leonard Starr. He created the newspaper comic strip On Stage, and he revived Little Orphan Annie in the funny papers as well. Leonard had an idea. The idea was about a washed-up musical movie star—think a down-on-their-luck Fred Astaire or Gene Kelly—who is forced to make ends meet by auctioning off his memorabilia to adoring fans. When he sees his cat and cane—the one he used for all of his movie musicals—he begins to look back on various moments of his life to realize he failed as a husband three times, as a dad twice, and as an artist. All for what? To stay in the spotlight.

Ah, we love a metaphor. Basically, the audience is being asked to watch a wealthy, miserable famous person be miserable in their wealth and fame for three hours. But with encores. But hey, if it worked for Richard III, why not the star of Leonard Starr's new musical, Jack Beaumont? So, Starr would write the book to the musical, which he was now calling Spotlight. The story was bought by Sheldon Lubliner, who would produce it all by himself. Lubliner really wasn't a musical guy, having produced Arturo Ui with Al Pacino and Lenny. Not exactly toe-tappers. He got lyricist Lynn Duddy and composer Jerry Bresler to do the score. You might not know the names, but you know Lynn's lyrics from the song Johnny Angel and Jerry's compositions from Five Guys Named Mo.

Plus, as a team, they wrote a musical a week for TV shows like Arthur Godfrey and Jackie Gleason, but never a full-on book musical. Lubliner began to assemble a creative team, and he was able to secure producer and general manager David Black to not produce it or GM it, but to direct it. Black was a producer on The Impossible Years, Forum, and George M., but he's probably best known today for co-producing the flop play Paris Is Out with a man by the name of Donald J. Trump. Remember that name because it comes back. Paris Is Out, not Donald J. Trump. Well, the guys get to work, and they begin to pen some songs. You want to hear some? Boy, I know I do. Well, let's start with the first song, shall we?

The Curtain Opens on a Beverly Hills Mansion, 1978. The living room is cluttered with various mementos and memorabilia from Jack Beaumont's past movie hits. As he wanders around amongst the memorabilia, he sings, Farewell, Dolce Vita. No life was ever sweeter. I'll miss many joys that filled my cup. Today is the day of reckoning. My creditors are beckoning. In other words, my friends, the jig is up. I know I've been extravagant. I know I've been a fool. I know I've done a lot of things I shouldn't. If I could do it over and could lead a different life, you can bet your violets I wouldn't. No regrets, no regrets, no apologies, no frowns, no frets, no regrets for what I've wasted when I think of all the joys I've tasted.

Caviar, chauffeur car, drinks for all at every bar. Yes, the good life may be gone for good, but the memories are sublime. No regrets, no regrets, because I've had a wonderful time. Going to hell has been heaven. I'm ready for chapter 11. Now that I know what I know, would I do it differently? No, no, no, no, no, no, no, no, no. Not a sigh, not a cry, not an alibi have I. I have done exactly what was right and I like what I have done. Yes, a life of fun must have its price, but the price was nowhere near the fun. Not a frank, not a stew, not a dime, but a face of future. Tearfully never sad or tearfully broke, no joke, but by a crime. Tell that old man trouble, ramblin' over name and stigma, damnin' over kindness and love, hell of a time.

[14:02] Robert Schneider: Soon the house is flooded with people, including his estranged daughter, Holly, his estranged son, Chip, brought there to his surprise by his Jiminy Cricket of a manager, Siggy, his wait, Siggy, yeah, Siggy, that's his name. So Siggy is a stereotypical Hollywood type and he gets, in my opinion, the funniest song of the show. If you didn't serve in World War II or ever receive a telegram, you might not find it funny, but here it is. Take it away, Siggy. And Siggy asks himself, how did it happen? How did it happen? I'll tell you how it happened. And he hears the voice of Clark Gable saying, frankly, Scarlett, I don't give a damn. The day those famous words were spoken, that's the day the dam was broken.

Innocence had left the industry, cause all at once photography descended to pornography. You can't believe what people pay to see. It used to take a face to make a great big star. Today, how big you are, you'd bet, how big you are. Such a business, selling sex. It's a business rated X. The scene that Jonah scenes with lovely girls like Myrna Loy. Now Joe is Linda Lovelace doing. Ay-yi-yi-yi-yi-yi. Is it culture on the rise? Is it garbage in disguise? The actors don't wear costumes cause the best's the only prop. Today we don't need billing when we mention poor Santa. Such a business, such a business. Debbie Reynolds, please come home. Ronald Reagan, you forsook us. Marlon Brando, come around.

You're naked, took us. If Disney were alive today and tried to make a buck, he'd have Mickey Mouse and Mindy Mouse in bed with Donald Duck. If Romeo and Juliet were being made today, he'd have to be a lesbian and Romeo'd be gay. And just to post an O.E.O., she'd tell a lie or two. Me tries to love her nose, she'd grow it on the hoo-hoo-hoo. If I met a lawful nanny, though she's older than your granny, would be peddling a fanny for a dime. Playing a fool. Filthy business. Bucks were sucked cause they're making a filthy buck. They come into the movies, these peculiar looking cats. Regardless of the weather, they've got rain clothes on their laps. Things have gotten out of hand at the beer and the trams.

And what's going on in driving movies simply must be seen. They're watching it, yet doing it in rhythm with the screams. It's the bottom, it's the horror. It's like Sodom and Gomorrah. Heaven send us a solution to this horrible revolution. These degenerate insurgents, it's a sexual perversion. I tell you, if Louis B. Mayer were alive today, he would drop dead.

[14:53] Robert W. Schneider: Jelly Temple, please, come home. Okay, so the kids are there, and of course it's awkward. But what is even more awkward is when Jack realizes that his iconic hat and cane are going to be auctioned off. This is like Bogie's trench coat, or Marilyn Monroe's white dress, or Meryl Streep's tics. They are iconic for Jack, apparently. And when he picks up his hat and cane, the whole living room disappears, and we are transported to his first movie in 1955. Jack is nervous, and his dresser Charlie is there to calm him down. And so out comes the song "Spotlight," a song of cheer-up. Let's hear it.

[15:44] ♪ Musical number: "Spotlight" — performed by Gene Barry ♪

[17:49] Robert W. Schneider: Ah yes, brilliant lyrics like, in every beam, you find a dream. Now, I don't find that as offensive as the fact that Jack sings it to Charlie. What? Not the other way around? Nope. Gene Barry needs the title song, kids. Once again, dramaturgically, this man is nervous. Why would he sing a song about loving the spotlight if he was nervous of the spotlight? This song should go to Charlie, not Gene Barry. I'm sorry, Gene. So, we're still in 1955, he shoots the musical, and he is a big hit. It's massive. One of the best dancers ever. He especially impresses an unknown actress on set, Marie, who will become his Svengali and his first wife. They jump to 1960, and Jack is a star and a great dad, and Marie is a drunk and hates being a mom.

She wants to be famous, dammit. So off she goes, leaving Jack to be a single dad, which could lead to some really great scenes. But they don't. There's just a montage of Jack's potential mates. Then he marries Lou Ellen, who also wants to be a stay-at-home wife. And after four lines, off she goes. And now we meet Janet, a psychiatrist. But Jack can't confront issues, and she says such meaningful lines like, you model your life on your film scripts, and your wives are only characters to you. Now, already, "Spotlight" is suffering from the greatest cardinal sin: telling and not showing. We literally spend 30 seconds with the wives, and all they do is yell. We don't know why Jack likes them, what makes him special, how he is with his kids.

Just telling us what has happened. The next scene jumps, surprise, surprise, and it's 1975, and Chip, the son, is there. How? How? How did he get there? We don't know when he was born, or whose kid he is. He's just there. Then we get a number that, when I first read it, I re-read it a few times, because I was like, I have to be missing something. Nope. It's a first for a musical. Okay, friends. Holly. Daughter, right? Holly is an awkward teenager, and she feels that she is unattractive. The only date she can get is with the ugliest guy in school, who is named Harvey Schneider. Schneider. So, fuck y'all. And he has just dumped her. So, she talks to her dad about it. Now, this would be a great moment for dad to sing a song to her about her inner beauty, self-respect, loving yourself, daddy's little girl. Nope. He brings up the fact that she hasn't grown breasts yet. Are you still with me? Well, great, because now he's going to sing a song about it. Take it away, Jack Beaumont.

[20:14] ♪ Musical number: "Little Imperfections" — performed by Gene Barry ♪

[22:24] Robert W. Schneider: And this isn't a number that's ironic or supposed to show he's a horrible father. The writers actually thought this was good. Then, oh God, help us, Siggy sees Holly, transformed now, and says, you're gonna be an actress. But Jack won't have it. And when Jack is arguing with Holly, everything freezes. And Chip, who is now going to New York City for some reason and hasn't told his dad or his mom, whoever that is, who is this guy? Everything freezes. Everything freezes. And Chip sings a song of subtlety just called "Notice Me."

[23:10] ♪ Musical number: "Notice Me" — performed by Chip ♪

[23:44] Robert W. Schneider: And then has a great last line: Daddy, it's my life, my dream, my time. And she does become a star. And at the end of the first act, the spotlight literally moves from Jack to her. Ooh, now it's time for intermission. And honestly, I need to call my analyst and have him tell me why I thought seeing this show was a good idea. Act two starts with, well, I'm gonna let the songwriting team of Duddy and Bresner tell ya. Now Jack's career has begun to wane. He's no longer the box office attraction that he once was. And he walks out on the street where he's surrounded by a group of movie fans who think that they recognize him. And they do that thing that all fans do. They think they're complimenting him, but in fact, their questions destroy his ego.

[25:04] ♪ Musical number: "Used to Be Him" — performed by Ensemble ♪

[26:55] Robert W. Schneider: Well, Jack can't take it anymore. His daughter, Miss Bosoms of 1975, is now more famous than him, and it eats him up alive. He can't even stand talking to Chip, and honestly, I don't blame him. I don't like talking to strangers either. Jack has a nervous breakdown that's described in the script as, here's his first line, are you ready? You are you, and I am me. I am who? I am what I was. Who am I? And then here's the stage direction. Number, a dance number, possibly including a song. I would hope it's a musical. Searching through his past, doing battle with it, figures appear in groups to attack him with the voices of his past. You're not gonna buy me off like you've done all your life. Notice me.

Tell her I was a good wife, will you, Jack? These lines should be danced to a different, rhythmic, distorted beat that one would think. Perhaps you're not gonna buy me off would be a soft shoe. By number's end, we should know the past is too painful, and the number ends when surrounded by his past, he cries, stop! Immediately, the end of "What Am I Bid," a song, is on him, interrupting his dream. We hear the end of the sale of the hat and cane. The living room rolls on. It is empty. Jack looks around his dismantled room and sits alone. Ah, genius. Finally, at the end, he is back in the present, an empty living room. Now, this is the one scene in the show that seemed to work by all accounts. Jack is alone when an old lady comes in and says she lived in Indiana, and her and her late husband's weekly highlight was seeing Jack Beaumont in a movie.

In one film, Jack went to Paris, so this sweet old couple did too. She had come to the auction to buy something of Jack's, but nothing was affordable in her fixed price range, so she's leaving empty-handed. But Jack surprises her, gives her a prop from the Paris movie, and off she goes. It's a very sweet scene, a very well-written scene. Then Holly and Chip enter and bring Jack his top hat and cane because these kids purchased it for him, and Jack decides to give up acting, turning down a miniseries to spend more time with his kids, but they can't let him do that, and they make him take the series. Jack is left alone, onstage, happy to be repeating another toxic cycle. Not ironic. The authors wanted this to be real.

Ah, yes, authors. So David Black wasn't a fan of Leonard Starr's script and wanted a new writer to take over him. Yes, can you imagine how bad the first draft of this must have been if this is the improved version? And for that, he turned to the author of "Paris Is Out," a character actor named Richard Seff, who never wrote a musical before, but how hard could it be? And all he had to do was work the preexisting score into this new book. In his autobiography "Supporting Character," Richard Seff brought up all the red flags he ignored. Black had never directed, Lubliner had never been sole producer, so he'd be learning on the job, and at $750,000 investment, that's a bit scary. The writers had never done a broadcast.

[30:17] Robert W. Schneider: Welcome back to Broadway Bound. Today, we're diving into the fascinating world of musicals that never made it to Broadway, focusing on Gene Barry and two of his notable projects: Spotlight and Watergate: The Musical.

[30:47] Robert W. Schneider: Gene Barry was a versatile performer, known for his work in both television and theater. His career spanned decades, and he was involved in some truly unique productions.

[31:17] Robert W. Schneider: Let's start with Spotlight. This musical was an ambitious attempt to capture the glitz and glamour of the entertainment industry, but it faced numerous challenges along the way.

[31:43] Robert W. Schneider: The concept of Spotlight was intriguing. It aimed to showcase the behind-the-scenes workings of a Broadway production, but it struggled to find its footing.

[32:09] Robert W. Schneider: One of the key elements of Spotlight was its star-studded cast, which included Gene Barry. His charisma and talent were undeniable, but the show ultimately fell short of its Broadway aspirations.

[32:35] Robert W. Schneider: Now, let's shift gears to Watergate: The Musical. Yes, you heard that right. This production took the infamous political scandal and attempted to turn it into a musical comedy.

[33:00] Robert W. Schneider: The idea of a kick line in a show about Watergate is both absurd and fascinating. It speaks to Broadway's belief that anything can be transformed into a musical, no matter how unlikely.

[33:26] Robert W. Schneider: Watergate: The Musical had its share of challenges as well. The subject matter was heavy, and finding the right tone for a musical about such a serious topic proved to be difficult.

[33:52] Robert W. Schneider: Despite its challenges, Watergate: The Musical showcased Gene Barry's talents in a different light. He brought a unique energy to the production, even if it didn't achieve the success it aimed for.

[34:18] Robert W. Schneider: Both Spotlight and Watergate: The Musical serve as reminders of Broadway's adventurous spirit. The belief that any story can be told through song and dance is what makes this art form so special.

[34:46] Robert W. Schneider: As we explore these musicals, it's important to remember the creative risks that artists take. Not every project will succeed, but each one contributes to the rich tapestry of musical theater history.

[35:12] Robert W. Schneider: So, what can we learn from Gene Barry's experiences in these productions? It's a testament to resilience and the willingness to embrace the unconventional.

[35:37] Robert W. Schneider: Join me next week as we continue our journey through the world of Broadway-bound musicals. We'll uncover more stories of ambition, creativity, and the occasional misstep.

[36:03] Robert W. Schneider: Until then, keep dreaming big and remember that every great musical starts with a spark of inspiration, no matter how far-fetched it may seem.

[44:42] Robert W. Schneider: While Old Times Square and Broadway, for some, will do, I'd rather strut my stuff down Pennsylvania Avenue.

[44:50] Robert W. Schneider: Okay. Now, friends, you might go, of course it's satirical. This is not satirical.

[44:56] Robert W. Schneider: The writers wanted this to be sincere. Why? You'll hear in a second.

[45:01] Robert W. Schneider: Then, over cookies and milk handed to them by Rosemary Woods, yes, the secretary who accidentally recorded over 18 and a half minutes of a private conversation, where Nixon most likely admitted knowledge, yes, this is a traitor to the country, is serving milk and cookies, while Nixon quizzes Benjamin on his overly informed knowledge of Watergate.

[45:24] Robert W. Schneider: Then Benjamin admits he would like to be president, and Nixon asks him how he would have handled Watergate, and they sing a song called, If It Were Up To Me.

[45:33] Robert W. Schneider: If it were up to me.

[45:40] Robert W. Schneider: I fear this callow youth doesn't know what's at stake here. He wants a moment of truth. What I need is a break here.

[45:54] Robert W. Schneider: This takes us back to Flashback Land, where we meet Pat Nixon, Richard Nixon's wife, and she sings about how she wants their lives to be simple, but Nixon must lead the nation, and she understands.

[46:05] Robert W. Schneider: So sympathetic Pat Nixon is. Now, there is a terrible audio bootleg of Watergate, the musical, which I really can't play because it's not so hot, but that's okay, because it does spare you from hearing Mrs. Gene Barry, who was cast as Pat Nixon, sing this song called, Can We Keep It Simple?

[46:22] Robert W. Schneider: Now, what's funny is in the script, this is a solo for Pat, but on the recording, it's mostly Nixon, which either makes Gene Barry the worst husband for stealing his wife's song, or the best, because he knows what critics would say of his wife's singing.

[46:35] Robert W. Schneider: Then hero John Dean comes riding in, begging Nixon to pay attention to Watergate, while Henry Kissinger dances with two girls and all his advice is to sleep around.

[46:44] Robert W. Schneider: Once again, folks, this is not satirical. This is what they thought would be good.

[46:48] Robert W. Schneider: Now, the break-in. How does one cover the Watergate break-in in a musical? Which is, like I said, incredibly boring.

[46:57] Robert W. Schneider: Five guys break into an office and before they can do anything, a security guard catches them. You know when in the producers the audience sees Springtime for Hitler and they just stare? Well, okay, that's kind of how they're going to cover this burglary thing.

[47:10] Robert W. Schneider: Actors only identified as Cuban One and Cuban Two sing a song called Wiretap Blues.

[47:40] Robert W. Schneider: Now, if you can't make out the lyrics, here are the lyrics from Wiretap Blues.

[47:56] Robert W. Schneider: I got the wiretap blues, my head is confused, I got a case of the shakes, my conscience is crying from clandestine prying, my mind's a basket of snakes.

[48:09] Robert W. Schneider: I got the wiretap blues fuses and screws, I'm seeing them in my sleep, the scabs on my knees are from being down where the fleas are, as into closets I creep.

[48:22] Robert W. Schneider: I got the wiretap blues fuses and screws, I'm seeing them in my sleep, the scabs on my knees are from being down where the fleas are, as into closets I creep.

[48:35] Robert W. Schneider: Broke into old Watergate, smart I think, quick as a wink I was, in D.C. clink, I hear that Mr. Nixon's gonna do some fixin' that could push him off da brink.

[48:46] Robert W. Schneider: I got the wiretap blues, can't leave a clue, my sanity's on da shelf, I'm so shitsy and giddy, from buggin' for Liddy, I started buggin' myself.

[48:57] Robert W. Schneider: With pockets full of transistors, mics in my shoes, I got the wiretap blues.

[49:03] Robert W. Schneider: So friends, if you're looking for a great 16-bar cut, there it is.

[49:06] Robert W. Schneider: Then we go to John Dean and his wife Mo's bedroom. John confesses to Mo that he might go to prison for what he has done to protect the president.

[49:15] Robert W. Schneider: I'm gonna play a bit of this, and I hope you can hear it. The acting, the dialogue.

[49:21] Robert W. Schneider: Oh my.

[49:23] Robert W. Schneider: What are you saying?

[49:24] Robert W. Schneider: I'm saying I could be hung over for what I've done.

[49:27] Robert W. Schneider: For what I've had.

[49:28] Robert W. Schneider: John, you can't be blamed for what you've had.

[49:30] Robert W. Schneider: But I may have become involved in what might be a major conspiracy.

[49:34] Robert W. Schneider: Hey, my son, you are something of status. You can't surrender to your fears.

[49:38] Robert W. Schneider: He could get worse later.

[49:39] Robert W. Schneider: He could get better too.

[49:41] Robert W. Schneider: Meanwhile, you want to risk prison?

[49:45] Robert W. Schneider: John, you want to risk losing everything we have.

[49:48] Robert W. Schneider: Mo, you have to think about that.

[49:50] Robert W. Schneider: The integrity of the whole government might be at stake here.

[49:53] Robert W. Schneider: Quit kidding yourself, counselor.

[49:56] Robert W. Schneider: We're not talking integrity here.

[49:58] Robert W. Schneider: We are talking survival.

[50:00] Robert W. Schneider: Our survival.

[50:01] Robert W. Schneider: And I believe you.

[50:03] Robert W. Schneider: But the truth of it is you and I are no stronger than anyone else.

[50:07] Robert W. Schneider: John, we have to live through this.

[50:09] Robert W. Schneider: And I'm saying the only way to do that is for you to stay quiet.

[50:12] Robert W. Schneider: And then, they get a song.

[50:16] Robert W. Schneider: In an empty room, where there's never a scene

[50:28] Robert W. Schneider: It's true, I've been there, and there I was

[50:32] Robert W. Schneider: It's better to be the one you and I

[50:37] Robert W. Schneider: And there seems to be

[50:40] Robert W. Schneider: And there seems to be

[50:42] Robert W. Schneider: A wonder for all eternity

[50:47] Robert W. Schneider: And I see you

[50:50] Robert W. Schneider: And I see me

[50:54] Robert W. Schneider: And I find out

[50:56] Robert W. Schneider: That I was you

[50:59] Robert W. Schneider: And I see you

[51:01] Robert W. Schneider: And I see me

[51:07] Robert W. Schneider: What is this like today?

[51:09] Robert W. Schneider: Imagine in all sincerity, Mike and Karen Pence singing like this on stage.

[51:13] Robert W. Schneider: That's the same idea.

[51:14] Robert W. Schneider: Now, I need to play this scene between the kid and Nixon.

[51:17] Robert W. Schneider: Imagine hearing this kid's voice for two hours.

[51:19] Robert W. Schneider: But this is the scene where Nixon admits his lifelong ambition.

[51:23] Robert W. Schneider: To be an entertainer.

[51:26] Robert W. Schneider: This number goes on for literally eight minutes.

[51:29] Robert W. Schneider: Nixon and a kid dancing in the Oval Office.

[51:33] Robert W. Schneider: Groucho Marx.

[51:35] Robert W. Schneider: I wanted to keep up with Groucho Marx.

[51:38] Robert W. Schneider: What is it, Don?

[51:39] Robert W. Schneider: Mr. Marx, who am I?

[51:40] Robert W. Schneider: Oh, no, I haven't mentioned it to anyone.

[51:43] Robert W. Schneider: Don, it's a time like this in my life, so maybe there's a way to keep up with that.

[51:52] Robert W. Schneider: I dream of Groucho Marx.

[51:57] Robert W. Schneider: Do it.

[51:59] Robert W. Schneider: Another 15 minutes.

[52:06] Robert W. Schneider: Oh, what a kid.

[52:12] Robert W. Schneider: He wants to be Groucho fucking Marx.

[52:14] Robert W. Schneider: Then the first act ends with Martha Mitchell.

[52:18] Robert W. Schneider: Now, for those who don't know Martha Mitchell, she was Attorney General John Mitchell's eccentric southern drunk wife who had no problems going in front of every reporter in D.C. and saying the president was a crook, corrupt as the day is long, and would use colorful language to describe him.

[52:33] Robert W. Schneider: Madeleine Kahn played her in the film Nixon. Julia Roberts played her in the film Gaslit.

[52:38] Robert W. Schneider: And in the musical, it should probably be like Elaine Stritch, Rue McClanahan or somebody.

[52:42] Robert W. Schneider: Well, she gets to sit John down and sing the Act One Closer.

[52:46] Robert W. Schneider: Yes, Martha Mitchell is going to close the first act.

[52:49] Robert W. Schneider: Now, if you remember, an Act One Closer is supposed to leave the audience with an unanswered question, a cliffhanger.

[52:56] Robert W. Schneider: This is just a statement, a song called Dance of Fools.

[53:00] Robert W. Schneider: Now, I like the song. It's my favorite one in the whole show, but it is not an Act One finale.

[53:06] Robert W. Schneider: Listen to these lyrics, though, and tell me that it's not still applicable today.

[53:11] Robert W. Schneider: Shall we crawl in this ancient cage to watch our king strut on his stage and not against this moment rave and rage so it's recalled on history's page?

[53:22] Robert W. Schneider: We said come and step to the march of lies, come learn how there are easy rules, close your mind, close your eyes, step to the dance of fools.

[53:32] Robert W. Schneider: Now, here's the stage direction. As the number develops, the stage begins to fill with these subjects that Martha referred to.

[53:38] Robert W. Schneider: The working folk of D.C., a chauffeur, a newsboy, a street peddler, a lawyer, a street cleaner, a reporter, the photographer, the waiter, the Kissinger girls.

[53:49] Robert W. Schneider: Each one of them wears a blindfold, which they can see through.

[53:51] Robert W. Schneider: The number builds into a driving vulgar march of sorts, and Martha leaves her husband sitting in his chair.

[53:55] Robert W. Schneider: As she moves to center stage, glass and booze bottle in her hand.

[53:59] Robert W. Schneider: She takes part in the blind dance, which is punctuated by Martha screaming, fools!

[54:05] Robert W. Schneider: As we end Act One.

[54:07] Robert W. Schneider: We are ending the first act with a minor character who has just made their introduction to re-underline the philosophy.

[54:16] Robert W. Schneider: Potent, yes. End of Act One, no.

[54:19] Robert W. Schneider: Intermission occurs, and you might ask, hey, where are Woodward and Bernstein, the men who broke the scandal?

[54:25] Robert W. Schneider: They're not included. Why? According to the writers, their names were too hard to rhyme.

[54:30] Robert W. Schneider: Act Two.

[54:32] Robert W. Schneider: If you came to see if Nixon would don Groucho glasses, or if Martha Mitchell would get the 11 o'clock number, welcome back to Act Two.

[54:39] Robert W. Schneider: It opens with a song called God, Country, and Caroline, sung by Sam Irvin, the southern senator from North Carolina who would proceed over the Watergate hearings.

[54:48] Robert W. Schneider: Then we get off to a song between Richard and his daughter Julie, and she sings earnestly a waltz called Blind Faith.

[54:56] Robert W. Schneider: And she sings, you're a man who needs blind faith at all times.

[55:00] Robert W. Schneider: You're a man who tries to make every song rhyme.

[55:03] Robert W. Schneider: When there's a rainbow, you're always the one who doesn't see the rain, only the sun.

[55:09] Robert W. Schneider: Richard Nixon was a notorious, depressed, moody, alcoholic individual.

[55:16] Robert W. Schneider: To have someone sing to him in all seriousness when there's a rainbow, you're always the one who doesn't see the rain, only the sun, is absolutely ludicrous.

[55:25] Robert W. Schneider: Now, my favorite scene comes next because the boy is like, oh, that's great. You guys have a good relationship.

[55:31] Robert W. Schneider: I wish I had one with my mom.

[55:33] Robert W. Schneider: I miss having a family.

[55:34] Robert W. Schneider: And that stage direction says, Nixon crosses to the boy, puts a hand on his shoulder, and Nixon continues, you're right.

[55:40] Robert W. Schneider: You need someone like Rosie, Rosemary Woods.

[55:43] Robert W. Schneider: She hung in with me against Jaworski.

[55:45] Robert W. Schneider: And he literally cuts the kid off for exposition.

[55:48] Robert W. Schneider: This is the problem with the show. What are they doing?

[55:51] Robert W. Schneider: This is a great human moment, a place to bond, a place where Nixon can reveal what his complicated relationship with his mother was like.

[56:00] Robert W. Schneider: Nope. He wants to talk about Leon Jaworski. More illegal shit.

[56:03] Robert W. Schneider: It reminds me of this play I saw a few years ago off-Broadway.

[56:07] Robert W. Schneider: It was called Trial on the Potomac, the impeachment of Richard Nixon.

[56:11] Robert W. Schneider: And it hypothesized what would happen if Nixon actually had gotten a trial.

[56:14] Robert W. Schneider: And during that trial, it was the idea of the author, that Nixon would have been proven innocent.

[56:22] Robert W. Schneider: And basically, the reason Watergate happened was because Nixon was railroaded by the liberal media.

[56:28] Robert W. Schneider: Now, the night I saw it, I was the only person there who was not a commentator on Fox News.

[56:32] Robert W. Schneider: And I actually am telling you the truth when I say that.

[56:35] Robert W. Schneider: And it starred the great, it starred the great Rich Little as Richard Nixon.

[56:39] Robert W. Schneider: There's another thing I don't understand in this play.

[56:41] Robert W. Schneider: Okay, so the whole advertising was Rich Little stars and Rich Little stars and Rich Little stars.

[56:46] Robert W. Schneider: And then he shows up for literally the first 30 seconds of the play and you did not see him till the end.

[56:51] Robert W. Schneider: And I'm thinking to myself, okay, well, this is first of all a bait and switch.

[56:54] Robert W. Schneider: But probably Rich Little's too old. He can't memorize the lines.

[56:56] Robert W. Schneider: He's not going to be any good.

[56:58] Robert W. Schneider: That son of a bitch, he showed up for the last 15 minutes of the play and delivered a monologue and he was fantastic.

[57:04] Robert W. Schneider: I couldn't understand why they didn't want to keep Rich Little in the rest of the play.

[57:07] Robert W. Schneider: I don't know.

[57:08] Robert W. Schneider: Do you all remember the time when Rich Little got arrested, well, not arrested, he got into trouble for a sex scandal, an alleged sex scandal?

[57:14] Robert W. Schneider: Allegedly, he was filming he and his wife having sex and then he would give the tapes to people, which makes me wonder, like when Rich Little has sex, does he do impressions?

[57:22] Robert W. Schneider: Like, you know, if you were going to give Jimmy Stewart a BJ, it might go something like this.

[57:28] Robert W. Schneider: Oh, Mary, I want to lasso the moon.

[57:33] Robert W. Schneider: I want to lasso the moon and have you get on your knees.

[57:36] Robert W. Schneider: Thank you.

[57:38] Robert W. Schneider: Now we get to Rosemary Woods, who says she will fall on her sword for Nixon and he coaches her on what to say.

[57:41] Robert W. Schneider: This is the 18 and a half minute gap.

[57:49] Robert W. Schneider: If you don't know what that is, this is one of the craziest things to me in all of history.

[57:55] Robert W. Schneider: There's a ludicrous and craziness that's in Washington right now, but this to me like tops it all.

[58:01] Robert W. Schneider: Fiercely loyal to Richard Nixon, Rosemary Woods claimed responsibility in a 1974 grand jury testimony for inadvertently erasing up to five minutes of an 18 and a half minute gap on a June 20th 1972 audio tape of the president.

[58:19] Robert W. Schneider: Now why is this important? Nixon recorded every single one of his conversations and this recording was three days after the Watergate break in between Nixon and his chief of staff, H.R. Alderman.

[58:29] Robert W. Schneider: The missing audio, how convenient, most likely if you're against Nixon, was them discussing the break in, which means Nixon had knowledge of it much earlier than he claimed.

[58:40] Robert W. Schneider: Now in order for this erasure to be believable, you have to believe that Woods was a contortionist.

[58:45] Robert W. Schneider: Google the photo of her demonstrating how she accidentally recorded 18 and a half minutes of the president on the telephone, but you don't even have to do that.

[58:54] Robert W. Schneider: She also sings about it.

[58:55] Robert W. Schneider: Here's one of her lyrics.

[58:57] Robert W. Schneider: All I did was push a little button, so why should Lee Jaworski blow his top?

[59:01] Robert W. Schneider: It's not hard to understand the problem.

[59:03] Robert W. Schneider: I just put my finger on record instead of stop.

[59:07] Robert W. Schneider: Now Benjamin the child is irate, not that Nixon has done all these horrible things, but that he coached Rosemary on her testimony.

[59:14] Robert W. Schneider: Benjamin calls him a liar, and Nixon says, I'll tell you this, if I did do wrong in this office, if I momentarily failed to keep the faith, if I hurt or bruised someone's sense of morality, or legality, or logic, I did it for a reason, a good reason, and I'll tell you this, it wasn't the first time it happened here, and it won't be the last, not by a damn.

[59:35] Gene Barry: Spotlight was a musical that really tried to capture the essence of the entertainment industry, focusing on the lives of those who work behind the scenes. It was a unique blend of comedy and drama, showcasing the struggles and triumphs of the people who make the magic happen on stage.

[1:00:05] Gene Barry: The characters were vibrant and relatable, each with their own dreams and aspirations. The music was catchy, and the choreography was designed to dazzle the audience, making it a true spectacle.

[1:00:35] Gene Barry: However, despite its potential, Spotlight faced numerous challenges during its development. The creative team had to navigate a complex landscape of expectations and industry standards, which ultimately affected its chances of making it to Broadway.

[1:01:05] Gene Barry: One of the standout moments in the show was a number that highlighted the camaraderie among the cast and crew. It was a celebration of teamwork and the joy of creating something beautiful together.

[1:01:35] Gene Barry: Unfortunately, the show struggled to find its footing, and after several workshops and revisions, it became clear that it wouldn't make it to the Great White Way.

[1:02:05] Gene Barry: This brings us to Watergate: The Musical, which took a completely different approach. It was a satirical look at one of the most infamous political scandals in American history, and the idea of turning such a serious topic into a musical was both bold and controversial.

[1:02:35] Gene Barry: The creative team behind Watergate believed that the absurdity of the situation could be highlighted through humor and song. They aimed to create a show that was both entertaining and thought-provoking.

[1:03:05] Gene Barry: The musical featured a variety of musical styles, from upbeat numbers to poignant ballads, reflecting the chaotic nature of the events it portrayed. It was a wild ride from start to finish.

[1:03:35] Gene Barry: However, like Spotlight, Watergate faced its own set of challenges. The political climate at the time made it difficult to find an audience willing to embrace a musical about such a sensitive topic.

[1:04:05] Gene Barry: Despite the hurdles, the creative team pushed forward, believing in the power of theater to comment on society and provoke thought. They wanted to show that even the most serious subjects could be transformed into art.

[1:04:35] Gene Barry: The show included a memorable number that featured a kick line, which was a nod to the traditional Broadway style. It was a juxtaposition of the lightheartedness of musical theater with the gravity of the Watergate scandal.

[1:05:05] Gene Barry: Ultimately, both Spotlight and Watergate: The Musical serve as reminders of Broadway's endless possibilities and the belief that any story, no matter how unconventional, can be told through the medium of musical theater.

[1:05:15] Gene Barry: It's fascinating to think about the risks that creators take when they decide to adapt real-life events into musicals. Sometimes it pays off, and other times, it leads to shows that are remembered for their ambition rather than their success.

[1:05:19] Gene Barry: In the case of Watergate, the ambition was certainly there, but the execution faced scrutiny. The show had its moments of brilliance, but it struggled to find its identity amidst the political turmoil of the time.

[1:05:23] Gene Barry: As we look back on these two musicals, it's clear that they both represent a unique chapter in Broadway history, showcasing the creativity and resilience of those who dare to dream big.

[1:05:27] Gene Barry: The stories behind these productions remind us that the journey to Broadway is often fraught with challenges, but it's also filled with moments of inspiration and innovation.

[1:05:31] Gene Barry: Whether it's a lighthearted musical about the entertainment industry or a satirical take on a political scandal, the spirit of Broadway lives on in the stories that continue to be told.

[1:05:35] Gene Barry: And while Spotlight and Watergate may not have made it to the stage, their legacy lives on in the hearts of those who believe in the power of musical theater.

[1:05:39] Gene Barry: Thank you for joining me today as we explored these fascinating musicals that never quite made it to Broadway. I hope you enjoyed our journey through the world of theater and the stories that shape it.

[1:05:53] Gene Barry: Until next time, keep dreaming big and believing in the magic of the stage.

[1:05:57] Gene Barry: Goodbye!

[1:06:27] Gene Barry: [End of segment]