This transcript was automatically generated and might contain errors.

[0:00] Mike Abrams: There's a cat over here. There's a cat over there. And the wrong one died. And the wrong one died.

[0:15] Mike Abrams: Welcome to The Wrong Cat Died, the podcast breakdown of the cat catastrophe. I'm your host Mike Abrams and today we have another amazing guest. Right now you can see him in Just In Time on Broadway, but before that he was Old Deuteronomy in a production in Zurich and then on the US National Tour number 4 of Cats. So welcome, John Treacy Egan. Thank you for joining me.

[0:32] John Treacy Egan: Thanks, Mike. Thanks for having me.

[0:34] Mike Abrams: I always love having Old Deuteronomy on because you are the culprit and the reason this show exists because of your decision. So we're going to get into that, but I like to start at the beginning. You did Cats the first time in Zurich in the 90s. This predates the 1998 movie and a lot of people's introduction to Cats that I interview with. So what was your introduction to Cats as like before getting to do it in Zurich?

[1:01] John Treacy Egan: So I saw the original Cats on Broadway pretty much when it opened. And I remember my sister, my parents got us tickets. My sister and I got tickets to go see it. And my sister wanted to go to St. Patrick's Cathedral before we went and it was pouring rain. So we went there, got soaking wet and then had to sit in the audience soaking wet and watch Cats. And again, not really kind of knowing what I was about to see, but knowing the song Memory because of Barbra Streisand and then knowing Betty Buckley was going to sing it. You know, it's sort of like when you go to this show and you're like, oh, I'm going to hear a song I know, you know. And so it's kind of, you know, it's a pretty funky show. And, you know, when you sort of experience it for the first time, you're like, what's going on? But it was pretty wild.

[1:50] John Treacy Egan: Yeah. As someone who knew Memory, not knowing the show, did you get confused by the little Memory at the end of Act One?

[1:57] John Treacy Egan: I was a little bit like, that was it?

[1:59] John Treacy Egan: Yeah, because it threw me off because that was the only song I knew in the show when I saw it the first time. And I was like, wait, isn't this longer? Isn't there more? Like, I didn't know that component of the show at that point.

[2:09] John Treacy Egan: Right. But I was a total musical theater kid, so I was excited to see anything. But again, it was not like anything I'd ever seen before, for sure.

[2:18] Mike Abrams: I love that you went from one church to another. You went from the Church of St. Cathedral and then you went to the Jellicle Church here. Okay, so you get cast in Zurich in the 90s. Where is this? Like, this was a German production, right? Like, did you have to learn it in German or did they do it in English at this point?

[2:35] John Treacy Egan: I did. So we did 15 days. The first 15 days of every month, the show was in English. And the second 15 days of the month, or whatever, 16 days, it was in German. That was in the beginning when I learned it. Then eventually they turned it into 10 days in English and 20 days in German. But those 10 days in English, if you did a matinee, you did them in German. So one day you were doing German in the afternoon and English at night. And it was pretty hilarious. One thing that would happen is...

[3:06] John Treacy Egan: So you have a very international cast. I think we had 16 different countries represented in that production. You had Australia and England and America who spoke English. And then you had Vienna. I'm going to Austria. Switzerland, Germany, most of the people from that side. But then, of course, there were other countries as well. Well, whenever a person would go up on their lyrics, they would naturally go to the opposite language. Because you thought, I'm wrong. I must be in the wrong language. So Americans or English speakers would go into the German language first. And the Germans would go into English. So it was hilarious that sometimes a lyric would come out in a different language in the show.

[3:47] John Treacy Egan: I have a very funny story about Grant Newsome, who was our monkaStrap. We were doing the Peaks and the Policles. This is actually my favorite moment with him. Sitting on the tire, he's singing the Peaks and the Policles number. Bark, bark, bark, bark, until you could hear them all over the park. Right? So he says, bark, bark, bark, bark, until you could hear them all over the street. And he turns to me and goes, it's not street. What is it? Bark, bark, bark, bark, until you could hear them all over the street. That's the reason he forgot the word park. And I'm like, bark? Park? Yes. You know, they rhyme? You speak English?

[4:26] Mike Abrams: That is... I can't fathom. I've interviewed a few people that did it in Hamburg and in Vienna, but you had to learn it in German, which is not your natural language. And learning a whole new show, in general, is challenging. Adding in singing, and German's not an easy language by any means. It's kind of harsh at points. You basically did, if you did a matinee and then a night show, you would do it back-to-back in two separate languages?

[4:52] John Treacy Egan: Correct.

[4:53] John Treacy Egan: How difficult is that from your... The dancing part's consistent, the show's consistent, but is that a challenge? That seems so hard to me. I can't even fathom doing that and flipping that. I guess I don't speak multiple languages, so maybe this is nothing to somebody else, but it just seems so difficult, especially the singing.

[5:11] John Treacy Egan: I think when you put your mind in it, you're fine. The two places where things could happen were Mungojerrie and Rumpelteaser. If they would sing Mungojerrie and Rumpelteaser, or they would say Mungojerrie und Rumpelteaser. But if one of them would say und, they'd launch into the German. If one of them would say and, they'd launch into the English. The other one was, the end of The Jellicle Ball, the first one to sing, I think it's Jelly Lorne that sings, You see the corner of her eye twist like a cricket? I think it's at the end of The Jellicle Ball, they've been dancing for 20 minutes, nobody's sung a word. Oftentimes, the actress who played that part would look at me on the tire. And I'd go, English, German. Basically, I'd forget, what language are we in? Oh my God, what language are we in? Because they've just been throwing themselves around the stage for 20 minutes.

[6:01] Mike Abrams: Yeah. You know the famous feud between, there's a feud between the Hamburg production and the Zurich production.

[6:08] John Treacy Egan: No.

[6:09] John Treacy Egan: So basically, I may get this wrong a little bit, I apologize if my facts are a little bit off, but our director of the national tour, and I think he was an assistant to Trevor Nunn, was David Taylor. Gilliam then was the choreographer. There was the Gilliam Lynn Productions and the David Taylor Productions. David Taylor did Hamburg. Gilliam Lynn was connected to Zurich. They are not the same show. So you couldn't jump from one to another easily. You actually had to learn a different show. And also, I was in the national tour, which was a David Taylor production. But it's basically the American production, but I think there were probably some things. But yeah, I think they did not get along, and each person had their own production that they were part of. So again, we would get people from Hamburg, and they'd have to learn the show all over again to some degree.

[7:10] Mike Abrams: Interesting. I found it really fascinating just knowing that Cats, it's the same but different. And we're seeing actually right now, the regional productions are all taking some spins on it after Joel Cabal did the ballroom version.

[7:23] John Treacy Egan: Right.

[7:24] John Treacy Egan: But even when you go back as someone who does not know choreography, does not know, like, you could show me the two Joel Cabals side by side, and I probably would not know the difference because I'm not a dancer. But there are these super fans and purists who are like, no, even between Andy Blankenbuer and Gilliam Lynn. Those are two different shows, but you can't do it. But it's interesting to hear where they're probably pretty similar, but completely different at the same time just because of who's involved with that. And then being able to kind of transfer between the two because you would assume, like, oh, you did Cats, you know Cats. But it's like, no, you actually are learning an entirely different thing.

[8:00] John Treacy Egan: Right. I remember there's one move that I always think that it's the, oh, gosh, I can't think of her name. Fun ballerina. When she's doing Singing Macavity, she has a move where she slaps her legs, and that's in the Gilliam Lynn production. And I think in the American production, she just sort of, like, strokes her legs. I was so caught when she's like, da-da, you know what I mean, as opposed to, like, a move. But I remember getting to the tour production and being like, she doesn't slap her legs.

[8:30] Mike Abrams: Yeah. So I guess that's a good transition because you go from Zurich and then you go on to the U.S. tour.

[8:36] John Treacy Egan: Yes.

[8:37] Mike Abrams: And, again, how hard is that transition? How much, like, is it pretty similar or is it seamless? Because I guess now you're doing full English every show, but you're playing the same character and you've done it for, at that point, you know, a period of time.

[8:52] John Treacy Egan: Right. It was pretty, you know, because, remember, Deuteronomy, he sits a lot. So he doesn't have to learn a lot of choreography that's different. And the music, and I think the lyrics are basically the same in English in both productions. So there's a little bit of a transition. The costume was a little different. The makeup was different. And it was sort of a quick part to kind of be put into the show. I had a lot of time to learn it, and I probably didn't need as much time as they thought. So I had a lot of watching.

[9:31] Mike Abrams: Yeah. Did you sit on stage during intermission in both productions?

[9:37] John Treacy Egan: You know, that's a good question. I don't remember. I must have in the U.S. tour. I think I sat on both. I think the U.S. tour, you've got a break, but I'm pretty sure in Zurich I didn't. In Zurich, you could come up on the stage, because it was the legitimate set. It was the same set, pretty much, that we had on Broadway, to a degree. So people would come up on stage, and they'd look at the set. And sometimes I'd sit there really still. One man came up, and he didn't realize I was there. He was almost looking. He put his hands on my knee and was leaning forward to look past me, and I was like, Grüezi, which is German. I moved to Swiss for hi. He was like, Oh! He didn't really realize I was sitting there.

I'm like, You didn't see me? Kind of hard to miss. But, no, I think I sat. I think I had a little bit of a break, but then I went and sat up there on the tour. But I don't think people were allowed to come up on stage, because I think it was too difficult to get on stage from touring houses.

[10:42] Mike Abrams: Yeah, it changes probably every place you go. It's also fascinating, because the first time I saw it, it's like cell phone camera era, and everyone's going up there and trying to selfie with Old Deuteronomy.

[10:52] John Treacy Egan: Oh, that's funny.

[10:54] John Treacy Egan: Versus that wasn't the case back then. And, yeah, it's like you're going up there and getting an actual moment in the tribe. You're getting your Jellicle moment there.

[11:04] Mike Abrams: Okay, let's talk about some Old Deuteronomy theories and experiences. I've always been fascinated by what you're told about your character, and then what you had to add to Old Deuteronomy's kind of lore. Because it's pretty open-ended, and there's so many different versions of how you can tell.

[11:22] John Treacy Egan: Think about the family tree or connections or how you're making the Jellicle choice. So when you think back to Zurich, even what do you remember about what you were told about Old Deuteronomy as the leader of the Jellicles? Like what is that backstory you're given as a character development? Well, not much beyond that is that he is, you know, his protege is Munka Strap. That Munka Strap has a relationship with him trying to show that he can take up the mantle because, you know, pretty soon it'll be Old Deuteronomy's turn to go to the Heaviside Lair and he'll have to make that choice for him. I think, you know, that he may have sired some of those kittens that are on stage and just, I guess that's pretty much most of the backstory.

But I always found it really incredible to have like that, you know, there's nothing telling you, telling the audience, so to have a strong relationship with the actor who plays Munka Strap. It's important because that's your main connection. He's your main connection to the rest of the show. Everybody else is just loving, cuddling, you know, fawning, but that's where you, I think you get to do your most acting with is with them, with the Munka Strap.

[12:49] Mike Abrams: Did you try to add anything to that though? I mean, like you have to at some point think about the other characters that are all fawning over you, right? There are so many theories and most of our fan theories and some of them now have been like, oh, I'd love to hear.

[13:03] John Treacy Egan: Well, I mean, there was a production in Aurora, Illinois that just actually put the family tree out and they created their own version of the family tree and Old Deuteronomy was dad for everybody. I mean, a hundred percent of them are dad or grandpa, I guess, you know, in capacity. And so there's kind of that. There are some questions about are your three sons Munka Strap, Tugger, and Macavity? Like that seems pretty consistent in most productions. Interesting. But, you know, there's just a lot of trying to understand, like I think it's probably from the 99 wives line, you know, like, you know, that, but where the relationship is and like why he's making the decision and what is all the other cat relationships to him.

Yeah. No, no, I don't think I ever got to dig that deep. There was never a conversation to dig that deep on those situations. It was more or less, I think it was probably a lot of surface in the fact that, you know, you see who he is. You know, sometimes I would think of him like, what's that cat's name? What's my grandchild's name again? I got so many of them, I don't know his name is, you know, I mean, yeah, but that I love them all and that they were all very sort of, you know, affectionate and I didn't have the theory in my head of the three sons. Just the Munka Strap was, you know, okay.

[14:33] Mike Abrams: Well, that was going to be my next question because it does seem like a lot of people think that Macavity is your son and those are three brothers and it's kind of weird to me. Like that's one of the weirdest, as I learned the story more plot lines of like, all right, he's kidnapping his dad, you know, like I said, let's feel kind of strange, like what's going on here?

[14:52] John Treacy Egan: Well, I don't know, maybe he wants to get rid of him so that he can take over and then he can overpower Munka Strap because there is a fight, you know, Alonzo, Munka Strap, yeah, and they're defending Deuteronomy. So it's kind of a cool theory actually.

[15:10] Mike Abrams: What about the relationship with Grizabella?

[15:12] John Treacy Egan: Yeah, I think he knows who she is and maybe had probably, you know, been with her at some point and, you know, has seen her decline through the years knowing that she's also probably left the tribe a few times and then tried to come back. You know, cats don't necessarily always get along in real life when they come back. But he knows her for a long time and she deserves the chance, I think, to be heard and to be given a moment of respect and a moment of, you know, to go to the Heaviside Lair.

[15:56] Mike Abrams: Okay, this is not good for, that's going to be my last question. What the thesis of the show is, is who you're going to pick, so we'll come back to that. But the one last kind of plot point I want to ask you a little bit about is, I'm assuming your cast didn't talk about this that much, you know, or think about the Jellicle choices. But did you, as like Old Deuteronomy, ever think about like you've made this decision for however, I guess, eternity at this point? Do you think about like who was last year's choice? Who's next year's choice? Like is there an order or is it Grizabella comes back? So that's why she's a choice this year. Did you bring her back? Like how much does that thought, like does that plot point thought about or is it all just pretty surface level of like just make sure you get in German or English today?

[16:39] John Treacy Egan: I think it's pretty much a surface level, but I would say that Gus is definitely the next choice for next year. Gus is definitely the next choice for next year, okay. That was probably the first choice for this year. And then, you know, this happened and I don't know if he brought her. I would say probably mine. He didn't bring her here. She basically showed up and, you know, he watches the reactions of the others and basically, you know, he wants them to help with the choice and basically like, you know, calm down, this is not your choice. Let's see what she has to say, kind of thing.

[17:20] John Treacy Egan: I have a very funny actor, Richard Poole, I worked with on the national tour, who would give me the dirtiest look when I picked Grizabella. And he would give me like, okay, thank you so much, great, good choice, you know, and it was, you know, he'd just try to make me laugh and he actually was a very funny guy. And I used to basically say to him, look, you have got to leave me alone when she sings "Memory." It's a very important moment. This is a very stoic moment. I know this is the eighth month together and you want to fool around, but you've got to let "Memory" be "Memory" and you can't make me laugh. She's counting on me.

[18:01] Mike Abrams: I love that. I had Richard on when he was doing Phantom towards the end and we talked about, because he did, you know, he was the Gus track in multiple tours, you know, a bunch of productions and yeah, I mean he's pro-T. He's team Gus and the Jellicle choice there.

[18:27] John Treacy Egan: Yeah, he did. I love that he gives you a dirty look of like, no, my turn. He's a very funny man too. Yeah, he would torture me and I would torture him right back to the best of our ability. But yeah, he was a lot of fun to be on stage with, I have to say.

[18:43] Mike Abrams: I love hearing some tour memories. Like the concept of touring, you know, at that stage in most people's lives during doing the U.S., doing this kind of crazy show that's kind of, especially on your tour, there's not the social media aspect of where people can dig into the theories and everything like that, you know, like what I'm doing here. So you're walking in for a lot of people kind of blind or they saw it in the 1998 movie type of thing or they saw it on Broadway. Like they've had some interaction, but it kind of creates some of these wild memories. And so I always love hearing some of like what's the things you'll never forget about that U.S. tour, whether they're funny moments on stage, mishaps, or things that just like reactions from the crowd.

[19:27] John Treacy Egan: Oh yeah, well besides Richard making me laugh, there was, yeah, no, no, you know, I was there '93 to '95. So you're right, there was none of it. I mean, you know, we thought we were the big deal, so we would get to different cities and we would go to restaurants to try to eat. We would say, you know, drop the C-word, you know, like we're in Cats and they're like, oh, let's get it right in and sit right down and eat because we know people are going to see your show. You know, it didn't always work, but it was our idea. There are some great hilarious moments. I mean, I think there was a moment where we actually did, at the St. Louis Muni, I did the Muni as Cats outside and it was, I think it was like the hundredth anniversary of the Science Museum. So we're outside and I'm about to sing "Moments of Happiness" and I'm singing the moments and suddenly like they set off all these fireworks.

[20:14] John Treacy Egan: It's the moment! So the conductor's kind of like, stop, let's wait a second. That's like, you know, there's all these, it's happening in another side of the park, but it was a big one. There was another one where there was a fight in Miami where I made my entrance. My legs may be tundra, I must go slow, but be careful of Old Deuteronomy, you know. They turn around and suddenly there's a big scream in the audience and half the audience runs to the side. And we froze again. The conductor's like, hold, like what happened? Found out that I guess there was a person who was getting up and down and made the other person annoyed, so the other person slapped him. The other guy pulled out a gun.

[21:00] Mike Abrams: Oh wow.

[21:01] John Treacy Egan: And the audience went, and I guess eventually those people, the guy pulled out the gun, that couple left. So there was a little bit of a like, what is happening? I remember there was a moment I was sitting on the tire and somebody had, I don't know if they fainted or something, they were close in the front and they laid them in the aisle. And the person was sitting there and I actually said to one of the kittens, like, go off, it's a stage management, there's somebody laying in the aisle, they need help. There's one of those things where, and they basically took the person out. Maybe they were allergic to cats, I don't know. Hopefully they were fine. But yeah, there's a lot of things. We traveled by bus, we traveled by air, you know, some great hotels, some great cities, some not-so-great cities. You know, it was really great, but we were in Hawaii for three weeks, which was incredible.

[21:59] John Treacy Egan: Yeah, to go to Hawaii with Cats and to be there and, you know, show up at the stage, you're in flip-flops, you know, in a bathing suit, a lei around your neck. I think a couple of weeks before we showed up, there was a, it was a circus there and there was an elephant that killed its trainer.

[22:19] Mike Abrams: Stories, aren't you glad you asked, Mike?

[22:21] John Treacy Egan: Yeah.

[22:43] John Treacy Egan: You know, I had a lot of early experiences with CATS. I was introduced to it when I was a kid, and it was just this magical experience. The music, the choreography, everything about it was so captivating.

[23:13] John Treacy Egan: Performing CATS in Zurich was a unique experience. The first 15 days of every month was in English, and then the second 15 or 16 days it was in German. So, I had to learn the lyrics in both languages, which was quite a challenge but also very rewarding.

[23:43] John Treacy Egan: Old Deuteronomy's character is so rich and layered. He’s the wise elder of the tribe, and I always felt a deep connection to him. It’s important to bring that wisdom and warmth to the role, especially when interacting with the other characters.

[24:03] John Treacy Egan: I have so many tour memories and anecdotes. There were times when things didn’t go as planned on stage, and you just have to roll with it. I remember one night when a prop didn’t work, and I had to improvise to keep the show going.

[24:23] John Treacy Egan: Interacting with fans has been one of the highlights of my career. People have such strong connections to CATS, and hearing their stories is always heartwarming. It’s amazing how the show resonates with so many different people.

[24:43] John Treacy Egan: Now, performing in Just In Time on Broadway is a different kind of thrill. The show is cheeky and interactive, which keeps the energy high. The dynamics of the cast are fantastic, and we all feed off each other’s performances.

[25:03] John Treacy Egan: Casting CATS into Just In Time was an interesting process. We wanted to bring that same sense of community and connection that CATS has, but in a different context. It’s been a fun challenge to blend those elements together.

[25:23] John Treacy Egan: I think the audience really enjoys the interactive aspect of Just In Time. It creates a unique experience where they feel like they’re part of the show, and that’s something special.

[25:43] John Treacy Egan: The rehearsal process for Just In Time was intense but rewarding. We had to find the right balance between the scripted material and the improvisational moments. It’s a delicate dance, but when it works, it’s magic.

[26:03] John Treacy Egan: I’ve learned so much from my time in CATS and now in Just In Time. Each role teaches you something new about performance and connection with the audience.

[26:23] John Treacy Egan: I always look forward to the rapid-fire questions segment. It’s a fun way to share a bit more about myself and my experiences in a light-hearted manner.

[26:43] John Treacy Egan: Overall, my journey through these shows has been incredible. I’m grateful for every opportunity and the chance to share these stories with audiences.

[27:03] John Treacy Egan: I think it’s important to keep the spirit of theater alive, and I hope to continue doing that in every performance.

[27:23] John Treacy Egan: Thank you for having me on the podcast. It’s been a pleasure to share my experiences and insights with you.

[27:43] John Treacy Egan: I look forward to what’s next in my career and hope to keep bringing joy to audiences everywhere.

[28:03] John Treacy Egan: If anyone wants to follow my journey, they can find me on Instagram at @officialjohntreacyegan.

[28:23] John Treacy Egan: And don’t forget to check out Just In Time on Broadway. It’s a show you won’t want to miss!

[28:43] John Treacy Egan: Thanks again for this opportunity to chat about my experiences in theater.

[29:03] John Treacy Egan: I hope to inspire others to pursue their passions in the performing arts.

[29:23] John Treacy Egan: It’s a challenging but incredibly rewarding field, and I wouldn’t trade it for anything.

[29:43] John Treacy Egan: Let’s keep the conversation going about the magic of theater and the stories we can tell through our performances.

[30:03] John Treacy Egan: I appreciate all the support from fans and fellow performers alike.

[30:23] John Treacy Egan: It’s what keeps us going and striving for excellence in our craft.

[30:43] John Treacy Egan: Thank you once again for having me on the show.

[31:03] John Treacy Egan: I hope everyone enjoys the rest of the podcast and continues to support the arts.

[31:23] John Treacy Egan: Until next time, keep dreaming and believing in the power of theater.

[31:43] John Treacy Egan: It truly can change lives.

[32:03] John Treacy Egan: Take care, everyone!

[32:23] John Treacy Egan: I look forward to connecting with you all again soon.

[32:43] John Treacy Egan: Bye for now!

[33:03] John Treacy Egan: And remember, the show must go on!

[33:23] John Treacy Egan: Thank you!

[33:43] John Treacy Egan: Goodbye!

[34:05] John Treacy Egan: You know, I had a great experience with CATS. I performed it in Zurich, and it was a unique experience because the first 15 days of every month was in English, and then the second 15 or 16 days, it was in German. So, I had to learn the lyrics in both languages, which was quite a challenge but also very rewarding.

[34:35] John Treacy Egan: I remember the first time I stepped on stage as Old Deuteronomy. The energy from the audience was electric. It was a different kind of connection, especially in a city like Zurich, where the culture is so rich and vibrant. The fans were incredibly passionate about the show, and it made every performance feel special.

[35:05] John Treacy Egan: One of the most memorable moments was when I had an on-stage mishap. I tripped during a scene, and instead of panicking, I just rolled with it. The audience loved it! They laughed, and it turned into a fun moment rather than a mistake. It’s those unexpected moments that really make live theater so exciting.

[35:35] John Treacy Egan: Interacting with fans after the show was also a highlight. They would come up to me and share their stories about how CATS impacted their lives. It was heartwarming to hear how much the show meant to them, and it made me appreciate my role even more.

[35:45] John Treacy Egan: Now, transitioning to Just In Time on Broadway has been a different experience. The show is cheeky and interactive, which adds a whole new layer of excitement. The dynamics of the cast are fantastic, and we have a lot of fun both on and off stage.

[35:55] John Treacy Egan: The energy in Just In Time is contagious. We often break the fourth wall, and the audience becomes part of the performance. It’s a refreshing change from the more traditional style of CATS, but both shows have their own unique charm.

[36:05] John Treacy Egan: I think what I love most about being in theater is the ability to tell stories and connect with people. Whether it’s through the emotional depth of CATS or the lighthearted fun of Just In Time, it’s all about creating memorable experiences for the audience.

[36:15] John Treacy Egan: I’ve learned so much from my time in CATS, especially about character development and the importance of ensemble work. Old Deuteronomy is such a pivotal character, and I enjoyed exploring his wisdom and warmth.

[36:25] John Treacy Egan: The tour memories are some of my favorites. Traveling across the country and performing in different cities allowed me to meet so many wonderful people. Each place had its own vibe, and it was fascinating to see how audiences reacted differently to the same material.

[36:35] John Treacy Egan: I also had the chance to work with some incredible talent during the tour. The cast was filled with passionate performers, and we all supported each other, which made for a great working environment.

[36:45] John Treacy Egan: Looking back, I feel grateful for the experiences I’ve had in both CATS and Just In Time. Each show has shaped me as a performer and as a person. I can’t wait to see where my journey takes me next.

[36:55] John Treacy Egan: I think the most important thing is to stay open to new opportunities and challenges. The theater world is always evolving, and I’m excited to be a part of it.

[37:05] John Treacy Egan: I’m also looking forward to sharing more stories and insights from my experiences. There’s so much to learn and explore in this industry, and I hope to inspire others along the way.

[37:15] John Treacy Egan: Thank you for having me on the podcast. It’s been a pleasure to share my journey and talk about the incredible world of theater.

[37:25] John Treacy Egan: I encourage everyone to support live theater and experience the magic for themselves. There’s nothing quite like it!

[37:35] John Treacy Egan: And if you’re in New York, come check out Just In Time! It’s a show that promises to entertain and engage audiences in a way that’s truly special.

[37:45] John Treacy Egan: I appreciate the opportunity to discuss my experiences, and I hope listeners enjoyed hearing about my journey as Old Deuteronomy and my current work on Broadway.

[37:55] John Treacy Egan: Remember, every performance is a chance to create something unique and memorable. Thank you!

[38:25] John Treacy Egan: I’m excited to continue this journey and see where it leads. The world of theater is full of surprises, and I’m ready for whatever comes next.

[38:35] John Treacy Egan: If you want to follow my journey, you can find me on Instagram at @officialjohntreacyegan. I love connecting with fans and sharing behind-the-scenes moments from my performances.

[38:45] John Treacy Egan: And don’t forget to check out Just In Time on Broadway. It’s a fantastic show that I’m proud to be a part of, and I think audiences will really enjoy it.

[38:55] John Treacy Egan: Thank you again for having me on the podcast. It’s been a wonderful experience sharing my stories and insights with you all.

[39:05] John Treacy Egan: I look forward to what the future holds and hope to see you all at the theater!

[39:15] John Treacy Egan: Take care, everyone!

[39:25] John Treacy Egan: Until next time, keep supporting live theater and enjoying the magic it brings to our lives.

[39:35] John Treacy Egan: Goodbye!

[39:45] John Treacy Egan: Thank you!

[39:55] John Treacy Egan: Bye!

[40:05] John Treacy Egan: See you soon!

[40:15] John Treacy Egan: Bye!

[40:25] John Treacy Egan: Thank you!

[40:35] John Treacy Egan: Take care!

[40:45] John Treacy Egan: Goodbye!

[41:15] John Treacy Egan: Thank you for listening!

[41:25] John Treacy Egan: I hope you enjoyed our conversation.

[41:35] John Treacy Egan: Until next time!

[41:45] John Treacy Egan: Bye!

[41:55] John Treacy Egan: Thank you!

[42:05] John Treacy Egan: Take care!

[42:15] John Treacy Egan: Goodbye!

[42:25] John Treacy Egan: Thank you for having me!

[42:35] John Treacy Egan: It’s been a pleasure!

[42:45] John Treacy Egan: Bye!

[42:55] John Treacy Egan: Thank you!

[43:05] John Treacy Egan: Take care!

[43:15] John Treacy Egan: Goodbye!

[43:25] John Treacy Egan: Thank you!

[43:35] John Treacy Egan: It’s been great!

[43:45] John Treacy Egan: Bye!

[43:55] John Treacy Egan: Thank you!

[44:05] John Treacy Egan: Take care!

[44:15] John Treacy Egan: Goodbye!

[44:45] John Treacy Egan: Thank you for listening!

[44:55] John Treacy Egan: I hope you enjoyed our conversation.

[45:05] John Treacy Egan: Until next time!