mine: broadway


And a song someone sings
Once upon a December


@hamiltonmusical:  Now fill the world with music, love, and #pride. #Ham4Pride#LoveIsLoveIsLove #LoveIsLove


PLEASE message me if you or someone you know has the following bootlegs:


- Anastasia (Broadway)

- A Bronx Tale (Broadway)

- All About Me (Broadway)

- Anyone Can Whistle (Broadway)

- Aladdin (London)

- Amelie (Samantha Barks & OBC)

- An American In Paris (London)

- ANY musical with Anna Kendrick in it (Especially High Society)

- ANY Seattle Production of ANY show (Especially shows at the 5th Avenue Theater & the Paramount Theater)

- Avenue Q (Off-Broadway)


- Baby It’s You! (OBC)

- Bandstand (Broadway & Paper Mill Playhouse)

- Beautiful: The Carole King Musical (London)

- Blue Man Group

- The Bridges of Madison County (Boston)


- Cagney (Off-Broadway)

- Cats (Original Broadway Production)

- Chaplin (Broadway)

- Chicago (Broadway)

- The Civil War (Broadway)

- Candide (1997 Broadway Revival)

- Come from Away (Broadway & Seattle)

- The Curious Incident of the Dog in the Night-Time (London, Broadway & Boston)

- Crazy for You (ANY Production)

- Cabaret (ANY production)


- Dreamgirls (Original London Cast)

- Doctor Zhivago (Broadway)

- Dames at Sea (Broadway)


- Everyday Rapture (Broadway)


- Falsettos (OBC)


- The Girls (London)

- Groundhog Day (Broadway)


- Hello, Dolly! (ANY Production, especially the 2017 Broadway Revival)

- Hamilton (San Francisco)

- Half a Sixpence (London)

- Hairspray (Broadway with Aaron Tveit)

- Hallelujah, Baby! (ANY Production)

- Honeymoon in Vegas (Broadway)


- In Transit (Off-Broadway and Broadway)


- Jersey Boys (London)


- Kinky Boots (West End)


- Les Miserables (London)

- The Lion King (London)

- LoveMusik (Broadway)

- Lysistrata Jones (Broadway)


- Miss Saigon (ANY Production, especially the 2017 Broadway Revival)

- Mary Poppins (Broadway)

- Motown: The Musical (ANY Production, especially OBC, the 2016 Broadway Revival & London)

- Milk Like Sugar (ANY production)

- Merrily We Roll Along (ANY Production, especially Broadway)

- Much Ado About Nothing (London)


- Not That Jewish (Off-Broadway)

- Nick & Nora (Broadway)


- Once (ANY Production)

- On Your Feet! The Story of Emilio & Gloria Estefan (Broadway and Pre-Broadway)

- Oh, Calcutta! (ANY Production)


- Paint Your Wagon (Encores!)

- The People in the Picture (Broadway)

- Priscilla, Queen of the Desert: The Musical (ANY Production)

- Parade (Broadway)


- Rain: A Tribute to the Beatles (ANY Production)

- Red Eye of Love (both the Play & the Musical)

- Rent (Leslie Odom, Jr.)

- Rock of Ages (ANY Production, especially the Original Broadway production)

- The Rocky Horror Show (ANY Production, especially Broadway)


- Sunday in the Park with George (ANY Production, especially the 2017 Broadway Revival)

- Saturday Night Fever (ANY Production)

- Scandalous (Broadway)

- School Of Rock - The Musical (London)

- The Scottsboro Boys (ANY Production, especially Broadway)

- Showstopper! (London)

- Silence! The Musical (ANY Production)

- Soul Doctor (Broadway)

- Seven Brides for Seven Brothers (Broadway)

- Stephen Schwartz’s Magic To Do

- The Story of My Life (Broadway)

- Stepping Out (London)

- Stomp (ANY production)

- Strangest Things! The Musical (Chicago)

- Sunset Boulevard (ANY Production (except the one with Betty Buckley and the German production), especially the revival with Glenn Close)


- Thriller Live (London)

- The Play that Goes Wrong (London & Broadway)

- Triumph of Love (Broadway)

- The Threepenny Opera (ANY Production, especially the 2006 Broadway Revival)


- The Visit (Broadway)


- Wicked (Eden Espinosa)

- The Wild Party (Broadway)

- Wonderland (Broadway)


- You’re a Good Man, Charlie Brown (1999 Broadway Revival)

Either message me here on Tumblr or at coolbootlegguy@yahoo.com if you have any of these please! Nama-bye! :D


In November 1970, Ralph Richardson and John Gielgud arrived on Broadway with their play “Home,” and Ralph actually agreed to cooperate with publicity interviews.  One of the best was on the CBS television program “Camera 3,” and Ralph likely agreed because the interview was conducted by producer Alexander Cohen, who brought the play to Broadway.  The complete 30-minute interview is not available online but the transcript is on the web.  

The program begins with the Sirs taking turns to read favorite poems, then Cohen asks Ralph to define acting.  Ralph responds by praising his friend Johnny, and reminding everyone about his failure in Macbeth.

Sir Ralph:  “Oh dear.  That’s a big subject to define acting.  Well, I’d say this about it, that acting is make-believe and make-believe, you’ve got to believe it yourself part of the time.  An actor doesn’t believe what he’s doing all of the time, but some of the time he must really dream it.  It is, in a way, dreaming to order.  It is daydreaming to order.  If you don’t believe it yourself, you’ll never succeed in making anyone else believe it.

“Well, that is the heart of the matter, I believe.  And an actor can be described in scale, perhaps in the size and the reach of the dreams that he is capable of making  Now, my friend here on my left [motioning to Sir John], we don’t very often pay each other elaborate compliments.  It would be a pretty sticky thing if we did because we’ve acted together for so many years.  But I’d like to say this about John Gielgud, what makes him, to my mind, one of the finest actors living, is the size, and scope, and range of his daydreams.  He’s able to reach easily, naturally and simply because he believes them.  Some of the greatest dramatic poems conceived by mankind are the great dramatic poems of Shakespeare.  When in Richard II, Johnny says, ‘Bring me a looking glass that I may see my face,’ it is as natural as if he were to say, ‘I’ve come to read the gas meter.’  It is absolutely true, he is alive absolutely truly and a very great poet.

“I’ve tried myself to achieve one or two of these great poems.  I’m incapable of achieving them.  Perhaps in comedy a little bit, but in tragedy, not at all,  Though I can read them and be moved by them in reading I think as much as anybody.  I tried to play Macbeth under Johnny’s direction.  It was a disaster, it was terrible. ‘Is this a dagger that I see before me?’  I didn’t see the dagger, neither did anybody else.  But Johnny perceived and saw his looking glass, and all the rest in scale of the several magnificent poetic creations that he’s made.

“That’s about as much flattery that we’re going to do for each other (laughter).  That’ll last us for a long time.  However much I admire you, Johnny.  Now, I’ve talked a hell of a long time, you say something….”

John Gielgud takes over and shares some thoughts about Ralph:

Sir John:  “I can pay him some compliments now. Ralph is a wonderfully constructive man and he acts with enormous craftsmanship.  He loves the craftsmanship of acting just as if he had been a carpenter he would have loved working in wood or he’d been a clockmaker he would have enjoyed all the wheels going round or he’d been a musician he would have enjoyed the quality of the violin he was playing.  He has an enormous appreciation of material, which he is working with it as his own voice, his own plastique.”