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[0:00] Dori Berenstein: Hello, this is Stephanie J. Block, and you are listening to Broadway Podcast Network.

[0:06] Laura Benanti: Hi, I'm Laura Benanti, and you're listening to the Broadway Podcast Network.

[0:10] Alex Brightman: Hi, this is Alex Brightman, and I play Beetlejuice in Beetlejuice the Musical, the Musical, the Musical, and you're listening to Broadway Podcast Network.

[0:18] Norm Lewis: Hi, I'm Norm Lewis, and you're listening to the Broadway Podcast Network.

[0:22] Dori Berenstein: Welcome, listeners, to As The Curtain Rises. Bobby Kearns and Kay Fields are partners in work and in life. After years of shows that lasted around three weeks but received rave reviews, go figure, they're almost ready with their next masterpiece. But first, a few things are going to put a damper on their spirits. Can Bobby and Kay pull this off? Will Cheryl and Steve survive one another till opening night? Will James Cameron find out an Avatar musical is in the works? Will the Hellenger rise again? As The Curtain Rises.

[1:11] Dori Berenstein: Welcome to Deep Dive Broadway. Tonight, we go behind the curtain to celebrate the incredible cast of As The Curtain Rises, the first ever Broadway soap opera, which you can find on the Broadway Podcast Network. I'm Dori Berenstein, and I couldn't be more excited to chat with these incredible and very dramatic artists. I adore them all so much. Tonight's event celebrates and supports the Actors Fund. The Actors Fund is a national human service organization that has helped so many throughout the entertainment industry for so long. Since March 2020, the Actors Fund has distributed over $18 million in emergency financial assistance to over 15,000 performing arts and entertainment workers in need due to the COVID-19 pandemic.

You can learn more about the tremendous work of the Actors Fund, and you can support their heroic efforts by going to actorsfund.org. And now, as The Curtain Rises, let's start by taking a look at some interview clips from three of our superstar guests, composer Bobby Kearns, writer of Avatar the Musical, also known as the amazing Michael Urie, renowned Broadway producer Cheryl Phillips, brought to Very Stylish Life by Lillias White, and our narrator, who has an opinion about everything, and then some, the intoxicating Alex Brightman.

[2:44] Michael Urie: Well, we're working with Steve Jones again, and I guess pigs are flying. I had no intention of this ever happening. I thought that The Last Cigar was The Last Cigar, but we don't have a choice. We're stuck with him. He's getting us an amazing star, just like he did with Nathan Lane on The Last Cigar, but this time, this time we don't even know what the show's about. I don't even know. I've never even seen a movie. But he's got the money. He's got a theater. He's got me by the balls. It's gonna be awful. It's gonna ruin our careers. I've got no inspiration. K is dry as a bone. It's just gonna be nothing but misery. But maybe we'll win another time.

[4:00] Lillias White: Well, what you just said was a bunch of nonsense, but what I'd like to talk to you about is my love of nachos. The perfect combination of crunchy, gooey, salty, spicy. Sweet? I think not. Cheese shredded atop a mountain of tortilla chips. Tomatoes sprinkling down like manna from heaven. Guacamole. One big glob that nobody gets a chance to have except one lucky person. Next question.

[4:34] James Monroe Iglehart: Well, it wasn't a problem for me, but it was quite funny to see people come with their livestock. They did bring chickens. They brought all sorts of rocks, and there was even someone who brought a miniature schnauzer and dressed it up in blue and thought that they could use that as some kind of capital to get into the theater. But we are going to put an end to all of that. We're going to make sure that people know in advance not to bring their chickens or their dogs or their rocks.

[5:33] Dori Berenstein: That was so funny. I have to know, how did you find your characters? How did you reach out and find the character, the narrator, the composer? How did you guys do that?

[5:47] Michael Urie: It's all on the page, Dori. Actually, that's a joke, but it is true. This script is so fun. And the characters are so stupid. Just watching these improvs, it feels like it's like Broadway, but with fools or morons. It's like Broadway with morons. And it was just so delicious. I feel like immediately at home in the words. And I got to do all my stuff with Ashley Park, who's a really good friend. And so we were able to actually record together. So a lot of it, I feel like came out of our chemistry with each other. And just like so fun. So it's just so dumb and delightful.

[6:42] Alex Brightman: I like that you think that I had to come up with anything. You were like, just have a bunch of opinions on things. I was like, okay, but what's the character? I was like, okay, sure. And then they're like, but also lower your voice. I was like, done. That's the character. Really where I found it was that the minute I was allowed to play, we played. And then we got, as we went, more and more comfortable with just reading what was there and then doing a second pass, which was just me, Mystery Science Theater 3000-ing it. And just seeing where that went and then leaving it up to the kind and sharpshooter-like hands of you guys to edit it. I think editing is also where you can either make or break a comedy. I think because we couldn't do this together, it is in the editing to sort of make the pace what it is. So I'm thrilled that we all came out smelling like roses because we sure didn't have to.

[7:37] Lillias White: Well, shout out to Bart Fassbender and Marty McGuire on the sound side, sound design side, and Britt Bigelow and Alan Seals on the tech side. Because yeah, it really is masterful.

[7:53] Michael Urie: And you on the writing side.

[7:55] Lillias White: And Mark, yes. The first time we all got together, we were very ambitious. We hadn't really done this before. And we had the entire cast on the call at the same time, thinking that we'd be able to just read the script all together. That was a disaster.

[8:17] James Monroe Iglehart: But that should be released as extra footage. Everyone just sort of sitting there like...

[8:24] Michael Urie: Well, there were so many Wi-Fi problems.

[8:28] Lillias White: So many freezes, so many people who would be in the middle of that.

[8:33] Dori Berenstein: In the middle. And this is a few months. This is like a little while ago, we were still all getting used to this. Now, I feel like we're all pros at Zoom and StreamYard.

[8:44] Michael Urie: Absolutely. I think that now I sit down and a mic appears and now it just feels like a Pee Wee Herman in the beginning of that movie. I have a Rube Goldberg machine for everything I do.

[8:56] Dori Berenstein: So Alex, I know you have to... You are in a starring role on television tonight and everybody has to, right after this, go to Law & Order to see Alex.

[9:07] Michael Urie: Or tomorrow. You can watch it streaming tomorrow. I don't want to cut people out of this thing if there's people to be seen. So you can also watch it tomorrow or DVR it and watch it and take 30 minutes after it's on and skip all the commercials. You know what I'm saying?

[9:20] Dori Berenstein: Well, before you go, and Michael, eager to know this. So where we left off, because we've released eight episodes so far and you guys don't know what the next four episodes are going to be. It's very, very, very dramatic.

[9:39] Michael Urie: Literally, quite literally biting my nail.

[9:41] Dori Berenstein: But I'm curious to know, because we left everybody hanging with a lot of drama, do you have any hopes for your characters? I mean, does the narrator want a star? Are you working on another musical?

[9:56] Michael Urie: Only because I have to go, I would like to answer this first. But I do think, like anybody, in any sort of dramatic piece, I just hope the narrator finds love in or out of the show. And I hope that when and if there is a sequel, we can dip back into his more domestic life with whoever he ends up with. And I'm not claiming to know what he likes or doesn't like just yet, because I think he's open to interpretation. And so I think that, you know, stay tuned, and stay open and stay loose, everybody. Alex, thank you so much. I know you have to run. We don't want to keep you. I always think about what if those were my last words? And I would really regret if that was really like if just a meteor happened.

Stay loose, everybody. The worst thing. No, please, everybody, please, when you can, donate to all these wonderful charities and stuff like that. That's the best thing you can do during this time. So thanks for listening. Thanks for dealing with my big booming, not really booming voice. And I hope to see you all in the next four episodes. Thank you. Michael, don't go anywhere. Bye, Alex.

[11:10] Michael Urie: Bye, Alex. Happy to stay.

[11:17] Dori Berenstein: I, so what do you think is going to happen for Bobby Kearns? He is just in a quagmire. He is in deep. He has to come up with a musical. He's now working with his ex-husband and current wife. And I mean, it's really a feeling for me because I've always wanted to play a bisexual. But what I'm hoping for in the final four episodes is one more husband and one more wife. I feel like then it gets out of the love triangle and into the love hexagon. Wait, no. What's five? Polygon? Yes, yes. We'll take that. Andrew Barth Feldman will probably have the right term for that. Pentagon. There it is. Thank you, Andrew. Pentagon. I want a love Pentagon, Dori.

[12:15] Dori Berenstein: Okay. Well, it's not too late. We can write something in for you, I think. What about a sex scene? Just throwing it out there in audio. It's just the sounds of romance and love. And I think that we're ready.

[12:34] Michael Urie: It's an inspired idea. It's an inspired idea. And it would work with your character. You have so many different directions to go.

[12:44] Dori Berenstein: Yeah, absolutely. I think we'll look for that. Why don't you stay here and let's bring on two of your co-stars. But before we do, let's look at their clips, if we may. I'm going to tell you a little bit about who's next. And if you... Are you okay to stick around?

[13:02] Michael Urie: Yeah.

[13:03] Dori Berenstein: Okay, great. I'm not on SGU tonight. Not tonight. Coming soon. So, stop. He's in everyone's business and is always the first to know, the Broadway disher, also known as the Divine, Lesli Margherita, and our avatar science consultant, Andrew Barth Feldman, played by none other than the magnificent Andrew Barth Feldman. Let's take a look.

[13:28] Andrew Barth Feldman: I just, I'm mostly consulting on making sure that the stage looks like a real place. So, I just did some work on a jagged little pill. My good friend, Antonio Cipriano, I had to make sure he looked like a real person. He usually does not. And then, you know, that sort of thing. And then there's the new Star Wars musical that's opening. I'm ensuring that each of the planets has its roots in a real planet while staying true to the planet that it is in Star Wars. So, there's lots of projects like this where I have to merge fiction with reality. And that is one of my favorite things to do. So, yes, I'm very busy. But if you have any more projects to throw my way, please, I'm absolutely all ears.

[14:23] Unknown speaker: Are you still hoping for a role in Hashtag Avatar?

[14:53] Unknown speaker: Are you still hoping for a role in Hashtag Avatar?

[15:23] Unknown speaker: What was it like working with the cast of Hashtag Avatar?

[15:53] Unknown speaker: What was it like working with the cast of Hashtag Avatar?

[16:23] Unknown speaker: What was it like working with the cast of Hashtag Avatar?

[16:27] Unknown speaker: What was it like working with the cast of Hashtag Avatar?

[16:31] Unknown speaker: What was it like working with the cast of Hashtag Avatar?

[16:35] Unknown speaker: You're a fricking genius! Oh my God!

[16:39] Unknown speaker: What are you doing? Stop talking!

[16:43] Unknown speaker: One of the best things about this whole experience behind the curtain for me is keeping Broadway alive and I really am so grateful to all of you because it really feels like it's still going on and in fact I have this musical I'm working on and I swear I almost called you, Andrew, to say could you help us out? Could you be our science consultant?

[17:07] Unknown speaker: Listen, I'm happy to fake it the same way I did in that interview. I'm more than happy to just continue to make things up all the time. I bought it.

[17:19] Unknown speaker: You're in deep, Dory. You're in real deep.

[17:23] Unknown speaker: Living all in.

[17:27] Unknown speaker: How many hours of interview footage do you have of Leslie?

[17:31] Unknown speaker: That's a spin-off. Let me tell you, that's going to be a whole other season that we're going to be doing. It's amazing.

[17:39] Unknown speaker: It was hard to choose the clip.

[17:43] Unknown speaker: Very hard to choose the clip.

[17:47] Unknown speaker: Leslie, don't you think there should be a Broadway disher?

[17:51] Unknown speaker: I mean, there are so many of them already online, but yes.

[17:55] Unknown speaker: I do think that there should be a Broadway disher series. I think she's got a lot to say. And it really is just a good way for me to diss people in character.

[18:07] Unknown speaker: Exactly.

[18:11] Unknown speaker: And you're fighting for a role in the show, which may or may not happen in the next four episodes.

[18:19] Unknown speaker: I think she would absolutely be in a featured role.

[18:23] Unknown speaker: Whether that's backstage, I don't know.

[18:27] Unknown speaker: Featured audience member.

[18:31] Unknown speaker: Broadway for the interactive portion of the show.

[18:35] Unknown speaker: Featured usher. Absolutely.

[18:39] Unknown speaker: How do you all find the process of creating an audio drama as opposed to live performance? I'm curious to know how you find the whole process.

[18:51] Unknown speaker: It's easier. It's definitely easier because we can do things a bunch and our faces don't matter. It's nice in that way.

[18:59] Unknown speaker: I have a very easy job because I'm just playing basically myself with my regular name and everything. My job's really easy. I'm just having a good time.

[19:15] Unknown speaker: Same. I'm really just playing myself.

[19:19] Unknown speaker: Michael, you and Ashley, after the debacle of that first attempt, very ambitious, you continue to record at least with Ashley. You have the repartee, but you guys have been doing it solo. You're doing your lines. If there are other people that are chiming in, you don't have that back and forth.

[19:43] Unknown speaker: It's pretty easy. My stuff is so done like tweets anyway, so I don't really have to interact with people, which is what I prefer anyway in real life. I'm kind of just on my own.

[19:59] Unknown speaker: For me, Dory, you're an excellent scene partner. We have a great time, you and me, when I have to do my stuff. I'm doing just fine.

[20:11] Unknown speaker: It's so fun for having Ashley, but it's also fun to imagine the physicality of it. It's a little dorky, I guess, but in a scene where people are in a room together, it's fun, especially if there's any kind of conflict, to imagine physical struggle or physicality.

[20:39] Unknown speaker: That's what I love about an audio drama is you have to put all of the situational conflict in the voice, whether it's changing the way you speak to certain characters at different times or any kind of public versus private moment. Especially those big scenes with the rehearsals or the big presentation. There's so much great side talk. I love that in an audio drama.

[21:11] Unknown speaker: I love the sound effect. I love the highs and the lows. It's really intimate. It's just so immersive because it's in your ears. I just get so caught up in audio dramas.

[21:27] Unknown speaker: I'm curious to know also, being in different roles than you typically are in having to do with Broadway, like being a composer or being a science consultant or dishing about Broadway. Are you still in the world of Broadway through a different lens? Has that informed your future?

[21:51] Unknown speaker: Yes. I don't think it's... In the last couple of episodes, there are a lot of marketing meetings that I'm part of and lots of meetings about the production that I'm like, this is great. I'd love to just sit around when people are having these discussions and being like, let's make it yellow instead of blue. I'm like, awesome. That kind of thing I think is so fun.

[22:15] Unknown speaker: That's usually not the conversation is let's make it yellow instead of blue or let's have stilt walkers in Times Square. It's fun for now in the podcast. I'm having a great time.

[22:27] Unknown speaker: I'm curious. I've never really made a musical before. Is this what it's like? How accurate is the show?

[22:39] Unknown speaker: You were talking earlier just about how they're crazy and then I'm sitting there thinking to myself, you know, we were really inspired by a lot of colleagues. When I listen to it, I'm like, I wonder if that's... I'd say an exaggerated version. I remember when you were describing characters, there were certain ones that were like blank type and I was like, got it. With me, I don't have to worry about anything because I'm just me regular. It's great.

[23:15] Unknown speaker: You are playing you. What is your process to get into that zone so you can be you?

[23:23] Unknown speaker: It's harder. I leave the recording session, I don't know which one I am. I don't know. It's fun. I've been explaining it to people. Here's the list of people and they're all playing these hilarious characters and then I come in and I'm playing regular myself. I'm the only one, which is so hilarious.

[23:43] Unknown speaker: No, I don't know. It's extraordinarily easy and so much fun. I have a fellow who I do everything all the time with. He was like, whoever wrote this gets why the whole thing that you are is funny. I was like, yeah, I think that's true. It's very easy to slip into the silliness of my whole deal, I guess.

[24:11] Unknown speaker: Well, I can't wait to find out what happens for all of you next. Leslie, Andrew, if you want to stick around a little bit and Michael, thank you because we have to squeeze people out to squeeze people in to bring in some other members of our cast.

[24:31] Unknown speaker: I know. I'm sorry. Thank you for being a fabulous composer.

[24:39] Unknown speaker: Bye, Michael. Bye, y'all. Great to see you.

[24:43] Unknown speaker: Bye, Michael.

[24:47] Unknown speaker: All right. Let's do the intro for our next group.

[24:55] Unknown speaker: Awesome. Great. Joining us in a moment is my wonderful partner as far as writing is concerned, Mark Peikert, our very fabulous but disruptive book writer, Thomas, brought to Scheming Life by Mauricio Martinez, our CAA designer, Natasha Katz, played by the legendary Natasha Katz, and finally, Rondoff, our Sardis maitre d', our Lyft driver, and our Starbucks barista, all played by the extremely versatile Jake Smith.

[25:31] Unknown speaker: We got everybody?

[25:35] Unknown speaker: All right. Hey.

[25:39] Unknown speaker: Hi, everyone. Mark and I have had so much fun playing with your lives. We really had a blast, but Mauricio is a real nemesis to poor Bobby and our CAA, our composer-lyricist team, and have you enjoyed stepping in the shoes of a Broadway book writer?

[26:11] Unknown speaker: Oh, yeah, it's fun. I get to be on the other side and be shady and villainous, and that's always fun, you know, and it's definitely fun. I'm having a lot of laughs in the session. I just love how it's written.

[26:31] Unknown speaker: And Alana, you are an agent, but you have a whole backstory that you're a triple threat, but you are working at CAA.

[26:39] Unknown speaker: I love playing a receptionist anytime I can. I always think of those 1940s movies where, like, they're putting the plug into all of the little, like, what do you call them? Like, those old switchboards where they kind of put the things in and out, and I literally, even though CAAAAAA is an incredibly present-day agency in my mind, I am putting the little things and connecting everyone like I'm, like, His Gal Friday. Like, that's actually what I was imagining in my mind. I hope that came through.

[27:23] Unknown speaker: I think you nailed it. I think you nailed it. And when we were, you know, oh, my God, we need another character here, we need another character there, and it was so convenient to just turn to Jake and he did, you know, let's say hello to Randolph for a moment.

[27:43] Unknown speaker: Oh, hello, everyone.

[27:47] Unknown speaker: He's also our Lyft driver.

[27:51] Unknown speaker: What's going on, everybody? Like, good to hear your voices.

[27:55] Unknown speaker: And he's also our barista.

[27:59] Unknown speaker: Wait, how many shots did you want in that one, bro?

[28:03] Unknown speaker: It certainly made it easier. And then, you know, we were looking for an incredible lighting designer, because obviously Avatar the Musical has got to be lit beautifully, right? And, you know, we searched high and low, and then we found the most amazing lighting designer, a person to play a lighting designer, who happens also to be the most extraordinary lighting designer, Natasha, making her audio drama debut.

[28:31] Unknown speaker: Thank you, Tori. This is my audio drama debut. And it's been a gas, that's for sure. I tell you, I've always had so much respect for actors, and

[28:46] Lesli Margherita: I've spent my life trying to make actors look as beautiful as I possibly can, but my respect has gone through the roof. I don't know how any of you do it. I don't know how you do it. So hats off to all of you.

[29:01] Michael Urie: Well, now, you know, did you adopt some kind of creative process for yourself to get ready to do your scenes?

[29:06] Ramin Karimloo: Well, I actually, I did find it hard to play a different Natasha, a different version of myself, or, well, yeah, well, I guess it lurks underneath somewhere, that Natasha, yeah.

[29:24] Lesli Margherita: Wow, you were amazing. Mark, you've particularly, you've given voice to a lot of the people on this screen right now, and it's been so much fun to work with you. Do you wanna share some of your thoughts on the whole process?

[29:38] Mark: Well, much like Leslie, this is just a chance for me to drag people into the guise of comedy. So, Dory, that's where you've been very helpful, because I will write the most outrageous thing, and you'll read it and go, I love this. What if we did this instead? And I'm like, you're right, you're right. We don't actually need to say that person by name. We don't. We're a good team in that way, I have to say.

[30:15] Dory: That's true, true.

[30:19] Lesli Margherita: So what about Avatar? Do you think it could really be a Broadway musical? Should we just go do this? What do you think?

[30:25] Ramin Karimloo: I feel like we've proved it. We've proved it. Totally.

[30:28] Michael Urie: Oh, yeah, why not?

[30:31] Lesli Margherita: Yeah. But of course, poor Natasha can't actually work with the color blue after all the work you went to, you know, with your blue color demos and that.

[30:43] Ramin Karimloo: Yeah, I'm dying to do a musical that's black light and orange light. That's high on my list now.

[30:52] Lesli Margherita: Yes, you are. Natasha came prepared when we recorded with her. I love that.

[31:01] Ramin Karimloo: I love that. It was amazing. And then she also, she was able to switch the light in case we wanted a different hue.

[31:10] Lesli Margherita: Wow.

[31:11] Ramin Karimloo: I have lighting designer Will Travel. I have a Mary Poppins bag at all times. Whenever an actor needs just a little pink or a little orange and black, I'm there for you.

[31:24] Michael Urie: We had a lot of fun with cameos and we continue to have fun with cameos because we're not done with the series yet. And so we've, Lynn Nottage and Alex Lacamoire and Gordon Cox and, oh my gosh, Matt Britton and who am I forgetting, thank goodness. We've had incredible guests that have been themselves and it's been so much to work with all of them and their acting, you know, these are not people who are typically behind the mic in that way, you know?

[32:00] Ramin Karimloo: And it's been really interesting to see them maybe be a little nervous about performing in that way. And so I, you know, particularly we've had a lot of press do cameos and maybe they'll, you know, think about that next time they're writing an article because it's hard, right?

[32:26] Lesli Margherita: Yeah, I like that, yeah. Can I just interrupt to thank Mark and Dory on behalf of the entire cast? And you have during a time where it's really hard to find work because there are just limited possibilities right now, not only have you written something that is actually fantastic and bringing so much joy to the listeners, you've heard tonight how much everyone has had such a great time doing it, but it really means a tremendous amount to all of us in this community that you wrote such a huge piece that gave so many people an opportunity to do the thing that we love, which is act at home with no makeup. And audio is an actor's dream, but truly like it's an incredible thing that you guys did. You made a great piece of art and then you gave us all a chance to do what we love during a time where there are just limited opportunities. So thank you, thank you, thank you.

[33:27] Mark: Agreed, agreed, absolutely. Thank you guys, and Mark and I, just the opportunity to work with all of you guys and during this time, it's been the light, really just can't wait till we can all be in the room together, that's what I'm counting down until I can see all of you on stage and Natasha see your extraordinary work, that I can't wait for.

[33:56] Lesli Margherita: But we have another segment to go and I thank you all so much for being part of As the Curtain Rises, stay tuned, there are our final four episodes are very dramatic. So I'm very excited to share them with you all very, very soon and with everybody who's listening. So thank you, thank you guys. Bye everyone.

[34:23] Ramin Karimloo: Bye everyone.

[34:28] Lesli Margherita: So we have a final segment that I'd love to tell you about. This is about our personal, our very humble personal trainer who turns Broadway upside down with his incredible talent, Stavros, who is brought to life by the amazing Ramin Karimloo and our killer mega Broadway empresario, Steve Jones, also known as Broadway empresario, James Monroe Iglehart. Let's take a look at their character clips.

[35:07] Ramin Karimloo: Oh, I'm embarrassed to admit it, I've never seen the film, but I can, I obviously know how big, the biggest box office hit, I believe. But I think now's probably not the time to watch it because I'm like a sponge as well and I don't want to emulate and maybe take on preconceived ideas and I don't want to narrow my field of creativity as much as I would like to.

[35:37] Lesli Margherita: So let's take a look at the clip.

[35:42] Ramin Karimloo: So at this point, no one has also forced me to watch it. I know Emmy's been trying to get me to do it, but I think at this point, I'd like to see it till we're up and running and maybe then watch the film. So I'm embarrassed to say, and I hope that doesn't go against me, but I've never seen the film.

[36:01] ♪ Musical number ♪

[36:12] James Monroe Iglehart: I don't have a soft side. I don't see a soft side. Again, again, people, okay, let me say something. People in this business, especially Broadway, they get this family atmosphere crap and they're like, we're a family, we're a family on Broadway. It's not, we're not a family, we're not a family. It's show business, that's what this is. This is about taking art and finding a way to manipulate it to make money. That's what we do. If we didn't, why in God's name would people pay $500 to see a girl who's green when the show's been on for what, 30 years? They still pay $500? This is show business, ladies and gentlemen. That's what this is. Look, mostly everything that has happened in America, a black man has done it first, right?

Okay, so look at Scott Rudin. Who does Scott follow? Me. Thomas Schumacher. Who does he follow? Me. The brother did it first and then the rest of these boys came out and decided to be all hard as. You got Jeffrey Sellers out there being a hard ass with Hamilton. I was a hard ass first, okay? I am the one. I am the one who suggested we do E.T. the musical. I'm the one who suggested that. That joke, that wonderful, amazing joke that Mel put in his show, put theater in the round and the square. Where do you think he got it from? Me. I, me. I am just, to be in the presence of mega producer, Steve Jones and Stavros, the new blockbuster star of Broadway, it's an honor.

[38:49] Lesli Margherita: Both of you have so seamlessly stepped into the shoes of your character and in a shocking way, James, Steve Jones just seems like your alter ego. And as terrifying and ominous as he is, it's just been for you, it's like, I got this guy right off the bat. And Ramin Stavros, it's seamless. It's Ramin Stavros. Who am I talking to? I don't know.

[39:24] James Monroe Iglehart: Let's be honest. I don't know because I think both of them are winging it. Let's be fair. Honestly, it always amazes me as an actor when I'm, when I meet producers and there's this kind of look that all the producers know exactly what they're doing. That's why they're producers. They're in charge. And then when you get bigger in the business or more known in the business, you start, your producers become friends. You go, oh my God, they have no idea what's going on just like me. And so you have to bring this bravado. It's like going to an audition. You have to bring this bravado with you to let people think that you know what you're doing. And people are like, well, he looks like it. Sure, go ahead.

Give it to him. So I kind of think that's how some producers are. And Steve just, he believes his own hype. That's the fun thing about him. I've met a couple of producers like Steve where they've like done a lot of big name shows. So after like the first two, the five could flop, but those first two are still riding on them because they're still on Broadway. So yeah, these guys, they're just totally believing their own hype.

[39:59] Ramin Karimloo: So not to name names, but you've been inspired by people you've worked with perhaps.

[40:03] James Monroe Iglehart: Yeah, there was those party conversations. There was those party conversations where an actor walks in. I know Ramin knows this. Ramin, you walk into a place and you meet producers, quote unquote. And then they just start talking to you. Like, oh my God. Oh, James, so nice to meet you. Listen, man, saw you in this show. You were great. Listen, I'm a producer myself. Got a little show on Broadway. And they start going to you. And you were like, I was trying to get to the hors d'oeuvres. I don't know why we're still talking. What is happening? So Steve is that dude.

[40:54] Ramin Karimloo: Well, you had the great insight to cast Stavros.

[40:57] James Monroe Iglehart: Yes. You know, when he walked into the audition room, it's like the world stopped. And Stavros entered and it changed everything.

[41:12] Ramin Karimloo: Well, first of all, now that is a real thing. There are moments in life where you're in an audition, because I have been on the other side of the table at times. You're on the other side of the table and you've just seen audition after audition. And it's not like these people aren't talented, but you're just looking for it. You're looking for something. And then that person walks in and they look flustered and they don't even dare to be for the audition. And then they do something and you go, that's it. That, oh my God, fine. Run after that person and get them back in here. And then they sing and then you realize, oh my God, they're so talented. And you find it. I mean, there have been so many moments where Broadway has found a person like that.

Or that person that other people see as just an ensemble member. And you see them do something in the ensemble. You go, why are they in the ensemble? They should be out front. I'm watching them the whole show. And next thing you know, bam, that's the person. So a situation like Stavros, that's a real life situation. Stuff like that happens.

[41:32] James Monroe Iglehart: Yeah, and for Ramin, for you, the line between Ramin and Stavros is like this, because I'm sure that's happened to you a million times walking into that audition room and just leaving. Not that it hasn't happened to you, James, but that it just, you've blown people away. So you really created the character of Stavros looking at your own life, perhaps?

[41:39] Ramin Karimloo: I have to be honest. I think I was playing Stavros in a way that I wish my career went that way and was a bit that seamless. Because for the longest time, I was kind of known as Ramin two times because I had to keep going back because I'd get to the final and the producer would be like, I like him, but something's not right. I swear, maybe in my first four jobs. And ironically, they were all for Cameron or three of them were for Cameron McIntosh. I'm like, well, I've just done other shows for you. How am I still coming back? You don't know what I'm doing. But I get flustered at auditions and it's always at that crux, when you get to the final. Up until there, I play a cool guy. I don't want it, whatever.

And you get to the front of the table, you're like, I really gotta get this job. I gotta feed my kids. And I flustered up and he'd become too green and too, I don't know, not untrustworthy in the wrong sense, but just like, can this guy hold it together when we give him the big part? So I always had to go back a second time to kind of like, show me once again, you'll be all right, right? So people had to go on the limb for it.

[42:52] James Monroe Iglehart: I'm with Ramin. There's only been one audition for me that was like that. The others have, I've always had to go in again and go in again. There's only one, actually, the fun thing is, it was Aladdin. Aladdin was the only one where I walked in and they went, yeah, that's him. And I think that's only because I walked in.

[43:40] Ramin Karimloo: I'm just coming to to me and they can feel it. That sense of contentment is a wonderful thing. It's like when you do a workshop and then you get the role off that. Yeah, seamless, because you weren't auditioning, you were creating, you're having fun. Well, why can't we always do that? Well, I think that's what happened with Stavros. There was something so calm and naive about him. He wasn't there for that reason initially. So when you're thrust into it and you don't have time to think, oh, I'll give it a shot. Yeah, yeah, we'll be fine. Yeah. And then you're relaxed. You have nothing to lose. My favorite moment recording with you, Ramin, when we had to do a little song that you were auditioning for.

It was a bluesy version of the song that you did. And you just nailed it, of course, immediately. Then you said, but this was not in the script. You said, you know, how about I do a phantom-y version of it? And then you just like the roof blew off. And it was just like, yeah, let's do that. What made the cut? Made the cut. The phantom-y version? No, I had to use both of them. How was I supposed to decide? Are you kidding me? Just even the line, you know. How about I try a phantom-y version? That was just so perfect. So we have both in there. It just was so good.

[45:11] James Monroe Iglehart: Yeah. And James, you have perfected the closet recording process. People all over are looking to you to learn from you.

[45:17] James Monroe Iglehart: It's called necessity. I need to record someplace. And this office wasn't free because I had my kids were sleeping in here. So I was in my master bedroom closet, which is really, really tight. As you see in the clip's ad, I have foam stuff all on the wall and clothes behind me. And I literally have this much far to move. So it's like all my energy must be put into the mic. There's no place else to go. And the funny thing is I've done a bunch of cartoons during the pandemic. A bunch of cartoons in that room because everything was so focused. I couldn't think of anything else. So at first, it was a curse. It became a wonderful blessing. I'm in here for my podcast show. I do a podcast show with Marvel Comics. But once I'm done tomorrow, I go right back into the closet because that's where I can concentrate now.

[46:12] Ramin Karimloo: You always sound great.

[46:14] James Monroe Iglehart: Thank you very much. Both of you, when you're not Stavros and producer Steve Jones, you're killing it. During COVID, you both are so prolific and accomplished. It's kind of unbelievable. I'm curious to know, though, in recording shows like this, when you have to dive into the script and you're not working opposite an actor as you typically would be when we're not in the middle of a global pandemic, what is that like? How do you become Stavros and Steve Jones when you're reading opposite me as opposed to a real person?

[46:57] Ramin Karimloo: Well, I think it's not taking that leap of faith. It's putting trust in you and knowing how our schedules to coordinate our time difference was a tight window. It's just taking that leap of faith, having fun, not self-editing, not worrying, listening to yourself. And for me personally, it was judging by your reaction. So getting that great feedback instantly, I thought, OK, well, I guess we're on the right path because you know the show inside out. I was new to the game and new to the series. So leap of faith. And if you're happy, I'm happy. And we just keep rolling in from there and just see what snowballs after that.

[47:36] James Monroe Iglehart: He's right. That's pretty much what it is. I mean, the great thing is what people don't know is Dory is actually a wonderful producer, but she's also a fun voice director. You know the story and you know what you want. And so when we bring things to it and also you let us be silly, you let us kind of just be as big as we want. And then you kind of bring us down if we're too big. So it's really it's a fun thing of just just letting go and just having a good time because this is all with your voice. So you have to tell a story in a certain way. So I just kind of I do like Ramin does. I watch your vibe. And if you dig it, I'm like, OK, cool. I'm in the right space.

[48:10] Lesli Margherita: Well, I couldn't adore working with you both more. I just love it. And thank you so much. And I am pretty much obsessed with Stavros and Steve Jones. And just like I want the series to go on forever because I don't want to let go of these guys. So thank you both.

[48:27] Ramin Karimloo: Thank you both.

[48:28] James Monroe Iglehart: Thanks for having me.

[48:33] Lesli Margherita: I'm for our final very important guest. I'm just thrilled to be able to welcome Cheryl Phillips, an important Broadway producer who is brought to life by the amazing, incredible Lillias White.

[48:48] Lillias White: Hello, hello, can you see me OK?

[48:53] Lesli Margherita: You look fabulous. You look like you look like a very important producer.

[48:58] Lillias White: I am, I am, I am. Yes. I have my jewelries on, and you know, and I'm ready, ready for my close up.

[49:09] Lesli Margherita: Clearly, clearly. I'm curious to know because, you know, you just stepped into my life. You know, you just stepped into Cheryl Phillips shoes, like you had been producing Broadway shows as kind of a diva producer for decades. You just like, I want to partner with you on things. I'm just totally sold. How is that from observing the world of Broadway forever and all and the people around you?

[49:40] Lillias White: I think it's from having to be the boss in real life, you know, a lot of the times and make the important decisions and get the stuff done. I'm the eldest of three. I have two younger brothers, and my brother under me is 11 months younger than me. And I have my other, my young, my little brother, I call him my little brother. But, you know, he's a few years younger, and I've had to be the big sister and be the boss and write the checks and cash the checks and pay the bills. And I was a single parent for a long time. And so I've had to be the boss. And so Cheryl taking charge of the shows and calling the shots and getting the stuff done. It feels very natural to me.

[50:30] Lesli Margherita: But here you are partnered with your nemesis, or someone who is not so easy to work with. Steve Jones, played so beautifully by James Monroe Iglehart, and but you two are navigating together how to get Avatar on its feet.

[50:47] Lillias White: Yes, yes, we are. And Steve Jones is my nemesis because he thinks he knows everything. And then I'm here to show him and tell him that he does not. So yeah, I do. And I love it.

[51:05] Lesli Margherita: So you, you've been very busy during this whole terrible pandemic, very prolific. And, and how do you, you know, you have become quite proficient at audio recordings and all that. How do you like doing these kind of voice recordings?

[51:25] Lillias White: I mean, it doesn't replace live, but I absolutely, absolutely positively love doing this. It gives me a chance to be somebody else. And I've done some voiceover work I haven't done in my estimation, not nearly enough. I am the voice of the lead muse in Disney's animated Hercules. And I got to do that with some fantastic women. And with Alan Menken and Harold Wheeler, David Zippel's words. And I just, I enjoy it a lot because it's, it seems easy to me to do. And I think that the people get to listen and, and kind of figure out their own image of what the person is, who's behind that voice. And I just, I love that. I like doing it.

[52:25] Lesli Margherita: So what do you think is the future for Cheryl Phillips? What's going to happen to her in the, going forward?

[52:32] Lillias White: Well, Cheryl Phillips is going to produce not only Avatar, but she's producing a wonderful comedy on Broadway. And I can't tell you the name of it just yet because I don't want to spill the beans. But Cheryl is going to be, that show is going to be a huge hit. It's a comedy. It's going to be something that we all need right now, a little levity. And she's going to have several boyfriends that she talks about in the series. She's not going to show you them because they are quite a bit her junior. And she doesn't want the young people in the theater to get the wrong idea, you know. So Cheryl's going to have these love affairs and be giddy some days and some days she's going to be dreadfully disappointed. But she's going to produce and she's going to produce a comedy. She's going to produce Avatar. And she's going to venture maybe into some television producing as well.

[53:34] Lesli Margherita: Wow. Cheryl is a model.

[53:36] Lillias White: Absolutely.

[53:37] Lesli Margherita: I admire her so much. And she stands up to Steve Jones. And that means a lot.

[53:45] Lillias White: Lilius, it is always incredible and a dream to work with you.

[53:51] Lesli Margherita: It's my dream. We have so much fun.

[53:54] Lillias White: And I really love you so much. And we just have such fun together.

[53:59] Lesli Margherita: And so I'm looking forward to this being a huge success.

[54:04] Lillias White: And us doing more and more of them until maybe it does become a TV something.

[54:11] Lesli Margherita: Or maybe Avatar becomes real and we are producing Avatar, you know.

[54:17] Lillias White: Why not? But what I did do, I went back last week and I watched Avatar. It's long as hell.

[54:27] Lesli Margherita: Yes.

[54:27] Lillias White: Not to have to watch the whole thing. I'm going to have to go back and see that last part.

[54:30] Lesli Margherita: Right.

[54:30] Lillias White: But it's a lovely love story as well as everything else. And that always appeals to me.

[54:40] Lesli Margherita: Well, good choice for you to be producing this show on Broadway.

[54:44] Lillias White: Well, I can't wait to see what happens with you in the next four episodes.

[54:50] Lesli Margherita: I am ready. I'm ready.

[54:52] Lillias White: And I'm very thankful to be here. It's a lot of fun.

[54:57] Lesli Margherita: Well, thank you so much. I'm going to just look forward to recording you in the very future, our next round of episodes.

[55:05] Lillias White: But Adore, thank you for doing this.

[55:08] Lesli Margherita: And see you very soon. And I'm going to just thank also the incredible cast that joined us tonight, as well as all the other cast members from As the Curtain Rises that were not on tonight's show.

[55:21] Lillias White: But they're amazing and just a dream to collaborate with.

[55:27] Lesli Margherita: And I also am eager on behalf of everyone to thank again our design team, sound design team, Bart Fassbender and Marty McGuire.

[55:36] Lillias White: And thank you to our incredible BPN team that worked so hard on this series, Alan Seales, aka Alan Walrus, Brittany Bigelow, Ioana Nikolova, Katie Rosen, Cindy Schatz, BOSB, and our incredible executive producer, Liz Armstrong.

[55:54] Lesli Margherita: Please remember, if you can, to donate to the Actors Fund. Their Herculean efforts right now are just amazing. And we need to support them in every way we possibly can.

[56:08] Lesli Margherita: Please also check out the Broadway Podcast Network at bpn.fm. There are over 100 spectacular theater-related podcasts, musicals, plays, and this soap opera, As the Curtain Rises.

[56:21] Lesli Margherita: Thank you for joining us tonight. Please stay safe.

[56:52] Drew Gasparini: What Broadway's Amber Artelino's nickname was in high school? Or if Tony nominees Alex Brightman and Lily Cooper played in a band? Or would rising star Colton Ryan know the best public restroom in New York City? I bet you don't know how much money is in Mark Summers' bank account. Well, guess what? I ask all these questions and more on my new podcast.

[57:11] Drew Gasparini: Now we're talking with me, Drew Gasparini. Tune in each week for a new amazing guest from the worlds of Broadway, TV, film, and beyond. Don't be crazy. Subscribe right the hell now.

[57:23] Drew Gasparini: Now we're talking as partner with the Broadway Podcast Network.