Articles

  • 1 week ago | bustle.com | Michael Riedel

    On stage, Andrew Durand is a real stiff. In Dead Outlaw, which is up for the Tony Award for Best Musical, Durand plays Elmer McCurdy, a real-life bandit who was killed in a shootout in Oklahoma in 1911. Through bizarre twists of fate chronicled in the show, McCurdy’s mummified body became a sideshow attraction, eventually ending up at an amusement park in Long Beach, California, until it was discovered in the 1970s and given a proper burial.

  • 1 month ago | haufe.de | Michael Riedel

    Auch in der Krise suchen Unternehmen nach Fachkräften und werfen nicht selten den Blick auf die Talente der Konkurrenz. Die Mitarbeiterabwerbung unterliegt jedoch rechtlich klaren Regeln. Wann Abwerben beim Wettbewerber erlaubt ist und wie Unternehmen sich selbst vor Abwerbeversuchen schützen können. Fachkräfteknappheit und gleichzeitig betriebsbedingte Kündigungen? Klingt paradox, schließt sich aber nicht aus. Viele Unternehmen stellen sich gerade neu auf und bauen dabei gezielt Personal ab.

  • 1 month ago | bustle.com | Michael Riedel

    In 1971, when she was 28, Gloria Gaynor was singing at a Manhattan nightclub called Play Street. She was surrounded by go-go dancers, one of whom fancied herself a singer. “She wasn’t very good,” Gaynor says, but she had a manager who knew Clive Davis, then the powerful head of Columbia Records. The dancer’s manager arranged for Gaynor to meet Davis. “He had me sing for him five times,” she recalls. “I said, ‘This man just likes my voice.

  • 2 months ago | airmail.news | Michael Riedel

    As he struggled to write what would turn out to be his last musical—Here We Are—Stephen Sondheim turned to his friend of 45 years, the producer Cameron Mackintosh, for help. He was, he admitted, drying up artistically and was unable to complete the second act. “He was worried that what he’d written sounded like his other songs,” Mackintosh says.

  • Feb 11, 2025 | vanityfair.com | Michael Riedel

    In May 2022, theater writers Bob Martin and Rick Elice organized an informal reading of their stage adaptation of the television series Smash. More than a decade before, Smash had debuted on NBC in a prime slot: February 6, 2012, the night after Super Bowl XLVI. The show was a handsomely produced comedy-drama about the making of a Broadway musical based on the life of Marilyn Monroe.

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