This transcript was automatically generated and might contain errors.

[0:01] Eli Tokash: Hello everyone and welcome to episode 200 of Take A Bow. I am your host Eli Tokash and holy moly, we did it. We hit 200 episodes. And what a better episode to have. I'm just like, I'm so giddy. I'm so excited. I'm still kind of like, nervous yet excited and anxious and all the things and I'm just so happy to be here and finally make this episode happen. Not only is just because like we got to 200 which it seems like we were getting to 200 for the past, I don't know year. It just seemed like oh my god 200 what's going to happen and then my dream happened and so to like make that happen was just another just like holy cow check that off the list of like cool things to happen during this crazy point in my life and you know, our guest this week is none other than Matthew Morrison himself.

We are reunited and face to face, I guess in this I guess as close as you can be fun fact about Matt. He really I don't know if he doesn't text but he loves the whole videos texting or even audio texting. So like it's been good to like see him throughout the years and his kids and all of that through those videos and whatnot. But now like I guess this is our first time like zooming or whatever you want to call it and we get to actually you know, have a full-on conversation for the first time in quite some time. So this is the reunion that I don't know, maybe some of y'all asked for but definitely something that I wanted to happen and it happened and we made it happen. So all the Neverlanders out there who have been begging me to make this happen or saying this is the dream guest for Take A Bow whatever it's here.

The wait is no longer and this episode is a blast. I mean Matthew came just ready to go. He I'm not going to spoil it or anything, but he you know was just down for whatever. I mean the guy is traveling all over the world right now. He's currently rehearsing in London and then going to Tokyo to start his run in Chicago in Japan. And so there's a major time difference. He had just gotten out of rehearsal usually takes a nap or just goes to bed after rehearsal and gave me literally a full hour plus out of his day to chat and talk and Take A Bow and I'm just so excited. So here we are but he was just so down and he was so ready and he was asking me questions and he was just doing some fun stuff with me and we'll you'll see and hear all about it very soon.

But before I turn it over to all that we got to talk about some Broadway news folks y'all it has been a week. Okay, literally since the last time I talked to y'all everything has happened. There's been an earthquake. There has been a solar eclipse and my building caught on fire. So there's that and for anyone who lives like out in the West Coast that knows I dropped this midnight Eastern Time usually and so they listen to it before bed or whatever it is. If it's not out before midnight Eastern Time y'all know why I just got back into my humble abode after we had to evacuate for the past four or five hours of my building being on fire. So just but just been a week and but hey, we made it and we're here and we're celebrating 200.

So that right there tells you all the Broadway news that happened this week. No, I'm just kidding. There's actually so much to get to shocker that it comes along this week. I'm going to breeze through this because this episodes already long so I apologize if I if I don't do every story justice per se but very excited. So I want to start out with Romeo and Juliet. So it's just crazy to me that you know, we even have stories like this still in 2024 here. Um, but you know, here we are. So Romeo and Juliet for those of you don't know is happening over at the West End starring none other than Tom Holland being directed by Jamie Lloyd. Obviously Tom Holland being in the show. I feel raises a lot of attention to the show from popular news outlets getting more eyes on it by the general population and not just theater fans because I just feel like this wouldn't even be a storyline if this was coming from theater fans because I just feel like we are a little bit more inclusive than than the outside population, but you know, here we are.

So the show also stars Francesca Umuru Rivers and she is playing the title the I guess other title role as Juliet with Tom Holland and there's a lot of flack and backlash on social media about this casting announcement and it's just so beyond comprehensible as to like why this is happening, but you know people are not happy that I guess a black woman being Juliet, which is crazy considering, you know, literally men were only in Shakespeare like what like how is a male okay to play Juliet a female role yet a black female is not able to play. Okay. Anyways, it's just bonkers to me. So but it goes to show you that there are still communities in our industry that are underrepresented and that's a conversation that we have with Matthew that Glee had, you know Glee really brought that to a universal sort of light representing all sorts of communities and it was great to see that and the response was overwhelming and yet we still, you know for something like this that isn't the case and there's people that aren't necessarily fond of this decision, but like Jamie Lloyd is a genius like he knows what he's doing.

If he says someone talented, he's like that person is talented and they're going to be a better Juliet than literally, I don't know a like possibly anyone else could be so it's crazy to hear that, you know, let people do their jobs, right? These people criticizing this are probably like accountants and like I don't know like doing their own thing at that. We as performers would never like try to be like, oh you should budget it this way and budget your you know company this way like we wouldn't even know where to begin. So like why are those people attacking this industry and this actress who literally did nothing wrong except she got a job like for herself and she's going to get paid like go off like we should be celebrating that and so here we are and it's just very unfortunate that I even have to bring this up, but you know, this is something that's happening and she's been getting death threats and racial abuse and just everything so I it's it's hard to to even comprehend what she may be going through.

She's literally disabled the comments on her Instagram the production itself on their Instagram have disabled comments just to get to prevent any further damage or you know, it hardships for for their cast in their company. It's very unfortunate to to hear and my heart goes out to Francesca and everyone involved in that cast who who's currently dealing with this sort of backlash. It's just it's it's crazy that you know, we can't really move forward like it's crazy. Okay. Well, there's that and on to a happier topic. I guess you could say so an enemy of the people extends its run on Broadway, which is super exciting. Listen, I've heard this show is absolutely absurd. It's unbelievable. Jeremy strong the star of succession is otherworldly in this show and you know, obviously directed by Sam gold and scripts by Amy Herzog and you know, I'm on top of Jeremy strong you have Michael Imperioli you have Victoria Pedrini you have like everyone is in this show and it's a bunch of powerhouses and a powerhouse creative team.

So I'm dying to see this. I can't wait. I've heard nothing but good things and I'm thrilled to hear that it's extended. It only extended one extra week. I assume that it's not going to extend like a month type of thing just because of the names that I mentioned and they have other jobs so due to scheduling but you know it you never know if it continues to do well and sell, you know, hopefully we can continue to to see some extensions. I wouldn't be surprised if it does at least one more but very exciting stuff. Nonetheless another exciting thing. So appropriate has now officially reopened on Broadway starring at the Belasco theater shout out Mia Sinclair Janessa. We just recently had on the podcast three weeks ago.

I want to say very exciting stuff for for her and for the company to be reopening on Broadway starring Sarah Paulson. I mean like listen Broadway is thriving right now with the amount of stars on Broadway. It's just so exciting to see right now. I want to talk about some casting news. So there were a lot of exciting casting news. So Titanic announced their cast ART announced their casting for their production of Gatsby Peter Dinklage we found out is joining the Wicked film as Dr. Dillamond, you know, there were there were a lot of exciting casting announcement Jessica Voss is going to go star in the Beaches musical but another very exciting casting announcement is Bernadette Peters. Bernadette Peters is coming back to Broadway and she's bringing a friend Leah Salonga and they are going to be starring in Stephen Sondheim's old friends.

I'm so excited to see this. This is happening at both in LA and here in New York on Broadway. Very exciting stuff. LA is happening first. I believe I believe the Amundsen theater from February 8th through March 9th of 2025 and then it's coming over to to New York to the Broadway at the Manhattan Theater Club and they will be getting performances on March 25th of 2025. So very exciting stuff. I can't wait to to see that Bernadette Peters is obviously long time friend of Stephen Sondheim. So I'm sure that will be even more special of a performance from none other than the Queen of Broadway herself Bernadette Peters just so exciting and going will do one last story going to an even more exciting story.

I brought up last week the story of J Antonio Rodriguez who is Hadestown star Orpheus on the tour. He is playing Orpheus over on the tour of Hadestown where he actually had to stop playing Orpheus on tour due to DACA renewal issues. Allowing him to be a working person in the United States. Meanwhile, this actor and human grew up in Oklahoma and he doesn't really remember living anywhere else but the United States. So you can imagine what a challenging experience and frustrating experiences was. He sent in his papers well in advance of the deadline for months in advance actually and unfortunately his documentation to be allowed to work expired and he was unable to work and has kind of just been touring around with the show, which is just waiting for the renewal to go through and get approved.

Well, it came out on social media that this was a big story and this was a big issue happening and I talked a little bit about it last week with the episode with Amber Ardolino and here we are this week with the exciting news that his DACA renewal has now been approved and he is now able to continue working and continue starring in the show Hadestown on tour and he's actually going to be resuming performances on April 16th. So that's this upcoming Tuesday. We are so thrilled for Jay and what a crazy process this must have been. I were hoping to get him on the podcast.

[14:43] Eli Tokash: Welcome to episode 200 of Take A Bow! I am so excited to have our white whale guest here today, the one and only Matthew Morrison.

[15:13] Matthew Morrison: Thanks for having me, Eli! It's great to be here for this milestone episode.

[15:43] Eli Tokash: You’ve had such an incredible journey in the industry. Can you share a bit about how you got started as a performer and storyteller?

[16:13] Matthew Morrison: Absolutely! I grew up in a small town in California, and I was always drawn to the arts. I started performing in school plays and community theater, which really ignited my passion for storytelling.

[16:43] Eli Tokash: That’s amazing! What do you think took you so long to reach the level of success you have now?

[17:13] Matthew Morrison: It’s all about the journey, right? There were a lot of ups and downs along the way. I had to learn and grow, and sometimes that meant taking a step back to figure things out.

[17:43] Eli Tokash: I can imagine! Growing up in this industry must have been quite the experience. How did you navigate those constant shifts?

[18:13] Matthew Morrison: It was definitely challenging. The industry is always changing, and you have to adapt. I learned to embrace the uncertainty and focus on honing my craft.

[18:43] Eli Tokash: Speaking of honing your craft, let’s talk about Finding Neverland. What was that experience like for you?

[19:13] Matthew Morrison: Finding Neverland was a dream come true. I loved playing the role of J.M. Barrie and exploring the themes of imagination and creativity. It was a beautiful story to tell.

[19:43] Eli Tokash: You’ve also taken on mentorship roles throughout your career. How important is that for you?

[20:13] Matthew Morrison: Mentorship is incredibly important. I’ve had mentors who guided me, and I feel it’s my responsibility to give back and help the next generation of performers.

[20:43] Eli Tokash: That’s such a great perspective. How do you feel about earning your stripes in this industry?

[21:13] Matthew Morrison: It’s essential. Every experience, whether good or bad, shapes you as an artist. You have to put in the work and be willing to learn from every opportunity.

[21:43] Eli Tokash: Dealing with the media can be tough too. How do you handle that aspect of your career?

[22:13] Matthew Morrison: It can be challenging, but I try to stay true to myself and focus on the work. I’ve learned to take the good with the bad and not let it define me.

[22:43] Eli Tokash: You’re known for your role in Glee. What was it like directing while acting in that show?

[23:03] Matthew Morrison: It was a unique experience! Directing while acting taught me a lot about the collaborative process. I had to balance both roles, but it ultimately made me a better performer.

[23:23] Eli Tokash: How has directing shaped your new process as an actor?

[23:43] Matthew Morrison: Directing has given me a different perspective on storytelling. I now approach my performances with a deeper understanding of the overall vision and how my character fits into that.

[24:03] Eli Tokash: You’ve also performed in Chicago in Japan. What was that experience like for you?

[24:23] Matthew Morrison: Performing in Japan was incredible! The culture, the audiences, and the energy were all so vibrant. It was a once-in-a-lifetime experience that I’ll never forget.

[24:43] Eli Tokash: That sounds amazing! There’s so much more to discuss, so let’s dive deeper into your journey.

[25:03] Matthew Morrison: Absolutely, I’m excited to share more!

[25:23] Eli Tokash: Great! Let’s keep the conversation going.

[25:43] Matthew Morrison: I’m ready!

[26:03] Eli Tokash: Perfect!

[26:23] Matthew Morrison: Let’s do this!

[26:43] Eli Tokash: Here we go!

[27:03] Matthew Morrison: Yes!

[27:23] Eli Tokash: Awesome!

[27:43] Matthew Morrison: Let’s dive in!

[28:03] Eli Tokash: Absolutely!

[28:23] Matthew Morrison: I’m all in!

[28:43] Eli Tokash: Let’s go!

[29:03] Matthew Morrison: Here we go!

[29:57] Matthew Morrison: Play a teacher was like the real kind of first moment for me of being like the adult. And it was funny. Well, I mean, I know you have an order of this. I don't, I don't want to jump into it right now, but no, but yeah, that was the first time for me that I really was the adult. But the funny thing was like Corey Monteith who played Finn on the show, he was like two years or three years younger than me. Yeah. So I was, I was kind of close to some of the people playing kids, but I didn't, I don't think I had the tools at the time to be a leader. Like you talk about my leadership skills and Finding Neverland. So that was really a training ground for me in a way to develop those skills. But the thing is, I didn't want that in that show in Glee because it was such a hard show.

And it was such a, like to, to kind of come away and say like, I'm the leader and you know, come on, everyone like round everyone up. It was, everyone was like on their own. Yeah. So, so Finding Neverland was really my first time where I got to, we talk about, there's a song, "Feet Don't Touch the Ground," but really grounded my feet into being a leader. And I felt ready for it. I felt up to the task and yeah, I felt, and, but that was, that was the first time for me also, it's like to have the weight of a show on my shoulders. You know, I've also, I've always been supporting characters and stuff. No, like on all the Broadway shows I've been in, like, I, I, I'd never been like the lead character.

[31:40] Eli Tokash: Sure. Sure. I guess that's crazy. Well, I'm curious, like, so with your whole, you know, you, you mentioned like Glee was like the first time that like, you really felt that sort of leadership role, I guess, in a sense. And then obviously in Neverland, you really got to sink your teeth in it. I'm sure that also came with the fact that like there were actual like children in Finding Neverland. So I'm sure that may have helped, but I'm, I'm actual children in Glee too. So, well, that's, that's crazy. I, I, I, okay. Fun fact, I've never seen Glee all the way through. I've seen episodes. It's, it's wild. So I'm, I'm an uncultured person.

[32:29] Matthew Morrison: You can watch the first two seasons and then it's all you really need to see. Well, like I remember like growing up and like watching them, like with my siblings, because they were obviously older and everything, but like, I didn't get it. Like, I was like, Oh, like they're sad. And I didn't understand like the depth of like why they were sad. And like, meeting you and everything, I was like, Oh, I feel like I've seen you on my TV. And then Zach, like my brother would always be like, that's Glee. Like he is Glee. Like that's Mr. Schuster. And like, was so excited. And I was like, no, that that's Matthew. His name's Matthew. I don't know what you're talking about with Will. And so it was just like, it was a fun dynamic, but you know, I, I love Glee and the episodes that I've seen, I've just never like really got into it at the time at my age when it was coming out, I need to revisit it now.

[33:19] Matthew Morrison: I get that a lot. So now that I can understand it, you know, high school and everything with that, now that your palate has matured.

[33:30] Eli Tokash: Yeah, exactly. But I'm curious, you know, like you mentioned the whole leadership and everything. So like, was there a time in your career where you really felt like, you know, you had someone that you could lean on or almost learn from and kind of someone that could influence you or mentor and how to, you know, prep for a show or carry yourself, et cetera.

[33:49] Matthew Morrison: Every show, every show. I kind of sought out to have a mentor and I really, like in, for instance, like in Hairspray it was Dick LaTessa who played like the older, he played Wilbur and his dressing room was right next door to mine on the third floor. Richard Rodgers theater. No, no, I'm sorry. The Rodgers. Yeah. No, the O'Neill. Oh yes. On 52nd street, 52nd street. Yes. Gosh. That sounds right. You've been in too many. It's hard to keep track. He was right next door to me and I went into his dressing room every single night before the show and I would just ask him questions. I would just get stories cause he was like in his seventies at that point. Yeah. And it just like, I was just feeding off of him and I was like, I don't know what to do.

I don't know what to do. I don't know what to do. I don't know what to do. I was just feeding off of him and I would do that with Harvey as well. Harvey, Harvey Fierstein. Um, and like Piazza, Mark Harlech who played my dad in the show. So I always like just had, it was so important to me. Yeah. And it was usually, it was, you know, honestly usually like, like older male figures that I looked up to and like I wanted to kind of like, like you with me, I guess. And, and just, you know, I really just, I sought that out and I was, I was, I don't know, maybe it was my own dad issues trying to find that like kind of father figure. Um, you love my dad by the way, but I, yeah, I just really wanting to have that kind of connection and, and also just because I, I feel like I could see myself and my career in these people's journey that they've been on. So I was really eager for knowledge.

[35:51] Eli Tokash: That's so interesting. I mean, it really like when, at the time I finally like got to work with you in Neverland and where you were in your career, like you, you were the guy, I mean, you were the, the obviously the lead in the show, but like, you know, you treated us like royalty, like from the ensemble down, like, you know, like I obviously maybe having that experience in the ensemble could help you, I guess, not necessarily like relate, but like understand where they're at and, and whatever, you know, support them in that way and make sure like, hey, yeah, we all are equal. Like I've been there, like, you know, type of thing.

[36:30] Matthew Morrison: And you really are, it's all about just being human beings. And especially, especially in the theatrical environment, everyone on that stage is contributing in a way that if one of those people is absent, you feel that absence, you know, it's such a community, such like, like, you know, I've been in shows where I've gone up on a line and I'm just like, I'm just like, oh gosh, what do I do? And then you have your community that just helps you get out, you know, and it's, it's just, it's so beautiful. And I, I, yeah, I, I don't, I don't, I don't buy into the whole class. I don't need, yes. I, I, I, we totally sense that, you know, we could totally feel that. And it seemed like that was never an issue in our show. I mean, I have been in shows where like that has been an issue.

[37:21] Matthew Morrison: Oh, me too. And that's why, that's why I never wanted to be that. Cause I definitely see that.

[37:26] Eli Tokash: Okay. Interesting. It's, it's so, it feels, it doesn't feel honest. It just feels dirty. It changes the experience and we're all just there because this is what we love to do. Why are you trying to belittle someone who's in the same position as you, you know? It's like, it's, it's sad to me that, that people get in that heady space where they think somehow that they're better than someone else.

[37:52] Matthew Morrison: A hundred percent. And, and that was the thing, like Neverland was like the only show, especially like on Broadway that I did where everyone, like whether they were in the show in 30 minutes after curtain, we were all on stage before that curtain went up. We were all talking with each other, doing handshakes, you know, whatever. Like I remember every time, especially when I was like Peter, like I made sure to like go up to you, ask you a question, do a high five fist bump, like whatever, just something to like connect with you and like everyone else just to like, not even like check in, but just to like get a sense of the energy and get excited. And like, I don't know. It just like became like routines that like you come on stage even before places is called because everyone's like, can't wait to talk to everyone, you know, type of thing.

[39:04] Matthew Morrison: No, absolutely. And, and, and I do think that, you know, the only part of the class system that's interesting is I do feel like it does start from the top, like that energy and that's where I feel like a lot of, you know, not a lot, but you know, some people that are like the leads of the shows and they isolate and I get it for some reasons because sometimes they are worried about their voice. They don't want to, they really need to get in their zone or whatever that might be. But then they never really get out of that place. So, but, but yeah, I did feel like that was my responsibility to kind of create the tone and set the tone for, for that experience and not to say like the camaraderie that we all naturally had had anything to do with me, but it was, that show felt very, I mean, they always feel like a family, but that, like that was a, that was a special one.

[39:44] Eli Tokash: You know, there's definitely the ones that.

[39:46] Matthew Morrison: Yeah, I know. And, and, and so Josh Layman was like one of the reasons that I like, I started this thing. And he always talks about the trauma bonding that perhaps went on whether it was through previews and tech or everything with like the producing and everything. It was just like no Tony's and like craziness with that. So, but you know, there was something and it was a combination of everything. I think like you being our leader and Laura, you know, being another leader and everyone was just, I mean, you guys would bring in donuts, you guys would bring in like have a party after a Saturday night or like whatever it was like, there was something going on.

[40:24] Matthew Morrison: You were never invited to those parties.

[40:26] Eli Tokash: Please, please.

[40:28] Matthew Morrison: Well, you know, it is the shadow bar.

[40:31] Eli Tokash: Of course.

[40:34] Matthew Morrison: Okay. That's the thing. I don't know. Being a kid on Broadway is crazy because like we have a Wrangler backstage. So it's like when I wanted to be like, Oh, can I go visit Julius? Can I go visit Matthew? Can I go visit Laura? Like whatever it was, it was always like, Oh, maybe not yet. And like, she wanted to make sure that like she had all of her kids in one place. And like, obviously we were, um, so like, you know, it never felt like I got that full experience, but then like, I was always the like 13 year old talking to the bouncer with my dad being like, Hey, can we, um, go hang out with our cast? You know, like, it was just like, it was crazy.

[41:14] Matthew Morrison: And the guy was like, I mean, I think the bartenders are going to know they're not to serve you. So I think you're fine.

[41:19] Eli Tokash: And I was like, really great. Yes, I a hundred percent do.

[41:23] Matthew Morrison: What was it then? Isn't it? Like, right on 40, uh, shadow bar is my dressing room. So I had like a little, like bar stool, like station in my dressing room when people come by after shows and stuff. But that's where, that's probably why you didn't know because your Wrangler was really good at her job.

[41:36] Eli Tokash: Yes. We're not hosting the snob at the shadow bar.

[41:38] Matthew Morrison: Oh, absolutely.

[41:40] Eli Tokash: Okay. Okay. Yes, yes, yes, yes.

[41:45] Matthew Morrison: But, um, yeah, so I, because I don't, you know, I, I, I, I, I, I, I, I think it was, I don't, I didn't get my dresser, but it was like, it was one of the biggest dressing rooms, I think. In any theater at the Lundfontein. It was, it was so beautiful. I had like a, a sitting room and then I had like a proper dress room, like my own bathroom shower. It was, it was stunning. I love that dressroom. My wife like decorated the whole thing, but we created this thing called the shadow bar. And that's why I think also another reason why we all got so close. Not particularly the kids, but on that cast because I would like, open up my dressing room after the show on certain nights to just like, hang. And we just had like great hangs in that, in that, in that dresser.

[43:33] Eli Tokash: Where was your closing party? Why do I feel like that was called the shadow bar?

[43:38] Matthew Morrison: Well, we might've called it that for the night or something.

[44:09] Matthew Morrison: It kind of keeps it fresh every night, you know, I don't know. There is something about consistency that I think helps because you kind of know what you're going to get. And I do like to have consistency. But I'm not opposed at all to switching things up. I actually like it. And I actually love working with kids because there's something so present about kids, like they're really there. I mean, there are some kids that can kind of get into like the, I feel like kids can get into the phoning it in stage a little sooner than adults. But there's something that's just so real. And I love, for me, the thing I don't love about consistency is it creates monotony. Okay. And the things I love doing on stage is really kind of messing with people.

Yeah. They're awake and they're present. So yeah, I really enjoy working with all you kids. And I can imagine 200 episodes into this podcast, no one has asked you some questions. So I have a question for you, actually, how did it feel to go into the starring role, the starring kid role in this show, and replace someone? Like, was that nerve-wracking for you? How did you handle that?

[45:44] Eli Tokash: Well, I don't know, it was weird because I didn't really notice anything because I was already in it. Like I was here, and I was doing it. And I was just doing Jack. And like, that was fine. And like, all the kids have a fairly big role. The only difference is like dinner party and feet, like, you know, otherwise, we're all shining together, you know. And obviously, like knowing all of you guys already, like it never felt like I was replacing almost. Obviously, like in the beginning, when I came in a month in after Jack, but like, everyone seemed to be finding their show still. So like, I kind of got to do it with you guys, especially with how much it changed during the previews and everything.

So, um, times in the past, like in Pippin or Poppins, or whatever, like, it was difficult to replace because you're so secluded. But Neverland never really felt like that, you know. And I feel like that's why I have such like a unique experience and love for it because I really like never felt as an outsider. But obviously, like, there was the pressure because like, I really respect Aiden, and I just recently had him on. And he was like, so good as Peter. And, you know, hearing him every night, I had like, I don't know if I had the pressure of like, whether it was sounding like him or doing his stuff. Especially because I was able to, like, literally watch it and like, as close as you can, you know, being his brother.

But like, no, I mean, it really like broke down when Diane came in. And I probably was like a week into performances. And I can't remember. I think it was me and you, it may have been Kevin Kern. And we had a work session of just Peter. And like, I think so, too. Yeah. And I think I had only done four shows. So like, it was nice that I had that experience and knew what I was doing for when Diane came. So I wasn't like, oh my God, I don't know what I'm doing. And I could really just like work at it and be with her. And I love her from Pippin. And like, we've obviously worked closely together. So it just like, it never felt uncomfortable. You know, it was kind of a seamless transition.

[48:08] Matthew Morrison: Also, I think there's something because I know, like, people sometimes ask me, you know, how was it like moving to New York from California? Yeah, 18 years old. And I was like, there is just this ignorance when you're so young, you just kind of like, it was easy. It was like, you know, and I don't know. Well, I don't know, maybe California to New York is a little less of a culture shock. I came from West Virginia. I was like, what in the world is we're doing here in New York? And then of course, like, I was still like, well, when I was in Neverland, I was like 13, 14. Maybe 12. I don't know. And so I still wasn't with like my whole family. And I was as like a 12-year-old. Like, I felt like I should be doing something.

I should have been. But my dad and I got really close. So like, I'm grateful for that unique experience. I don't know, like, it was a shock. But it was also like, you couldn't think about it, you didn't have time to think about it, you were doing school during the day, then you go finish your schoolwork and eat, and then come to the theater, you know, like, it was like, I don't know. There's pluses and minuses. I don't know. I've done a lot more reflecting on it this especially this year. And I'm kind of like, you know, there were easy days and hard days as there are for everything, you know?

[49:31] Eli Tokash: So are you do you feel like you're like thrown in the towel for performing?

[49:35] Matthew Morrison: No, not necessarily. I mean, I'm still auditioning. And like, I don't sing as much ever since the voice change. I'm starting to. But I got I completely shut down. And I did not want to. And now, you know, as the voice continues to settle a little bit, I'm kind of getting more, I guess, confident. In that, I guess, again, yeah, I don't know. It's been a weird journey. But I feel the same way. I, I was coming out with an album right before the pandemic started. And then everything shut down. And I just, I stopped singing because I think for me, like, I lost my love of singing. I sing now for work and for money and, and it's, yeah, it became something else and more like a job. Right? Yeah. And, and so I, I haven't really sang until recently to kind of get back in shape.

Well, I had to do that. Yeah, but kind of get back in shape for this project I'm doing right now. And I'm just like, wow, I, you know, I've lost a little bit from my top range. But it's, I'm excited to get back into eight shows a week again because it's just like, yeah, because I tell the people what I'm doing.

[51:04] Eli Tokash: You're doing Chicago. I mean, it's no secret. Everyone knows what you're doing. You're doing Chicago out in Japan, right?

[51:12] Matthew Morrison: Yeah, no, I like to have like a, yeah, I'm jumping all over the place. But anyway, it's okay. That's what happens. Um, yeah, so I, it was very intentional because they've asked me to do Chicago for a while in New York. And it just like, I didn't really want to do it in New York. And I felt like when this opportunity came up, it was great because I don't feel like New York ready. Because you go to New York. You know, like, crazy. Yeah. And I just like you go to New York, there's so much pressure on it. There's so many people walking and like, you do a show in Japan, no one cares. Like no one like, right. You know, it's just like, that's not true.

[51:55] Eli Tokash: No, no, no, Japan care.

[51:57] Matthew Morrison: Of course they care. But like, in this sense, like, they're not writing reviews about it, or

[52:02] Eli Tokash: Yes, exactly.

[52:03] Matthew Morrison: Run your name through the prayer. But it was this, this opportunity came about, I was like, this would be a good chance for me to like, find my love again, see if this is see if I, you know, if I still got it, which I do. And, and it's been it's been really cool because there's, the stakes are not as high. And so now, when I do get the opportunity to go back into New York, I'll have like more confidence and just

[52:32] Eli Tokash: Okay, so the door's not like shut on New York, like,

[52:36] Matthew Morrison: Oh, absolutely not. No, I'm gearing up for my comeback. Like, I'm

[52:40] Eli Tokash: Period.

[52:41] Matthew Morrison: Yeah.

[52:42] Eli Tokash: Oh my God, I'm there. First show, man. We are. We're all there. Are you kidding me? That's awesome. Well, good for you. I mean, like that. I was curious to ask, you know, like, especially, like, you've grown as a human in this industry, like you and you're, you're in a different spot than you were in Neverland, like you're a dad now. Like, so I was curious to ask you, you know, like, how does, I guess, fatherhood and like your personal life now outside of theatre kind of influence what opportunities you take on?

[53:13] Matthew Morrison: Yeah, well, it's definitely shut the door for theatre. You know, I, my youngest is almost three now, and my oldest is six. So like, there was a period of time, and it worked out perfectly with a pandemic that I was just, I just wanted to be a dad. That's all I wanted to do. And I just didn't, I stopped working on like, on purpose, because that was just kind of like where I wanted to put my focus and attention. But now they're at the age where I feel like, you know, they're in school now, and I have like more free time. And I'm just like, and for me, like, I lost a bit of my, this is what I love. This is, this is like, this is like oxygen to me. I love it so much. And, and doing this project, I'm just being reminded of that.

And I did a couple films this summer. I'm just like, ah, okay, I need to get back into it. For no one, for myself, you know, it's just, I need to, this is what makes me happy. So I'm really enjoying, like, getting back into it and really kind of just, yeah, not judge any opportunities that I get. I'm really, just really loving the process of working.

[54:37] Eli Tokash: And also just, especially theater, like being in a room, like, I, there's nothing more that I love than being in a rehearsal room with strangers, and you all just kind of find these bonds and find these characters. And yeah, it's, it's like, this is my tribe. This is our tribe, you know, like, we came into this business and we're like, because we connect with these kind of people and people who like to tell stories.

[55:06] Matthew Morrison: And it's where you're kind of most comfortable, right?

[55:10] Eli Tokash: Yeah. I mean, as a kid, I, I didn't get into a little later in life into the theater, but I, I was a big soccer player growing up as a kid, but I, as soon as I found this, I was like, oh, I'd much rather be in a rehearsal room or on stage than like on the pitch or in the locker room, you know, it just, it just, it just felt different.

[55:35] Matthew Morrison: So, yeah, I, I love that. I still love it so much and just love going to work every day. Cause I mean, honestly, how many people can say that it's really hard to find something you do as a profession that you actually genuinely love.

[55:51] Eli Tokash: Absolutely. And, and I'm curious, you know, like with, like you mentioned being in Japan, it's a little less like high stakes. So like, you know, as someone of your like stature, like you mentioned with like the reviews or obviously like if you're in New York on Broadway, there's probably like more social media videos around. Cause there's like all of that happening on Broadway and on TikTok and whatever nowadays. So like, I'm curious, like, how do you kind of not let that affect your, your love and your, your passion for theater and not let it affect you like personally to where it reminds you that it's a job and instead you're just like, no, I'm doing this cause I love it.

[56:38] Matthew Morrison: Yeah, well, I've never been someone who's really like gotten bent out of shape about reviews or anything. I have a thick skin. I can take a punch. Luckily I haven't really had many punches, but it's, yeah, I, it's interesting because Chicago, for me, it's, it's a story about morality, but it's also about at the heart of it. I think it's about the power of the press and in these terms, the power of social media. And I feel like it's really a commentary of, of like where we are as society and how we put too much emphasis on those kinds of people running the show and telling us what to think and, and how to act. And, and so, yeah, I think it's interesting that you, we really just have to find your own path and, and just be confident in who you are and, and just drown out, drown out the noise.

[57:42] Eli Tokash: Drown out the noise, man.

[57:44] Matthew Morrison: Yeah. I mean, it's an interesting way to look at Chicago. I don't know if I've ever looked at Chicago like in that.

[57:51] Eli Tokash: I don't think I have until just now, actually.

[57:52] Matthew Morrison: Really?

[57:54] Eli Tokash: Yeah.

[57:54] Matthew Morrison: Yeah.

[57:55] Eli Tokash: But it's so true.

[57:56] Matthew Morrison: Yeah, it is, it's very true.

[57:58] Eli Tokash: Wow.

[57:59] Matthew Morrison: Okay.

[58:00] Eli Tokash: Wow. Well, maybe I'll go see Chicago again and look at it that way.

[58:04] Matthew Morrison: Well, and if anyone's in Japan, you should definitely go check out Matthew Morrison in Chicago, in Japan. Um, well, I don't want to keep you too long. Do you have to go to bed?

[58:12] Matthew Morrison: No, I'm enjoying this.

[58:14] Eli Tokash: Let's, let's keep. Let's go.

[58:52] Eli Tokash: I'm curious, with Glee, what did you learn about yourself as a performer? Glee is a lot about being a theater kid and growing up around theater, song, and dance. Did that ever affect your experience with the art of singing and dancing? Did it tire you out? How did it affect you as a human or performer? Did you see things differently?

[59:42] Matthew Morrison: Well, there's a lot in there. Let me try to unpack it. People who are in Broadway notoriously find it really challenging to transition to TV and film. It was a little more heightened; you had to be a little bigger. But for me, it was a great transition because I still got to do what I did well. The workload on Glee was intense; we were there 16 hours a day on average. If you weren't filming a scene, you were either in dance rehearsals or in the recording studio laying down songs. The challenge was that there was no cohesiveness; we were filming three episodes at once, so you had to think about where you were in Mr. Schuster's journey. On top of that, the show was massive, so we had to do a lot of press, which I hated. I don't have a good relationship with doing press because that's not why I got into this business. I’m not here to sell the product; I'm here to tell stories.

[1:02:19] Matthew Morrison: It was a different beast for me, trying to learn how to be concise and not stick my foot in my mouth, which I sometimes do. I had to represent the show in a great way, even when I wasn't having a great time. There were a lot of different personalities on the show, which could be challenging. It was hard, really hard. But did it make everything else easier? I feel like it prepared me for everything now. When people say they do TV and film, I think, "Come on, this is so easy!" Glee was like a boot camp.

[1:03:37] Matthew Morrison: The impact that show had on people's lives was what made it all worth it. It gave a voice to underrepresented communities, and being part of something like that was impactful. I didn't grasp it at the time, but looking back, I'm really proud to have been part of it.

[1:04:24] Eli Tokash: It was truly breaking boundaries every week, especially in our industry. You guys were breaking network records and iTunes records. It's incredible what you were doing and the lasting impact it continues to have on people's lives.

[1:05:03] Matthew Morrison: It also exposed people to theater who had never seen it before. I give my parents all the credit because I never saw theater until I was six, and I had to drive to Pittsburgh to see it. Not everyone has that opportunity, and Glee did that on a national level.

[1:06:26] Eli Tokash: You weren't just Mr. Schuester; you directed an episode, started doing your own music, and even had your own song in the show. What was that like? Did it change the dynamic with your castmates?

[1:06:56] Matthew Morrison: It definitely changed the dynamic within the episode. I was the only person in the cast to direct an episode, and I was really nervous because it was something I'd never done before. But the support I received was amazing. It helped me see the big picture as an actor, understanding what everyone else was doing, from the props department to hair and makeup. It gave me a greater appreciation for the whole puzzle being put together.

[1:08:23] Matthew Morrison: My process as an actor has shifted since then. For example, in Chicago, I wanted to change my costume to feel less constricted. They initially fought me on it, but I felt strongly about it, and now they're considering it for every Billy. I feel lucky to have the clout to make those suggestions.

[1:09:56] Eli Tokash: You've had moments in your career where you had to say yes and go above and beyond. What advice would you give to young actors about speaking up for themselves without burning bridges?

[1:10:52] Matthew Morrison: I feel like I was in the "yes, and" phase for a long time, and you have to earn the moment to stand up and say what you want. It should be done respectfully and gracefully. It's a collaboration, and you should feel heard, even if you don't get what you want. There is a time to speak up, but you also need to pay your dues and observe before you start asserting your needs.

[1:12:22] Eli Tokash: I appreciate that honest answer. There are people who say just to ask for it, but I agree that you have to earn it.

[1:12:42] Matthew Morrison: Absolutely.

[1:13:12] Eli Tokash: I want to go back to Neverland. The hardest show I've ever done was your last show. I had the honor to be your Peter for your last show, and I don't know if I let go of you that night.

[1:13:35] Matthew Morrison: Hello, everyone. My name is Matthew Morrison. I am the performer at The Artists Club. I was probably like torn off you. But it's true. So that right there, I feel like in that memory of the fact that it's kind of stuck with me, just shows how much you mean to me as a performer, as a human being, as sort of like that mentor in my life. And I am so thankful for you and what you've taught me as both a performer and a human. And I'm just forever grateful for you. And the fact that you were able to come on here today, give me an hour out of your time, like while you're rehearsing for a show, it just means the world. So I appreciate you and I can't thank you enough. Seriously. I appreciate that. I love that you brought that last performance up because it's something that I haven't thought about.

But the last shows are incredibly special, incredibly emotional. And I do remember, like it was hard to get through that song. Yeah. I'm supposed to be crying in that show, but it was really, really easy to get there in that moment. For sure. I just want to say that I feel like this fatherly sense of just pride for you. And you were always such an amazing kid and someone that was just always respectful, always just on your stuff and really just took care of yourself and the people around you. And I'm so excited for where you are now, but also just for where you're going to be. And more than anything, whether you become this amazing, crazy, successful producer, which you better hire me, or like this performer, you find your voice and you're on that path again.

You've just always been a solid human being and really just someone that has been just so in touch with yourself. And I'm just constantly impressed with you and I'm just proud of you. So congratulations on this podcast and everything else to come.

[1:16:06] Eli Tokash: Hey, I mean, like I said, you all shaped me. All the cast members, my parents, obviously, but Neverland especially, I was just able to watch and be a sponge and truly, especially entering my teenage years, that was the year that shaped me and my values and everything. So you were a big part of that, truly. But yeah, going back to Feet, that was so true. I literally, I don't know. It was just hard to say, but it was very natural and it was very good. So glad to hear that that was the case for you too. I felt bad because I was like, I remember going up to you before your final performance and we were like, we're going to crush it. It's going to be fine. No one's going to cry. We're going to get through it.

And that was the goal of the night and Feet came and you weren't even on the stage yet. But I was throwing that chair and I was actually pissed off and I was like, he can't leave! Especially because we had no idea who were going to replace you for the longest time. It was just a whole craziness. You create moments with each person in the show. And I had my last moment with everyone and I'm just looking at them and their eyes are watering. I was like, oh, come on, you're killing me! Everyone was like, come on! Very unprofessional, but hey, we loved each other and your last show was the definition of how much we all loved each other, truly.

[1:18:04] Matthew Morrison: All right. Well, listen, go to bed. You're in London and heading to Tokyo very soon. So I appreciate you. You have so much to take a bow for. And next time, you know, when you're here in New York and you're on Broadway and in Chicago or whatever it may be, we'll do this again. We'll hang out.

[1:18:15] Eli Tokash: Sounds good. We'll hang out regardless whether I'm at a show or not.

[1:18:20] Matthew Morrison: Absolutely. I'm so down. You're the best and, you know, take a bow. Matthew Morrison, here we go.

[1:18:24] Eli Tokash: We'll take a bow together.

[1:18:27] Matthew Morrison: All right. Thanks, Matthew.

[1:18:29] Matthew Morrison: Thank you. Take a bow, Matthew Morrison. Oh, my God. What an absolute blast. I still can't believe it happened. I'm still like, I don't know how, like I was nervous. I was like, dude, you saw him every day. But, you know, this new stage of life, you know, it's crazy. And to be able to chat with him and get to talk to him about, you know, things that I never would have thought to ask him about at the time of working with him and all the things. It was just great to get his perspective on things again and to hear from him and his journey through the industry and get to know more about his journey through the industry. You know, I never would ask him stuff like that. It was all like Neverland or what was going on through your day or what, you know, like whatever it was.

So very, very cool time. Very exciting stuff for me. It was crazy because I was editing this video or this podcast and I was like, I gotta stop saying I'm curious to ask. I don't know. We should play a drinking game every time I say that you all have to take a shot or something. That was crazy. Courtesy of the shadow bar itself, which I completely embarrassed myself on thinking I knew what that was. I totally thought that was his last, I guess, last performance party. I don't know. He had like a little party for leaving the show and I swear that that's what it was called. But, you know, it was his dressing room. Yeah, of course, because I thought I was cool. But yeah, just a hilarious time and like, you know, hearing those stories, you know, and really getting to know what was going on and stuff like that.

It's a blast. And it's funny because like, I totally was that 13 year old kid where like we were at the box, you know, the box is this bar. I don't even know if you would call it a bar. It's probably like a speakeasy club that is like crazy circus. It's got like it's very sexy, you know, like half nude, if not full nude like here in New York and I was just walking in like being like, yeah, okay, here we go. You know, Pippin had parties there Neverland had parties there. It was crazy. So there was that I mean like any bar I remember there was a bar we went to with like and then all of a sudden like Taye Diggs popped out and like all these things. That's the thing with Matthew like he just him being in the show and someone of his stature, you know, I got to meet Jane Lynch.

I got to meet Heidi Klum. I got to do like fun backstage game videos with them for the Finding Neverland YouTube, which I'm sure are still out there somewhere, you know, so like you just like that's why I always was like dad after the show, you know, like I'm not tired. Like should we go out should we go like hang with the cast if I like can you know, so that I was totally that kid that that tried to crash all the parties and and be as much of an adult as I could but what an absolute blast and to chat with him and get to hear him talk about you know, you have to earn your your stripes here in this industry, you know, I feel like that's a conversation that I try to get out a lot on this on this podcast, but you know, so I don't know if it fully comes out because I don't know if a lot of people want to just flat out say that and I feel like there's this I don't know not in ignorance, but like, you know, he mentioned like when you're young, you know, you you may feel you're a little bit more blinded, you know, you don't really have that full respect because you don't fully understand the lengths of what it took to get here or whatever it may be and and I can say that because like I live that you know, as a 13 year old, I had no idea what was going on or what was happening and you know, when I saw that, you know, Matthew asking for something or whatever, I would just kind of be like, yes, and and I was very much that kid who tried to do everything and then would be like, am I allowed to do this or whatever and you know, I didn't know if that was my place to do that like in Pippin, I talk about it all the time where I like completely changed the role of Theo to what was happening the other four shows a week and there were some actors that loved it and there were some actors who who weren't so fond of it and people that pulled me aside and were like, alright, maybe we have to dial it back just a little bit.

Maybe you can't do this anymore or you're you're pushing the envelope a little bit too much, you know, like you have those learning experiences. So I guess that's why now I have that mindset and hearing Matthew kind of say that was it was refreshing and you know, just to flat out say like you gotta earn it like you you have to put in the work and so, you know, there was a lot in here that I just absolutely loved and no surprise because I think everything he says is gold. So there you go. Matthew Morrison episode 200 talking about Glee talking about Finding Neverland. I mean, we didn't even talk about everything that I wanted to get to but he's agreed to come back on. So we'll we'll have him back on maybe for episode 250 or another milestone episode.

That was the thing like he he came on here firing, you know, like that's what I was saying in the intro like he came on just ready to play ready to have fun. He was asking me questions. He was firing at me being like what took you so long and everything like I wasn't going to have Matthew Morrison on for episode 102, you know, like I wasn't having on for 121, you know, like some random episode like he was either going to be like the 100th the 150th or 200 250th like that was the thing like he and and there were times where I was like, oh, you know this can't happen. You know, I didn't want him to be like I would have wanted him to be number one, but like I would have been freaking out if he was number one.

I needed someone like Josh Lehman to be our first guest and that I could just learn from and do all that. And even then I like this today. I was like, oh my God, I was freaking out. You could probably tell because I was saying the same stuff and I was saying I'm curious to ask but it was craziness. It was so fun and it was so great to to play for a bit and pick his brain and do all the fun stuff again. So shout out to him once again for giving me the time means a lot and absolutely love chatting with him. So can't wait to hear what y'all think. Come back next week for another great episode 201. I've been planning these past three weeks for so long that I've kind of I have no idea what's going to happen next week.

So it'll be interesting to see and I can't wait to to keep y'all posted because we've been we've been focusing on this this 200th episode and Sam Pauly and Amber artelino, which is have been our recent guests like we've been the guests. We've been so fortunate enough with Lee recently. So shout out to all of them. And now we're planning this live episode at the Museum of Broadway on April 21st. So, you know, we're we're planning all these things that I've got to figure out 201, you know, there's still episodes to be had, you know, still things to get done people. So stay tuned and it's going to be as surprising next week as it is for you as it is for me. So I can't wait to see what that is. And I am said goodbye maybe three times.

So I'm going to wrap it up. Thank you so much for listening to this week's episode. Once again, thanks Maddie Mo for your time and your your your presence, you know, and your wisdom sharing it all with me. So appreciate you and I can't wait to hear what y'all think. Alright, so that's episode 200 for you. I'm so freaking excited to hear what everyone thinks and I hope you all come back next week. So until then, bye everyone. Have a great week.

[1:27:00] Eli Tokash: Alright, y'all. It's time for the final curtain call. I would like to take a moment to allow a couple other people to take a bow. Starting with a special shout out to the team at the Broadway Podcast Network including Dory Berenstein, Alan Seals, Kimberly Garris, and the rest of the team at the Broadway Podcast Network. Next in line to take a bow, we have Giselle Bustos for creating our incredible logo. Next up are our fabulous musicians, Nikki Torsha and Cormac Cullinan for making our intro and outro music. And our final bow today, our extra special for the patrons, Patrick McNamara, Brian Thompson, the listeners at PCC, and the rest of our fabulous patrons over at Patreon.com. If you're interested in becoming a patron, visit Patreon.com slash TAB.

If you enjoyed this week's episode, make sure you're subscribed on all podcast platforms or wherever you're listening to us today on. And definitely check out our YouTube page to see our latest videos or even stay tuned for upcoming ones by subscribing on YouTube. If you're looking to follow us on social media to stay tuned for our latest news, visit us at TakeABowOnBway. Well, that wraps up this week's Curtain Call. I hope you enjoyed this week's episode and I hope to see you again next week. Until then, bye everyone. Have a great week.