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[0:00] Quincy Brown: My name is Quincy.

[0:01] Kevin Bianchi: My name is Kevin. And this is Sentimental Men but keep your thumb away from that skip button. We're here to talk and maybe scream about our favorite women in musical theater.

[0:27] Quincy Brown: Look what I got. Listeners you can't see but I'll narrate. I'm showing Kevin right now my signed position CD that is framed. Quincy. And also what I'm gonna put next to it is my signed folklore CD.

[0:48] Kevin Bianchi: Why are you like this? So while we're on the topic of folklore Kevin have you listened to it yet?

[0:53] Kevin Bianchi: No. First of all Kevin's not a Taylor Swift fan.

[0:58] Quincy Brown: I'm not. I don't actively dislike her. I can get down with like the bops you know what I mean? But the fact that you don't actively dislike her makes me think that you just haven't listened to her enough to be a fan.

[1:09] Kevin Bianchi: Anyways when Folklore came out Kevin texted me and was like okay I think if there's gonna be a Taylor Swift album that I like it's gonna be this one.

[1:17] Quincy Brown: This was months ago and you have not listened.

[1:22] Kevin Bianchi: I know. Well it took you two and a half years to watch Drag Race. So we're even.

[1:26] Quincy Brown: I'm really excited about the guest we have today.

[1:28] Kevin Bianchi: Me too. A Wicked staple.

[1:31] Quincy Brown: A Wicked staple. I've been a fan of hers for a long time. I remember being outraged but then also very fortunate when this actress was the only member of the revival cast of Hair that didn't go to London.

[1:42] Kevin Bianchi: I remember being so upset for her. I was like she didn't go with all her friends but then I was like but she's still on the show here so it's fine.

[1:50] Quincy Brown: That cast really turned into a moment where everyone was like oh this cast is special.

[1:53] Kevin Bianchi: Totally did yeah. I mean I guess that kind of gives it away.

[1:58] Quincy Brown: Well what I can't just give out one credit off of her resume. So after appearing in the 2009 revival of Hair she joined the first national tour of Wicked in 2010, the Broadway company in 2011, and then in 2014 she stood by for the role of Liz slash Beth in the Broadway production of If Then.

[2:15] Kevin Bianchi: Then went out on tour as Liz Beth in 2016.

[2:20] Quincy Brown: 2017 she was back in the Broadway company of Wicked and then 2018 she's back out on the road with Wicked in the second national tour while it was doing the sit-down in Los Angeles.

[2:30] Kevin Bianchi: Stamina.

[2:31] Quincy Brown: The stamina Quincy. We will be speaking to Miss Jackie Burns today.

[2:35] Kevin Bianchi: Oh Jackie we're like gonna speak to Jackie Burns in like a matter of minutes.

[2:41] Quincy Brown: A matter of minutes. Actually a matter of literal minutes. So Kevin do we want to do Stuck on SJB right now?

[2:48] Kevin Bianchi: I can do a lightning round. Love it. Okay so today's Stuck on SJB is actually a Stuck on SJB and friends because today's Stuck on SJB is a celebration of Stephanie J Block, Megan Hilty, Allison Janney, and Dolly Parton.

[3:00] Quincy Brown: Okay nine to five.

[3:05] Kevin Bianchi: Get out and stay out master class another time. So I'm gonna talk about Shine Like the Sun because Shine Like the Sun is a brilliantly written song by Dolly Parton.

[3:13] Quincy Brown: She should write a hundred more musicals. I think she's one of the best songwriters that we have.

[3:17] Kevin Bianchi: So Shine Like the Sun is a very Dolly Parton melody and that it's very rangy and then on top of that it is arranged so beautifully for like a woman who's a tenor and then like a mezzo singing alto and then like a proper mezzo.

[3:26] Quincy Brown: So first of all thrilling arrangement.

[3:28] Kevin Bianchi: That's true. Very different vocal types to write a song for. It's masterful but one of the things that I love about this song is that first of all Stephanie J Block singing No Good Deed at the top of the song. High camp.

[3:36] Quincy Brown: That moment gave me life when I was a child. I love an inside joke. God bless Dolly Parton for putting it in. God bless Stephanie J for putting up with it.

[3:54] Kevin Bianchi: Okay so Stephanie J Block's verse on this song I love because we get to hear like her delicious lower register. It is so chesty and it's got such a different tone to it.

[4:04] Quincy Brown: This is when Mark Kudish is in the trunk, right?

[4:08] Kevin Bianchi: When he's getting in the trunk, yes. And so then that's yummy and then thrilling a leap up to her upper register on the chorus which is the highest pingiest part of her voice. It's so satisfying and just two more parts that the listeners should go and check out.

[4:29] Quincy Brown: First of all love the spoken line on I'll be fine. I love it and I love the absolutely stunning full chest open throat attack on the word sun the last time she sings it.

[4:43] Kevin Bianchi: When she says when it's all said and done I'm gonna shine like the sunshine and the ensemble comes in because she's like going into a key change and so it's like so big and exciting and she literally like carries the ensemble into the key change.

[4:59] Quincy Brown: I can't. It's so good. I also really love her entrance in that show when the ensemble opens up and she's like dreams and plans are in the making. I'm just like oh.

[5:12] Kevin Bianchi: An ingenue.

[5:13] Quincy Brown: We love Stephanie J Block as an ingenue. I'm gonna listen to 9 to 5 in the shower tonight.

[5:16] Kevin Bianchi: I hope you enjoy it.

[5:22] Jackie Burns: Jackie Burns, thank you so much for joining us.

[5:27] Quincy Brown: Thank you for having me. It is a pleasure to have you. We were just saying this all came together so quickly and Quincy and I sat down to do our intro today and we were like wait we're talking to Jackie Burns today.

[5:40] Jackie Burns: That is so exciting. It feels so nice being an out of work actress that somebody even knows who I am so thank you.

[5:46] Kevin Bianchi: The people know. So I guess to start as we start every episode tell us about when Wicked first entered your life as a person not as an actress but when did you first hear about the musical Wicked?

[5:53] Jackie Burns: So this musical has had a huge effect on my life. My very first job out of college was Tokyo Disney in Japan and I had never been out of the country before and my parents drove into the city. I'm from Connecticut but they drove into the city to New York to have dinner with me and bring me to the airport the next morning because it was the first time their little girl was going out of the country.

[6:15] Jackie Burns: And so we saw a show that night before I left and it was Wicked in previews. Taye Diggs was Fiyero.

[6:21] Quincy Brown: You saw Taye Diggs?

[6:22] Jackie Burns: So and I was lucky enough the guy I was dating at the time one of his friends was in the show and got us house seats so I was like you know fourth row center like the best seats ever.

[6:29] Jackie Burns: From the second that orchestra the downbeat hit it was like such a visceral feeling that I had never had before. I literally teared up. I just remember after Wizard and I I was like wait what just happened? Like I had never seen an 11 o'clock number five minutes into the show. Do you know what I mean?

[6:44] Jackie Burns: What did I just witness? That woman just did what? She's been on stage for five minutes. Because Wicked really raised the bar with like belting on Broadway.

[6:54] Jackie Burns: Oh my literally it hadn't been done like that yet. It was smack you in the face, smack you mama, like she's gonna do that again? Are you kidding me? It was crazy and then I remember I don't know why she was crying but Idina was crying at the curtain call and like she was holding hands you know with Taye like squeezing her hand and like you could see because it was so close.

[7:12] Jackie Burns: It was just so like I was like I shouldn't be seeing all this. And it was very emotional and I just was like god that poor woman. I don't I mean like what she just did was so crazy. I'd be crying too. That was insane.

[7:30] Jackie Burns: Yeah and then I remember going went to Japan. I was in the Broadway review encore and we all watched I remember watching the Tony Awards and all the girls in my dressing room were like oh my god that's a role for you Jackie and I was like I know I'm gonna play that role someday. I'm gonna play that role someday. I swear I'm gonna play that role someday.

[7:54] Quincy Brown: So after seeing the show like when you saw the show that night were you like this is for me?

[7:57] Jackie Burns: Oh I looked at my mom and I was like I want to play that role someday.

[8:01] Quincy Brown: How many times did you see Wicked before you were in the show?

[8:04] Jackie Burns: That was it.

[8:05] Quincy Brown: Oh my god.

[8:06] Jackie Burns: Normally I don't ever see something more than once so it's funny when I had my audition and I also don't sing show tunes ever.

[8:13] Kevin Bianchi: Really? So you weren't like a theater kid?

[8:15] Jackie Burns: Yeah like for me it's like I want to be at a baseball game not because I don't appreciate it it's just like that's where my head goes. And so yeah like I appreciate theater and I love going to see it but I'm not fanatical in that respect.

[8:24] Jackie Burns: My musical theater knowledge is not what it should be for someone who performs in musical theater. And I remember my agent the first audition I got was for Oliver and him being like so sing something in the style of the show and I was like well what's that? Can't they just give me something? I don't know in the style of it. I have to like Google it like it was

[8:47] Jackie Burns: wait so you went to school for straight acting was singing like you knew you could sing right?

[8:52] Jackie Burns: Yeah I always felt like and I'm you know I think there's different schools of thoughts I always feel like if you can sing you can sing and I've always been the type of singer that like I don't really know I guess like I just do it right you know for me it's more born out of storytelling it's because the story can't propel any further unless I sing about it right?

[9:12] Jackie Burns: So for me when I was thinking of going to school acting was the most important thing for me because I think you can take voice lessons but I think to have a solid acting foundation is so so important.

[9:23] Kevin Bianchi: Did you train your voice at all or is it just natural?

[9:25] Jackie Burns: Yeah so I started after I played Elphaba for a year on the tour and when I went to Broadway the first time I started taking voice lessons.

[9:33] Kevin Bianchi: You did a whole contract as Elphaba?

[9:35] Jackie Burns: I know yeah.

[9:36] Kevin Bianchi: How did you do that?

[9:38] Jackie Burns: It's more a mental thing and I really think it's such it like all of us girls it's such a mental game that we play with ourselves of like we you can go really crazy in that role so for me it wasn't that like my singing got exponentially better it's I like believed in myself in a way I was like oh this is okay like I'm not hurting myself because you've heard so many horrors like when I went in I had heard so many horrors I was like oh this girl you know hurt herself or that girl so I was like oh god I shouldn't be able to do this I don't know what I'm doing you know and then getting a voice teacher and studying with my voice teacher for the last 10 years it's just being like no Jackie you can do this like yeah you're good you're healthy and it's just that secondary but it's like going to therapy where they're like no you're okay like it's alright.

[10:21] Kevin Bianchi: How far into your contract did you get into voice lessons?

[10:24] Jackie Burns: I started right before I started on Broadway so I did it the year before without taking voice lessons and then I knew I was going to Broadway and I had the summer off so I started then and what was really great is that with Elphaba you are using a very certain part of your chords and like the middle part is getting the most of it the work you know and you're not really using your soprano or really your low low notes you know so for me what was really great is going and working my soprano which kept me healthy in my middle and actually made my belt higher the higher I started like being able to sing soprano and made my belt that much easier and freer.

[10:54] Kevin Bianchi: Kevin always says the best Elphabas are sopranos.

[10:59] Jackie Burns: Oh yeah I sing I always say like I'm like I'm a much better soprano singer than I am belter you'd never know because I look like me and I'll never be like the girl next door you know yeah yeah like I warm up on all soprano songs.

[11:11] Quincy Brown: Oh that's so interesting I love that and what an interesting perspective to go through such a journey with your own voice after you had already done this role and then you kind of went through this as you were doing it again and then you came back to it later again.

[11:23] Jackie Burns: Oh my god I also a big thing that changed I think my performance on a whole was like meditation and the fact that with Elphaba what's so hard about her is that the second you walk into that theater you slip on in that chair and while everybody else gets like kiki and walk around and like do their own makeup and have some time alone or whatever they want you know just kind of live their best life you are saddled to that chair you have somebody in your face painting you if somebody you know doing your hair you have people coming in and out giving you notes you know stage manager and you're you know like and then you go out on stage and then you're on stage the entire time right and then you get off Defying Gravity you get out of levitator you basically get to pee and you sit back down in that chair for all of intermission and almost all of the first 10 minutes of the show getting re-green.

[12:08] Jackie Burns: You never have any downtime and you never have any time to yourself and it's a lot of energy to take on and I think what changed so much about my performance from the second when I went back is that I was mandatory that I had to have two minutes by myself before the show to sit and just meditate and breathe and harness my energy so that I was in control of the show rather than it like me just being on the ride and like holding on and hoping to like so it really made the whole experience so much more fun where the first time I felt the show ran me.

[12:40] Jackie Burns: And I wasn't able to quite get a hold on it this time. I was like, no, I had the show.

[12:45] Quincy Brown: So walk us through what your audition process was like the first time you got it. And then what like the aspects were the two other times you came back? Three other times?

[12:54] Jackie Burns: Two. It's actually a really funny story with me with Wicked. So I was doing Hair on Broadway. And that was my Broadway debut. And I had just moved in with my husband at the time. We weren't married at the time, but like we just moved in together and madly in love. And our original cast was everyone was going to London and they were bringing in a new cast. And I, idiot that I was, I don't know what I was thinking, young Jackie, who's young in love, was like, No, I don't want to go to London. I'm just gonna stay because I want to be with my boyfriend. I remember like being in high school when that happened and seeing that the whole cast went. And I think you and Jay did not. There was a few there.

Yeah, there was a couple. But I remember being like, all their friends are going to London, like very teenage dramatic of me. And then five minutes later being like, but you know what, if I go back and see it again, that means that she'll be in the show. So it's fine. I feel like some of my best work was Hair.

[13:50] Quincy Brown: Yeah, I loved that.

[13:51] Jackie Burns: I loved that. That was so good. Well, I was an idiot. I was like, looking back like I could have been in London and like, on my walk, like gone to Paris for the day or like, what were you thinking? But I was like, I don't want to leave my boyfriend. So I didn't want to leave. And then I was doing Smokey Joe's at Paper Mill Cafe at Paper Mill Playhouse. And my students call me, and they're like, Hey, we have an audition for you for the understudy on the Wicked Tour. And I was like, No, I don't want to go on tour. I don't want to leave. And they're like, Okay, so I was like, pass. A week later, they call and they're like, Okay, we have an audition for you for the standby Elphaba on the tour. And I was like, No, I don't want to leave. I don't want to go on tour.

[14:40] Quincy Brown: Wow, even standby.

[14:41] Jackie Burns: No, I was like, No. And then a week later, after that, my agent calls, but it's like, Okay, I have an audition for the role of Elphaba on the tour, and you are doing it. It's a pain in my butt. Not tell me because they won't see you again. I'm not turning down another audition. And little did I know, I guess the music director had seen me in Hair and in Hair, there was this little part at the end, the flesh failure failures that were using face stagnation. And it's all like F's and like ridiculous. And I sang that. So he was like, Who's this girl over here belting like cues? And why is she not coming into the Elphaba? So I guess they put in a request to see me and I kept being like, No, nothing.

[15:23] Quincy Brown: I love that.

[15:24] Jackie Burns: How do you think you are? And that's probably why I got it because I didn't want to get it. You like didn't care.

[15:29] Quincy Brown: Yeah, it was like, I mean, I'm gonna go in and audition. But it's just like you yelled at me and told me how to do but like, I'm not gonna do it. You know, I feel like that's kind of a common thread that we've heard so far is like so many of the successful auditions are people who went in and they were like, I don't care. They're not gonna cast me in this. I'm just going in to sing the songs like whatever. When you have a job is the best time to be auditioning for other jobs. So I went on a Tuesday, and then I had a callback on Wednesday, the next day. And then I had another callback on Friday. And then I had my final call on Monday. And each time it got like, whittled down. So the first time I went in for Lisa, the associate director, and Craig Burns, the casting director, and then the next day, I went in for Lisa and Craig and then Steven Aremus.

And I remember this was the funny thing, like Wizard and I, you only do from Unlimited to the end. And then him coming over to the piano, be like, Yeah, cool. So just a few notes. So like, the next time you do it, you know, like, and I'm like, Okay, next time you come in, and I was like, Oh, that's a good thing. I'm coming. Okay, great. But then I literally starts giving me notes. And I'm not shitting you. By the time he finished, there were more notes than I had sung.

[16:36] Quincy Brown: On just the end of the Wizard and I?

[16:37] Jackie Burns: Yeah, just from Unlimited to the end. And you could he could see my face. And I was like, Oh, okay. And he was like, but you're doing really well. Like, am I? So but okay. And then on Friday, I had just a one on one work session with Lisa in a room at Chelsea where there's just like, okay, and then do this. And they're gonna want you to do this. And like, basically, to me for Joe Montello and Steven Schwartz. And then on Monday, I went in in the morning, and it was three of us.

[17:02] Quincy Brown: Were you invested by this point? Like, were you like, I want this?

[17:05] Jackie Burns: No, I still and I think that's why I remember I was reading an US Weekly. Like I was like, but yeah, so I just remember sitting there like reading my US Weekly and the two girls ahead of me went on and then I was the last person and I went in and then I got into the elevator with the girl that was my reader. And she was really sweet. And she just was like, you did really well. And then I got off the subway. It's like 20 minutes and was like walking up the subway thing and my agents were calling and I was like, no way.

[17:34] Quincy Brown: 20 minutes?

[17:35] Jackie Burns: Like literally. Yeah. And I was like, there's no way there's no way and I picked up my phone. They were like, Hey, and I was like, what? No.

[17:43] Quincy Brown: Yeah.

[17:44] Jackie Burns: And then that agent that was like, you're going and I'm going to kill you. You're the biggest pain in the ass client I have. When they like then called like, you know, a week later with like the actual contract, like money and all that it was for a year. And I was like, Oh, I'm not doing that. Literally looking back at it. I'm like, what? And I'll do six months tops.

[18:05] Quincy Brown: I love this energy though. I'm trying to be like this in my day to day.

[18:08] Jackie Burns: I don't have it anymore. Can I have a job?

[18:14] Quincy Brown: So funny. And my, my agent was like, uh, they're not going to go for six months. It'll cost more money getting your costumes. And like, it won't be worth, you know, with rehearsal rehearsal, you've never done the role before. Like, and at that point you always stood by and then would get bumped up. They very rarely had a girl just go straight into the role. So like, it already was like a big deal that I was going straight into the role. So he was like enough. He was like, all right, I'll try for nine months. And I was like, Oh, fine.

[18:39] Jackie.

[18:41] Jackie Burns: But the funny thing is, is that my agent at the time, Phil was like, but just so you know, Wicked has a tendency to getting what they want. So if they offered you a year, I bet you're going to stay for a year. And I was like, no, I'm not. Did I say for a year? Yes, I did.

[18:53] Quincy Brown: Not only did you say for a year, aren't you the Elphaba with the most performances on Broadway?

[18:58] Jackie Burns: I'm the longest running on Broadway.

[18:59] Quincy Brown: Yeah. So you were like six months tops.

[19:01] Jackie Burns: I was like six months tops. And then I was like, I'll do it forever. But it was funny because like at the end of my nine month contract,

[19:07] Quincy Brown: your tour contract,

[19:08] Jackie Burns: my short, yeah, my first contract, they flew in to Florida, like Joe Montell and Stephen Schwartz. And it was like my audition for Broadway, they came and saw the show.

[19:16] Quincy Brown: And did you know that that was happening when they came?

[19:18] Jackie Burns: Yeah, it was very stressful.

[19:21] Quincy Brown: Did you sing the score that night? Or did you option?

[19:25] Jackie Burns: I see, okay, I'm a weirdo in the fact that if you can't sing the option eight times a week, then I don't want to do it. I don't want to do like, all of a sudden, I'm feeling fierce on Thursday, and I'm going to give you all the options. And then on Friday, now I'm tired. And then the Friday night that paid just as much as Thursday doesn't get the same show. I have guilt. If I can't do it eight times a week, then like I shouldn't do it. So I actually really in my Wicked career, built up like the first contract on tour, I sang the score as is. When I went to Broadway, I took up like...

[19:56] Quincy Brown: You did the Fiero option.

[19:58] Jackie Burns: I did the Fiero option. And then my last Broadway contract is when I took up everything like I took up the end of Wizard 9, I took up the middle of Wizard, like, you know, the things that I could take up eight times a week. And I also was very adamant about like doing eight shows a week and not doing six or seven. Like I was like, I want to be able to, because that's just me as like a human, like...

[20:16] Quincy Brown: No, I love that.

[20:16] Jackie Burns: Yeah. And that's the other thing, like, that's why I've never been able to justify in my mind the end of Defying Gravity, although I glorify and love all the witches that like do those fierce riffs at the end, because they are amazing. But my voice is very much run on acting. And if I can't justify it in my mind, my voice like just stops. It's like, no, we're not doing that. You're not 100% invested. And that, you know, the big F-you is what she's essentially saying. I can't justify for some reason a riff there because purely I would say emphatically like, F-you, done, I'm out. I wouldn't be like... I can't justify it acting-wise in my mind.

[20:59] Quincy Brown: Yeah. So when you came back to Broadway and back to tour, were they just asks and you were like, yes, or did you have to re-audition?

[21:06] Jackie Burns: No, I never, thank God. But when I finished Wicked on Broadway the first time, I immediately then went into If/Then, which David Stone, the producer of Wicked, who's like my biggest champion and like my career is because of him. And so he, I went and did If/Then. Again, I didn't want to go on tour. And he was like, oh no, Jackie, you're doing the tour. He was like, I'm having Idina do the first three months and you're doing the last seven months. And I was like, no, I don't. And he was like, no, you're doing it. I was like, okay. And also it was very sweet because David had thought that If/Then would be like another Next to Normal and have that kind of run. So in his mind, he already, like I was going to replace Idina, period, on Broadway and take over the role after her. So when that didn't happen, it was very much in his mind. He was like, okay, you're playing the role though.

[21:55] Quincy Brown: Right. We have to get you in there. Yeah.

[21:59] Jackie Burns: That's so nice. And then when I got back, that's when I went back to Wicked.

[22:03] Quincy Brown: Which was that like an exciting thing to do?

[22:05] Jackie Burns: You know what? I honestly, it was really funny because speaking of Elphaba, I had gone and seen Sunday in the Park with George with my friend Teal Wicks. Yeah. But when they asked me to come back to Broadway, Teal and I had just saw Sunday in the Park with George. And like literally, we both were like, I haven't had an audition forever. You? And she's like, no. And we both were like, I don't even understand what's going on. Like, it's like even blacklist. Do we suck? Did all of a sudden their memo go out that we don't? We both were so confused because it'd been like months since either one of us had had an audition. And we both went, God, at this point, I'd go back to Wicked. Just like,

[22:44] Quincy Brown: And then?

[22:45] Jackie Burns: And then literally the next day, I was in a bookstore and my manager texted me and said, call me ASAP Broadway offer. And I was like, Broadway, I haven't had any auditions. How am I getting a Broadway offer? I was like, what? And she's like, Jack? And I was like, yeah, she's like, so Wicked called and I immediately got like the hot and prickly in the back of my neck. She's like, and they want you to come back. And no witch has ever been back to do a full contract ever.

[23:15] Quincy Brown: Right. Oh, really?

[23:17] Jackie Burns: Yeah. Glinda's have come back to do like full contracts, like done like, you know, year contracts, but they've never had an Elphaba. So in my mind, my mind immediately went to, oh, they like, sometimes they need like a tweener. Like if they're like, have another coming in, but it's like a two month, you know, and I was like, okay, for how long? And she was like a year. And I was like, what? No, no, no. I was like, no. But the caveat was they wanted me to be the face of Wicked. So the reason they want you to come back is that they're going to film two commercials that are less, less, you know, run the next 10 years. They're going to do all new B-roll. They're going to do all new press shots. And David wants you to, you know, like, be the face of Wicked.

[23:55] Quincy Brown: I was gonna say, we all grew up with that Stephanie J. Block commercial that is playing in the lobby of the Gershwin. And like, you are going to be that, yeah, to this day. But like, you are going to be that for like a whole new generation of Wicked stans.

[24:09] Jackie Burns: Which is like, come on.

[24:11] Quincy Brown: That's so special.

[24:12] Jackie Burns: Come to find out that they had been working on this commercial, these two commercial storyboarding and bringing out for the last two years and like, been discussing who they wanted to like, so it was very like, you know, that like, you know, honestly wanted me to be the-

[24:26] Quincy Brown: That's crazy.

[24:27] Jackie Burns: Like, never in my wildest dreams did I think I'd be playing this part. Like I dreamed about it. And then when I was doing Wicked that last time on Broadway, they came up to me and they, the LA sit down was very important to David and Mark, the producers, because of the movie coming up and-

[24:44] Quincy Brown: Which like, is that ever coming?

[24:46] Jackie Burns: I know, right? But yeah, so with it being at Universal, you know, like, Universal being there, and they knew all the people would be coming, they really wanted to make sure that the show, they, whatever. Anyway, so they asked me and Kara to go and do the LA sit down.

[25:01] Quincy Brown: Which must have been a lot of fun, because I feel like it must have felt like an all star cast is coming back.

[25:06] Jackie Burns: It was very, I mean, like, and I had never done it with Kara, and I'd never, I didn't know Kara, but I just heard amazing things about her. And people always would be like, God, I wish you could do it with Kara, you know, I'd love to see you two together. So getting to do it with her was absolutely amazing.

[25:21] Jackie Burns: We got to live together, and it was just so fun.

[25:25] Quincy Brown: Okay, so Kevin and I like to play a game with every guest we have, where we kind of believe that every actress who plays Elphaba is a Wizard and I Elphaba, a Defying Gravity Elphaba, or a No Good Deed Elphaba. And that can mean whatever you want. But what do you classify your Elphaba as?

[25:40] Jackie Burns: No Good Deed.

[25:43] Quincy Brown: Immediate.

[25:43] Kevin Bianchi: Such a confident answer.

[25:45] Jackie Burns: Yeah, because I'm really good at being crazy and angry and looping it.

[25:49] Kevin Bianchi: Yeah.

[25:50] Jackie Burns: Having just had this whole conversation with you about how, you know, you approach the role acting first and text first. I feel like that's a very logical answer because that song is the acting moment for Elphaba.

[26:02] Jackie Burns: So fun. It's so fun.

[26:03] Quincy Brown: We've had Elphaba say that it feels like No Good Deed, they never had a grip on it through their whole contract. Like they always were just kind of hoping for the best.

[26:11] Jackie Burns: No, that was my jam. I was like, that was like my like, okay, I'm not nervous about this one.

[26:16] Kevin Bianchi: Interesting.

[26:17] Quincy Brown: That is so cool.

[26:19] Jackie Burns: Wizard and I was always my...

[26:20] Kevin Bianchi: Your hill.

[26:22] Jackie Burns: F out of me. Like, I had a definitely a different experience the second time when I did it on Broadway. But the first time I was my Achilles heel, I had a hard time with that last note.

[26:33] Jackie Burns: And I had struggled with pitch on that a real really lot. And then the second time I came up with that option to go up.

[26:41] Kevin Bianchi: I was gonna say you're like known for that option up.

[26:43] Jackie Burns: Believe me, but I did it because it I had a really it made it easier.

[26:47] Jackie Burns: Right out of necessity.

[26:48] Kevin Bianchi: Yeah, I did it because I was like, yeah, that was the first thing I thought about when they had asked me back. That was like, literally, that's where my head when I was like, Oh, God, Wizard and I.

[26:57] Quincy Brown: Really?

[26:58] Jackie Burns: That's when I and I was like, how can I justify this vocally, acting wise, to get me to be able to sing this easier?

[27:04] Quincy Brown: I love that. And I love how confidently you said you were a No Good Deed Elphaba.

[27:11] Jackie Burns: I love it. And also, though, like, I don't understand like my dresser, Kathy, who's done every single Elphaba. There's like, because it's a harrowing run from like, when you get off stage to where you have to like run around and like run down these stairs and then run to like, down to the pit and get in this thing. You don't have a lot of time. And most Elphabas run.

[27:31] Jackie Burns: Yeah. And I walk. So that way I wasn't stressed.

[27:36] Quincy Brown: Yeah, God, you weren't stressing. Do you need to run then?

[27:40] Jackie Burns: I don't think you need to run. And I've tried to tell people that you don't need to run, but I think it's just like the adrenaline of like, you run off stage. And then you're like, but if you walk with purpose so that you can keep your breath down, then you can start that crazy song with some breath. And I always got there with enough time to like, take a breath and like, get centered before I would go up.

[28:03] Kevin Bianchi: Jackie, this is great advice for all Elphabas.

[28:05] Jackie Burns: Yeah, any future Elphabas listening. Don't run. Walk with purpose.

[28:11] Quincy Brown: Walk with purpose and you're fine. That's good life advice too.

[28:18] Kevin Bianchi: All right, should we move into As Long As You're Mine?

[28:20] Jackie Burns: Oh, sure. Okay, so As Long As You're Mine, we think is really interesting because it's kind of the one moment where you get this love story fantasy with her. So I mean, what is your take on As Long As You're Mine?

[28:36] Jackie Burns: Here's the thing. Elphaba, people are like, oh, but you're pretty green. And like, oh, the girls are pretty green. You know what I mean? And Elphaba is pretty. Nobody's ever like, Joe, when you talk to Joe Mantello, the director, he's like, Elphaba is a beautiful girl. The only difference is she's green. Like, and it's that it's that everyone else can't like get past the fact that she's a different color. So I love that it celebrates the fact of like seeing her as like a woman. You know, she's never celebrated in that way.

[29:03] Quincy Brown: Going off of that, what is your interpretation? Because there's two lines in Wicked that always get a reaction that I always think are kind of like confusing, where I'm like, we're laughing at this, but like, do we like understand it? And one of them is there's a goat on the lambs, sir, where I'm just like, I get that that's just like a funny phrase. But why are we saying that right now? And another is for the first time, I feel wicked. Because it's like, oh, funny. She's saying the title of the show. But it's like, wait, what what does that mean? Like, so what did that mean to you? Because I would wager that it differs from actress to actress.

[29:35] Jackie Burns: Probably. Yeah, for me, it's like naughty, feeling sexual feeling forbidden, like you know what I mean? For the first and feeling. The other thing is feeling selfish. She is so selfless. And for the first time, she's stealing a moment for herself and feeling wicked and like giving into her own desires.

[29:53] Quincy Brown: I love that I have never thought of the song or that line in the ways that you just described. Are there any technically tricky moments that like we as audience members wouldn't necessarily pick up on during as long as your mind?

[30:04] Jackie Burns: Oh, God, yeah. Do you get knee pads for that scene? My knees would be broken. Every all of us wear knee pads for the second act that I know.

[30:15] Kevin Bianchi: Wait, what? Oh, yeah. That's good. I'm glad that their knees are supported.

[30:19] Jackie Burns: I wear knee pads the entire show.

[30:23] Quincy Brown: Wait, do you also keep a piece of gum in your mouth for the entire show?

[30:23] Jackie Burns: Yeah. Why? Is that just a good luck thing? Or is that a saliva thing?

[30:32] Jackie Burns: Saliva? You never get to really get water, you know, and when you do, right, right, right. Not a lot of time. So it just keeps it everything kind of moist. Did it fall out? Once? And I caught it. It was very funny. The first time on Broadway, but it was like towards the end of my contract. So and Lisa, we were in rehearsal and Lisa, the associate director was like, I was chewing gum. She was giving me a note and I was chewing gum.

[30:52] Jackie Burns: Yeah. And she was like, Are you chewing gum? I was like, Yeah, she was like, spit it out. And I was like, during the show, she was like, No, don't. Yes, I do. I was like, I've I've always for the last two years. You never seen it, have you? And she's like, No. And I was like, and you never will. And she was like, if I ever see that gum, never again, Jackie. And I'm like, Okay, I promise. That night she sees a show. And it was during no good deed on supply. We were like, the book down right. And I was like, and on the ply. It literally spit and I caught it. And I was freaking out. So I was like, holy shit. And like, I was I held it the entire time during the whole song, just holding this. I was like, God, but it was just so funny. It's the only time I've ever spit out my gum.

[31:42] Kevin Bianchi: Did you do that? And if then to every show I've ever been in?

[31:47] Jackie Burns: Wow. So so far, we've learned you don't have to run and a piece of gum in your mouth will get you through the show. All right. We have to switch gears to if then because we couldn't be on a wicked podcast and not talk about the fact that you stood by for Mother Elphaba Idina Menzel. What I think is really interesting, and we had Stephanie Torrance on the podcast too, who understudied Jenna and waitress, and she talked about how difficult it was to go on for some of the bigger stars that they had come in towards the end of the run. Well, first of all, what was your experience working with Idina Menzel? Was that a pinch me moment for you? And then what was your experience with going on for Idina?

[32:06] Jackie Burns: So it was a pinch me moment. Because like I said, like in college, I would sing rent, rent and Hedwig are like the only things that like I musical theater school ever. She's a rock girl. So then getting to meet her. And they were already in where they had already been in rehearsals for two weeks before I came in because I wasn't in the show. I just stood by so like, there was no point in me being there for until they like had blocked enough for me to like come. And I remember I got there and she was like running a little late. And I just remember like, her like tearing in and like throwing off her jacket because it was like cold then. And her like immediately like beeline to me. And she was like, Oh my god, it's like looking in the mirror.

And she was so, so nice. So lovely. And I just I know she thinks I'm weird, because I would had a standby experience where it was very aggressive. Like anytime I went on, she was always forget something in my dressing room and always would like tweet about going on before I eat. You know, like it was just she was very like, my face and it was uncomfortable. And I was like, I will never be that kind of standby. You won't even know I am there. Unless I have to like, you know what I mean? Like I am, I'm just gonna like, blend into the shadows. And then if you need me, I will appear and then I will leave. I will put my gum in and I will do the show.

[33:43] Kevin Bianchi: Yeah. And to the point where like, sometimes, you know, she's, it was at the height of her career. It was when Frozen happened. It was when the Delta Zim happened. I mean, it was like, she was popping off. She sang at the Super Bowl that year. It was the biggest star in the world at that time. It was out of control. Production obviously didn't plan on that happening, right? Or was it timed with Frozen release and all of that? Or?

[34:04] Jackie Burns: Oh, it was like a perfect storm.

[34:09] Quincy Brown: Okay, so but the second that if I had to like, jump in for her, I would clock her like coming walking back on and would just like seamlessly leave, you know, so that she can walk on. And finally, one day, I was like doing that I was like getting off the stage, you know, and she was like, Jackie, you can say hi to me. I was like, Oh my god, no, I respect like, get out of the way, not be annoying. And not be like, you know, and she she's just very, she's very funny. Did you guys have a we both played off of a moment when we were doing if then something came out for the Wicked anniversary, where like, they had picked a few of us to do an article on. And she like came up to me and was like, I saw your picture.

She was like, Oh my god, she was like, you're such a beautiful alphabet. She was like, I always felt really pretty green, too. Didn't you? Didn't you feel pretty? You know what I mean? Like very, very sweet. And she was always just like very she's wears her heart on her sleeve. You what you see is what you get. You know what I mean? Like, there was one point in tack when the director, Michael, I was sitting, you know, out in the audience. He was like, Jackie, go up and sing this. Dina, come down, like D come down and like, I want to give you some notes. And you know, so then I was like up there. Well, when we first started in rehearsal, she got sick, and I had to sing for her while she like went through which is awkward in that respect, because you're like, how much should I sing?

I don't want to sound like I'm like, right, saying like, yeah, like, so it's just such an awkward situation as it is. Then when I finish and like, you know, like they we and we were crossing on the stairs. She's like, I couldn't even listen to my notes because you sounded so good. Oh, my God. So cool. But um, because I wasn't in the show, unless I went on for her, I didn't have the same kind of interaction everybody else did. And then the other thing that was really hard is that it wasn't the height of her career. I can't imagine the stage door at that show.

[35:54] Jackie Burns: It was insanity. And it was really hard going on for her people would were mad at me. You know, I had people yelling at me at the stage door, like being like, Are you on tonight? I heard you're on for the matinee. I'm like, I'm gonna be pissed if you're on tonight. And it's like, people like would forget that you're like a human being, you know what I mean? So and you could feel the audience like being angry with me until what the fuck this song what the fuck is when I would like get my side because that ending?

[36:18] Quincy Brown: Yeah, how could you not?

[36:21] Jackie Burns: But it was it was a very good way to like, check your ego at the door, realize all you can do is tell the story and work really hard to do that as well. And as you can, you know, and not take it personally. But it is hard. It's really hard. It was the hardest thing I think I've ever had to do. But it gave me a self confidence that I hadn't had before. Having I don't I don't think there's any anything worse than having to go out in front of an audience to carry a show for the next three hours when you can viscerally feel them hate you without even knowing. Just because you aren't the person that they came to see.

[36:58] Kevin Bianchi: Wow. Yeah, that was very hard.

[37:00] Quincy Brown: Well, I know people who would run out to buy tickets when they heard that you were on and if then I did the week of the Super Bowl. I specifically went to see you because I you know, heard that you were going to be on the whole week. So for every negative Nancy in the audience, there was at least one gay boy in the back row.

[37:18] Jackie Burns: Oh my gosh, Jackie, this was so fun. Where can people where can people find you online?

[37:23] Jackie Burns: You can get me at Instagram or Twitter at Jackie Burns NYC.

[37:27] Quincy Brown: Amazing. Thank you so much for doing this. This was fantastic.

[37:30] Jackie Burns: Yeah, this was so great.

[37:32] Jackie Burns: For having me and congrats on all your upcoming guests.

[37:34] Quincy Brown: Oh, thank you. It was so so nice to meet you.

[37:38] Jackie Burns: Such handsome devils and have a great Friday night.

[37:42] Quincy Brown: Thanks you too.

[37:43] Jackie Burns: Bye.

[37:50] Kevin Bianchi: So first of all, before we get into everything we just learned, I would just like to thank Jackie Burns for calling us handsome. Kevin, my heart skipped a beat when she said that.

[38:01] Quincy Brown: What was the one thing she said that had us both shook that we didn't know? Oh, I didn't know that Elphabas wear knee pads all of Act 2.

[38:10] Kevin Bianchi: I didn't know that, but I'm happy to have learned it.

[38:14] Quincy Brown: Definitely. It makes sense. As somebody with the knees of a 107-year-old man, I worry about those poor actors every time because they're kneeling, and they're on a raked stage. So they're kneeling, and one knee is higher than the other. Their hips are probably so... I mean... No, I can't even kneel the way they kneel in "As Long As You're Mine" as a person.

[38:43] Kevin Bianchi: Okay, I also really loved... I think that "As Long As You're Mine," at face value, it's easy to write it off as like, we're doing a musical. We gotta have a love ballad. I guess we'll just have Elphaba and Fiyero sing it, right? Glinda and Fiyero do not get the love ballad.

[39:00] Quincy Brown: Obviously.

[39:01] Kevin Bianchi: Obviously. But you know what I mean? There's no love ballad in Act 1.

[39:05] Quincy Brown: Yeah.

[39:05] Kevin Bianchi: But what I thought was really interesting was that when we asked her, to her as an actress, what the meaning of that song is, it was all about Elphaba. She didn't say, like, it's a love song. She's like, it's a song about Elphaba being celebrated as a woman and a partner and a human being, which I love that take on it.

[39:26] Quincy Brown: And it was great to hear. I mean, you guys aren't hearing this in order, but we just recorded our episode with Emma Hunton, who also approached Elphaba from a very acting-first standpoint. And so to hear Jackie also say that, even when it comes to vocals, she's like, if I can't justify from an acting perspective, I don't want to do it. And I also love that she was like, I'm not going to option up a riff unless I can do it eight times a week.

[39:48] Kevin Bianchi: I love the consistency of the vocal choices.

[39:52] Quincy Brown: Yes. And I also love that. You know, I think that some people, when you ask them about riffing, they're like, no, I sing the score because that's what it is. But I love I've never heard somebody say, I don't riff because I can't or I don't want to riff in the event that I can't maintain it eight shows a week. I've like never heard that be the reason before. And so I thought that was super interesting.

[40:13] Kevin Bianchi: Because it's not like Jackie Burns doesn't riff her option up, but it's just no. We've heard it.

[40:18] Quincy Brown: We've heard it. But knowing that the options that she does choose are because one, it's justified from an acting perspective. And two, she knows that she can do it eight times a week just adds so much more of like a gravitas to the whole choice of it all. I love it.

[40:31] Kevin Bianchi: The fact that she started vocal lessons after her first contract as Elphaba is wild to me. I was like, what? You did an entire contract and we're just like, yeah, I think I can sing.

[40:42] Quincy Brown: Okay, here's my kind of like Frank analysis of what we just learned.

[40:48] Kevin Bianchi: Ladies and gentlemen, please welcome to the stage Frank analysis.

[40:51] Quincy Brown: Guys, Frank analysis used to be like the tagline for this podcast when we were workshopping this.

[40:55] Kevin Bianchi: Yeah, but they get it because it's a lyric in Wicked.

[40:58] Quincy Brown: Oh, that's true, too.

[40:58] Kevin Bianchi: They're gonna understand.

[40:59] Quincy Brown: Okay, okay. They'll get the joke.

[41:01] Kevin Bianchi: Got it.

[41:01] Quincy Brown: Did you get the joke when it was a tagline?

[41:04] Kevin Bianchi: I guess not.

[41:06] Quincy Brown: It's because it's in a Glinda song, so you haven't listened to it since 2004.

[41:10] Kevin Bianchi: Literally, the last time I listened to "Popular," I couldn't tell you.

[41:13] Quincy Brown: Literally on the train today, I listened to it.

[41:15] Kevin Bianchi: All right.

[41:16] Quincy Brown: But I was taking notes for...

[41:18] Kevin Bianchi: For what?

[41:19] Quincy Brown: For Glinda's Corner for our podcast.

[41:21] Kevin Bianchi: I forgot we do that.

[41:24] Quincy Brown: I wish we would have asked Jackie if she considers herself an actor who can sing just from what she was saying is she comes from everything acting first. And as you just said, she did not start training her voice until she was already into her career, which is so funny because I feel like the perception of her is like she has this stupid, inimitable voice that is like a superhuman crazy thing.

[41:52] Kevin Bianchi: The song she was talking about, and if then the what the fuck the ending of that is I heard her do that live and it brought the house down. But then to hear her be like, oh, yeah, like singing kind of like the second thing I think about when I I'm like, what? Because she's I feel like in her career, she's been slotted into this role of like, you are a beltress. We want you for your vocal cords. So I actually really loved that she had the opportunity to talk about like the acting of it all, you know?

[42:18] Quincy Brown: Me, too. Oh, God. I'm really happy about that interview. I thought it was great. Thank you, Jackie, for coming on. Kevin, I think it's time for Kevin's Glinda Corner.

[42:31] Kevin Bianchi: Whoa.

[42:34] Quincy Brown: I'm literally, guys, listeners, I pulled up my phone. Quincy literally just took his phone out to scroll to doom scroll while I do my contribution to this show.

[42:46] Kevin Bianchi: I'm sorry.

[42:47] Quincy Brown: That's funny. I didn't mean to do that on purpose.

[42:49] Kevin Bianchi: I know.

[42:50] Quincy Brown: I'm not mad. I think it's funny.

[42:51] Kevin Bianchi: Okay, so as you may remember, Quincy, Glinda's contribution to "As Long As You're Mine" is, I'm not that.

[42:58] Quincy Brown: But it's such a weird note to make Glinda sing. And so I got thinking about that. And I'm like, wow, Kristen Chenoweth has that note, but also has like the tap up at the end of "No One Mourns the Wicked" note. And so I have decided, Quincy, that this is going to be the episode where I gush about Kristen Chenoweth.

[43:20] Quincy Brown: Oh, I'm excited for this.

[43:22] Kevin Bianchi: I feel like we've been building up to this offline. I think we've been building. And it's like, we're going to have enough to talk about next episode with... I just think this is the moment.

[43:30] Quincy Brown: So the role of Glinda is, I think, very difficult to fill from a casting perspective for two reasons. Number one, Kristen Chenoweth's charisma cannot be duplicated.

[43:43] Kevin Bianchi: Sure.

[43:43] Quincy Brown: And number two, Kristen Chenoweth has a remarkably large vocal range and impeccable technique. And so as the show was being written, it's like, oh, you want to write a comedy song where she yodels? Yeah, Kristen can handle it. And then every other Glinda that follows is like, I have to do what and what and also then what? Do you think that's a thought when they're creating a show where they're like, is this sustainable for other actresses down the line?

[44:09] Kevin Bianchi: I don't think. I mean, I'm sure to a certain degree. I don't mean to say that no other actress has had the range or the technique, but it's just like the bar is set so high because Kristen Chenoweth is such a spectacular force of musical theater.

[44:23] Quincy Brown: But what really impresses me is, like I said, she has this fantastic technique because she has a degree in opera performance. She has a degree in musical theater, too, but she is a trained opera soprano. And like you brought up with Jackie, it's like, I really do think that the best singers are the ones who have that technique up in those high places.

[44:41] Kevin Bianchi: And so I would just like to point out a couple moments of Kristen Chenoweth that I really love, and I encourage you listeners to listen along and come on this journey with me.

[44:53] Quincy Brown: I'm actually in for the spiel. What a nice change.

[44:56] Kevin Bianchi: Okay, so the first thing that I would like to mention is, in "No One Mourns the Wicked," what a delicious crystal clear tone she has in that song. I mean, it is like so pingy and delicious and so good. Specifically, I love the way she sounds on the lyric, "outlive a lie," because she says, like, outlive a lie. It's like four syllables, the word lie, but each one is placed so impeccably. But then when you get to the end, when she's like, "goodness knows," can you believe that's the same fucking person that's singing "I'm not that girl"?

[45:33] Quincy Brown: Wow.

[45:33] Kevin Bianchi: And then I have one more part to point out, if I can. I mean, what a Glinda Corner, guys. What a Glinda Corner.

[45:39] Quincy Brown: The last little bit that I want to suggest our listeners go and check out is the entirety of "Popular." What I would like to say about "Popular" is that I feel like we do a lot of talking about how altos and belters navigate their break. We never talk about sopranos navigating their break going into the lower parts of their register. And the way Kristen Chenoweth navigates her break in "Popular" is a masterclass, and it is so enjoyable if you're the four people in the world who enjoy things like this.

[46:16] Kevin Bianchi: Regardless, Kristen Chenoweth is navigating her break with the agility of a 14-year-old Olympic gymnast.

[46:25] Quincy Brown: It is so good. And specifically, I would like to bring your attention to the part of the song where she says, "don't be offended by my frank analysis," that whole part, all the way up to, "there's nobody wiser not when it comes to." That whole chunk, she is placing her voice in a different way every five words. It's such a good example of technique in that technique is duplicating the process, not the result, right? And so it's like, Kristen Chenoweth, she's probably not even thinking about that. You know what I mean? She wasn't in the studio recording the cast album being like, and on the word frank analysis, I'll put it here. And if I do it this way, she just sings and it happens. I would imagine. Because the technique is there. Much like Jackie Burns.

[47:16] Kevin Bianchi: Okay, look at me tying this whole episode together. The same way that Jackie Burns can throw a piece of gum in her mouth and do "No Good Deed," because she knows it's going to be there. Isn't that wild, Kevin?

[47:26] Quincy Brown: It's wild. And I loved hearing her say too that she was like, yeah, I know the voice is going to be there because I know that I'm justifying it as an actress.

[47:34] Kevin Bianchi: Remarkable. Spoiler alert, it does not work that way for anybody else.

[47:39] Quincy Brown: But I love that it works for her. And the same thing is I love that like Kristen Chenoweth can just throw herself around and be like goofy Glinda because those impeccable chords are just there carrying her through.

[47:51] Kevin Bianchi: Yeah, no, I mean, you're absolutely correct, Kevin. And Kristen Chenoweth is a talent above all talent.

[47:57] Quincy Brown: Above all.

[47:58] Kevin Bianchi: I will give you that.

[47:59] Quincy Brown: Above all else.

[48:00] Kevin Bianchi: I will give me that. I've assigned Kristen Chenoweth record in my living room right now.

[48:04] Quincy Brown: See? So as much as I'm not a Glinda girl, I'm very much a Glinda girl.

[48:13] Kevin Bianchi: Do you know Kristen Chenoweth follows me on Twitter?

[48:15] Quincy Brown: Wait, no.

[48:16] Kevin Bianchi: She does because they're okay. Maybe you'll remember this because you're like on the internet. There was this video like maybe a year and a half ago of like a ball of dough and somebody like drew a face in the dough and then dragged the mouth down and like sang an opera note. Quote tweeted it and was like, is this Kristen Chenoweth? And she saw it. I didn't tag her in because I didn't want to be that person. Somebody tagged her in it and she responded. She was like, oh, my God, this is so funny. And then she followed me.

[48:45] Quincy Brown: Do you know the fun fact of about her voice teacher in college?

[48:48] Kevin Bianchi: No, tell me.

[48:49] Quincy Brown: Oh, my God. So Kristen Chenoweth and Kelly O'Hara studied under the same voice teacher in college.

[48:54] Kevin Bianchi: Of course. Doesn't that make sense?

[48:56] Quincy Brown: Yeah.

[48:57] Kevin Bianchi: Another set of impeccable chords. Kelly O'Hara. Speaking of Sopranos, I just saw Audra McDonald live in concert. I don't know if I can be super specific at this, but I just saw Audra McDonald live in concert and it gave me a huge appreciation for Sopranos. I love that her set list is not just made up of Soprano musical theater songs. Like there are songs that I love that how diverse her set list is. It's before the parade passes by last night and I was like, oh, died. I can't wait for that revival.

[49:29] Quincy Brown: This outro has been 40 minutes. This happens to us every week.

[49:33] Kevin Bianchi: Okay. Well, Quincy, thank you for spending such a fun-filled Friday night talking about Wicked with me.

[49:40] Quincy Brown: I had a thought. I was like, you know what? In a pandemic, this is the most fun Friday night I could be having.

[49:46] Kevin Bianchi: Yeah. What Broadway star did you talk to today?

[49:49] Quincy Brown: I talked to Jackie Burns.

[49:51] Kevin Bianchi: All right. We'll talk to you guys next week.

[49:53] Quincy Brown: See you next week. Happy Valentine's Day.

[49:55] Kevin Bianchi: Valentine's Day. Hopefully this episode is coming out when we think it is.

[49:59] Quincy Brown: Yeah.

[50:00] Kevin Bianchi: Okay.

[50:01] Quincy Brown: All right. Bye, guys.

[50:02] Kevin Bianchi: Bye.

[50:03] Quincy Brown: Talk to you next week.

[50:09] Quincy Brown: You've been listening to Sentimental Men. This episode was produced, edited, and hosted by Quincy Brown and Kevin Bianchi. Thanks to Julie DiMarzo for our thrillifying artwork. And thanks to you for tuning in. You can reach us at sentimentalmenpod at gmail.com or on Instagram, Twitter, and TikTok at sentmenpod. That's S-E-N-T-M-E-N-P-O-D. Until next time, I'm Quincy.

[50:34] Kevin Bianchi: And I'm Kevin.

[50:38] Quincy Brown: I would love to hear Jackie Burns sing "Get Out and Stay Out."