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[0:00] Martín Acuña: Hi, everyone. I am Martín Acuña, and you are listening to Backstage Talk.

[0:19] Martín Acuña: Welcome back to a new episode today. I have a really special guest and a friend of mine that I met online, like a lot of my friends nowadays. Here with me, it's Chris Luner. He has been one of the brightest stars in the end of 2020. So, Chris, thank you for being here. Thank you for coming over. And I know we're going to have a really amazing conversation today. So I'll let you introduce yourself.

[0:44] Chris Luner: Yes. Hello. Thank you so much for having me. And thanks to everyone for listening. It's so great to be here. My name is Chris Luner. I'm a freelance production manager in New York City, where I work on off-Broadway Broadway shows, as well as regionally. And, you know, I work just about wherever theater is. I'm interested in doing that. So I'm originally from Philadelphia, Pennsylvania, but I went to college in New York at Wagner College, where I got a degree in arts administration with a theater concentration. And, you know, I moved to the city, Everson, right after graduating and have been there ever since.

[1:36] Martín Acuña: So you started at Wagner and straight out of college, you started working.

[1:39] Chris Luner: Yes. Yes, I was very lucky, too.

[1:45] Martín Acuña: And which was your first gig?

[1:52] Chris Luner: It was not. You know, it wasn't my first gig. I was lucky. We actually have a really great program here in my hometown, called Upper Derby Summer Stage, which I have to give all the credit to for where I am today. Honestly, it was started in 1976 by a gentleman named Harry Dietzler. And he is someone who took me under his wing and said, I believe in you and just sort of, like, shined a flashlight on the path forward and was there to help me out along the way. So and he was the one, you know, who even told me about arts administration when I came to him and said, you know, I want to, I want to work in theater after high school. And I think I want to do what you do. What is that? And so he was the one who introduced me to arts administration. And so immediately after college, I was very lucky. I came home and I was able to work in a position in my hometown that I just love and absolutely cherish.

[2:51] Martín Acuña: That's awesome. I mean, we all started, I'm gonna guess, before high school or during high school. And those years are specifically important for us because that's when we choose if we want to be thespians or not, if we see a future in theater or not. And that's amazing that you found someone that you could trust in and ask for advice on how to start your path. You never, you were never into performing.

[3:28] Chris Luner: You know, it's funny enough, I was gonna say, I actually started as a performer in theater, and I started in middle school. And I saw the play, I think my sixth grade year in middle school, and I thought, oh, wow, that's like, that's so cool. I'd love to be involved in that. And so when the time came around in seventh grade, my music teacher in middle school who ran the school shows, came and found me and was like, you're doing the musical. And so she sort of like forced me into doing the musical. And it's so funny, I still chat with her, you know, even to this day, and I'm like, look at that. Look at this light you forced upon me. I've fallen down the rabbit hole. And there was no looking back after that. So I actually started as a performer, and then slowly transitioned into doing more like administrative behind the scenes type of work.

[4:18] Martín Acuña: And which musical did you do? Were you imposed to do?

[4:23] Chris Luner: My first show ever I was forced to do was, You're a Good Man, Charlie Brown.

[4:28] Martín Acuña: Amazing. You're a good man, Charlie Brown. It's a special place.

[4:31] Chris Luner: Oh, I know, it's so catchy. It's so catchy, I love it.

[4:38] Martín Acuña: So you went to Wagner for arts administration with a concentration in theater.

[4:45] Chris Luner: Yes.

[4:46] Martín Acuña: Did you study anything about film there? Or it was only theater?

[4:51] Chris Luner: No, you know, it was actually only theater. And ironically, I actually started off in the technical theater program, which is called DTM for design technology management. And I did about a year of that. And I enjoyed it. And I really learned a lot. But I just could tell like, my focus was slightly off. So I actually transitioned and became an arts administration major my sophomore year, which is great, because you're allowed to do that at Wagner. It's really nice. But by staying with the theater concentration, I was able to take, you know, a lighting design class and the scenic design class and all of those different things and focus in it. And but Wagner, unfortunately, didn't really have any programs in film at the time. I think they're sort of starting to open that up and get more into including media in their performing arts program. But at the time, no.

[5:42] Martín Acuña: At the time, no.

[5:44] Chris Luner: So only theater for you?

[5:46] Chris Luner: Well, I've been a very hardcore, like, I want to work on Broadway, I want to do theater, like, as long as long as I can remember now, I've never been like, I want to go to Hollywood. But I'm very much like a New York theater type of guy.

[6:00] Martín Acuña: I feel you. I understand you on that. I only have eyes for Broadway at the moment.

[6:06] Chris Luner: Yeah, I feel that. Yeah.

[6:08] Martín Acuña: All right, let's go into regional and national tours.

[6:13] Chris Luner: So okay, great. I know you've done a lot. I mean, I saw your resume and there's a lot of things there. Best experience on national tours.

[6:27] Chris Luner: Oh, man. Best experience on national tours. That's a hard one. I mean, you know, I got to tour almost immediately out of school with a show called The Illusionist, Witness the Impossible. And it was like a big Broadway style magic show. You know, it was sort of like you take that like Vegas show and it was like enhanced by the magic of Broadway. And I got to work on the Broadway version of the show thanks to another mentor of mine, Arturo Parazzi, who is a Broadway stage manager, has been in the industry forever and was actually my teacher at Wagner and taught my stage management class. And again, someone who just believed in me and said, I know you have the potential. And he let me work on the Broadway run with him as an assistant.

And then when it came time to do the tour, he let me actually take the show out on the road as the production stage manager, which was incredible, like life experience. And I always suggest people go on tour if they can. It just like it teaches you so quickly what you do know and what you don't know when you every single week have to do the same exact show and give the same exact performance in a venue that's a different size with a crew that doesn't know your show. And it just helps you hone your skills. And I think it really, really helped me figure out more of who I was in theater and helped me also learn what I did and didn't know.

[8:02] Martín Acuña: I actually saw that show when the Illusionists were on their worldwide tour. They came to Columbia and I saw them and I was like, wow, I had never seen magic on Broadway, except for Harry Potter and the Cursed Child. But as a magic, magic show, only magic show, I have never seen that, anything like that on Broadway. And it was like taken back when I saw this show. And I only thought that Broadway was for theater and musicals. So it was a really good surprise to know that magic had a place on Broadway. That was amazing.

[8:37] Chris Luner: Yeah. Yeah.

[8:38] Martín Acuña: And with regionals.

[8:40] Chris Luner: So, oh, that's like good experience. I mean, regional theater, you know, I've been very lucky. And when I, you know, after I graduated, I sort of was, again, you know, finding my place. I did some office work for a little while and figured out that wasn't for me, you know, but learned the importance of it in the theater world. And then when I actually eventually started working my way into being like a more freelance stage manager and production manager, I was lucky enough to get a job with a friend's company called Exit 82 Theater Company in New Jersey. And it was two friends who I went to college with and they had started this company when they were in high school. And now I want to say it's like in its 10th year, maybe it's 12th year or something along those lines.

But I would say I always just cherish that experience working with them because it was one of my first freelance gigs. And again, you know, they believed in me and said, we know you can do this. And it lit a fire under me. So I really love Exit 82 Theater Company and I'm just dying to work with them again someday.

[9:44] Martín Acuña: Right now, you said that going on tour was the space or the time in which you knew what you know and didn't know about production management or stage management. What are those specific things you learned, maybe not the hard way, but on the road? Being on tour.

[10:14] Chris Luner: Yeah, I, you know, I would say like one of the biggest things that is also, it's such a big thing with me today and how I work in New York and things is I think, I mean, communication is everything. And, you know, you figure out how, you figure out how to speak to people and you figure out how not to speak to people, you know, and that's not saying I was ever outright rude or something like that, but maybe just like uneducated on certain things about when it comes to how to fly in a certain scenic piece or how elements have to move on and off off stage. You know, I was, I was very young and just had graduated college and you have all that, you have like all that college experience, but I just also think nothing compares to real life experience, you know, when you're working with professionals, union stagehands in Atlanta and Los Angeles and Chicago.

And I mean, some of these people are just like top, top notch people who have been in the industry for decades and they know how a lighting, how the lighting equipment works, you know, and things like that. And so there's a lot to take in. And so I think a lot of it came down to communication and also just asking questions and not being afraid to ask questions. And I think it's really important to own what you don't know. I think that only makes you a better person in the long run. You know, it's great to be a leader who knows what they're good at, but it's even better to be a leader who knows what they're not good at and that can fill in the gaps.

[11:41] Martín Acuña: I actually absolutely agree with you. I just, I'm fresh out of college and yes, college experience is valuable. It's what makes us, but it's so different to real life. So, so different. It's like you're in, when you're in college, you're in a bubble, in a safe bubble and then out of the blue, you're not in the bubble and you're, you're, you have to challenge yourself and you have to face a lot of things you're not used to. And a lot of new people that will teach you, sometimes sugar-coated, sometimes the hard way, the best potential you can do and, and, and the best professional being you can be. So I, yeah, I, I, I agree with you.

[12:37] Martín Acuña: Let's dive a bit into West Side Story because you were a production manager at the latest revival that I think it's been the most, maybe iconic, controversial, because it's a really, really millennial approach to a classic. How was that whole process for you?

[13:08] Chris Luner: West Side was a whirlwind experience. You know, I, I was lucky enough to work on it through a company I worked with called Full Stage Productions. They're a production management company in New York that does Broadway and national tour style shows. So I was lucky enough to work on the show with them. But it was sort of a whirlwind that we ended up working on the show. And like you said, you know, it's a total remake on a classic that people know. And it's what, what they decided to do, you know, was take some, something so iconic, especially in like American musical theater, because it's such an American musical theater story and also a New York story. I mean, it is, it is like arguably, I mean, that soundtrack you can argue is at heart the soundtrack of New York.

But they took just a classic and reinvented it and flipped it on its head and said, and just like stripped away a bunch and things like that. You know, I don't want to give away too much to the people who haven't seen it. But I was, and I'm, and I'm very much, you know, like I like the meat on the bone when it comes to musical theater. You know, I love the full-scale production.

[14:21] Chris Luner: All the props and the drops and the costumes and this was something so totally different than that and I am not going to lie, I honestly just thought it was brilliant. I loved the way they approached it and I think it was a nice reminder that there is another way to do things, you know? We don't necessarily need to always reinvent the wheel in the same exact manner, you know? As we continue to push forward and as we continue to work with new types of technology, which we definitely integrated into the show, there's a space for that on Broadway as well and there is a medium for it and it's just as important as doing a show the way the show was done 50 years ago, you know? It brings in a whole new audience.

I like the way you presented this new transformation of the classic because I do agree that it's New York's background music forever. Yeah, yeah. I mean the score is just incredible. The score is so good. And what was the biggest challenge you faced with West Side?

[15:39] Chris Luner: The biggest challenge? I mean, so as a production manager, you work with all of the elements in the theater, you know? And that's something I really love about the job is I love working with the lighting designer and the scenic designer and the musicians and then you meet the cast eventually when they come in. And I think, you know, maybe one of the hardest things about West Side is we introduced multiple elements into a theater setting that aren't typically a part of the process, you know? I'll say that environmentally and also technology-wise without giving anything away. So I would say that maybe the biggest hurdle in the process was not only working with and integrating new departments that you're not always working with, but how do all of those elements work together?

Which, of course, is my job. So we had to figure out how to do it regardless at the end of the day. But it was pretty tough to kind of, you know, figure out, you know, how do you integrate all these new elements that aren't typically involved in a theatrical show in addition to making sure everything else that's usually there is there? So it was definitely a challenge to get it all in one piece and up and running. But we got there and I think the product, I think audiences are really responding to the product. I think they love the show and it's nice to see how it works together, you know? I think it surprises people, the new stuff that's in there.

[17:11] Chris Luner: Yeah. And I remember reading reviews about the show. I remember that one of the first ones was they cut my favorite song and I was like, why would you cut a song from such a classic as West Side? But then, as you just said, we are always reinventing the wheel and doing the same thing over and over and over as it's been done a thousand times before. And I think what is really valuable about this version and this revival is exactly that. We are putting the same story, the same characters, the same music, probably the same dance move Jerome Robbins used the first time it was made. But we are adding spice to it and we are adding a lot of new stuff, new technology. And that is valuable because that means that there are people in the industry always thinking about how can we use modern technology and modern stuff into classics.

[18:28] Chris Luner: I think it's important. I mean, I agree. I think people talk about theater kind of getting stuck sometimes, getting stuck in the 21st century or things like that. And I think the way forward from that and getting stuck in that sort of cliché is don't be afraid to use new technology. Don't be afraid to not necessarily modernize the story, but make the story look familiar to the audience that you're catering to. And I think that can be done with every show, but I think it takes a lot of hard work and it definitely takes a significant amount of funds. I mean, shows like that are produced on Broadway, cost quite a bit of money, but I mean, I think you can only push the art form forward when people are brave enough to say, let's figure out how to do this or let's figure out how to reinvent the wheel. So you're spot on there.

[19:28] Chris Luner: What else have you done on Broadway?

[19:32] Chris Luner: So on Broadway, I've worked on a play. I worked on a play a couple of years ago called Indecent by Paula Vogel. It was nominated for a Tony Award for Best New Play. It's a fantastic, fantastic piece. If you haven't read it, I definitely suggest that everyone check it out. And then I worked on Pretty Woman, the musical about two years ago, and we had a great year-long run at the Niederlander. And we're going to be working on the National Tour of that soon, which is going to be hitting the road, you know, hopefully right after COVID is over and it's safe for us to all gather again. I'm really excited about that. And then, you know, I work, like I mentioned, I work with a production management company called Full Stage.

And through them, I've gotten to work on little pieces of things here and there. You know, one of their shows was On Your Feet, the Gloria Estefan musical. So I got to work on the loadout process for that. And there are occasionally some fun things that come up with that from time to time. So, you know, ironically, I'll say my first Broadway show ever was actually supposed to be Nerds, which was back in 2015, I think it was the season of Hamilton. And the show, unfortunately, ended up closing in Loden. And you can, there's a bunch of articles and things like that on the show. But it was a very unfortunate circumstance where the money wasn't in place for the show. And it ended up closing in the middle of a Loden process before we ever even got to technical rehearsals. So that was quite a wild experience to be my first ever Broadway show was then something that we didn't even end up finishing in the long run and never made it to the stage, sadly.

[21:17] Chris Luner: It happens. It happens a lot.

[21:22] Chris Luner: Yeah, yeah. That's theater.

[21:25] Chris Luner: Yeah, that's theater. And obviously, that's Broadway. I mean, there's a lot of plays and shows out there that are trying to get into a Broadway house or a Broadway house, and they never make it. And it's a loss because the show can be amazing. But sadly, it had to be shut down.

[21:47] Chris Luner: Yeah, it's all about I think it's a lot about place and time and just the timing being right. And also the audience being there, you know, I mean, some shows that don't necessarily do well in New York or do well on Broadway are hotcakes on the road, you know, and it's because that maybe just the audience wasn't there in New York, but that audience is there across the nation, though, and it's there in Oklahoma or Utah or something like that. So I think there's a place for every show in the long run, though.

[22:13] Chris Luner: Yep. Yep, absolutely. One big question that will cover your overall experience as a production manager. What are the perks and pet peeves of a production manager?

[22:32] Chris Luner: You know, I'll start by saying, I'll start with the perks, you know, because I'm a very optimistic person, as you know, I would say the perks and one of the reasons why I'm even in production management is like, you get to work, like I said earlier, with everyone, you sort of have a hand in the process, every step of the way we start months, sometimes years before a show ever comes to life on the stage, working with the directors and the designers. And we're there on the very last day when the final day of loadout is done. So that's something I love is I love being involved every step of the way. And I also love having being involved with all those different people that are involved. I think community is such a huge part of our business.

And I love being like one of those people who gets to help connect the community on a specific show at a specific time. So I mean, I love that. And I think it's also a perk, I would say, is a great, it's a great half and half of like, hands on experience, which I really like. And I like being in the theater and sitting there during the tech rehearsals and solving problems when they come up. But also, there's a good deal of administrative work and managerial work, you know, in terms of like, spreadsheets and budget reports and payroll. And I learned all that through my business classes I took in college. So I think it's kind of the perfect half and half job for me, you know, where it's not too much of one or the other.

[23:57] Chris Luner: You know, a pet peeve is, oh, man, I'm trying to think of a pet peeve, I would say like, like I said earlier, I'm really big on like communication. I just love like everyone being honest and open and things like that. I would say like, not necessarily a pet peeve, because I don't want to get too negative. But like something that's always hard is like, you know, with any show, we always wish there was more money or we always wish there was more time and things like that. So a big part of my job is like taking designs that designers give me or like equipment lists and things like that. And we sort of look through version one of what they want. And you always are going to refine it after that, you know, there's never enough money or time for exactly everything we want in the long run.

So there's a lot of refining about that. But you know, I think in the long run, that probably makes us better, because it makes us figure out what really matters in terms of element and what really serves the story. But in terms of pet peeves, it's always I think it's always just hard to go through with people and say, like, okay, we can't do this. But maybe we can do this instead. So yeah, maybe not option A, but option B, C and D are possible with the budget and time we have.

[25:24] Chris Luner: Exactly. If plan A doesn't work, there's 25 more letters in the alphabet. Just keep going. Just keep going until you get there.

[25:31] Chris Luner: During COVID, you worked as a producer for a film. And this was your first time doing film.

[25:37] Chris Luner: It was. I want to know everything about your experiences in film.

[25:48] Chris Luner: I mean, what, you know, what better time to try out an industry you've never worked in before in your life or know anything about, then during the middle of a global pandemic. I mean, honestly, I would say, you know, the project actually came from me and my girlfriend Aubrey, who was one of the co-producers. She's originally from Austin, Texas. And we escaped to Austin, Texas at one point over the summer, you know, just needed some fresh air, needed to be out of our New York apartment. And we visited a ranch property while we were down there. That was just like, absolutely stunning. I'm like, just stunning landscapes and trees and ponds. And we were thinking at the time, you know, we thought, oh, maybe we should do some type of like outdoor show or things like that.

And that very quickly went away when we figured out all of the logistics involved with that was just a little, probably too much to take on during a pandemic. But we very quickly sort of shifted and said, well, what if we made a film? And so we started thinking about ideas for the film and things like that. And we immediately called one of our good friends, Sophie, who is a writer, director and also became one of the co-producers on the project. It was the three of us. And we sort of said, hey, we have this idea for a film. We have a property. And I think we have plenty of time because the world is kind of stuck at the moment. Are you interested? And she was like, absolutely. I'll get back to you next week with more ideas about the script.

We were like, cool. And so that was honestly probably like end of June, early July at one day, maybe early July. And then we quickly kind of sort of figured out with the weather and things like that, we would have to shoot the film probably in November because at that point we were still like, oh, the world might be reopening in January, February. Joke's on us now. But we sort of figured out we wanted to shoot the film in November. And so it was sort of like a full speed ahead, four months of figuring out how to produce and create a feature film with people in Texas safely during a pandemic. So that was quite the experience. It was a lot of planning, a lot of details, a lot of like, how are people getting here?

We can feed people, we can house people. What is the story involved? How do we do this safely? How do we make sure COVID doesn't ruin our limited time we have? I mean, if you're ever bored during a global pandemic, just decide to learn a medium you've never worked in before. But it was really amazing. It was a wonderful, wonderful experience. The film is called Ranch Water. I don't think I've said that. It's a wonderful, it's a really wonderful story about three.

[29:12] Martín Acuña: I've been following since you told me a couple months ago about the production of this film. And it was a roller coaster. I mean, it was thing after thing after thing. And the pictures I've seen, it looks amazing. I mean, the landscape of the ranch is amazing. And it brings me a lot of joy and a lot of faith in we are going to get through this and through this crappy year and crappy pandemic. Because we haven't stopped creating at any moment. And if there is a will, there is a way. And I think that really happened with this film. Because a lot of us transferred to another type of industries and left the arts behind. But people like you and Sophie and Aubrey all stayed and stood ground on we're going to keep creating. And we are going to keep being in the arts. And I know you did a crowdfund. And what stage are you in right now with the film?

[30:42] Chris Luner: Yeah, so we did a crowdfunding. Like we said, we were very lucky. We raised the $15,000 that we were looking to raise, which was incredible. And we so now we're in the process, you know, we're working through a list of like potential editors and sound mixers, and colorists and things like that. And we're sort of like steam ahead with the start of the new year. And we're going to try to really like knock out the editing process because we want to be included in next year's upcoming film festivals. And we're really excited about that. Because I think it's also really exciting that coming out of COVID, we say, here's a full length feature film, you know, I mean, I think I just I don't, I don't, I don't personally know anyone else who's doing that.

I know there are studios doing that for later down the line. But you know, like you said, I mean, truly, this project came out of a will to create. And us saying, as the most creative industry in the world, why have we not figured out creative new ways to work? You know, I give credit to Aubrey for that, because Aubrey was also one of the ones who was really pushing to say, we need there, there is a creative solution forward here. So what is it? And we, luckily, the three of us figured it out together. And it was a safe, successful shoot. And I'm really excited to share the product with everyone in 2021.

[32:05] Martín Acuña: As we've said before, this was your first time doing film. And you not only were the producer, but you were the AD. How was that? Because that was a total new role for you.

[32:26] Chris Luner: Yeah, so Sophie had, Aubrey has actually been suggesting to me for years that I look into AD work. Because it's essentially, like I've talked about it, I think with people is like, it's kind of like stage management a little bit in film, you know, they're the person who runs the set, make sure everything stays on schedule, everyone gets what they need. And I mean, I'm not gonna lie, I loved it. I was like, I felt like I like thrived in that position. And I'm sure it was easy, you know, working with friends and things like that. But what a perfect first environment to try out a job that I wasn't necessarily aware of all the duties. Um, but I mean, I really loved the AD work. And I know it's different in every capacity, whether it's, you know, in a film set, it's like, there's a lot of like the running of making sure the schedule stays on time.

But in television, sometimes the AD is actually calling camera shots and things like that. And I think I sort of agreed to being the assistant director, not fully knowing what is involved. But I was just sort of like, yeah, sure, I'll do that. Uh, there was a lot of that instead of like, yeah, sure, I'll do that. And then me being like, wait, so what does this entail? Um, so it was, I mean, I really loved it, though, you know, and I am definitely interested in doing it again on future projects. And I, I would even say I'm open to doing it, um, in like a more legit professional setting, I wouldn't be opposed to that. Um, I'm sure I can't waltz in the door and start out as an AD. But if I can figure out how to maybe be someone's assistant and watch how they do it in Hollywood, I would definitely be interested in that.

Actually, being AD is one of my favorite jobs. It's my plan B, like in an order of jobs or roles, I would love to, if performing fails, I know that I would love to be an AD. I've been AD for theater and for film. And I mean, organizing people is something I really do enjoy.

[34:23] Martín Acuña: Yeah, I feel you. And like covering everyone and knowing everything that's happening on set or on stage and backstage. I just love it. And which was the biggest thing you've learned transferring on film for the first time?

[34:45] Chris Luner: Hmm. That's a tough one. I'm trying to think, um, you know, I would say what's so interesting is I'm so, I'm, like I said, you know, I'm such a, I'm such a theater guy. I've been so interested in that. And something I think I love about theater is that, you know, it's live and whatever happens, happens. And sometimes it doesn't always happen. And that's weirdly sort of the magic of theater, you know, and it's, and it's kind of like, there's like those unicorn moments where it's like, Oh, that didn't happen tonight. All right. Um, but it's sort of interesting in film, you know, it's like, if there's a mistake, it's sort of just like, okay, cut. We'll go back and do that, you know, well, let's go back and fix that.

But just even like, you know, the multiple takes and, you know, as we head into post, you're figuring out like, oh, I want to use the first half of take three and the second half of take four. And it's like, it's just like, I mean, editing and all that can be involved with that. And, um, the continuity that is involved with the script supervisor's job. It was just so amazing to learn all of the elements that go into film that we don't necessarily deal with on the theater scene, um, or on the theater side of it. Um, but also so much of it, I think transferred over and so much of like, you know, organizational skills, things like you were talking about, just communicating with people, keeping everyone on schedule, things like that.

So much of it just easily transitioned over. And even the things that transitioned over, but didn't have the same titles, uh, I was able to sort of like, figure that out along the way. And I loved that. And it was nice knowing that there was more similar similarities than differences in the long-term.

[36:24] Martín Acuña: And those bridges we can build between, in the end, it's the same industry, but the bridges we can build between theater and film are big and we can transfer a lot of skills from one another, um, and like feed them each time. Um, one of the last things I want, I want to know about is what other projects do you have in mind? Like, I mean, it, we know that theaters won't be back, won't be open, um, soon, hopefully will be summer 2021. Uh, but what other projects do you have in mind?

[37:16] Chris Luner: Um, I, I almost, I, you know, I almost wish you could ask this question to Aubrey, because if I ever say, Oh, I have another idea. She's gonna probably throw me in front of a MTA bus. Um, I always have such an idea person. Um, I like, I love having ideas. Um, so, you know, honestly, I have like a, sort of a wide range of ideas of like so many different. Like stories that come to life or things like that, you know, and something I think I've always sort of struggled a little bit, struggled with a little bit is like, is this a story that I would see more on stage or on film? And, you know, having done film now, I feel a little bit more like, Oh, that is a possibility. Whereas before I was like, well, I have this idea for something, but I'm not really sure it's a play and it definitely isn't a musical or things like that.

And now I just sort of have been introduced to this new medium where I'm able to say, Oh, that's also a possibility. Um, so, you know, I have probably like a little like notebook or something like that full of ideas. Um, I'm in the immediate future, you know, I've really been trying to advocate, as you know, you know, for our industry and how essential I think theater is and how essential artists are in our community, uh, no matter where they are in the world. Um, so I'm trying to brainstorm at the moment, something I can sort of do along those lines while we still luckily and unfortunately have the time. Uh, but you know, if there's some type of project or some type of, you know, small collection of film type work I can do with people to talk about how important our industry is and why artists matter and why we're still going to be here when this is all over. Um, but we're going to need you to come back to the theater. Uh, that's sort of like my most immediate plans I would say in the future is something that benefits our industry in the long run.

[39:08] Martín Acuña: And that's something I love about you that you're always so positive, so enthusiastic about. We are going to get back and we are going to get back stronger than ever. And we are going to recover one way or the other. And that, that is something I, I feel a lot of people have lost this year, like faith in what we love and what we do. Um, and on the other side, there's people like you that is always a shining light there. Uh, so thank you. Thank you because you've been an advocate and, and, and, and an enthusiast about it. Uh, and we need more people like you in, in right now.

[40:03] Chris Luner: Thank you. I appreciate that. My last question you have to answer quick.

[40:12] Martín Acuña: Oh boy. Top five favorite musical theater shows.

[40:19] Chris Luner: Oh, that's true. Uh, first of all, rag time. One of my favorite shows of all time. Love rag time. Second, I would say, uh, the Scottsboro boys, another really not well-known musical. Love that one. Um, third, I would say, oh man, this is hard. I don't know. I'm like, look, I was like looking for answers. Um, you know, third, I would say something like, I love, I love, um, crazy for you. That's a really great musical. There's so many fourth, I would say I'm such a, I'm such a sucker for Disney. I love Mary Poppins. I think Mary Poppins, the stage adaptation is like as good as musical theater gets. It's so good. And then five, um, I'll say Les Mis. I'm such a, I'm such a sucker for those big British mega hits, but Les Mis is just like, I mean, it doesn't get better than Les Mis.

That's iconic musical theater. My brother saw Les Mis, the film adaptation during pandemic a couple, a couple of months ago. And he was like, I remember reading this. I didn't know it was a musical. I didn't know it was a musical film, but I have to see this in parts because it's so dense and I cannot stand that all of it is sung.

[41:43] Chris Luner: It's musical theater. What are you expecting?

[41:51] Martín Acuña: Yeah, exactly. Les Mis is like buckle up musical theater. Like they are moving and it is intense, like three hours long. But I mean, I think you gotta be, you gotta be committed if you really like love that. So, but, um, yeah, but honestly, if you'd ask me next week, what my five favorite musicals are besides Ragtime and Scottsboro Boys, the other three might be interchangeable. So, um, but that's, that's, that's what immediately comes to mind. So that's probably correct.

[42:19] Chris Luner: Well, Chris, thank you so much for being over. I loved having you.

[42:25] Martín Acuña: Thank you for having me. This is so great. And thank you for, for being so open and giving us all your experience in, in, in theater and film. I wish Ranch Water the best and let's make a lot of noise for this film.

[42:40] Chris Luner: Yes, absolutely. Let's do this. Thank you so, so much. See you soon.

[42:45] Martín Acuña: Thank you. Yes, we'll talk soon.

[42:49] Martín Acuña: Thanks everyone for listening to this new episode of Backstage Talk. Remember to follow us on Facebook and Instagram at Backstage Talk Podcast.