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Studio 360 with Kurt Andersen

John Cameron Mitchell’s Genre-Defying Podcast Musical

Studio 360 with Kurt Andersen

PRX

Arts

4.6675 Ratings

🗓️ 14 May 2019

⏱️ 24 minutes

🧾️ Download transcript

Summary

In Anthem: Homunculus, John Cameron Mitchell and composer Bryan Weller have taken the podcast musical to new heights. They join Kurt to discuss the shows origins, and perform a song live in our studio.

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Transcript

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0:00.0

From PRX

0:03.5

This is Studio 316.

0:08.8

I'm Kurt Anderson.

0:13.3

Go!

0:16.4

This is not your father's musical theater,

0:19.3

or at least not your grandfather's.

0:21.2

This is Headwaghancered. This is Hedwig and the Angry Inch, the highly idiosyncratic musical about a punk rocker transplanted from East Germany to America after a botched sex chain surgery.

0:46.2

It became and remains a genuine cult hit playing all over the world, including a few years ago a Tony Award-winning revival on Broadway that starred

0:55.4

its co-creator John Cameron Mitchell. He also directed the movie version of Hedwig and three other

1:01.7

films since. You've also probably seen him acting on television. He's had recurring roles on

1:07.4

girls and Mozart in the Jungle and lately on the Good Fight.

1:11.7

And now John Cameron Mitchell has created a new highly idiosyncratic musical, a 10-episode

1:18.1

musical podcast. It's called Anthem, Homunculus, and it's a collaboration with composer

1:24.0

Brian Weller, in which John's co-stars include Patty Lepone and Glenn Close.

1:29.4

I spoke with both co-authors about their musical, the premise of which is a guy hosting a kind of

1:36.8

online radio show to raise money for his cancer treatment, a guy played by John.

1:42.9

My name is Kean, which means head in Gaelic, and I have a brain tumor.

1:51.0

But I'm having a good day.

1:53.0

I've got a lot of energy, and I want all five, four of you, still listening, to know I will remain online and on this porch till you cough up the

2:03.4

hundred grand I need to cut this fucker out or till I die whichever comes first now I wrote this song for my tumor.

2:19.5

It's actually a conversation between my tumor and me,

2:22.9

because I figured if my tumor could sing, it might sing something like this.

...

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