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[0:01] Jennifer Ashley Tepper: Welcome back to the Untold Stories of Broadway Podcast. I'm excited to present episode 2 with today's guest Anne L. Nathan and more stories about the Marquis Theatre.

[0:31] Anne L. Nathan: Did you have any favorite part of Millie that you would watch that you were in or that you weren't in? Gosh, I loved so much of it. I was always, I mean I will say I was really in awe of those dancers because they're just amazing. I mean the people in that show and what they had to do and what they did brilliantly every day. So I would absolutely watch the opening number from The Wings and yeah, I found it fascinating. And I did, when we did the reunion concert, it was the same thing. I just would sit there at The Wings going, I just can't believe the astonishing talent that the Gypsies, I'm not allowed to say that anymore. I'm like, what do I say now? What do they say instead? I want to be correct.

[1:07] Jennifer Ashley Tepper: Well, it's the Legacy Rope instead of the Gypsy Rope.

[1:08] Anne L. Nathan: But what is it?

[1:09] Jennifer Ashley Tepper: I think they just say the Ensemble.

[1:10] Anne L. Nathan: The Ensemble. But yes, the Ensemble was amazing in that show and I, you know, when we saw each other after so many years, it's like no time had passed and yeah, I'm a huge fan of that. So that's what I watched a lot of. I also have to nerd out. So the other shows that have played the Marquis, The Goodbye Girl played the Marquis and I have always been obsessed with that cast recording. Nick and Nora was a big...

[1:27] Jennifer Ashley Tepper: I saw that too.

[1:33] Anne L. Nathan: Oh my gosh, I can't believe you did.

[1:35] Jennifer Ashley Tepper: Yes.

[1:36] Anne L. Nathan: What do you remember?

[1:37] Jennifer Ashley Tepper: I don't remember that much.

[1:38] Anne L. Nathan: Yeah. I just, the Goodbye Girl score is like one of my favorites.

[1:40] Jennifer Ashley Tepper: It's such a good score.

[1:41] Anne L. Nathan: So good, so good.

[1:42] Jennifer Ashley Tepper: Totally. Tell me, so, you know, we were chatting about Liz Larson having been on the Yankees. This is a great Marquis story.

[1:50] Anne L. Nathan: Yes. I may get some of it wrong, but, and I actually have a call. Let me see if Liz texted me back. She didn't text me back yet. But Hector, who was one of our doormen, our dear departed doormen, he was closing up one night and he got locked into one of the dressing rooms and apparently it was right after opening, I think. So he, there was not much in there. I think there was like booze, but he was stuck there till the cleaning crew came. So he was locked in dressing room and this was not, there was no cell phone. Like I think it was before there were cell, like in the eighties people didn't really...

[2:24] Jennifer Ashley Tepper: I think it was like 94.

[2:25] Anne L. Nathan: 94. Did they have, I don't know. I'm confused.

[2:28] Jennifer Ashley Tepper: I don't think that Hector brought a cell phone with him.

[2:30] Anne L. Nathan: Yeah. He was just locking up. He was just locking up. He was just locking up the room. So he got stuck in there. And I mean, I'm sure it was horrible for him, but that story I find endlessly entertaining knowing what the heck.

[2:39] Jennifer Ashley Tepper: I heard it was for like two days.

[2:41] Anne L. Nathan: Yeah. It was for, I think it was like a day off, like a Sunday to Tuesday. I apologize if I got the dates wrong.

[2:48] Jennifer Ashley Tepper: No, no, you got it.

[2:49] Anne L. Nathan: I remember that story. I'm thinking that. I don't remember whose dressing room it was though.

[2:51] Jennifer Ashley Tepper: Yeah. There's some good stories. Damn Yankees. That's Damn Yankees Revival. That's also a great cast recording. Kids at home, go listen to that.

[2:57] Anne L. Nathan: Yes. I'm going to read a story from Lin-Manuel Miranda about the Cape Man, which is another fascinating musical that played the marquee.

[3:06] Anne L. Nathan: So this is from, you know, the Cape Man happened in 1998 is what you need to know. Lin-Manuel Miranda. It's hard for me to talk about the Cape Man because it was influential in both good and bad ways. The show opened during my senior year of high school and I was directing West Side Story when it came out. The Cape Man was written by and starring my heroes and I built it up to this impossible level in my mind. I loved Paul Simon's album Songs from the Cape Man that predated the show's debut. Paul Simon has just never written a bad song. My dad gave me toxic dosages of Ruben Blades as a kid. Mark Anthony was the Latin guy I discovered for myself. I think if you interview any second generation Hispanic kid, there's their music that their parents listened to that they kind of tuned out.

And then there's the first one that made them go, wait a minute, what are you listening to? What is he talking about? Mark Anthony was that for me. So I thought the Cape Man was going to be the second coming of Christ. That's the only way I can describe it. And it just wasn't. It's not the show's fault, but it wasn't. It made me think on a moral level, what were the chances that two musicals 40 years apart could depict not just Latinos as gang members, but specifically as knife wielding murderers from the 1950s? What a tiny subset of the community to get so much treatment on the stage. That's the great blessing and curse of West Side Story. It's such a good show that if you ask people all over the world what they think of when they hear a Puerto Rican, they're going to say West Side Story.

And sometimes they're going to think of a Greek guy with brown makeup. That's the mental thought. It's not their fault. It's a great, popular, and enduring show. I actually took my West Side Story high school cast to see the Cape Man. I had a cast of white and Asian sharks since I went to a mostly white school. I taught them all to be Puerto Rican. That was the fun of directing West Side Story. I brought my dad in, and he did dialect coaching, and I really used the show as a teachable moment and a way to bring my culture into school. I saw the Cape Man three times during previews, and it broke my heart. There was so much good in it, and it died so quickly. It felt like the great Latino hope, and they had a float in the Puerto Rican Day Parade.

There were a ton of Latino actors getting work, and I remember thinking, I'm never going to have a career in the theater. That was our one big shot, and it went away so fast. Then I spent a couple of years trying to fix the Cape Man in my head. I tried to find a structure to support all of the songs I liked and make it work. I thought, maybe if you cut the jail stuff, you stick to the 1950s stuff. I did that with the Cape Man for two years, and then I started writing in the Heights. At a certain point, you go, this is never going to be your dream show. This is what it is. Heights came out of that in a weird way, at least in the way that I knew no one was going to hold a knife in the show. That story exists, and it's a real story, but it's not the story I wanted to tell. It's been very well represented already.

[5:32] Jennifer Ashley Tepper: Wow.

[5:33] Anne L. Nathan: Wow. I just, it's crazy. That story reminds me so much of how Prince and Stephen Sondheim trying to fix Allegro, and all the apocryphal stories of them being like, with company, with Marilu, we were trying to fix Allegro. I'm like, that's so, it's a, I don't know, legacy. That's incredible.

[5:52] Jennifer Ashley Tepper: Yeah. Crazy. So going back to the legacy of the Marquis and Millie, you had an interesting check-in that you also understudied.

[6:01] Anne L. Nathan: I did.

[6:02] Jennifer Ashley Tepper: Yeah. What was that experience like?

[6:05] Anne L. Nathan: Well, Jen, not my favorite experience. Basically, I didn't want to do it, and really for two reasons. One was, I was so happy with the role that I got to do every night that I didn't want to not do that role. But also, I don't want to wake up every morning and wonder if I'm on or not. It just stresses me out. So I had to understudy Shirley Ralph and Harriet Harris, but I fortunately had it in my contract that they would have a standby, because I just knew enough, even back then, to go, I don't want an opening week to be freaking out, and if there was someone who could stand by. I ended up, I never went on for Shirley. I ended up going on for Harriet, and I was not great. And so I was first, this is my favorite story, I was bumped up to first cover.

And then I went on for a week, and then I got a call from Michael Mayer saying, you're no longer first cover. And I was like, great, can I keep the raise? I mean, honestly, this is just a very raw story, but I'll tell you, it was that simple. He didn't love me in the role. I never felt great in the role. I felt like it was such a role that Harriet did so brilliantly, and I missed my own role. So after two weeks, I went back down to second cover. So it wasn't my favorite. Whereas doing our show, Broadway Bounty Hunter, of course, I did get to do it once a week, so it's a whole different thing, but I loved doing that show. So it just depends on what it is and how it feels on you.

[7:32] Jennifer Ashley Tepper: Yeah. It's so funny, but in interviewing now, listing your credits, I feel like I'm doing Broadway Bounty Hunter because your credits are listed in the show.

[7:38] Anne L. Nathan: My Dan L. Nathan from once in Thoroughly Modern Millie.

[7:42] Jennifer Ashley Tepper: Yeah. It's so interesting to me also, though, because to me, Miss Flannery, because I worshipped Millie so much, it was like I couldn't believe that that role would understudy on their own. I'm like, no, you were meant to be Miss Flannery all the time. I think it was just like when you're putting together a show, you have to cover everybody, and they wanted two covers for roles. I have to say, just sidebar, when I was in La Jolla, I was Tanya Pinkin's cover, and she missed once, and there were no costumes, so they ... I'm not even making this up. I put on a Cassie from Chorus Line bodysuit and wrap skirt and carcasses, and they put my hair in a bun, and they put a flower, so I was like, who's that famous cabaret singer who had ... You know, I'm talking about them.

[8:24] Jennifer Ashley Tepper: Yes, yes, yes, yes.

[8:25] Anne L. Nathan: Julie.

[8:26] Jennifer Ashley Tepper: Julie Wilson.

[8:27] Anne L. Nathan: Julie Wilson. Huge flower in my hair. I did it like I thought, well, I guess I'll do it like Bette Midler. That makes sense. In the middle of Jazz Baby, there was a blackout, and I never got to finish the show.

[8:38] Jennifer Ashley Tepper: Oh my God.

[8:39] Anne L. Nathan: I can't believe I didn't know that story so far. Yeah. And it was Jazz Baby, which was not in the Broadway production. I remember with my flower and my wrap skirt, and we were just laughing so hard. And then blackout, and then we went home. I never got to do the rest of the show.

[8:55] Jennifer Ashley Tepper: Oh my God. There you go. What a crazy, sadder, sadder rollercoaster.

[8:58] Anne L. Nathan: Yes. What do you remember about the show after it won the Tony? Did it feel different? How long were you with it?

[9:04] Jennifer Ashley Tepper: Well, the thing about any show that wins a Tony is you just breathe a sigh of relief when it's done. You're so proud. And then you figure, you don't always know, because I did do Assassins, which won many Tonys and still closed a month later. But most of the time, if you win some Tonys, you know you're going to work for a while. So you're so elated that you're going to have a job. So I remember that. I also remember that was in the day where they awkwardly made the cast stand on the wings during the Tony Awards.

[9:32] Anne L. Nathan: Oh, wow. So they made you stand on the wings, and then if you won, they were like, you won. Go out there. And if you didn't, you're like, back on the bus.

[9:41] Jennifer Ashley Tepper: Oh my God. For real.

[9:42] Anne L. Nathan: And thank goodness they got rid of that eventually. But I remember that was just the most horrible thing. So with that show, it's just once you win those awards, you know you're going to have employment and the audience is even more enthusiastic. And that show in particular kept building up steam. It really did. As the years went by, it just kept becoming a show that people loved more and more and more, which was very interesting, too. So I think we were just very happy. Once the Tonys are over, also, everybody relaxes. You're not doing press as much. You're not going, what are we going to do? What are we performing? What if we don't win? And you can just have a good summer. You can just go have a drink with friends and go back to your life and enjoy the show at night.

[10:25] Anne L. Nathan: One thing I always think about about the Marquis is how the frontage used to be on Broadway. Do you remember the Marquis used to be on Broadway, the box office used to be on Broadway, and now it's around the corner on 86th Street? But apparently there are phantom escalators. There were escalators that went up from the box office. This probably, you didn't experience as much. You went in the stage door. But I always think that that's interesting, and that was that way, because there weren't those shops on Broadway, which now it's like, that's what it's like. It's so weird. I just recently went to see Tootsie, and I went backstage after, and I was so disoriented because it's so changed.

[10:56] Jennifer Ashley Tepper: Yeah.

[10:57] Anne L. Nathan: They rebuilt it. They changed everything.

[10:59] Jennifer Ashley Tepper: Yeah.

[11:00] Anne L. Nathan: So it is weird when you go back to a theater and you expect it to be one way, and you're like, oh. You're a little disappointed that it's not exactly the way you left it.

[11:07] Jennifer Ashley Tepper: Totally. Are there things about the Marquis that were very different than other Broadway theaters you've worked in?

[11:11] Anne L. Nathan: Yes.

[11:14] Jennifer Ashley Tepper: Newer.

[11:15] Anne L. Nathan: Yeah.

[11:16] Jennifer Ashley Tepper: Cleaner, newer, bigger.

[11:18] Anne L. Nathan: All those things. Because you get, I was so spoiled. Here I am with this small featured part. I have my own dressing room, my own bathroom. I had a shower. I mean, it was ridiculous. That people could wave at you.

[11:30] Anne L. Nathan: Yes. It was so over the top.

[11:33] Anne L. Nathan: And then I went to, I mean I actually went after that to Studio 54 and had a very spacious dressing room with Kendrick Hessenbaum and Sally Wilford so we were very lucky there but most of the time, and when I was in Chicago and I played Mama Morton, I shared a dressing room with four of the girls. Like most of the time you are in a tiny space, like we did it with Broadway Ballet 100 where there were 17 people in that room. So to have a space like that that is spacious and newer is very, very nice.

[12:02] Anne L. Nathan: I remember hearing about during Thoroughly Modern Millie, I guess there were certain parts where people would play little practical jokes in the wings.

[12:10] Jennifer Ashley Tepper: Oh yes. Tell us about that.

[12:12] Anne L. Nathan: So Casey used to do this thing where he had these puppets that were, I'm trying to remember if they were Millie puppets, they had all different kinds. They had a Miss Flannery puppet, a Millie puppet, a Gavin, like all different and he would do these little puppet shows in the wings and depending on what was happening, like he'd do them on vacation. It was every night and I don't remember the specifics as well as some other people do because I don't know, maybe I was in the scene.

[12:36] Jennifer Ashley Tepper: You were tapping.

[12:37] Anne L. Nathan: I was tapping, I was busy, I was tapping. But yes, he had these little puppets in the wings and he would do these puppet shows and yeah.

[12:44] Jennifer Ashley Tepper: He was ready to direct.

[12:46] Anne L. Nathan: Yes, absolutely. That was a show that truly had so many funny people. I mean everybody was hilarious.

[12:54] Jennifer Ashley Tepper: Yeah, tell us about I guess memories of people. Did you feel like there was a lot of bonding during that show?

[13:00] Anne L. Nathan: Oh my gosh, yes. We were always in each other's dressing rooms. I mean Francis Chu, the most adorable, funniest, Ken Leung, Angie Christian, just like great people and we did calendars. I remember us doing the girls from Millie calendar where we were, I mean I still have that calendar and I think we were half naked which I can't believe I agreed to do that. It seems ludicrous now that I would ever do that. But yeah, we did a lot of stuff like that and it was just fun. I wish I had a better memory of the specifics but I don't because it was a long time ago.

[13:33] Jennifer Ashley Tepper: It was. No, I'm impressed by how much you remember. This is a weird question I've never asked you. Was your wig heavy on one side?

[13:39] Anne L. Nathan: Oh.

[13:40] Jennifer Ashley Tepper: That iconic wig. Go look up some production photos. I'm sorry.

[13:44] Anne L. Nathan: It was a little airy cone kind of thing so it looked heavy but it was just the hair wrapped around the cone. And that happened because Paul Huntley, who did the wigs, had this other style for me which I have a picture of at home somewhere and it was more normal. It was not so crazy. And Michael Mayer came into the room and he was like, no I want this and he drew this weird triangle.

[14:07] Jennifer Ashley Tepper: Oh.

[14:08] Anne L. Nathan: Yeah.

[14:09] Jennifer Ashley Tepper: Wow. Well it was iconic. It still is iconic. I've seen like so many high school productions, they probably do have a heavy one side. They haven't figured out the cone.

[14:17] Anne L. Nathan: I don't think so. I love that wig. It gave me everything character wise. I just thought she spends hours in the morning perfecting that hairstyle to make sure that that cone is exactly right. She's proud of it.

[14:27] Jennifer Ashley Tepper: Do you know what else I just keep thinking about? We're going to be in the 20s very soon and so you think of, literally I think of Thoroughly Modern Millie when I think of the 20s but next year we'll be in the 20s.

[14:37] Anne L. Nathan: It's so weird. It's totally weird.

[14:40] Jennifer Ashley Tepper: I'm going to make you read one more story which is Jonathan Groff talking about Thoroughly Modern Millie.

[14:47] Anne L. Nathan: Okay.

[14:48] Jonathan Groff: I saw Thoroughly Modern Millie six times. The first time I saw it I got standing room only tickets in the back of the theater. I was so impressed with Sutton Foster I thought that she was giving a historic performance. The show also struck me because it was about her character moving to New York and starting her life. There was so much in it about New York City and being in love with the city and leaving your small town and making a name for yourself. As a teenager that really spoke to me. I went back and saw it again and again. The fourth time I went to go see it my friends and I got to New York and stood in line at the box office at 10 a.m. We could only afford standing room tickets and those are only available when the show was sold out.

But they told us that Millie was not sold out that day. We decided that we would go to TKTS line and pass out flyers for Thoroughly Modern Millie to try to get the show to sell out so that we could then buy standing room only tickets. We just didn't have enough money for any other tickets. We passed out flyers for Thoroughly Modern Millie all day from 10 a.m. until 1:30 p.m. then we went back to the theater and it still wasn't sold out. I said to my friends, we're seeing this show, there's no way we're not seeing it. Since it was at the Marriott Marquis, we could go up the escalator into the hotel and be right in front of the lobby of the theater. We did and I told the usher, I will literally give you all the money I have if you let us go in and see the show right now.

The usher told us, I'm sorry, there's nothing I can do. You know you can stand here on the other side of the glass wall and watch it in the monitor. The overture started and Sutton started singing Out for the Life of Me and we were just sitting outside the glass on the floor. We were also starving because we didn't eat all day. We wanted to keep passing out flyers. Then an usher came down from the mezzanine and brought us into the theater. We sat and my four friends and I watched the show from the fifth floor of the mezzanine. It was amazing. I don't know who the usher was but she was an angel.

[16:21] Anne L. Nathan: That makes me cry.

[16:22] Jennifer Ashley Tepper: I know. I mean, I think that these stories are so important for many reasons but also it reminds you how lucky we are and how privileged we are to do this and how when we first started it was just about this. I mean, I have those stories. I remember seeing Sweeney Todd with Angela Lansbury and Lincario and it changed my life. Like Sixth Row Center, that was, and I was this huge Sondheim fan and I saw it and then I went backstage after I met Joaquin Romagrero because my mother had some connection and he did tell me, I said, do you have any advice and he said, don't do it. So I will say that happened. But this is amazing, this story.

[17:00] Anne L. Nathan: You feel like Sweeney Todd was that for you?

[17:00] Jennifer Ashley Tepper: I mean, I saw shows growing up, my parents took me to the theater all the time so I saw a lot of shows that were life changing but that was one of those shows, that was the kind of show I wanted to do. I was a huge Sondheim fan, I wanted to do Sunday in the Park, I like those little more serious shows.

[17:18] Anne L. Nathan: You did, you did Sunday in the Park on Broadway.

[17:18] Jennifer Ashley Tepper: But after doing Millie, that was the first kind of just fun musical I ever did. I never did a show with showgirls, never ever. They taught me how to do false eyelashes, I just never had to do false eyelashes. So getting to do this kind of a show made me want to do these kind of shows more and I don't get to do them as much as I'd like because they're so filled with joy. But that thing is like, I never was someone who would wait on line for autographs but I was obsessed. I saw every show and I still remember, this is such a stupid, ridiculous story, I'm so embarrassed but I will tell it anyway. I remember watching the Tonys and John Rubenstein won for Pippin, I think that's correct. And he thanked his voice teacher and I looked up his name in the phone book and I said to my mom, can I call that voice teacher and ask for voice lessons? And my mom is so awesome, she was like, yes. She just let me be disappointed in my own way.

[18:14] Anne L. Nathan: You're an enterprising young child.

[18:14] Jennifer Ashley Tepper: I called in the middle of the Tonys. I was like, I have to have his voice teacher in the middle of the Tonys so I understand this story.

[18:21] Anne L. Nathan: I love that. And sometimes I forget. Sometimes we get older and we've done a lot of it so we forget that this is what it's about.

[18:29] Jennifer Ashley Tepper: It's a beautiful story.

[18:30] Anne L. Nathan: Yeah, I love that story. I'm so amazed and jealous you saw the original Sweeney Todd. What were the other shows you saw when you were growing up that were formative?

[18:37] Anne L. Nathan: Merrily.

[18:38] Jennifer Ashley Tepper: Oh my god.

[18:39] Anne L. Nathan: I saw Merrily.

[18:40] Jennifer Ashley Tepper: I know.

[18:41] Anne L. Nathan: I saw Carrie.

[18:44] Jennifer Ashley Tepper: I saw Late Night Comic.

[18:45] Anne L. Nathan: You saw Late Night Comic?

[18:46] Jennifer Ashley Tepper: Yes! I mean, I went to the theater a lot.

[18:48] Anne L. Nathan: At the Ritz?

[18:49] Jennifer Ashley Tepper: I used to sometimes come in on Christmas when I didn't celebrate Christmas and I remember seeing Gregory Hines in, help me, Sophisticated Ladies, which was, that was an amazing show. Did you see that show?

[19:08] Anne L. Nathan: Yeah.

[19:09] Jennifer Ashley Tepper: So that was one of those shows where you see it and you go, I'm never going to be able to do that. That hurts me a little bit but I'm going to also celebrate it but I wish I could do that. And I saw Jennifer Holliday do Dreamgirls Out of Town in Boston and that was when no one did that so people were freaking out and that was another performance that I was sad because I thought, I can't do that. That's just not going to be my thing.

[19:33] Anne L. Nathan: Was there something though about when you saw Sweeney Todd you were like, I can do that?

[19:36] Jennifer Ashley Tepper: Yes! Because I was like, this has everything I want. I love the story, I love the music, I love Angela Lansbury, I want to play these kind of parts. So 100%. And I felt like that also seeing, because those are the kind of shows I loved. I loved, I remember seeing Sunday in the Park and just completely freaking out. When I was a little girl I remember seeing Annie and tugging on my parents saying I have to have an agent and I need to be an Annie, I need to play Annie like every other kid who. So that was our, when I was little that was what everyone wanted to be when they were 11 or 12. So that was a big, big deal and my first show that I ever saw was Fiddler.

[20:12] Anne L. Nathan: You got to see so many great shows.

[20:14] Jennifer Ashley Tepper: I did. It's amazing.

[20:16] Anne L. Nathan: And when I saw Fiddler my parents said that, my sister and I were very young, I was 5 and my sister was 3 and we sat like quietly and we're in trance and said to the lady next to them, your kids are amazing. So then the next week they took us to see Radio City Music Hall and all we did was cry and run up and down the aisles and they were like, oops, I guess it's just, it's just Broadway.

[20:36] Jennifer Ashley Tepper: Broadway or bust.

[20:37] Anne L. Nathan: Is there any Broadway theater that you haven't worked in yet that you'd like to work in that theater?

[20:41] Jennifer Ashley Tepper: Yes, but I don't know the names of them.

[20:43] Anne L. Nathan: Oh, it's okay.

[20:44] Jennifer Ashley Tepper: Okay, so where Moulin Rouge is playing.

[20:46] Anne L. Nathan: Oh sure, the Hirschfelds.

[20:47] Jennifer Ashley Tepper: That one. I'm such a, am I going to sound like a total condom?

[20:50] Anne L. Nathan: No, no.

[20:51] Jennifer Ashley Tepper: I just don't know names.

[20:52] Anne L. Nathan: Yeah, no, it's okay.

[20:53] Jennifer Ashley Tepper: Um.

[20:54] Anne L. Nathan: That's a beautiful theater.

[20:55] Jennifer Ashley Tepper: I actually feel very much like every time I work in a show, work on a show and I'm in a new theater that I've never been in, I get so excited that I'm in a theater I've never been at before. So there are plenty. I mean, the Helen Hayes, it's so sweet and intimate and, but yeah, I'll, I'll take any job. Any job. Anyone wants to hire me for a Broadway show, I would love to work in their theater. I just don't know the names of the theaters apparently.

[21:16] Anne L. Nathan: A lot of people don't actually.

[21:18] Jennifer Ashley Tepper: But you're teaching us.

[21:19] Anne L. Nathan: Yes.

[21:20] Jennifer Ashley Tepper: All of the nerdery is so we can all learn the Hirschfelds name. Any final thoughts about Millie, about the Marquis, about those couple of special years where we all copied your Tony performance in our bedrooms?

[21:32] Anne L. Nathan: Oh my God. No, I just, I just had the best time. Like, I just can't say enough great things about it and getting to do that reunion concert, I think we all realized how deeply special it was because everyone said yes, pretty much. I think like one or two people didn't do it. And I still remember doing Forget About the Boy, which we all remembered and Rob sat down to watch it and he just started crying. Like it was, it was just really, really special. And the journey was so strange to go from La Jolla and not knowing what that was going to be and the full circle of it was really amazing. But I just remember it being a hundred percent joyful. Like I just don't remember having a lot of sadness when I was there and feeling, always knowing how lucky I was that I had this unique little role and I got to have this like lovely dressing room and this great space with this great cast and crew. So it was just one of those that you, you have those shows that you keep chasing. You want to have an experience like that. And that was one of those.

[22:31] Jennifer Ashley Tepper: I love that.

[22:32] Jennifer Ashley Tepper: Yeah. Thank you for joining me, Anne. Everybody go watch Anne L. Nathan's performance on the Tonys, the 2002 Tonys on YouTube and go listen to Thoroughly Modern Millie and all the other Marquis shows too.

[22:43] Anne L. Nathan: Thanks for having me.

[22:47] Jennifer Ashley Tepper: Thanks for tuning in to The Untold Stories of Broadway and thank you to our producer Dori Berenstein and my publishers of The Untold Stories of Broadway, Brisa Trincaro and Roberta Pereira, Zach Zadig for that theme music. And thank you to all of you for listening to the podcast. You can buy The Untold Stories in book version on Amazon.com.