This transcript was automatically generated and might contain errors.

[1:00] Chris: Hey, how are you?

[1:17] Marc: Hey, there we are, hey, thank you, thank you, thank you all, Chris, we're on our own, gosh, it's boys night out, Heather's not here to join us tonight, we're going to go all over the place, yeah, so yes, Heather is not joining us today, she's under the weather, so we wish her, we wish her well, yes, um, and, uh, we had Jeffrey already in the comments, yeah, patiently waiting for the show to start, so, uh, yeah, here we are, we're making it happen, all right, I guess this counts as starting, right? We started, right, what, what, am I missing a start? I don't know, I assumed, Jeffrey, we're assuming you can see us. Yeah, let us know, because, you know, we're not usually in charge, so it makes, uh, I'm going to do my usual thing here, if we're live, yep, I have to go to the different page, uh, and make sure, I'm surprised I haven't gotten a text from Heather, okay, nope, that's the group, uh, there's a group and there's a page, and I always click the wrong one, oh, Jeffrey said yes, I think there's just a delay, I think there's a delay from the comments, I think that's probably very accurate, um, it's not, Heather mentioned that last week, I think, too, I was like, why aren't we on Facebook, and she said, just wait, it'll, it'll show up, gotcha, so I will, I've been double checking that, so we can reply in the comments.

[3:13] Marc: Yeah, so we were just talking about your, uh, albums behind you, before we went live, and you've got two there, I have never heard of before, which does not happen a lot with me, so there's a Huck Finn musical, called Down River, is that right?

[3:36] Chris: That's correct, uh, I had never heard of it, um, nor had I heard of Olympus 7-0-0-0-0, yeah, that's the other one, Olympus 7000, but that's why Discogs exists, so if someone goes on to the, um, oh, there, there are all sorts of groups, there's the Cast Recordings Facebook group, and Cast Album Lovers, and every once in a while, there's one, and I go, I don't think I know this one, so I'll just go to Discogs, and because they're old, and very unknown, usually you can get them for a really good price, um, unless they've suddenly become collectible, and then it's like, nope, don't have that kind of money, um, but these were two I picked up recently, so they were kind of at the top of the pile, as I hastily rearranged the show albums for this week's show.

[4:30] Marc: Yeah, I'm just, I'm quickly looking through my library, my Cast Album Library, I definitely don't have Down River, and then, what is it, Olympus 7000?

[4:35] Chris: Yeah, well, 7-0000.

[4:44] Marc: Oh, I see, I see. So, 70,000, I guess. Olympus, Olympus, Olympus. I'm sure this is very thrilling for our audience. I have Olympus on my mind, but no Olympus 7-000.

[5:07] Chris: It's an odd one, it's on the Command record label, which I remember from the early 70s as one of those niche labels that got into high-def recordings, 35mm film recording for audio, and that sort of thing, and they had really heavy vinyl, this one is a heavier album than most, when some labels were getting into Dyna Groove, trying to make the vinyl lighter, Command got into higher end. So, I don't know, I haven't even opened, Olympus was unopened, and I got it for like a buck.

[5:42] Marc: Wow.

[5:42] Chris: So, now I don't even want to open it, and I haven't listened to Down River yet. I picked up Lies and Legends, which is a Harry Chapin jukebox review.

[5:54] Marc: Wow.

[5:54] Chris: I started listening to that, so I'm looking forward to all this new stuff. In my old age, in my retirement, I decided I'm spending some money on me, and one of the things I bought was an old Kenwood amplifier, a stereo amplifier from the 70s, which I just think gives me a warmer tone than any of these home stereo amps that I was trying to use, and I have a high-end Technics turntable that I bought decades ago. I sort of piecemeal, everyone says, wow, I have a reel-to-reel tape recorder, and I have about a dozen shows on reel-to-reel tape.

[6:42] Marc: Wow.

[6:42] Chris: And for the nerds out there, that's because in the 60s, when the Recording Industry Association of America established the RIAA recording curve, which was meant to normalize the sound of recordings, it did not apply to open reel tapes, so I have shows like Hello, Dolly! and The Music Man, and you listen to them on tape, and they just somehow sound that much fuller or bigger or better. I don't know, it's interesting, and my dad was such an audiophile, so that's where I get that from.

[7:23] Marc: Nice.

[7:24] Chris: Yeah, that's one thing I can't collect, is vinyl.

[7:23] Marc: Oh, you'd be me. When I was a kid, I did, and then we lost Mom, and Dad had Alzheimer's and passed away, and the four of us kids just couldn't maintain the house anymore. I couldn't afford to store everything in a thermostat-controlled room up in New England. I didn't have the room in Missouri, and I certainly don't have it here in Florida, so I got rid of most of the vinyl. I kept one big box of things I just couldn't get on CD, and everything else I could get on CD, but now I'm filling it in still, and I bought a doohickey that I think will someday let me digitize my vinyl.

[8:24] Chris: If I hook my laptop up to this doohickey and plug it into the stereo system, I should be able to do all that. There are people who do that more professionally than I ever could, but that's my goal, because I do enjoy being able to throw everything on my phone and just say, okay, shuffle my show tunes. I'll see you in two weeks.

[8:47] Marc: Yeah, I got a thousand songs, playlists I just will throw on.

[8:54] Chris: I have multiple. I have my favorite Broadway. I have a more general show tunes. I have a playlist I just swapped everything out that now has more recent stuff, Lost Boys, Queen of Versailles, Benjamin Button, the British recording, the British recording of Paddington is in there, a couple of other things to just sort of get me back up to speed on what all the kids are going to be listening to now.

[9:26] Marc: There you go. Let's see. Jeffrey in the comments said, best jukebox Broadway musical is Leader of the Pack. That is a bold statement. Now, I can't say I agree or disagree, because I've never seen Leader of the Pack, but...

[9:42] Chris: It was great. I enjoyed it immensely. I don't know if I think it's the best jukebox musical ever written, but I mean, we got to see Ellie Greenwich and Darlene. I've seen Darlene Love on stage twice. Never had that on my Broadway card because she was also, of course, in Carrie.

[10:04] Marc: Do you know the Out for Blood podcast?

[10:07] Chris: I do not.

[10:08] Marc: It's a podcast. They wrote a book, too. It's all about Carrie the musical. That's what they focus on, and it's great. I just saw today they posted they got a hold of some alternate logos for Carrie that they were considering for the show. Fascinating to look at, so I'll have to check that out, speaking of Carrie.

[10:31] Chris: Jeffrey says, Hairspray. Well, Hairspray is not a jukebox musical, so what is Hairspray in reference to? Hairspray's a good show.

[10:44] Marc: It is.

[10:45] Chris: It has been revived. It's one of the shows I'm surprised hasn't come back.

[10:52] Marc: I think because we had the stage show opened in 2002, the film came out, what, 2007-ish?

[11:04] Chris: Yes.

[11:06] Marc: And then we had the TV live.

[11:10] Chris: So it's been over 10 years since then.

[11:14] Marc: I would think so.

[11:15] Chris: Well, Journey to Love was in Hairspray. That's what the connection was.

[11:23] Marc: Yes.

[11:26] Chris: But yeah, that's on my list, and then I thought we were going to get another one. Let's see if we can do some news. I thought another one on my list of How Have They Not Revived That Yet was getting fixed in Full Monty, but now that has just been pushed back, and they brought in Rhinoceros.

[11:42] Marc: That other hit musical.

[11:44] Chris: Oh, God, Rhino, Rhino. That's a bummer. I wonder what happened.

[11:57] Marc: I was looking forward to Full Monty.

[11:59] Chris: It's one of the great modern scores. It really is.

[12:05] Marc: I will die on the hill that I think David Yazbek is perhaps the best musical theater composer of the since 2000. So that's going to eliminate J.R.B., Whom I Love, because it was before then. But dang, if everything David Yazbek writes isn't just really... I just love it all. I was obsessed with Ballad from Dead Outlaw for about two weeks. Anytime anyone was around, I would sit at the piano and say, listen to this chord change and play the first few bars of Ballad.

[12:46] Chris: I loved Dead Outlaw.

[12:47] Marc: Yeah, it was great.

[12:49] Chris: You're lucky. I tried. It was open for about a week on Broadway, and I had a friend who was in it, and I just couldn't get... By the time I got to New York, I couldn't get there.

[13:02] Marc: Who was your friend?

[13:04] Chris: Tom Sesma.

[13:05] Marc: Oh, my goodness.

[13:06] Chris: They worked together at the New London Barn Playhouse in 1990 when he came up to help. We were doing Evita, and our director had fallen ill. Bless him, Tom came up to co-direct and get the show going. It was great. I rarely get to see him. I think the last time I saw him in person was at the stage door for The Times They Are a-Changin'.

[13:35] Marc: Oh, my God. People ask me, have you ever left a show at intermission? The answer is no, but I've come close twice, and one of those times may have been The Times They Are a-Changin', but when I saw it, they had taken out the intermission because so many people were leaving during it.

[13:52] Chris: No, I don't remember now. I would have stayed anyway because Michael Arden was also in that.

[13:58] Marc: He was a star.

[14:00] Chris: I met Michael when he was doing Bear at ATA, and my friend Lisa Brescia was in it. Lisa and I had done a show together like five or six years prior.

[14:12] Marc: Lisa Brescia, she was in Mamma Mia while I was there.

[14:16] Heather Bedor: Oh, awesome. Ah, I love her so much. Yeah. So that was fun, hanging around the stage door, and all of a sudden, three people going, wait, you, how do you know him? That is fun. Yeah, that show, though. Yeah. Yeah. But no Full Monty. No Full Monty, that's such a bummer. Somebody was saying that they couldn't find anyone. Hello, Olivia. I guess, you know, with the nudity, they want a big name. Oh, yeah. That it's nudity, so that it's going to cost a lot more. I guess, you know, the people wanted more money for doing it than, you know, I don't know how true that is. But that makes sense. You know, I remember I thought, lighting insurance. Yeah, because that doesn't work. Mm hmm. Also, but like people would bring flashlights.

Oh, no. Yeah. I remember I saw that show. And I had a decent seat. But then there was an empty seat front row center. And I grabbed it right before the house lights went down. And then I just as the house lights are going down, I was like, maybe this is too close for the Full Monty. And I can attest that they really they went for it. But yeah, that show is just so good. And so it's one of the earliest shows of the new I call it the Platinum Age. I think it really started with, you know, producers. Not necessarily in terms of quality, but it's just in terms of milestone as we were coming out of the the what I call the Fosse age, we had the British invasion. And then everything so you know, so that by the time you got to 1995, there was one musical.

Yep. Yeah. Yeah, contact winning best musical. That was the point. Yeah. But it's not a musical. There I said it out loud. It's a dance concert. Yeah, which I've always been on board with. But then like, I saw Illinois is a couple years ago now, which is one of the most moving and beautiful experiences. Although what I what I call it a musical. No. But I could see how something like that could win when I really couldn't imagine. Before I didn't get the chance to see contact. So I, you know, correct speak on the merits, but at least in Illinois, the music's performed live. That is true. That is true. That is a big difference. Yeah.

[17:16] Chris: I don't think I've ever been so emotionally destroyed during a show. Oh, God, it was. Yeah. Yeah. I missed Illinois. But I did see Grey Gardens. Uh huh. Which was the first time I think I was eviscerated by the end of Act one. I had to go. I went downstairs to the men's room and hid there until I could get my composure. I got back upstairs and the usher said, So how did you like it? And I lost it all again. And the same thing happened. It's soft. Oh, it's destroyed me so completely. What a brilliant show. I'm so glad that that's on PBS. Yes. Yes. I saw it and then I went back and I took my mother to it and then I took my youngest daughter to it. Oh, good. I'm not my sorry, my youngest, my my oldest daughter to it. And she got really into Alice Paul and all that. So that was really special.

[18:25] Heather Bedor: I love that. I love when theater affects young kids in a good way. Yeah. Yeah. Yeah. Let's see what else is going on in the world. Well, it's a busy week coming up. Yeah. We just had other desert cities open last night. And that got a wide range of reviews. It did mostly good mixed to good. There was only I only saw one not so great review. I haven't read it yet because I like to go into a show as blind as possible. I did see the original production of other desert cities. Oh, nice. And I actually don't remember too much about the plot. I do remember that I really enjoyed it, but I don't remember too much about the story. So I don't know if I'll get to see this one, but I do love Julia Louis-Dreyfus.

And this is her debut. So that would be really great to see. CBS Sunday Morning did about seven minutes on it yesterday. It looks great. Allison Janney, everybody, Julia Louis-Dreyfus. It's the kind of thing. This is when I wish I lived in New York and I could say, you know what, I'm just going to enter the lottery and maybe someday after work, I'll win and I'll just go down and see a show before I go home. But when you're in Florida, it takes off. I did have two shows already ticketed for this coming week and fingers crossed in the lottery for a third. And after that, I've got like four or five shows that I'm like, well, let's just see what happens.

[20:07] Chris: Yeah. You'll have to let me know. I can enter the lottery for you, too. They had the Fantastics lottery opened this morning. And whatever tomorrow they say, first preview is Thursday. I submitted for Thursday and Friday night, but I'm hoping for Thursday. I've got Benjamin Button tomorrow, which surprised me because I thought it was completely sold out. And all of a sudden there was a block of tickets available on TodayTix. Amazing.

[20:40] Heather Bedor: So I got a TodayTix gift card for my birthday last August, which I thought was awesome because it came from my artistic and executive directors at the theater where I work. And I was like, I'm a miser. I save that for if I ever need to get the air conditioning fixed. But a gift card I will absolutely use next time I'm up there. And then we got tickets. I got a ticket for Wanted for Wednesday night through NAMT, which is the musical theater festival I'm going to on Thursday night. And I'm going to be there. And I'm going to be there. NAMT, which is the musical theater festival I'm going to on Thursday and Friday. Jeffrey, TodayTix is handling the lottery for Fantastics. Interestingly, they said the choices are Thursday, Friday, Saturday or Sunday that you can choose.

And it says, hurry, lottery closes Saturday. And I thought, OK, but you are going to tell me before then if I got a ticket for Wednesday or Thursday, right? Or Thursday, Friday. Yeah. And you didn't miss much in the 10 minutes you were away. We're just gabbing. Now, you know, Jeffrey, I am not in New York yet. I will fly up tomorrow morning. I have a rehearsal in the afternoon and then I'm going to wander downtown and grab a sandwich and go see Benjamin Button, which I'm quite looking forward to. I would imagine Andrew Durand alone excites me. And, you know, I'm trying to think I didn't get to see him in Dead Outlaw. I did not get to see him in Shucked or Little Shop of Horrors. He's done so much lately and I've never gotten to see him live. And I'm a fan of everything he does. So I'm very much looking forward to that one.

[22:38] Chris: Yeah, I saw him. Actually, the first time I saw him was this musical. I don't even remember. Got to be over 10 years ago now. It was called Fat Camp, I want to say. And it was Andrew Durand and Bonnie Milligan in this show who then went on to do Head Over Heels together, which was both their Broadway debuts. And one of my favorite, what I think is the best jukebox musical or one of the best jukebox musicals. So then from their careers on, it's just been so amazing to see them become stars.

[23:24] Heather Bedor: Oh, yeah. I mean, they're both so great. And that brings us back to the jukebox musicals again, because I never I never remember Head Over Heels because I never got to see it. And it's been done locally. There was a group that that did a production of it that was very highly praised. And I just when you work in theater, you don't get to go to a lot of other theater. Yeah, yeah. That is, you know, when you were doing merch, I'm sure it was the same thing. It's like, I'd love to see your show, but I got to go sell. Yeah. Yeah. It definitely is hard. I remember one time I was working a Sunday at Drowsy Chaperone. So that was like a two hour show with no intermission. And it worked out somehow where I worked walk in at Drowsy Chaperone, ran as fast as I could for my onstage seating seat at Xanadu, which is 90 minutes, and then ran back after the show in enough time to sell for at the end of Drowsy Chaperone. Yeah, because if you don't have intermission, you can you can put things in there. Yeah. Oh, those were the days. I couldn't run that fast.

[24:45] Chris: Oh, no. I did a 5pm and a nine or seven. I don't know. I went to see reunions and it was an early matinee. And then I literally ran from city center down to St. Luke's to see Bo. And I got there and I just like one hand on the table panting. I'm like, don't start yet. I need water and a bathroom. Don't start the show. They said, fine, you're fine, dude, chill. So I made it just fine. And man, those were two really great off Broadway musicals that I thought we're going to do more.

[25:22] Heather Bedor: Yeah, I think it's it's just so hard. You know, you hear there's lots of great off right Mexico. This is another one that had so much hype that I you know, when they became like, sort of really hard tickets to get I part of me is like, okay, well, they'll transfer, like clearly the writings on the wall, they're really good. You know, relatively small cast, they're gonna move. And I'll see it then. And usually that's true. But in the last few years, that that that sort of guarantee of these hit off Broadway show or like, well received buzzy off Broadway shows. Those used to be the ones that would just go right in and now that that doesn't necessarily happen anymore. And I wonder, that's another good one.

Yeah. Yeah. I don't know. So I wonder, because I would think, okay, off Broadway show, you're looking for a small house. But the small houses seem to all have a lot of longer running shows, small shows are running longer. Operation mincemeat six, which finally closed, but that's been running for years. You know, and maybe happy ending and shows that would, if they weren't big hits would have gone in played six months got out and there would have been more room for that.

[26:40] Chris: New World is off Broadway. And that may be another thing, because I don't know what the economics are of a Broadway house versus an off Broadway house vis-a-vis unions and all that other thing. Yeah, I mean, I would imagine just clearly must be cheaper to do off Broadway, but I don't think by much as it used to be. I mean, it's it's. I think it's just as commercial now used to think of Broadway as the commercial and opera is where the more artsy thing, and that's, you know, you sort of have to go off off now for for things like that. But the fact that, you know, at least two shows I can think of Avenue Q and Jersey Boys matriculated from Broadway to off rather than the reverse before they ended their their first runs in New York. So I don't know, maybe maybe it's not as as different, but still different enough that it made more financial sense to run in a smaller theater at New World or whatever else.

[27:43] Heather Bedor: Well, but, you know, Avenue Q, it had already made its money back in spades. So it was, you know, yeah, cheaper rent. But yeah, now we've got shows closing like in Juliet and six, some of these longer running shows that had good runs. And, you know, it's always sad when a show closes. But, you know, then the silver lining is that it opens up houses because, you know, when God closes his show, he opens a house. Exactly. Yeah, it's like everyone was complaining only six shows open last year, six musicals like, well, you know, yes, but also, it's not like there were, it's because there was a bunch of hits last the previous that were still running, you know, there's only so many.

[28:32] Marc: Spaces are not every show can go into any theater. So it, you know, it's and even then there were shows opening two seasons ago at the end of the season that I wish could have waited so they'd have had more of a chance in that end of the year glut. Yeah, it out all real women have curves. Yeah, that was some heartbreakers that season that was, yeah, shows that you know, like really wouldn't have curves was beautiful and such a good message. Like, was it perfect? Was it the greatest show ever written? No, but it had so much good and so much to say and so many standout performances. It should have had such a longer life and just, yeah, it should have had such a longer life and just, yeah, it's hard.

The economics just don't make the math doesn't math as much as it used to anymore. We used to say, well, maybe if it had opened off Broadway, it could have run longer, but it's like you pointed out off Broadway has its own vibe in a way that Broadway has its own separate vibe. And sometimes you'll get a show like Little Shop of Horrors, you know, downtown 1982 when it opened that was edgy and cool. And now because everybody knows it from the film and the numerous other productions, it's now it's mainstream. So, yeah, so, you know, yeah, and then there's then there's a show like Slam Frank, which I, well, I was going to say we'll never come to Broadway, but who knows? But, you know, that's to me that's an off Broadway show, kooky experimental, not for the masses necessarily, although I haven't seen it. So I'm not speaking from experience.

[30:31] Chris: I was gonna ask if you had seen it. It's on my maybe list for the end of the week only because it's so controversial with people. Yes, that I won't, I kind of want to see it just to experience it. And that's, that seems to be the thing. So, and there's that and there's Midnight, which also a lot of people are talking about. And I guess that's also controversial again. I, you know, I'd like to keep myself as blind as possible so I can see these shows, but I don't also, I don't know if I'm going to see going to be able to see these shows, right?

[31:12] Marc: Jeffrey says Blue Man Group coming to Broadway for Christmas. Yes, they are for the first time ever. Blue Man Group is coming to Broadway. We in my house are very excited. We are big Blue Man Group fans. So that should be a lot of fun. I guess it's the right time of year because when you have so many holiday tourists and they're looking for happenings, you'll have Radio City's holiday show and Blue Man and, um, is Blue Man the one going into the Saint James?

[31:44] Chris: No, um, I don't know who man's going into the lunch.

[31:49] Marc: Oh, okay. What's going? No, uh, Dolly is going into the Saint James.

[31:55] Chris: That's right, okay. Um, there was a thing, there were a couple that was at the mid-justice. There's shows scheduled for later in the spring, but they had this three-week window, three to three-month window where they said, well, we could put this limited thing in.

[32:13] Marc: Yeah, the Broadhurst has It's a Wonderful Life, the live radio play, which...

[32:20] Chris: What are we doing here, folks? I don't like this trend. I have always been, every theater, you know, every show deserves a spot. There's no right show, wrong show. Tested me when Rain, that Beatles musical played for like two years taking up a theater. But this new trend of actors sitting in a chair reading from a script and calling it a play, it's very troubling to me.

[32:51] Marc: What if the play is Love Letters? I mean, if it's structure, I mean, I guess that's, you're seeing two people do a full evening of one character.

[33:07] Chris: Well, is it one character or is it multiple?

[33:07] Marc: Yeah, it's, uh, I don't, and I don't know, this may have been before you got to start going to theater because I remember it from when I was in college and it's a guy, a man and a woman writing letters back and forth to each other through decades, uh, and they sit at the table and dictate as they're writing them basically, uh, read, but reading them out from the paper as they're doing it. And the gimmick there was, much like what was it that just ran?

[33:39] Chris: Um, it was a different pair like every one or two weeks, right?

[33:43] Marc: Right. Now I remember when they did, there was like an off-Broadway revival of that where they did, I think so, yeah. Um, and I get a bit, it started with like that. It was called All In and then they did another one, All Out, where they would have this rotating cast of comedians and celebrities and they would just sort of sit in a chair and read from a script. And that was the evening. And I just, I don't, when it's a one-off and a thing here and there, that's fine. But when it becomes this trend and people like, oh, we can just have celebrities come in, pay them to do a week and a half, we don't have to worry about costumes or sets. They just sit at a chair and read and people will pay all this money. Great. I don't like that as a trend. I don't like that as a new thing.

[34:31] Chris: And I don't know what the plan is for this live radio play. It might not be that, but I don't know. It's a piece that theaters have been producing for a while. They've done it locally here a time or two and I think somebody, it's not a new thing.

[34:46] Marc: Oh, no, it's an existing work. Um, which I have not seen, so I'm guessing it's one of those things where they're doing a radio play of It's a Wonderful Life, but the play is, the production becomes the action of the play, if that makes sense. Sort of like if Million Dollar Quartet was doing a live radio broadcast, you see the before and the after, you see them doing it for the radio audience.

[35:24] Chris: I think, I don't know. So do you maybe you don't know, are the actors playing like, who's in it, Lisa?

[35:34] Marc: So like is Megan Hilty playing Jessica Smith, who's playing Mrs. Whatever? Or see, that's what I don't know. I, but because I think in the pr I've read, they're just naming the Wonderful Life characters. I mean, if it's like, if they do a whole production of it and you get to see and they're doing the sound effects, like I could be into that, but I just, I don't like it as a trend. It worries me as a trend, right?

[36:04] Chris: But if they have four weeks open and they can throw a thing in and someone can make some, I don't know. Yeah, sure. I mean, sure, sure. I don't know.

[36:16] Marc: So many shows for the holidays then, you know this.

[36:21] Chris: Yeah.

[36:23] Marc: Anyway, what else is going on? Oh, you know what? I noticed that there was something here beside me. I was like, oh, oh, it's Crystal. Appreciate this. So I have a Hirschfeld print.

[36:37] Chris: Oh.

[36:38] Marc: Jeffrey was just talking about earlier. He got the Hirschfeld tarot cards, which sound really fun. But I bought this, it was not cheap but not as expensive as I felt it should be. It's, oh, you can't see it because I'm a stupid thing. Hold on. If you, I think if you like angled it, it was, yeah, there, there's, there's a Chicago.

[37:00] Chris: It's the original Chicago screen.

[37:04] Marc: That's ugly for them to watch, but that's awesome. So, but what, what it's cool, I guess I can't show it to you, but I knew this, it's signed by Chita Rivera, Jerry Orbach, and Gwen Verdon.

[37:17] Chris: Oh, wow.

[37:17] Marc: Which was amazing. But then when I got it home after I bought it and then held it in front of my face, here, can I, no, no, it's, it's an empty theater.

[37:27] Chris: Can I, no, no, it's, it's an empty theater.

[37:36] Marc: Here, if I lean back. So it's signed by them, which I knew and that's what I paid for, but then when I got it home, I saw it's also signed by Al Hirschfeld.

[37:47] Chris: Oh, well, I didn't even, the seller didn't even know or didn't recognize it's an original then.

[37:55] Marc: Well, it's still a print, but it's autographed by all of them.

[37:59] Chris: Okay.

[38:00] Marc: So he signed it in addition to his, I know there's a printed signature and then there's his signature underneath.

[38:07] Chris: Nice.

[38:08] Marc: Yeah.

[38:10] Chris: So my bonus, bonus signature.

[38:10] Marc: Nice. This, this was one of the things I got from Flea.

[38:22] Chris: Dougal.

[38:24] Marc: Oh, from, um, from, um...

[38:24] Chris: Strangers, yeah, with all six of them that the two sets of understudies and Sam and Christiani.

[38:31] Marc: Nice. Heather picked this up for me, which was one of the wedding invitations, but isn't that gorgeous? That is, that's so fun.

[38:40] Chris: Two-sided and really nice paper props are always great. That's where if anyone wants to start collecting props, paper props are the way to start.

[38:53] Marc: Yeah, they should have to replace them. But I'll also, if I can do this without killing anything, this is a mold of the Golden Theater marquee.

[39:07] Chris: That's cool.

[39:08] Marc: By the cast. I thought that was really neat. I thought that the base was like a seven dollar lamp on Amazon and I bought, but that's great. That's my new display. I don't have to plug it in or anything.

[39:20] Chris: That's awesome.

[39:22] Marc: I like that. Well now I feel I can start to keep up with you, Marc.

[39:28] Chris: There you go. I didn't even make it to Flea this year, so you're ahead of me, uh...

[39:34] Marc: But you've been there, you've been there times before, so you're still ahead.

[39:34] Chris: That's true. Here I have a box of, I have some merch here. Let's see whether, let's see what treasures I have.

[39:47] Marc: What box is this?

[39:52] Chris: Ah.

[39:55] Marc: Buttons.

[39:57] Chris: And pins and luggage tags and bracelets.

[40:05] Marc: This is like your treasure chest where you put things after you get them.

[40:10] Chris: This is, yeah, or just, yeah, where I guess it sucks to be me.

[40:18] Marc: Let's see if I have any something cool. I don't think so.

[40:23] Chris: I, where's my, I used to have a pin from the opening of Dance of the Vampires.

[40:31] Marc: No.

[40:37] Chris: No, nothing fun in here. Keychain.

[40:43] Marc: Here, this is a, this is from, um, Kimberly Kimbo.

[40:50] Chris: They sold nice, uh...

[40:53] Marc: Yeah, is it actually, is that the candy necklace or like just beads meant to look like candy?

[40:53] Chris: Yeah, but it's, it's not really candy.

[41:02] Marc: You don't want ants.

[41:04] Chris: No, no.

[41:07] Marc: No.

[41:09] Chris: Let's see. What else? Heather is usually the one gabbing.

[41:15] Marc: Gabbing non-stop. She texts you. I haven't heard from her. Maybe she's asleep. Uh, no, hopefully she's sleeping that migraine off. I did read, uh, the Jay Armstrong Johnson does his Spell on You concert and they raised $375,000 this year and they're going to stream it on Halloween weekend. So for people who weren't able to be in New York, you can still catch the stream. So that was news. Also, um, I really wanted to see Rosie O'Donnell in Rocky Horror. She left this past Sunday, so Rachel Dratch is back for a couple of weeks because then Margaret Cho goes in on the 3rd of November.

[42:03] Marc: That's so fun.

[42:04] Chris: It's almost like the Weisslers are producing this.

[42:07] Marc: All right. I remember the 2000 revival of Rocky Horror. I saw that one and they had a rotating... I saw the original cast, so it was Dick Cavett, um, but they had a routine, but it was all men except for they did have Sally Jesse Raphael.

[42:26] Chris: Oh, that would have been for like a week back in the day. Yeah, Jerry Springer do it and then Penn and Teller did a go of it.

[42:35] Marc: Um, I don't imagine Teller said much during it, but, um, yeah, so that's nice they're doing it, but with women.

[42:47] Chris: I like, I like to see diverse.

[42:48] Chris: Yeah, well, especially the role. It's a narrator. It could be anybody, you know, exactly any age any gender.

[42:57] Marc: Yeah.

[42:59] Chris: Any any look? I like that Hadestown has really led the way on that, you know.

[43:07] Marc: Actually with Hermes where we went from André De Shields to Lillias White and Stephanie Mills who I really wanted to see and didn't get to. But I'm a Stephanie Mills fan from 50 years ago in The Wiz.

[43:26] Chris: I don't know how much TV you get to watch. Do you watch Elizabeth?

[43:26] Marc: I do. I have not. We have to catch up on we haven't started this new fourth season that just started. But we are about Elizabeth fans. I am halfway through last season and was watching some episodes last night and to my absolute delight got to the crossword puzzle episode.

[43:51] Chris: Yes, and who that's um, Errata singing crossword puzzle, yeah starting now I screamed. I made it come in from the other room because we both love and and we used to watch Smash and this is the first time I met and I said I would just have to let you know my husband and I are huge fans and every week we watch Smash and yell at the TV, "Who puts an Harada in a musical and doesn't give her a song?"

[44:19] Marc: He said I asked myself that same question every week.

[44:24] Chris: So we're thrilled. Elvis gave her at least a half a song.

[44:26] Marc: There you go. Yes, the finale episode two has a lot of singing. It's really good.

[44:38] Chris: Hi, I've never seen Smash the TV show.

[44:42] Marc: That's not true. I saw the first episode one time years and years and years ago. I taped a reaction to it. I was gonna react to all of the episodes, but it didn't write but um, I don't remember anything about it. But I did see the stage show, but I have never watched the TV show. I just I don't know dramas aren't really my thing. I know it's theater, but then I just everyone kept telling me like, "Oh, if you really know theater, you're just it's just gonna make you angry." So I was like, all right soap opera.

[45:09] Chris: It was so beyond ridiculous where you know, you're watching going that would never happen.

[45:21] Marc: And a song.

[45:28] Chris: So, yeah, I never and which I think I'm one of the few people I obviously judging by the reviews and the reactions from people I've talked to I'm one of the few people who enjoyed Smash the Broadway show, but I think that's because I genuinely had no connection to any of the characters or the songs or their original intent. I had no prior knowledge. So I think that's what allowed me to enjoy it for what it was.

[45:51] Marc: I wish I had gotten to see that.

[45:59] Chris: I did not. There was again, it was that end of the 24-25 season with so many new shows.

[46:07] Marc: Yeah, well, it had been panned so much. I mean, Robin Herger's performance though was reasonably she's Aaron's alma mater. She's, you know, people even I said it last week. There's no one like Gwen Verdon before or since I think Robin Herger's becomes the closest I think in terms of really true triple threat.

[46:28] Chris: So could she lead a revival of Redhead?

[46:31] Marc: You know, I don't know. Redhead is not a super great or interesting show. I was gonna do a breakdown of it years ago. I forget why I stopped. Maybe because I I don't remember but yeah, it's it's just like a murder mystery thing, you know, in a wax museum in Victorian London and it's really not well, and the whole music hall thing, which is unless you're old enough to really remember vaudeville, which was probably its closest cousin doesn't always make sense to audiences, especially now.

[47:10] Chris: Yeah. Yeah, but boy when I I mean before all of the rest of you were born when I was in college and Broadway was Cats and that was about it. It was like I don't want to go to about it.

[47:30] Marc: Yeah, and I loved the Goodspeed Opera House because they would find old musicals and give them a new revival as more as museum pieces, I think than anything, but I'm thrilled me and we were talking about Tenderloin over here on the table. I still would love to get my hands on Tenderloin because I think the whole thing about conservative preacher in debauched New York City, you know, the whole thing could could still work.

[48:01] Chris: And they did one of my favorite scores they did take me along that is what I remember and I fell in love with that score and they brought it to Broadway for like a night.

[48:14] Marc: Mm-hmm.

[48:17] Chris: Which made me very, very sad that it the revival of that the revival. Yeah, it did rich was not kind to it, but then he wasn't kind to a lot of things particularly The Three Musketeers.

[48:35] Marc: Which I attended opening night with a ticket I got at the TKTS booth on opening night. That's never on opening night. We went to a revival of Pacific Overtures that afternoon up at the promenade, got in a cab. We said there's an extra 10 bucks if you get us down to TKTS in time to get a show for the evening and they didn't. We just walked up said musical. What do you have? They said Three Musketeers, where is it five blocks? That would be great. Give it to us and we ran up there and there were spotlights everywhere and limousines and I'm in like a plaid flannel shirt and my corduroys because I was living in New England and that's just what we wore. And my friends Jean and Don and I went in there and we're like, what's going on? What did he says? Yes, she goes. It's opening night. I'm like, oh gosh. We had no idea.

[49:24] Chris: Opening night like oh gosh, we had no idea. I probably would have dressed up. He said don't worry. It's probably closing night too.

[49:34] Marc: Ushers know the score shout-out ushers shout-out to my friend Pamela at the Longacre. She's the light.

[49:44] Chris: And Christopher Nick Christopher as Bobby Darren, that's right starting November 3rd as well. I had the idea the other day. I want to see a revival of Do Re Mi with Danny Burstein and Randy Graff.

[50:03] Marc: Brilliant.

[50:03] Chris: And then Jasmine Amy Rogers and Nick Christopher.

[50:09] Marc: Sold. Here's your pile of money. Go do it. That's all I need is just a few million.

[50:15] Chris: That would be that's a great casting. Yeah shows like that. Well, you know, that's why that's what Encores used to be. I feel like.

[50:25] Marc: They did it with Nathan Lane and...

[50:28] Chris: No, I think was not dry. It was um, but it was Brian Stokes Mitchell.

[50:28] Marc: Heather. It was Heather Headley.

[50:35] Chris: Yes. Yes. Yes at Stokes and I think Randy Graff was an alien in Randy Graff. It might have been I think I just hear it lately.

[50:46] Marc: Yes.

[50:50] Chris: Yes, I saw a production of Do Re Mi at what was it called? It was a it was like an Encores but on a much, much, much smaller scale they used to perform at the Theater Row.

[51:03] Marc: Was that Musicals and Mufti?

[51:03] Chris: No, it was Musicals Tonight.

[51:09] Marc: Okay.

[51:09] Chris: Mufti was York Theatre or is your still do it? But this was yeah, it was sort of it wasn't in mufti they had, you know a stage but it was more on the scale of a mufti.

[51:20] Marc: Yeah, which you know, it could be a slog to get through at times but you know, I saw shows like Leave It to Jane from 1917 and Leave It to Jane. I am the girl that didn't did it and it show worked so well because it was written to be performed by a small cast in a small theater with just a small band. So it worked really well and that shows almost a hundred and ten years old now, right?

[51:50] Chris: One of the Princess musicals which were some of the foundational musicals in the in in modern musical theater history pre-Showboat, I mean they are not only were they hugely influential to the art form, the fans of those shows that saw them over and over were George Gershwin and Richard Rogers and Lorenz Hart. So these musicals were hugely influential and are all but forgotten nowadays.

[52:22] Marc: There was a three episode series maybe on PBS and I think was called Musical Comedy Tonight. Sylvia Fine was the host and they recreated numbers from some of these old shows and that's how I know Leave It to Jane. They did a couple of songs from that show on there. Yeah Cleopatra, I believe that's from that show and yeah, my favorite stretch performance of all time which was Stretchy singing "To Keep My Love Alive" from Connecticut Yankee just standing there as elegantly and wicked as possible, you know, I've married lots of...

[53:04] Chris: In that it it's iconically stretch and I fell in love with that that video and it took me forever to track it down our college had like remember big those chunky archival videotapes?

[53:19] Marc: Mm-hmm.

[53:20] Chris: Take them off the public TV station for educational purposes and they could do that and then we would watch them over and over again, and I just loved those. "To Keep My Love Alive" is one of the funniest wittiest show tunes ever written and that I'm pretty sure that is the final song because it was written for the revival of Connecticut Yankee and that was I think the last song that Hart ever wrote. I think that was the song they added for that revival and that was the last song he ever wrote and it's genius.

[54:01] Marc: Yeah, such a brilliant man. He was.

[54:03] Chris: Yeah, I've always loved his sly sense of humor and play.

[54:07] Marc: Oh, yeah wicked.

[54:11] Chris: Wickedly.

[54:14] Marc: This double entendres and his double meanings, you know.

[54:18] Chris: But then so broken and so hurt and it's beautifully expressed that through his muse his words.

[54:25] Marc: Yeah.

[54:28] Chris: I wasn't there to be a play where it's like it's called Rogers and and it's like first act is Richard. It's Rogers and Hart with like sort of a ghostly version of Hammerstein like watching and then the second acts flipped where it's the actual ghost of Hart commenting on the success of the team. I think that'd be interesting and this kid from Bucks County going uncle Oscar give me a job.

[55:01] Marc: My mom I want to be at home with my mom, right?

[55:05] Chris: Yeah, that was hysterical. I'm so glad that that was the clip on the Tonys Marilyn Cooper and Lauren Bacall doing "The Grass is Always Greener."

[55:15] Marc: So it's actually Raquel Welch who did it with her years later.

[55:18] Chris: Yeah.

[55:21] Marc: Yeah, that is one of that is one of the funniest but would it be as funny without Marilyn Cooper's performance?

[55:29] Chris: Right because she I mean what she on stage for six minutes and wanted Tony. Yeah, that was it.

[55:36] Marc: That was it was her not her scene and song.

[55:39] Chris: Yeah, her she like it. Promises, Promises also has Marilyn Mercer and Katie Finner and Katie Finner and both won the Tony for that one song number.

[55:51] Marc: Great a great track.

[55:55] Chris: Show up in act two, have a drink, sing a song, he said walk away with the show.

[55:59] Marc: Yeah, that's why I tell and I tell and Harada all the time now, which may be doing I was like you've got the best job in the world right now you go you come in have some of the funniest lines you sing a great song and then you know, you're you're sitting in your dressing room last the evening. It's perfect.

[56:11] Chris: I kind of wish they had like recorded some of the cut stuff as well.

[56:23] Marc: Yeah.

[56:25] Chris: Yes. Oh, that's what we haven't mentioned yet. Friday the record signing at the Museum of Broadway.

[56:37] Marc: Schmigadoon fans it took me a while to suss everything out.

[56:43] Chris: There's a link on the Museum of Broadway link tree where you can go if they still have slots you sign up there. That's how I got to do that and then you'll get priority entrance if you have a same-day ticket to the museum or Schmigadoon or you're a museum member.

[57:05] Chris: It requires a purchase of a CD or a vinyl. And it has to be purchased that day. Because I tried to see, oh, well, can I go in on Wednesday and do all my shopping and then just show it? And they're like, no, you've got to buy it that day. So I'm like, that's all right. I have packed myself an extra bag so I can carry it around there and head back. Because I'm not going all the way back to Brooklyn and then back to Times Square to see a show. I'll just carry it with me and maybe try to carefully check my bag and say, please be careful with this.

[57:38] Marc: Yeah.

[57:39] Chris: And in true Schmigadoon style, even the LP, even the vinyl, is like a throwback to the vinyls of old. The artwork on it is so beautiful and perfect and spot on.

[57:55] Marc: Yes. Very neat.

[57:56] Chris: So good work. Such good work.

[58:00] Marc: I don't usually buy the vinyl because I can throw a CD in the car. I can't play a record in the car. And I would run out of space.

[58:13] Chris: You and I were talking about that before. I eventually ran out of room. I didn't have any place to put things. And there is on the rec list, what is it? This goes back in the internet's infancy. There were mail lists where you would discuss things. And there's one for cast album collectors that I follow. I get the digest every day. It's a very persnickety crowd. But someone posted there. They had a friend who had been a member of the list over in Tampa. It's about 90 minutes away from me, who had passed away. And did anyone want any of his albums and CDs? And no one was. I said, look, I will drive over. I will help you get rid of things. And I just emptied shelves. And for three weeks, my garage was just stacked four or five feet high, just stacks and stacks of these CDs, most of which are duplicates, a couple of interesting things, nothing terribly rare in there. And a bunch of vinyl. And I called my collector friends. I said, come on over, pick what you want. And I still have a three-foot stack right behind me.

[59:37] Marc: Wow.

[59:39] Chris: This is how I can change out the display every week. I just reach into this pile. But I said, OK, this is good. Not since Drowsy Chaperone. And you've seen my Drowsy Chaperone.

[59:53] Marc: Yes, I have one of those, yes.

[59:56] Chris: And I thought, OK, this is a collectible vinyl. It's not just the show pressed on vinyl. It's a different cover. I'm going to be able to get it signed by, I don't even know. The last thing I had signed like that was the Avenue Q record signing.

[1:00:13] Marc: Wow.

[1:00:15] Chris: Dori Bernstein was filming on a little handheld camcorder. Probably for the documentary.

[1:00:20] Marc: Probably for the, yeah. Exactly. If you have that on DVD, and you look at the Avenue Q record signing deleted scenes, you will see me twice.

[1:00:30] Chris: There you go. I'll have to check it out. My Hollywood premiere.

[1:00:35] Marc: I remember that DVD. We used to sell that DVD at Avenue Q.

[1:00:40] Chris: Such a good DVD. What was the other?

[1:00:45] Marc: Every Little Step was the Chorus Line documentary for the revival.

[1:00:50] Chris: And here's the thing. I have known Dee Goodwin since 1991. She and Nicole Van Giesen were in a production of Chicago that I played for when they were still both in college. So long time there. And I'm watching this film. And I love Rochelle Rack as well. And then when Rochelle doesn't get the role, spoilers, I'm like heartbroken. And I went, wait a minute. Because Dee got it. You can't be.

[1:01:19] Marc: Right.

[1:01:21] Chris: Gosh. I love Deidre Goodwin. Amazing performer.

[1:01:27] Marc: She is. I think I saw her in Chicago. I saw Chicago when it was at the Schubert.

[1:01:33] Chris: Oh, yeah. We had a fair, like more than a few, graduates from Missouri State who ended up in Chicago. Michelle Potter did it for years. Just one of the ensemble dancers. She was one of our cell block characters. And I wish I could remember which one. But such great memories of that production at Missouri State.

[1:02:00] Marc: I have to give a shout out, by the way.

[1:02:03] Chris: Thank you.

[1:02:04] Marc: On Broadway Jeopardy, for those of you who don't watch, you should be watching Broadway Jeopardy that Mark produces. It comes out every other Friday, but not two Fridays. The next one will be an extra week. Long story. Doesn't matter. The point is, I got a text from a friend of mine who I knew when I was in the Boston area. And she, out of the blue, texts me and says, hey, I was watching my weekly Broadway Jeopardy, and I saw your picture on it. Is that the podcast you were talking about?

[1:02:35] Chris: Oh, that's so fun. Thank you, Mark, for reconnecting me with my friend Debbie.

[1:02:41] Marc: Nice.

[1:02:43] Chris: That's what I'm here for.

[1:02:46] Marc: Speaking of Chicago.

[1:02:48] Chris: Yes.

[1:02:49] Marc: That's so fun. No, I'm glad I finally got to talk about the pocket. I know, I always have a list of things I got to bring up. I try not to, whenever I promote myself too much, people get mad at me, so I try not to.

[1:03:00] Chris: I don't, because I'm a big fan, as you know.

[1:03:03] Marc: Well, I appreciate it. I appreciate it so much.

[1:03:05] Chris: Oh my god, it's 8.04. How did that happen?

[1:03:10] Marc: Time flies when you're having fun.

[1:03:12] Chris: Two of us just yakking without Heather here.

[1:03:15] Marc: Oh my goodness. I didn't think I could do it. I thought, we need Heather. She keeps us on track.

[1:03:19] Chris: So now we see that we don't need her at all, so we'll just cut her out.

[1:03:25] Marc: No, I want my Heather back. I want her back.

[1:03:29] Chris: To give a shout out to the podcast sponsor, A1 Frame. There is a, and I don't have, Heather has all the fancy. Look at it. A1 Frame, there you go. You've got the code and everything. FC, the Broadway fan club, 10A1F, Act One Frames.

[1:03:49] Marc: It's an exclusive discount for Act One Frames. I don't have any to show, since Heather gets all the cool stuff.

[1:03:57] Chris: Act One Frames, send me a frame, send me a frame.

[1:04:00] Marc: Heather will get you. Gorgeous frames. They truly are.

[1:04:05] Chris: I started following them before I was ever involved with the podcast, when they were still announcing. I think they're beautiful. So yeah, that's a very cool sponsorship.

[1:04:20] Marc: Yeah, and it's a great way to display your Playbills and protect them at the same time.

[1:04:28] Chris: 400 plus. I have a, remember the Playbill store, and they come out with the Playbill binders.

[1:04:34] Marc: The binders, yes.

[1:04:36] Chris: And I filled one of those, and I can't find where I stored it. I keep looking around. I have to find that, because then I need to get another one and fill that with all the Playbills I've collected since. Mostly, I put anything that I've gotten even remotely signed at the stage door, I will put in there just to protect that.

[1:04:58] Marc: I started doing all my Playbills in Playbill binders, and I had to stop buying it. I have around 30 binders, and I would need about 30 more. So I'm having to go to just big bins, putting them in sleeves and bins, because I don't know what else. I don't have any room anymore.

[1:05:17] Chris: It would be nice if you could get, like, I have this. It's just a plastic bag. And some sheet music had come in that, so I've saved it.

[1:05:30] Marc: Yeah, I just have them in these. Like, here's like that. I put my ticket stub in the back. And I'm sure it's going to be a lot cheaper to do that. And then I could put them, like, in a nice plastic storage. Instead of the aging paper bag, I have some of them in.

[1:05:48] Chris: But yeah, the frames, if you've got, if you need a frame for your Playbill, and you don't have to take them apart. All my old signed ones, I took the covers off very neatly and nicely, but I had to remove them to frame them. So these are nice that these don't have to do that.

[1:06:05] Marc: Yeah.

[1:06:07] Chris: And then if you want to check out, let's see, there's, oh, yep, no, I did it. There we go, thebroadwayfanclub.com. It's where you can find out more about the podcast and other things.

[1:06:21] Marc: It should have everything there.

[1:06:24] Chris: And then there's only Broadway fans also, which I think is just the podcast.

[1:06:29] Marc: That's just the podcast.

[1:06:31] Chris: And then if you want to follow us, the podcast on social media, it's at the B-Way, the B-Way Fan Club.

[1:06:40] Marc: Hooray.

[1:06:44] Chris: Next week, I will not be here.

[1:06:47] Marc: I actually haven't told Heather that, but I will not be here next week.

[1:06:50] Chris: You're not going to be here next week.

[1:06:52] Marc: None of us will be here next week?

[1:06:53] Chris: Oh, OK, great.

[1:06:53] Marc: We're taking the week off for the Rent 30th livestream event.

[1:06:59] Chris: Yes, that is that same night.

[1:07:00] Marc: That makes sense.

[1:07:01] Chris: All right, well, then I don't feel bad.

[1:07:05] Marc: Yeah, so we'll be back in two weeks, hopefully with the beautiful Heather.

[1:07:10] Chris: Yeah, hopefully feeling much, much better, sending her good healing vibes.

[1:07:17] Marc: What about the cruise?

[1:07:18] Chris: That's next week. My husband's saying, will we be back? I said, yes, the cruise is next week. I'll be at sea while you're all watching Rent.

[1:07:27] Marc: Oh, where are you going?

[1:07:28] Chris: Oh, Nassau and Perfect Day Coco Cay.

[1:07:32] Marc: Oh.

[1:07:34] Chris: We want a four-night cruise. And I'm very easy. All I need from a cruise is ocean and a good cheeseburger.

[1:07:42] Marc: There you go.

[1:07:43] Chris: I love cruises. Cruising, that's my vacation. That's how I like to vacation.

[1:07:46] Marc: That's what we did growing up.

[1:07:52] Chris: Will she move the show to Tuesday, Jeffrey's asking.

[1:07:55] Marc: I don't think so. I think they're just going to cancel next week.

[1:07:58] Chris: It's going to take a week off.

[1:07:59] Marc: Yeah, so we'll be back in two weeks.

[1:08:03] Chris: Yeah, we wanted to be here tonight to keep things going.

[1:08:06] Marc: Yeah, exactly. I was like, oh, because I was like, should we do a show this week? I was like, oh, finally, I finally mentioned the podcast on Jeopardy, and then we don't have a show.

[1:08:19] Chris: Well, I hope we have new viewers or listeners, depending on how they get this, because this is also available later as an audio podcast on the Broadway Podcast Network.

[1:08:31] Marc: So fancy.

[1:08:33] Chris: Which I think is how you link with onlybroadwayfans.com. Heaven's going to hate that I don't have all of this bam, bam, bam, ready right to go, but we're learning.

[1:08:39] Marc: We're learning.

[1:08:46] Chris: All right, Chris, well, this was lovely.

[1:08:46] Marc: This was.

[1:08:50] Chris: We even have some playoff music tonight just for you, Mark.

[1:08:53] Marc: We do?

[1:08:54] Chris: We do.

[1:08:55] Marc: Ned.

[1:09:09] Chris: I don't know if you could hear it from in there.

[1:09:11] Marc: No, I can't hear it.

[1:09:12] Chris: You've got to come in here and play.

[1:09:15] Marc: Yes, he was trying to be discreet over in the other room. Play it loud.

[1:09:25] Chris: Hey, I know that music.

[1:09:35] Marc: I was trying to move. And my camera is on track mode, so as I turned everything to look at Ned, it just went, oh, no, you're moving.

[1:09:46] Chris: Yay.

[1:09:47] Marc: I love that, the Minnie's Boys overture.

[1:09:52] Chris: It's so fun.

[1:09:53] Marc: It's so great.

[1:09:53] Chris: It's all the rage.

[1:09:55] Marc: Yes, yes.

[1:09:57] Chris: And it's not copyrighted, or the copywriters don't care because whoever recorded it, the CD people don't exist anymore, so I don't get copyright strikes for using it. That's how I'm able to use it every week.

[1:10:12] Marc: That was, is it phase three record?

[1:10:14] Chris: Yeah, it was like this command record label. It was one of those, like phase three or something.

[1:10:20] Marc: Yeah.

[1:10:21] Chris: But they were there to capture the shows.

[1:10:26] Marc: And that's not in the piano vocal selection.

[1:10:32] Chris: Crazy.

[1:10:33] Marc: Crazy.

[1:10:34] Chris: Oh, well. This has been great fun. I'm so glad.

[1:10:39] Marc: Definitely, the Boys Club.

[1:10:41] Chris: Yes.

[1:10:42] Marc: I like it.

[1:10:43] Chris: But we will all be back, Thespis willing, in two weeks with, oh, I feel like I'm doing my outro. We'll be back in two weeks, Thespis willing, with episode 107. But until then, so yeah.

[1:10:58] Marc: All right, Chris.

[1:11:01] Chris: I'll say goodbye from Chris.

[1:11:03] Marc: I'll say goodbye from Mark. And we'll wish Heather well and hope she's back on her feet tomorrow.

[1:11:10] Chris: Yeah.

[1:11:11] Marc: She's a busy girl.

[1:11:13] Chris: She is.

[1:11:15] Marc: She is, indeed.

[1:11:15] Chris: All right, ending broadcast.

[1:11:19] Marc: Bye, everybody.