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[0:41] Kerry Butler: I am your host, Miss Kerry Butler. Together you and I are breaking Broadway.

[0:54] Kerry Butler: Welcome back to Breaking Broadway. Today I have my friends Michael Breslin, Rory Pelsue, and Patrick Foley. They have a new show out called The Last Bimbo of the Apocalypse at The New Group. I had the pleasure of being in one of the readings of this show and I loved it. And I thought it'd be really cool to have new writers out there because they will know much more about what you all should be doing than I would. So welcome to the show. Congratulations. Your show is like New York Times pick of the week or something, right? What is it? New York Times?

[1:29] Michael Breslin: Critics pick.

[1:33] Kerry Butler: That's amazing.

[1:36] Patrick Foley: Thank you, Kerry.

[1:39] Kerry Butler: So exciting. We couldn't even get the New York Times to see our show.

[1:43] Rory Pelsue: True. Yeah.

[1:46] Kerry Butler: So tell me what you all have now created two shows together that have had professional. Like lives, right?

[1:52] Patrick Foley: Three or three.

[1:56] Kerry Butler: What's the third one? I didn't know about the third one.

[1:58] Michael Breslin: We have a show called Circle Jerk that we created together.

[2:01] Kerry Butler: Oh, what's This American Wife?

[2:03] Michael Breslin: That's sort of about the Real Housewives.

[2:05] Kerry Butler: Oh, and where was that one?

[2:06] Michael Breslin: We did This American Wife for the first time at New York Workshop on Fourth Street. They have like a small, they have like a smaller black box theater. We did that in 2017 and then we did it again on streaming in 2021 when the whole theater industry was shut down.

[2:22] Kerry Butler: How did you all meet? Did you know that this is what you wanted to do?

[2:27] Rory Pelsue: Yes, we're all theater kids. We're all musical theater kids too, Michael. And I oftentimes joke that the energy that we like most value in the rehearsal room is that kind of like middle school theater camp energy of like, you know, the manic we have to put on a show kind of commitment. And so we all definitely share that.

[2:46] Kerry Butler: And you all met in college. Is that correct?

[2:49] Michael Breslin: We actually met in graduate school.

[2:51] Kerry Butler: Oh, yes. We went to what used to be called the L School of Drama, but now is called the David Geffen School of Drama at Yale University.

[3:01] Kerry Butler: Okay. And when you met, did you know you were going to be like partners? How did that come about?

[3:06] Michael Breslin: Well, we all sort of met in different configurations, but Michael and I first connected sort of from a writing standpoint as fans of the Real Housewives franchise. And we both realized that we had sort of quasi obsessive and, you know, encyclopedic awareness of those brilliant women and their work because truly they are playwrights, uncredited playwrights themselves. The language that they write in their show is some of the best playwriting since Tennessee Williams. So we really connected out of an appreciation for their artistry. And we wanted to make a show about that.

[3:42] Michael Breslin: And Michael applied to the student-run theater at Yale and they accepted our application. And so that got the ball rolling on our collaboration. And that's also how we started working with Kat Rodriguez and Ariel Seibert, who are two intrepid dramaturgs and make up our theater company, Fake Friends. So the five of us make up the theater company, Fake Friends.

[4:07] Kerry Butler: I know. And so you all met in graduate school.

[4:11] Patrick Foley: Yes.

[4:13] Kerry Butler: And you started working together, kind of. Did you start working together like your freshman year? I mean, your first year of graduate school?

[4:20] Rory Pelsue: Yeah, it was my first year.

[4:22] Patrick Foley: And then you two were because they're much older than me.

[4:24] Michael Breslin: Patrick.

[4:26] Patrick Foley: They're so much older.

[4:28] Kerry Butler: But they had you guys had worked together in your first year.

[4:31] Rory Pelsue: Yes.

[4:33] Patrick Foley: Yeah.

[4:34] Rory Pelsue: And we worked together all the time on, you know, school shows where you're assigned it as well.

[4:37] Kerry Butler: Yes. The thing that carried on after.

[4:40] Patrick Foley: Yeah, that was what I was wondering. I was wondering if you were assigned together or if you just found each other and were like, oh, no, we have the same sensibilities. We need to create together.

[4:46] Michael Breslin: I think both in a way. I mean, I worked with Patrick and Kat and Mary a lot and then and with Michael at school. And then this was sort of realizing it all really worked kind of thing.

[4:58] Kerry Butler: And does Yale give you like industry connections once you get through the program? Like, have they helped you with your shows?

[5:06] Patrick Foley: I always feel like with the drama school at Yale, like the best gift that that school gave us was each other. And like getting to meet our collaborators. And we have so many collaborators who we met there, like our scenic designer who did Bimbo, Steph Cohen, our costume designer, Cole McCarty for Bimbo. So we have like a sort of network of collaborators and people that inspire us and all that. And, of course, like the teachers are very, very accomplished and do help in certain ways. But I really think it's like our collaboration that was the most important thing.

[5:44] Rory Pelsue: Wow. So, yeah, go on.

[5:47] Patrick Foley: No, I totally agree. The people you meet, who you work with, that's the network. More than them being like, here's the, you're going to direct on Broadway next year or something. I mean, it's more of that.

[6:00] Kerry Butler: So once you got out, is that when you started to have success professionally or did you start it while you were still there?

[6:09] Patrick Foley: We produced the Housewives show, This American Wife at New York Theatre Workshop. We self-produced it. I think this summer, Rory and I graduated and Michael was in his going into his final year at Yale. And then that, you know, that got us agents for what it's worth.

[6:26] Kerry Butler: How did you self-produce it? So you had to raise the money? You had to do everything?

[6:31] Patrick Foley: Yeah, we did have two producers on that project, but we were also like one. We were one of the self-producers, but we did all the fun. We did like a crowd source crowdfunding.

[6:42] Kerry Butler: Oh my gosh, that's so smart.

[6:45] Patrick Foley: Yeah.

[6:46] Kerry Butler: Was it mostly like friends and family that gave it to you or did you get people who liked your work just by putting it on the Internet or something?

[6:52] Patrick Foley: Friends, family and some Yale. What the funny thing about going to Yale is like there's a New Haven fan base of all of the shows and particularly the student-run theater. So there were some New Haven fans that had been following us in school that also were really supportive.

[7:07] Kerry Butler: Oh my gosh, that's so cool.

[7:10] Patrick Foley: Yeah, I mean, it was definitely really hard.

[7:13] Rory Pelsue: Yeah.

[7:14] Patrick Foley: At that point in our careers, like we didn't have like someone writing a check for like, you know, even $5,000.

[7:23] Kerry Butler: Wow.

[7:24] Patrick Foley: It was lots of like little and a lot of hustling. And we made like a video, Patrick, do you remember?

[7:30] Patrick Foley: Of course.

[7:32] Patrick Foley: Where we were like, people are totally going to donate to this. Great, Los Islands.

[7:40] Patrick Foley: But we also didn't have any social media following. So, you know, we sent it out via email. It couldn't go viral in the way I'm sure it would go viral today.

[7:49] Kerry Butler: I'm kidding.

[7:52] Kerry Butler: So you really then produced your first show without knowing anything about producing because we just did ours and it is like all-consuming so hard.

[8:03] Patrick Foley: Yeah, no joke.

[8:05] Kerry Butler: Okay, Mom, I'm a big girl now is one of the best things I've ever seen.

[8:10] Patrick Foley: Oh my gosh.

[8:11] Patrick Foley: I told both of that I love I was like so much. Oh, I was like on fire when I left that theater. I thought it was.

[8:19] Kerry Butler: Oh, thank you so much. Thanks. But yeah, I know how hard it is to do it. And I wonder if it's just like, you're out of school and you're like, I have nothing to lose. So we're just gonna do it. Like, what is it that made you just do it? You know what I mean? So many people like probably listening is now like, I want to do my own show, but they don't do it.

[8:39] Patrick Foley: Yeah.

[8:40] Patrick Foley: So what do you feel like motivated?

[8:42] Patrick Foley: Mental illness? I'm kidding.

[8:46] Patrick Foley: I think like we, Patrick and I, because it was just really the two of us in that first show. And actually, Rory wasn't even directing us yet, which was a major mistake on our part, we, we could also direct which was Yeah, a mistake.

[9:00] Rory Pelsue: Well, I thought it was great. So you know, you were you were right.

[9:03] Patrick Foley: But I think we were like, we have this amazing opportunity from New York Theatre Workshop, who was like, well, we'll give you this space, and you can be part of this, like, you know, second stage kind of season.

[9:17] Kerry Butler: So how did they find you?

[9:18] Patrick Foley: I think we met through my grad school roommate, and our army, all of our mutual friend, Jeremy O. Harris.

[9:26] Michael Breslin: Oh,

[9:28] Patrick Foley: Michael, I think you could have applied. Like Virgo meltdown, just like applying on the internet. Yeah.

[9:35] Kerry Butler: Did you do that? Did you apply like to a lot of different? Tell me, like, for people listening, just if they want to want to do that, then how would they do that? How would they even find what they're what you did?

[9:47] Michael Breslin: I think our first three New York performance opportunities were all quasi applications, like the next door at New York Theatre Workshop opportunity that we are talking about. Then we did AmpFest at Ars Nova. We knew the producer there who had seen our show at Yale, and he sort of invited us to apply, but it was an application. And then, and then we did the Exponential Festival, which was in Williamsburg, sort of experimental theater festival. And that was also, I think, application process.

[10:18] Kerry Butler: Oh, those are those are great ideas for people listening. And I did the one with you all at Ars Nova, right?

[10:26] Rory Pelsue: I love, I love Ars Nova. And that's so cool that they saw you at Yale, huh?

[10:33] Michael Breslin: Yeah, Eric Sheather was a producer there for about 10 years. And he saw us at Yale, I would say for anyone listening that Ars Nova is like, an amazing supporter of young and emerging talent. And even if you could do anything, just like get into that community in one way or another. They're also very like community oriented. So if you assist on a show there, or if you just like, get your foot in the door there, it's like a great place to be.

[11:03] Patrick Foley: And Antfest, which is their like, most ground level show, it's like a month of shows where like, there's a different show every night, and they give you space for the night truly anyone can apply for, which sadly, in New York theater is often sort of not the case. It's all a little like, behind closed doors.

[11:18] Kerry Butler: Yeah.

[11:19] Kerry Butler: Only submissions kind of feel. So that's a great resource that people have their own shows.

[11:23] Patrick Foley: Yeah, I never heard of that before. That it's a festival.

[11:27] Michael Breslin: It's a festival. Yeah. In June, I believe.

[11:30] Kerry Butler: Yeah, you guys did your first show there.

[11:33] Patrick Foley: Yeah.

[11:34] Kerry Butler: Love them.

[11:35] Patrick Foley: That's great. Are there any other ideas that you can throw out there for people who want to be doing what you are doing right now?

[11:42] Michael Breslin: The Tank. The Tank is a really great place that we've worked at that has helped us develop work. Michael's produced a show at The Tank. And they're very generous and supportive of artists in a variety of different places in their career. And they have great space and amazing theater. Two amazing theaters.

[11:59] Patrick Foley: 36th Street and 8th Avenue. So it's right in Midtown, and they support artists of all walks of life. They support us old people.

[12:10] Michael Breslin: For young people. And they're amazing. But I think like something that we did very, very early on, and honestly, still do to a certain degree, is like, work with the three of us and with our immediate network of collaborators. It's similar to what you all did with Mama. I'm a big girl now. We're like, you just have to like, band together with the people that you believe in. Even you. And then, you know, you'll attract maybe a producer here or a producer there based on what you're making yourself. But like, you can't wait for them to come to you.

[12:45] Kerry Butler: Yes, I love that. And I had never even heard about those other ones that you mentioned. So I knew you'd be great resources for us.

[12:52] Michael Breslin: There's also The Brick in Williamsburg. I would also say like, and I'll say this because they're not going to brag about themselves, but in that first show that you guys did at New York Theatre Workshop, it was so smart, because it was a brilliant, brilliant show. But it was also very scalable, and they wrote it, and they performed in it. It wasn't like, you know, an eight-person play that has like, three locations. You know what I mean? It was, you know, you could scale it up or down. You could do it in various venues. Like, I think that is so...

[13:29] Patrick Foley: And I guess the trick of that is like, it totally worked in that way, but it wasn't at all like, oh, this is small. I can't wait for them to have a budget. Like, it was an amazing show in and of itself. So I think for people who are figuring out, how do I...

[20:40] Kerry Butler: Hey everyone! I have some exciting news. I am revamping my YouTube channel, Keri Butler Official, and my first episode is all about Beetlejuice. And I know so many schools are doing Beetlejuice now, so I'm focusing in on the creation of Beetlejuice and what you need to think about for each of those characters if you're auditioning for them or if you're working on them and kind of what our backstory was in creating those characters. And a fun little thing I'm doing on the YouTube channel is people can submit their auditions to me and I will give you feedback at the end of my YouTube videos. So if you would like to be included on my YouTube channel, then on Keri Butler Coach at Instagram, I put a form for you to fill out and I have an email address specifically for submissions for people who want to submit an audition that I will give you feedback and try and help you hit those notes or hit the acting beats. But I just thought it would be a fun way to connect. And be sure to subscribe to my new YouTube channel, Keri Butler Official, for all the behind-the-scenes stories of the shows that I've done.

[21:50] Michael Breslin: So you all write so much about the internet. It really inspires you. Tell me a little bit about that.

[21:57] Patrick Foley: Well, it's just so much a part of our lives. I think if plays are meant to reflect our lived experience, I think certainly people of every generation nowadays, unless you really go out of your way to be a Luddite from a philosophical perspective, you don't experience the world without a constant buzzing in your pocket or a dual attention-stealing ping from your phone or something like that. I think I was listening to an interview with Zadie Smith the other day, and she was going on about how our consciousness has been colonized. We're constantly living in this dual, or sometimes triple if I'm watching The Real Housewives, perception of the world. And so, it seems dishonest and unrealistic to depict the world without the internet.

[22:45] Rory Pelsue: I think what's really exciting about the last Bimbo is that we were very interested in the internet again. And when you did the reading, Keri, we were very interested in, and still are, true crime sleuths on the internet. And that whole world of teenagers cracking crimes with their iPhones was very interesting to us. And then after that reading, as we developed the show, then with Scott Elliott and The New Group, who are amazing supporters of our work and young artists, all types of artists, we started to really think about the internet impact on young women and young queer people, and how these three characters who, when you were in it, Keri, they were three equal characters. But after that, we really started to focus on the young girl when she's now become our protagonist, and her name is now Brain Worm in the show.

And it's been very interesting to develop a character who has only been on the internet since she was born. She was born in 2006, the character. So, she's lived her whole life online. And what does that do to your consciousness, and how people treat you, and all that kind of stuff?

[24:06] Kerry Butler: Interesting. And how has it been? How's the audience reaction been?

[24:13] Michael Breslin: Great. They're really with it. And I think because, like Metric was saying, we do live so much of our lives online. It's sort of like, like it or not, that a tool for connection, or does it keep us separate from each other in various ways? And I think because the play sort of deals with that, I think people find it refreshing and interesting. It does feel like it's about their lives.

[24:40] Patrick Foley: Well, I think something that's unique about Bimbo in our work is that there really are three generations of characters. There's a mother figure, and then there are folks who are closer to our age, and then there is this young Gen Z, maybe even Gen Alpha generation. And some of the feedback we've gotten is that people, particularly closer to mother's age, appreciate the multi-generational depiction of what the internet, and what the phone, and what the technology means to them. So it's for the whole family.

[25:09] Kerry Butler: I love your social media. So do you all do that yourselves? Because you are so obsessed with social media?

[25:14] Rory Pelsue: I think on this show, it's definitely a collaboration with the New Groups team and us. So we're sort of all working on it. But it was really fun. I saw you commented on TikTok on the crying in a Walmart.

[25:25] Patrick Foley: Yes, always. Of course, you all are going to have great social media. That was really fun because Carrie Renee Fuller, who plays Coco, and Millie Shapiro, who plays Brain Worm, were like, we really want to do like a take on this song in the dressing room. And then we got everyone together and just very organically just shot it.

[25:57] Michael Breslin: Yeah, it sounds beautiful. They have such good voices.

[26:04] Patrick Foley: They're amazing. But a theme of a show, too, is like you can make something out of nothing. It's now the opening song in the show. And you can make your art and just post it to the internet now.

[26:12] Kerry Butler: Yeah, I was going to ask you about that. So you think that is a good way for artists in the world right now?

[26:16] Michael Breslin: Yes. I mean, I would say especially for actors, it's so helpful for people for us on the other side of the table to get, if any actors are listening, to get to know who you are, to have you singing something or doing a monologue. But it's like a really helpful, you don't have to wait for some casting director to send something to a director.

[26:40] Kerry Butler: Did you have auditions for this or did you just offer people the roles?

[26:43] Patrick Foley: The roles. We had some auditions through tapes for some readings. And then by the time we were actually in production, we didn't have auditions because we had sort of passed it from those readings to the new group. But our first connection with a number of the performers in the show was their online presence, either through YouTube videos, or Carrie had a Broadway.com video, Natalie Walker's very online. So it was very helpful in the casting process.

[27:14] Kerry Butler: Wow. And so you didn't even see them do your music?

[27:19] Kerry Butler: Welcome back to Breaking Broadway. Today, we have Michael Breslin, Rory Pelsue, and Patrick Foley with us to discuss creating work with your friends and getting it produced.

[27:49] Patrick Foley: Thanks for having us!

[28:12] Rory Pelsue: Yeah, it’s great to be here.

[28:36] Michael Breslin: What did you do to train your algorithm to show you people? Did you put in hashtags?

[28:40] Patrick Foley: I kept clicking around. I kept searching BFA, SurePaste.

[28:47] Michael Breslin: Oh!

[28:50] Patrick Foley: And then if I saw a video that I liked, I would like... You can save it, like it, and comment. And then that'll train the algorithm that you like it.

[28:57] Michael Breslin: Oh!

[29:00] Patrick Foley: Yeah. Because it's an interesting challenge nowadays if you want to cast a show that's about teenagers and the teenagers aren't. Unless you're doing something stylized where they can be older.

[29:10] Michael Breslin: But if you really wanted actual young teens, a lot of them are in college now. It's not like Julie Andrews was 19 when she was in The Boyfriend.

[29:20] Patrick Foley: Now she'd be the star of Carnegie Mellon, BFA, or something. So that was an interesting thing to have to find these people who are sometimes a little bit trickier to find if they actually are that age or really, really close. Yeah, so it was really fun.

[29:35] Kerry Butler: So have you had auditions for other shows in the past, like in-person auditions? Or so far, you haven't so far. So far you've only seen self-tapes? Wow!

[29:46] Patrick Foley: Yes. But also, you know, Michael and Rory have largely written for themselves and for other people.

[29:51] Kerry Butler: Right, right, right. That's so funny. So do you have any pet peeves from self-tapes or see any that are like, oh, this person knows how to do it? Like any tricks or where things like, don't do that.

[30:04] Michael Breslin: You know, many people may disagree, and I'm sure there's experts, but when I have seen self-tapes for this or for other projects I've done, I think, if it's for theater, don't try to scale it to film. Personally, that I find less helpful than, you know, these small performances. If you were in a room, you probably would try to fill the room. I think try to do it theatrically and, you know, I know I'm not casting a movie.

[30:21] Kerry Butler: Right, right, right.

[31:11] Michael Breslin: But actually, like, you know, it's about how you fit into the story. So it's like, I'm looking to see, like, that someone can keep the story moving, not necessarily, like, emote the most.

[31:23] Kerry Butler: Right, right, right, right. I think it might be different for TV and film, because I don't know, I feel like sometimes they like that introspective, like, really long pause, if it's like a thoughtful pause.

[31:35] Michael Breslin: Well, if you're Kerry Butler, you can do whatever you want. So, let's be real.

[31:40] Kerry Butler: I don't know. I'm just, I'm just wondering, like, I, because I've seen, like, heard friends who've done, like, really long pauses and then gotten the jobs. But I think theater is different, you know, I think it's because, you know, film is all about what's going on behind your eyes in that scene or whatever.

[31:57] Michael Breslin: Right.

[31:59] Kerry Butler: I see what you're saying, too. Like, not a pause for pause's sake. Like, if, you know, just keep it going. Like, feel the rhythm of it, you know, like, it's music.

[32:09] Michael Breslin: It's music, yeah, exactly. I actually have a question for you, Kerry, if that's okay.

[32:14] Kerry Butler: Sure.

[32:15] Michael Breslin: Because you were so spectacular in the workshop that we did. And we were also, like, blown away by, like, your, of course, your brilliance, but also you were the first person there. You were so prepared. You were, like, so lovely. You were such a leader in the room. We were also starstruck because we're such fans of yours.

[32:31] Kerry Butler: Wow! Oh, my gosh.

[33:15] Michael Breslin: Oh, thanks. I do love it. It's my favorite thing. You know, that's probably why. And I do think those things you pointed out about me are the reason that I have had such a long career, more so than my talent, but because I'm on time, because I take it seriously. I really work hard.

[33:30] Kerry Butler: But how do I choose? So, a lot of times, it's just, like, scheduling, you know, because, I mean, Arsinova is amazing because they actually pay people. So many times you get asked to do something and it's, like, $200 for a week's worth of work. And it's so hard because I have two kids, you know. I have to really think about, like, it's going to cost me money to do that reading. Am I going to do that?

[33:55] Michael Breslin: So, a lot of times, it's just scheduling because I've learned in my long career that you just never know what is going to be the next hit. The things that I thought were, like, bizarre and weird ended up being huge hits. And I was like, what am I doing? I'm just going to trust the creators. I am going to go on this journey with them. And, honestly, you never, ever know what it is.

[34:18] Kerry Butler: Some of the things I thought were going to be the hugest hits just—and, you know, the team was amazing. Everybody—and it just didn't hit the way we thought it was going to. So, I think it's that you never know. And so, all you can do is your best in that moment and support the writers however you can.

[34:36] Michael Breslin: And then just trust that the part that's meant to be yours is going to come to you. Like, I'm doing Heather's next, and it was just wild how I chose that because I ran into Larry O'Keefe in the lobby. I was doing another reading, and I happen to be—like, I'm auditioning. I never, you know, audition in Pearl Studios. Larry came out, saw me in the hallway. He's like, will you come in and say hi to everybody? I was like, okay, sure. You know, that's random.

[35:04] Kerry Butler: But so, I go in, say hi, and then they start asking me about my outs for Mama, I'm a Big Girl Now. And I'm like, I call my agent after, and I'm like, that was strange. And then I looked up that Bill Kenwright was one of the producers, and he gave me my first Broadway show. And I was like, I've always wanted to, like, thank him for giving me that break. And so, I felt like I was meant to be in that show, even just to say thank you to Bill Kenwright.

[35:30] Michael Breslin: Wow. That's amazing.

[35:32] Kerry Butler: And so, it's like I choose—that's how I choose things, like, just by signs, and if it works for my family at this point. Because, honestly, there's no way to know what the next hit is. And even if it's, like, kills at the reading, you don't know. And also, like, I love when something speaks to me, like, just shows a different part. That would be something I would really—I would do, you know, for no money.

[35:55] Michael Breslin: Like, if it's a show that is so personal to me, and I don't care whether it's a hit, I'm happy to do it for 300 people, but it's showing a side that I never get to show, and it's telling a story that I—is so personal to me, and maybe part of my purpose, that's something I would choose, too.

[36:12] Kerry Butler: But most of the time, it's about timing, and, you know, like, that's how I choose. Any parting advice you have for people out there? And since you all—most of you were actors, you know, can you inspire people to create their own work?

[36:28] Michael Breslin: Yeah.

[36:59] Patrick Foley: Like, what dramatic action is? How is a character doing something versus what is happening? Actors just have an intrinsic understanding of what drama can be, and actors should know from doing it.

[37:14] Michael Breslin: And I think in the history of—I mean, not to get too nerdy, but in the history of world theater, you see a lot of actors who become these, like, giant writers, and that interplay between, like, doing the thing and then writing the thing, I think is really beautiful.

[37:30] Patrick Foley: So I always love to work with actors who write, whether I'm, like, directing them or producing or whatever, because I think actors are just fabulous, fabulous vessels.

[37:42] Michael Breslin: And I would say, like, befriend your writer pals in a genuine way. You know, it can't be phony, you know, at a cocktail party, but, like—or maybe that's it, but, like, you can really create real collaborations with people you—you know, who you are jazzed to work with, and it's not just you sort of begging them, like, pick me.

[38:00] Patrick Foley: Yes.

[38:01] Michael Breslin: Yeah.

[38:02] Kerry Butler: Yeah, that's a really—well, first of all, Michael, that was very beautiful. Every actor should—I uplift every actor she wrote my class to say. But also, I think from the acting standpoint, it can be such a me-focused—it can feel like a sort of me-focused, solitary pursuit.

[38:20] Patrick Foley: And the beauty for me of working with Michael and Rory and Fake Friends is we have created a community of five people with whom, like, with whom I get to have, like, a long now decades-plus conversation about what is interesting, what is artistically fulfilling, what we love, what we hate, what we're scared to do, what we want to do.

[38:42] Michael Breslin: And that is, like, truly the greatest gift. I could cry. I mean, it's, like, such a gift. It's such a gift. And you have to find those people. Especially actors, you have to find those people, and maybe they're other actors, maybe they're writers, maybe they're set designers, maybe they're directors.

[38:58] Patrick Foley: I'm always joking that anyone in the theater was at one point an actor because, come on, we all started making musicals, right? So, there's—you know, take people out of their boxes and their disciplines and shake them a little bit and see what you can make.

[39:13] Kerry Butler: Because, you know, Carrie, from your career, you know, the shows, no matter how successful, will close, and then you're on to the next one. But if you can create these long-lasting relationships, I feel like that's just the great gift of working in the arts.

[39:27] Michael Breslin: Oh, my gosh. I love that so much. That is a great note to end on. Please let anybody know—I mean, for sure, let everybody know, if you want them to find you on social media, let them know where they can find you, or if you have anything else you want to plug right now.

[39:43] Patrick Foley: You can find me on Instagram. On Instagram, I'm at Misha Breslin. M-I-S-H-A-B-R-E-S-L-I-N.

[39:54] Rory Pelsue: I'm at Rory Pelsu on Instagram. Please follow me.

[39:58] Patrick Foley: I am on Instagram. So, it's at P-T-R-C-K-F-L-Y, which is my name, Patrick Foley, with no vowels. In this case, Y is a consonant. Yeah.

[40:10] Kerry Butler: Okay, well, it was lovely having you all on the show. Thank you so much for sharing that great information, and I hope everyone comes to see your show!

[40:17] Michael Breslin: Thank you.

[40:19] Patrick Foley: Thank you for having us.

[40:21] Rory Pelsue: And thank you.

[40:51] Kerry Butler: Broadway!