This transcript was automatically generated and might contain errors.

[0:00] Eila Mell: That's right, you all sit down because it's my turn now. I am so grateful for this being voted, this award together, to be shared together. It's something that I shall treasure and I am particularly grateful for the opportunity to step once more upon the stage.

[0:53] Bruce Gotlieb: A clip from my favorite award show, The Tonys. Of course, who doesn't love a Tony Award?

[0:58] Eila Mell: Exactly, and legendary couple Jessica Tandy and Hume Cronin.

[1:03] Bruce Gotlieb: Yes, they were winning the Humanitarian Award that year. It was really right before Jessica Tandy passed. So, you know, it's always fun, I guess, to see the Humanitarian Awards because they're normally somebody who is really spectacular and you know about all that they're doing for philanthropy or for the greater good. So it just, it touches a little bit different.

[1:31] Eila Mell: Yeah, it's a different feel for sure. It's an award not based on, you know, talent or performance, but based on, you know, how good a person you are.

[1:39] Bruce Gotlieb: Right. And then, you know, to then give it to a couple is just so sweet that, you know, it's one thing to have an individual who feels compelled to go above and beyond in life.

[1:51] Eila Mell: Yeah.

[1:51] Bruce Gotlieb: But to have a couple who do it together and it's just, it's really, really sweet.

[1:56] Eila Mell: Yeah. So, okay, two things about Jessica Tandy. Number one, I mean, obviously, people know her from Cocoon and know her from a million things, but we have to point out that she was the original Blanche DuBois in Streetcar Named Desire.

[2:10] Bruce Gotlieb: That's true.

[2:10] Eila Mell: I mean, that is real theater history.

[2:13] Bruce Gotlieb: That's true.

[2:13] Eila Mell: Okay. But also, do you know the name of Jessica Tandy and Hume Cronin's daughter?

[2:20] Bruce Gotlieb: I do not.

[2:21] Eila Mell: It's Tandy Cronin. How cool is that?

[2:25] Bruce Gotlieb: All right. So enough trivia.

[2:27] Eila Mell: Enough trivia.

[2:28] Bruce Gotlieb: You saw a show.

[2:30] Eila Mell: Two Strangers Carry a Cake Across New York.

[2:32] Bruce Gotlieb: All right. And is that the plot?

[2:34] Eila Mell: Essentially. It is essentially the plot. There's more to be exposed as the show goes on.

[2:41] Bruce Gotlieb: Right. People are loving this show. That's what I heard. Are you one of those people?

[2:45] Eila Mell: Yeah, it was really, really good. I will say the book is so good. The music is good. You leave there, definitely there are a couple of songs that stick with you, but I think even if they wanted to do this just as a straight play, it could have been just a straight play.

[3:04] Bruce Gotlieb: Well, maybe that's another version of it they could do at some point.

[3:07] Eila Mell: Maybe the book is funny, it's clever, it's heartfelt. You have two actors on stage, Christiana Pitts and Sam Tuddy. There are moments where sometimes it's just one, but for the most part, it's the two of them. And it's their two-character story. I won't give too much away because there are some twists, but their chemistry is really good. He's got that star quality.

[3:35] Bruce Gotlieb: Amazing. And I know Christiana Pitts is fantastic too.

[3:38] Eila Mell: I was going to say, her timing is just impeccable. She does so much with just the tilt of a head or the lean into a this or a that. There's so much she does just embodying this character that isn't on paper that is so special.

[3:56] Bruce Gotlieb: So is her character an American character?

[3:59] Eila Mell: Yes.

[3:59] Bruce Gotlieb: Okay. And he's British.

[4:01] Eila Mell: And he's British. Correct.

[4:03] Bruce Gotlieb: All right. Well, listen, I definitely hope to see this show.

[4:07] Eila Mell: Yes, I would go back.

[4:09] Bruce Gotlieb: If I do, I will take you with me.

[4:12] Eila Mell: I will also tell you, Sotra Gilmore, the set design is so clever. It's on a turntable, which when I went to see the show, they had to restart the show. It took three takes.

[4:25] Bruce Gotlieb: Okay.

[4:25] Eila Mell: Because the turntable just wasn't where it needed to be.

[4:28] Bruce Gotlieb: Right. And it's also previews when you saw it.

[4:30] Eila Mell: And it's previews. Correct. At the time of recording, they opened this evening. So the review will be out after. But there are two separate piles of luggage in different sizes, but they're not real luggage, and they open up to become all different things. One opens up and becomes a bed, and this one becomes a refrigerator, and this one becomes something else.

[4:55] Bruce Gotlieb: Oh, how cool.

[4:56] Eila Mell: So it's really kind of interesting that you take something as simple as a luggage, and you turn it into a set.

[5:03] Bruce Gotlieb: Oh, wow.

[5:03] Eila Mell: And the turntable does all kinds of things to help move the storyline along as well. The lighting is really cool. There's some really great effects for a show that's so simple.

[5:17] Bruce Gotlieb: Right, right. Well.

[5:18] Eila Mell: And I appreciate that they kept it simple. It's a simple story.

[5:23] Bruce Gotlieb: Right.

[5:23] Eila Mell: So it didn't try to outdo itself, you know?

[5:27] Bruce Gotlieb: And Sutra Gilmore also has Waiting for Godot on Broadway right now.

[5:33] Eila Mell: Okay.

[5:33] Bruce Gotlieb: And last season, she did Sunset Boulevard. So she's in demand.

[5:39] Eila Mell: Good for her.

[5:40] Bruce Gotlieb: As she should be, right? Yeah.

[5:42] Eila Mell: Good for her.

[5:43] Bruce Gotlieb: I hope I get to see it. I hope I get to see it with you. I hope everyone gets to see it.

[5:48] Eila Mell: I would definitely recommend it. It's a really sweet show. It's got some twists and turns. Um, and I, without giving a spoiler, I would be remiss to say that they do not sell cake in the lobby.

[6:07] Bruce Gotlieb: Oh, okay.

[6:09] Eila Mell: Little bit of a miss in my opinion.

[6:10] Bruce Gotlieb: All right.

[6:11] Eila Mell: I do love me some cake.

[6:13] Bruce Gotlieb: All right. So maybe they'll hear this and maybe they will take that under advisement.

[6:17] Eila Mell: One of the things I thought was so fun was when you went to see Waitress back in the day, they sold little jars of pie that you could buy. And everyone loved the Sweeney Todd where you could actually have meat pies.

[6:29] Bruce Gotlieb: Right. So somebody else who I know who saw it that I spoke with last night, they, I said, Oh, you saw two strangers. So did I. And she said, there was no cake. I said, I know. So I think people are going and looking for cake.

[6:41] Bruce Gotlieb: All right. Well, or bring your own cake.

[6:44] Eila Mell: Bring your own, have it before, have it after.

[6:46] Bruce Gotlieb: All right. Well, speaking of cake, let's talk about the baker's wife.

[6:49] Eila Mell: Well, we should have our friend to the show and funny man, Kevin Del Aguila.

[6:54] Bruce Gotlieb: We love Kevin Del Aguila. He is just, I mean, he's been on our show before. He's so talented. I mean, you know, you can say that about so many people, but what he brings to something is so unique to him.

[7:06] Eila Mell: Right. The choices he makes, they're not like what you would expect when you read a script.

[7:12] Bruce Gotlieb: Yeah. There is something so special about people who do physical comedy and do it well. There's nothing quite like it.

[7:21] Eila Mell: And Kevin's one of those people, for sure.

[7:23] Bruce Gotlieb: Yeah. I mean, everybody was buzzing about him after Some Like It Hot, his Tony nominated performance.

[7:30] Eila Mell: Tour de Force performance.

[7:31] Bruce Gotlieb: Yeah. Yeah. And, you know, and he hasn't stopped working since, of course.

[7:35] Eila Mell: No.

[7:36] Bruce Gotlieb: Let's bring him out.

[7:37] Eila Mell: Yeah.

[7:38] Bruce Gotlieb: Rather than just talk about him, let's talk to him.

[7:40] Eila Mell: Let's do it.

[7:41] Bruce Gotlieb: Well, Bruce, we are so happy to welcome back Kevin Del Aguila to our show.

[7:48] Eila Mell: Hello, Kevin.

[7:50] Kevin Del Aguila: Hello.

[7:53] Bruce Gotlieb: Well, you are so busy.

[7:55] Eila Mell: So you're starring in The Baker's Wife right now.

[7:59] Kevin Del Aguila: Yes. I don't know about starring, but I'm part of the town, part of the village.

[8:04] Bruce Gotlieb: That's right.

[8:04] Kevin Del Aguila: Of The Baker's Wife.

[8:05] Eila Mell: Well, it does take a village, so.

[8:09] Kevin Del Aguila: And how is that going?

[8:11] Kevin Del Aguila: It's great. It's an incredible amount of fun and it's terrific.

[8:15] Eila Mell: So now you've done this show before. Can you explain to people your trajectory with this show?

[8:20] Kevin Del Aguila: Yes. Crazy trajectory. I guess over 20 years ago, I was cast as the town drunk in a production of The Baker's Wife at the Goodspeed Opera House. They were, you know, it's an infamous show for never being able to come into New York and being a flop on the road. And so this production was their attempt to revamp everything, rewrite and really, you know, fix the show because the music was so wonderful and people, you know, really, really wanted it to work. So I was in this revamped version. And then a few years later, I think maybe 20 years ago this year, I was in the production at Paper Mill Playhouse with Lenny Wolpe as The Baker and Alice Ripley as The Baker's Wife and Max von Essen as Dominique.

And it was a great production. Really exciting. Million dollar set. Giant, giant thing. And everyone was excited about it coming into New York. And then for reasons unknown, it just never made the leap to New York City. So I thought that was the end of my life with The Baker's Wife. And then out of the blue, I get this call saying, Kevin, we'd like to offer you the same role you played 20 years ago in this production coming to Classic Stage Company. And I thought, of course, how can I say no to this? I mean, it's been trying to get to New York all these years. I've got to be there when it happens.

[9:56] Eila Mell: And you have to.

[9:57] Kevin Del Aguila: And the fact that they're offering me the same role that I played 20 years ago, I thought, well, it proves that you can never, never truly outage the town drunk.

[10:09] Bruce Gotlieb: That's right.

[10:10] Kevin Del Aguila: That's right. People of all ages get drunk. It's good to be able to have a reliable path of work, right?

[10:18] Bruce Gotlieb: Exactly.

[10:19] Kevin Del Aguila: So is this the same creative team that you worked with 20 years ago?

[10:23] Bruce Gotlieb: Well, 20 years ago, Joe Stein, the book writer, was still alive, which was a treat. My first musical I was ever in was Fiddler on the Roof. So it was an absolute treat to be in the room with him. And I remember when they were auditioning people for The Baker's Wife at Paper Mill, the director, Gordon Greenberg, said, yeah, Joe Stein kept saying, where's that little guy? Where's that little guy? And I guess I was the little guy he was talking about. He was like, get the little guy. So it was nice to be requested by Joe Stein. So sadly, he's gone. But Stephen Schwartz, of course, is around. Gordon Greenberg, the director of those two incarnations 20 years ago, is on board with this production as well. And so it's pretty much the same crew that had kind of revamped the show before bringing it to New York this time around. So it's thrilling.

[11:10] Eila Mell: Is there something different about this production versus the other productions that seems to be working? Like, it seems to be being in break, and the critics are liking it. So it seems to be in a little bit of a better position than the previous.

[11:27] Kevin Del Aguila: I've been trying to put my finger on exactly what that is. I mean, there are big differences in that. I mean, there's small differences too. They cut two characters from the show, another bickering little duo from the town. They were like, we've got all the bickering duos we need. We don't need another one. But this production is very small. It's very intimate. I mean, the audience is right next to us. They're really part of the show, you know. Whereas the production of Paper Mail was this huge set that rotated. You know, when we looked in the bakery, the whole thing rotated. And then you were inside the bakery. It was a gorgeous, gorgeous set. Beautiful. But this is also a gorgeous set. But it's like a chamber piece.

You know, it's very small. The orchestration is small. And it's more intimate. And in some ways, I think, kind of weirdly appropriate for this very simple little show, this kind of fable of a show, you know. And it kind of brings people into this world. And then we're all there together, which I think is a different experience of the show that I had 20 years ago that I think people are really responding to. I think they really enjoyed being right there in the world with the characters. And it's kind of happening around them. And in some instances, they become a part of the show. And I think people really love that. I think they love the intimacy of it, you know. So I grew up with Pippin and Godspell.

And you know, of course, a new generation is growing up with Wicked. And you get to work with the composer of all of these shows, Stephen Schwartz, which is incredible. Do you think the music in this show could be as iconic as those shows? I mean, I do. I think the music in the show is gorgeous. And obviously, many people agree with me because it's the reason that people have, you know, hung on to The Baker's Wife as long as they have. These little recordings that exist that people are just, you know, holding on to, thinking like, I wish this show worked so it could be done more, so we could see it, so people could hear this music. I think that's been the thing that's kept The Baker's Wife alive, you know, throughout all of these decades, the music itself.

So yeah, I think if people heard the music, I think it could become, of course, Men O'Lark is the one that everybody knows. But of course, there are other songs in it that I think, just gorgeous, gorgeous music. Is it too early to know if there's going to be a cast recording? I don't, I haven't heard anything. Okay. But if you hear something, let me know, please. Oh, we'll call you right away. So, you're doing this show, and so let's just mention some of the other people in the cast before we move on. There's Scott Bakula and legend Judy Kuhn, the original Cosette. And Nathan Lee Graham, is he in the show as well? He is indeed. He plays the mark. He's great. And Ariana DeBose, of course. Of course.

Yeah. So, I mean, it must be great fun. I mean, the fact that I was in the show 20 years ago, the fact that they offered me the same role and I enjoyed it so much, that was all great. But the thing that made me go, yes, get me in there, was hearing of all the people who are going to be in the show as well. I mean, Arnie Burton, and Bob Cuccioli. I mean, you know, old friends, new friends, really, really fun people. And it's one of the things I really love about the show is that, you know, it's about this little village of people and everybody has their own little, you know, part of the village. And it's the same way with the cast. Everybody has their own little thing that they do in the show.

And we're all together, all ages, all groups, all experiences. And it's a really fun group. So, I really enjoy being around them. It sounds like it would be just, you know, like you said, it's a village. So, you have your own little, like, subsection of life happening there. Yeah, exactly. Everyone plays their own little part, literally. Yeah. But I also want to bring up that you are also Baxter in Hazbin Hotel for season two. I mean, it's a big deal. People in my house are very excited that I know you're in Hazbin Hotel. I'm glad to hear that. Hazbin Hotel came out of the blue for me. When I was in Some Like It Hot, I got this call saying they'd like you to come in to record for this show. And I was like, you mean audition?

They were like, no, no, no. They just want you to come in. And I was like, okay, what is this thing? And I walked in and Viv, the creator of Hazbin Hotel, was like, I saw you in Some Like It Hot. I loved it. I love everything about it. And come on in. Let me tell you about the show. And we'll just hop right in. This character is just like your character in Some Like It Hot, except he's a mad scientist. And I was like, this sounds perfect. Right up my alley. She's a huge Broadway fan. And it was such a treat and a blessing to be brought into this phenomenon that she's created, this wild show that has such a rabid fan base. And to be among all of these great Broadway stars that are already in it and already...

[16:56] Eila Mell: That's wonderful.

[16:57] Kevin Del Aguila: Yeah, we love anything on TV that has a lot of Broadway people in it.

[17:00] Eila Mell: Yeah, of course. Now, when you're doing that, are you getting to be... I know sometimes when you're doing voice work, you're recording separately your own thing. And sometimes then you're doing it and there are other people around. What's the setup like for this?

[17:16] Kevin Del Aguila: It's pretty much come in, this guy Richard Horowitz, who's a huge legend of animated voiceover. He's kind of the coach. So he'll throw out little things to say here and there. And the songwriting team is there if you have to sing some stuff. And you just go through your bits and give them a bunch of options and then cross your fingers that they pick the best ones when it all comes out. And that's it. Now, how about your writing? I mean, you're so busy with everything else, but I don't know if people realize what a talented writer you are as well. And you've had some very successful shows. Have you been writing?

[17:51] Kevin Del Aguila: I've been writing little things here and there. Yes. I mean, I write a lot of children's television, which has kind of been in a weird place with like everything else in the streaming entertainment realm. But writing a little bit of that and the gift that keeps on giving is this, you know, I wrote the adaptation of these Dogman books, the stage adaptation, the musical adaptation, which basically, I keep joking that it saved the American theater, but I'm only half joking. Like after the pandemic, this Dogman tour went out and, you know, sat down at all these theaters around the country and people would look at this and see these streams of families and kids coming in to see the show. And they were like, what is this?

How is this happening that it's just like attracting all these people? It's like this hidden gem of, you know, people love Dogman. And so now all these theaters are like, we got to do something like this. We got to get a family show like this that'll really bring them in. So it kind of did really help bring in a lot of revenue during a very, very precarious time in the American theater. But anyway, I was commissioned after Dogman to write a musical adaptation of the spinoff of Dogman, the series of books called the Cat Kid Comic Club. We did that and that ran off Broadway a few years ago, I think, and was another big hit and it's out on tour as well. And we just, we recorded a cast album over the summer and it's coming out next month, just in time for Christmas, just in time for Christmas.

And that's something I'm really excited about because, you know, Dogman was the first time that my lyrics have actually been kind of recorded for an album. I've had, you know, demos floating around, but like an actual official album. And this will be the second time that that happens, that my lyrics will be on an album of songs. So I'm really thrilled to unleash that upon the people of the world.

[19:56] Eila Mell: And kids will love it. Just something that parents can play in the car for kids is fantastic.

[20:01] Kevin Del Aguila: Yeah. And it's music that doesn't make parents want to shoot themselves. That's, that's our, that's our goal. Right. They'll enjoy it too. No, no, no offense to Baby Shark.

[20:11] Eila Mell: Exactly. We can only listen to it so many times.

[20:15] Kevin Del Aguila: Yeah, that's right. Do you go to the recording of the cast album or not necessarily?

[20:21] Eila Mell: Oh yeah. No, no, no. I was there. It was really fun because it was almost like a, like a reunion with the cast and, and you know, everybody getting together and reminding ourselves what were these songs again? Oh, right. Okay. So yeah. So yeah, I've been involved throughout all of it, the mixing and everything just to kind of like, you know, make sure that we're, we're hitting everything the way that it should be for all time. It's posterity we're talking about here.

[20:43] Kevin Del Aguila: That's true. And I think there's a Dogman movie coming out, isn't there?

[20:48] Eila Mell: It came out. Yes. There was a Dogman movie. I had nothing to do with the Dogman movie.

[20:51] Kevin Del Aguila: No, I know. But hopefully that'll make people want the stage show too.

[20:55] Eila Mell: No, I think it has. I think it's, you know, like we learned with everything else, like people go to Wicked more than ever now that the movies are out.

[21:02] Kevin Del Aguila: So that's right. It's true. It's, it's a weird phenomenon. I think they, it's, yeah, it's, it's counterintuitive, but. When they're doing another, I guess we'll call it universe or world that the same property exists in, do people reach out to one another, you know, because you've created a world where certain characters do certain things or, or certain ways. And now if it's going to take on a different life, do they reach out to you? Like, Oh, by the way, we're going to do this. Like, do they need permission?

[21:31] Kevin Del Aguila: You know, it depends. Like I've, I've adapted a lot of IP for the stage mostly. And it really depends. I adapted the Wimpy Kid books into, into a musical as well. And there were a lot of little, little rules here and there like, well, this character has to do this, or we'd really like to see this. People will be expecting that. With the Dogman stuff, it was a totally different thing. I got on the phone with Dave Pilkey, the creator of it all. And I had a big pitch for him. You know, this is what we're going to do. We're going to take care of your baby. This is, this is our take. And he stopped me and he was like, you know, just, just, just do what you want to do. And I'll, I'll come and I'll watch it.

I'm sure I'll enjoy it. And I was like, Wow. Okay. That's very trusting. And I hope I don't let you down. And, but it was a delight. He showed up to the first workshop and he was laughing and crying. He became a huge fan of the show ever since and was, he's just the kindest guy in the world. I mean, he's so, so generous and giving and, and, and wonderful and would show up to watch the show over and over again. And it's just been a champion of it.

[22:30] Eila Mell: Now, did you incorporate the cheese touch into your Diary of a Wimpy Kid adaptation?

[22:42] Kevin Del Aguila: Oh yeah. There's, there's a cast album of the Wimpy Kid show out there with songs by Michael Mahler and Alan Schmuckler. And they are, they are good songs.

[22:54] Bruce Gotlieb: Not to build up your ego, but, you know, Kevin, you are one of the funniest people out there. It's just what you do with just little bits that you do. It's just perfect.

[23:38] Kevin Del Aguila: Well, look, Schmigadoon is another one where it's like it's a whole town of various people, you know, a village of people like, you know, they have their own individual things that they bring to the town. And so I just love being in those kind of worlds where you're just with all of these great performers and you do your little bit and then you sit off to the side and watch everyone do their little bit and laugh and cheer them on. It was such a joyous, I mean, funny, funny show. And I think Cinco Paul did a great job taking that first season and condensing it into an evening of theater.

[24:13] Kevin Del Aguila: But here's my little secret. I never watched the TV show. I got called in to a workshop of it, to a reading of it early on, and they said, you're playing the Fred Armisen part. So I was like, OK, if I were Fred Armisen, how would I do this? And I did that and they laughed and I was like, I guess that's how he did it or they just like that. So I'll keep doing that. So I don't even know what Fred Armisen did, but I did my bit and they seemed to like it. So, oh my God. Now I can't watch it. I can't be influenced by it. So now I know.

[24:53] Bruce Gotlieb: So does that mean you're continuing with the show when it moves to Broadway?

[24:57] Kevin Del Aguila: I must plead the fifth. I have nothing to say about.

[25:00] Bruce Gotlieb: OK. All right. But anyway, we're hoping that you do move. But, you know, we'll send letters if we need to.

[25:08] Kevin Del Aguila: Right. The play is just the first season of the show.

[25:13] Kevin Del Aguila: Yes. The musical. It takes the whole first season, condenses it into one night. Who knows? Maybe they'll have the second season as a follow-up.

[25:23] Bruce Gotlieb: Right. That's where I was leaving. Who knows? We could have a sequel. There's not too many sequels on Broadway.

[25:28] Kevin Del Aguila: Well, I think all of this is, you know, a ploy to get Apple to give the green light to a third season, which I think Cinco already wrote. It's all ready to go. It has to be done. So I think secretly there's a hope that like Apple will look around and go, hey, people want this. OK, let's green light. That would be fantastic because there's such an audience for the show.

[25:54] Kevin Del Aguila: I was shocked by how many people I mean, they came in droves to DC. Trump was wrong. People came in droves to DC to the Kennedy Center to watch this thing. We were packed. We were sold out all the time. It was amazing.

[26:07] Bruce Gotlieb: The place was packed. The energy. I believe it was opening night that I was there, but the energy like as an audience member, you can sometimes feel, you know, a difference in energy. But it was like I can only imagine what you guys felt on stage.

[26:21] Kevin Del Aguila: Well, just sitting and being part of it was like nothing I've ever experienced. And Anne Harada was the only member who was in the TV show and was in the musical. And when she first came out and like the crowd erupted, I was like, oh, right. I forgot. She's like the ambassador of the TV show. Right.

[26:40] Bruce Gotlieb: How fun. And you and Brad Oscar.

[26:44] Kevin Del Aguila: Yeah, it was a delight. Yeah, we got an original song that was written specifically for the show. The song that the reverend and the mayor sing together. And that was a delight. I mean, the songs are so well done. I mean, he's just like he's Cinco's amazing.

[27:03] Kevin Del Aguila: They are and to do a whole season of that quality. It's incredible. What was amazing about it is that because I was worried, I was like, this is one joke over and over and over again. How many times can you reference, you know, musicals? But then you hear it and you're like, oh, no, no, there's a lot more going on here. These are really well constructed, really funny, really well done. I mean, even the construction of the whole piece is like so, so well done and thought through. I mean, yeah, it's impressive. It's not a one joke thing. It's very, very well done.

[27:36] Kevin Del Aguila: No, not at all. And especially if you know the musicals, I mean, it's very, it's a little extra.

[27:42] Bruce Gotlieb: Right, right, right. So, you know, if you know the musicals, you get it's like Easter eggs a plenty. Is it hard? So you do what you do, you know, physical comedy and all that really well. And, you know, speaking of Schmigadoon, we'll use that as an example. You have people who also that's what they do well. So it's this volley back and forth, which probably is such great fun. But is it hard to almost rein that in and not like get out of control? Because I feel like it'd be easy just for it to take over.

[28:15] Kevin Del Aguila: I don't know about that. I mean, it's funny. Like, I don't think I ever like think things will get out of control or rein them in. But like when you're in rehearsals with something, you know, and if it's going well, there's a playful energy. You know, and everybody's kind of like feeding on that playful energy because it's fun. It's positive and everyone's having a good time, you know. And so you start to do things. You start to play. You start to create. You start to, you know, add, you know, little things to here and there, either to make someone laugh or, you know, make a bold choice. So I don't know that it's like, you know, getting out of control, but it's more that playful energy sort of takes over. And if it's right for the moment, right for the show, then it usually sticks around and winds up in front of an audience. And then they tell you whether you've gone too far or not.

[29:11] Kevin Del Aguila: You had so much opportunity to play like that in Yellow Face because you played so many different characters. That must have been so much fun for you. Can you tell me a little bit about that?

[29:20] Kevin Del Aguila: Yeah, that was a delight. I mean, you know, it's almost like a lost art. When I first moved to the city to be an actor, it was back in the days where they had like, OK, we'll cast the leads and then we'll cast some character guy to run around doing a million accents and playing a different character. You know, and that way we can do it on the cheap. He's the workhorse and he'll just be the character guy who does everything. And I would get cast in those sort of things a lot. And then things sort of shifted, especially when it was like, look, you can't play different ethnicities. You can't do this. You can't do that. You can't do everything. Like we got to get people to do those things. And I was like, thank God those lines shouldn't be crossed all the time.

But Yellow Face was a really interesting experiment because David Henry Wong made a point of like, I want to get a multi-ethnic cast and I want everybody to play everything. So this question of is it OK to cast this person in this role? Is it OK for this ethnicity to be played by this person? Like this question hanging in the air, which was kind of the whole theme of the show, this idea of identity and what it means or how it presents. So I felt like I was getting back to those old roots in a certain way where he was like, OK, you're going to come in and one of the first characters you play is B.D. Wong. And I was like, me? Play B.D. Wong. Great. Fantastic. How's this going to go? But it was all, you know, it was all part of the point of the thing.

And so being able to play a bunch of different roles, do a bunch of different, you know, takes characters was really fun. And just, just yeah, it was a great time and not just for fun's sake, but for a really deep, profound kind of reason. So that show was really kind of interesting to see how it starts is fun and games, and it just kind of descends into this really, you know, deep place. And so, yeah, it was a delight. All of it.

[31:38] Bruce Gotlieb: It was really artful how you were able to create a full character, yet you only would spend like maybe two or three lines with that character.

[31:47] Kevin Del Aguila: Yeah, that's kind of fun. Yeah. If you trust me, if you had to hang out any longer than a couple of lines, it would be like getting tired of this character already.

[31:57] Bruce Gotlieb: And the best part is that people can watch it any time because PBS recorded it. So, you know, it's streaming out there. So that's fantastic. Did you guys do a watch party together as a cast?

[32:09] Kevin Del Aguila: We did. We had a watch party, not just as a cast. Like I think they invited a bunch of people to a big watch party on a giant screen. And let me tell you, seeing your theater performance on a giant screen is quite an experience.

[32:27] Bruce Gotlieb: I'm sure. Pull it back. Pull it back. You can see some. But you can't.

[32:32] Kevin Del Aguila: Because it works so well. You're so good in that as well as Francis won the Tony for it. And he was our guest, too. And we adore him as well. So we were so happy that he got that honor because he's been with Yellow Face for a very long time.

[32:49] Kevin Del Aguila: It was kind of like the Baker's Wife thing. He played the role like, you know, so long ago and then he played it again and brought it to Broadway.

[32:57] Bruce Gotlieb: Yeah. Yeah. Francis is fantastic. I'm so I was so proud of him. We were screaming at the Tony Awards.

[33:03] Kevin Del Aguila: So but people can watch Hazbin Hotel anytime. They can watch Yellow Face. I mean, you're out there.

[33:10] Kevin Del Aguila: I exist. I'm in the world.

[33:17] Bruce Gotlieb: You are. And, you know, people are doing your shows. So, you know, your presence is very, very, very ubiquitous.

[33:25] Kevin Del Aguila: It will get sick of me real soon. Don't worry.

[33:31] Bruce Gotlieb: It's going to never, never, never. No, we love to see anything that you do. We think everybody should run. Do not walk. Run down to Classic Stage Company from any time between now and December 21st to check out The Baker's Wife and what kind of hijinks is ensuing over there. If Kevin is in it, it's going to be fun. But the rest of the cast is super great. Also, they're all delightful. Delightful, I tell you.

[33:56] Bruce Gotlieb: Well, Kevin, thank you so much for joining us. We loved having you back.

[34:03] Kevin Del Aguila: Thank you for having me. It's great to see you both.

[34:09] Bruce Gotlieb: And get ready for your next appearance next year.

[34:09] Kevin Del Aguila: That's right. Call you again. Yeah, let's make this a yearly thing.

[34:09] Bruce Gotlieb: This sounds absolutely. All right. Well, thank you again. And we will see everyone next time on Behind the Awards. Bye bye.