This transcript was automatically generated and might contain errors.

[0:20] Bryan Plovsky: Hello and welcome to the official Broadwaysted podcast where we're drunk on theater. I'm your host, Bryan Plovsky. And what's up, Doc? On the docket today is a little docile document that we have found dockside. We're not taking Lai Docane in the boondocks, but still enjoy some docudramas while pumped full of endocrines. That's our pedicle doctrine, and we're sticking to it. Are we overdocumenting? Joining us today are the usual Haddock Paddocks, including Kevin.

[0:50] Kevin Jaeger: Is there a doctor on this plane?

[0:52] Bryan Plovsky: Yes. Kimberly, our indoctrinated game master and unofficial babysitter for the hour.

[1:00] Kimberly: Indoctrinated?

[1:01] Bryan Plovsky: Yes.

[1:02] Kimberly: Are you my cult leader?

[1:04] Bryan Plovsky: Yes. And with us today, to talk through the awesomeness of documentaries that we watched are the same people that watched Aladdin, Mary Poppins, Puppet's Descendants.

[1:15] Hayley Podschun: I just got it.

[1:17] Aaron J Albano: You just got it.

[1:18] Hayley Podschun: Wait, really?

[1:19] Bryan Plovsky: Heaven! When I said documentaries, I was like, oh.

[1:29] Hayley Podschun: I'm sorry. That's how this episode's gotta go.

[1:32] Bryan Plovsky: Yeah. Um, and they're back to talk more with us. Let's give a big Broadwaysted welcome to Friends of the Show, Hayley Podschun and Aaron J. Albano.

[1:52] Hayley Podschun: Um, what are you drinking?

[1:54] Aaron J Albano: We don't deserve the intro music anymore.

[1:56] Hayley Podschun: No, we don't deserve an intro at all.

[1:57] Bryan Plovsky: I love it.

[1:58] Hayley Podschun: New theme song every week is what you deserve.

[2:01] Bryan Plovsky: Oh, I'll work on that. The next one we record, I'll have a better song for us.

[2:05] Hayley Podschun: That way. It'll be like the club version of "I Still Believe" from Miss Saigon.

[2:10] Aaron J Albano: Did you ever hear that?

[2:11] Hayley Podschun: No, but please send it over.

[2:13] Aaron J Albano: It's one of my favorite shows ever. I don't know if I can find it, but like they had it at like ITS, like International Thespian Society when I went to Florida, like state competition.

[2:24] Hayley Podschun: They did a dance at the end, and they had all mixed remixed glove mixes of like original cast album songs. And the most popular one was "I Still Believe," because all these girls like threw their heads back and like belted to Jesus. And like everyone was like dirty dancing to "I Still Believe." And I was like, this is so ironic right now.

[2:45] Bryan Plovsky: Like sorry, my bad.

[2:49] Hayley Podschun: That's okay. What are you drinking?

[2:51] Bryan Plovsky: What do you drink?

[2:54] Hayley Podschun: Um, I have their salt Aquila with jalapeno lime from Trader Joe's.

[3:01] Bryan Plovsky: Nice. And I'm very sad because the Trader Joe's down in Arizona doesn't have my jalapeno salt.

[3:09] Aaron J Albano: Oh.

[3:10] Hayley Podschun: Which is usually what I put in here. So I just have regular salt on the rim.

[3:14] Bryan Plovsky: All right. How do you put salt on a rim? Do you just get the glass rim wet and then just stick salt against it?

[3:20] Kevin Jaeger: You got it. Use your lime. Put your lime around it, then put it down.

[3:25] Bryan Plovsky: So you're too.

[3:27] Kevin Jaeger: Yeah.

[3:27] Bryan Plovsky: We've watched a bartender or two.

[3:29] Kevin Jaeger: Yeah.

[3:30] Bryan Plovsky: You worked in a restaurant, Kevin, for a long time.

[3:33] Kevin Jaeger: No.

[3:33] Bryan Plovsky: I did, but I never worked behind the bar.

[3:37] Kevin Jaeger: What are you drinking?

[3:38] Bryan Plovsky: Oh, I'm drinking white claw.

[3:40] Kevin Jaeger: What flavor?

[3:41] Bryan Plovsky: Uh, this one, I bought a variety pack, but this one is watermelon.

[3:46] Kevin Jaeger: But the watermelon is so good.

[3:48] Bryan Plovsky: I found out they're all just delicious, though.

[3:51] Hayley Podschun: No, you're new to white claw, yeah.

[3:53] Kevin Jaeger: I'm very new. I just started. This is like my first ever pack.

[3:57] Bryan Plovsky: My third one, and I'm like, these are delicious.

[4:00] Hayley Podschun: I've never had white claw but I've had spikes, the spiked seltzer brand with the mermaids in it. And I love that one.

[4:05] Kevin Jaeger: Yeah. We have the Corona seltzer right now in the fridge.

[4:10] Bryan Plovsky: Corona seltzer, get rid of it.

[4:12] Kevin Jaeger: Oh yeah, my parents have this and it's really supporting them.

[4:15] Bryan Plovsky: Oh, it's not quite as good. It's also less alcohol than a white claw. It's 4.5 instead of 5%.

[4:22] Aaron J Albano: I put tequila in it.

[4:25] Bryan Plovsky: Uh Kimberly, what are you drinking?

[4:27] Kimberly: I have a gin and tonic in a Graceland tumbler.

[4:31] Bryan Plovsky: Ooh.

[4:34] Kimberly: Um, and I found this at my parents' house, which is apropos, because it's Bar Hill Gin.

[4:38] Bryan Plovsky: Nice.

[4:39] Kimberly: And they have a bunch of coasters because they went to, I don't know if they went to the distillery or they were at like a wine and food conference and they were there, but the back is a honeybee.

[4:49] Aaron J Albano: That's awesome.

[4:51] Kimberly: Or is it coach cleaning? And they have the Barr Hill honey as well. That's very good on a goat's cheese.

[4:59] Bryan Plovsky: Oh nice. Cool. Um, like actual honey.

[5:04] Kimberly: Like the actual Barr Hill honey.

[5:06] Bryan Plovsky: Yeah.

[5:06] Kimberly: Oh, cool.

[5:07] Bryan Plovsky: It's not in the drink, but they have it here.

[5:09] Kimberly: That's awesome. Um, I will also let everyone know that apparently Saint Germain can go bad.

[5:14] Bryan Plovsky: Oh, yeah.

[5:15] Kimberly: My first gin and tonic was disgusting. I'll talk about Saint Germain instead of a lime. And I was like, this Saint Germain looks like syrup.

[5:22] Bryan Plovsky: Yeah, I found that out myself in a bad mistake.

[5:25] Kimberly: Oh, it was disgusting. Yes. I thought the gin was bad. I got really upset.

[5:30] Bryan Plovsky: It was not.

[5:33] Kimberly: The gin was actually bad, but you just don't realize it.

[5:36] Bryan Plovsky: No, gin is delicious. Shut up.

[5:39] Kimberly: Um, I'm just drinking Malagro Tequila with a splash of soda.

[5:46] Aaron J Albano: Nice.

[5:47] Bryan Plovsky: Yep. Aaron swirling his glass is my favorite thing ever.

[5:52] Aaron J Albano: I know I'm drinking, I mean, I'm boring. I'm drinking my leftover glass of red wine from my Disney movie today. It was gnarly head noir.

[6:03] Kimberly: Cool. What movie did you watch today for Disney movies?

[6:06] Aaron J Albano: Snow White.

[6:08] Kimberly: The old movie movie.

[6:10] Aaron J Albano: Are you starting from that one and going all the way through?

[6:13] Kimberly: We're going through all the princess movies.

[6:16] Aaron J Albano: Like in order?

[6:18] Kimberly: As stated in the dressing room in Wreck It Ralph 2. So those like that's 14.

[6:27] Aaron J Albano: Those I needed like a solid list because all the lists online are very different. And so I was like, I need like a consistent, like this is what we're doing. So that's what we're doing. And we're going from the OG all the way through.

[6:41] Bryan Plovsky: Cool. Wow. Well, we this week watched some documentaries that you can find streaming. We watched Six by Sondheim. We watched The Best Worst Thing That Could Ever Have Happened, and Bathtubs Over Broadway. And for those of you who join our Patreon, um, we also watched the Documentary Now episode Co-op making fun of Company. Um that so that you'll be able to hear us talk about that as well.

[7:07] Kimberly: And for the record, I didn't know that Documentary Now, I didn't know what it was. I just thought it was like a series of like documentary shorts.

[7:14] Aaron J Albano: Oh no.

[7:15] Kimberly: Oh my god. I was like, great, and a 24-minute documentary that is about a musical. I don't know. That's cool. And then I started watching and I was like, that is John Mulaney. And then like five minutes in, I was like, oh, this is a joke.

[7:34] Bryan Plovsky: I was like, she's dressed like a religion stretch, and like I did I I didn't get it. I was so good.

[7:40] Kimberly: They um if you like we'll get there, we'll get there. Um, but uh let's I think let's go in order. Let's do Six by Sondheim, then we'll do Best Worst Thing, then we'll talk through Bathtubs. So we'll keep Sondheim back to back, then we'll go into Bathtubs, something a little lighter, depending on how you consider the Sondheims. Um, and then we'll talk Co-op. But um, overall, I loved watching all three of these.

[8:05] Kevin Jaeger: Yeah, what did everyone think about these in general?

[8:08] Aaron J Albano: I thought they were fantastic. I because I had seen I think two out of the three of them already. I had never seen Bathtubs Over Broadway, but I had seen the other two, and it was such a good. I texted everybody being like, we've watched so many, so much plot-driven stuff. I like had to rewire my brain to like figure out how to watch these like informational documentaries. And once I got in the groove of watching the documentaries, it was so wonderful. I absolutely loved that we did this.

[8:49] Kimberly: Had you seen all three of these? What was your relationship with these documentaries?

[8:54] Hayley Podschun: Um, I had only seen, well, Co-op and Six by Sondheim many times, but I had purposefully never watched The Best Worst Thing because I knew it was going to like wreck me.

[9:09] Kimberly: Sure.

[9:09] Hayley Podschun: And like I was like, I don't know if I can handle that ever. Um, so thank you for forcing me to watch it. It was not I did not cry nearly as much.

[9:17] Kimberly: Sure.

[9:18] Hayley Podschun: I also love a documentary the same way I love podcasts. Because I was just like, oh, it was just like a soothing tone in the background.

[9:25] Kimberly: Yeah, yeah, definitely. Also, I kept calling Jay upstairs to watch the bathtub movie with me.

[9:30] Bryan Plovsky: But had you seen that before? Because you're the one who found it and suggested it.

[9:33] Hayley Podschun: I did. Oh, you were? Never mind.

[9:35] Kimberly: It was not me. But I um Jay filmed a pilot about industrial theater. Oh many months ago.

[9:41] Aaron J Albano: That's the one we did with Brian Darcy James.

[9:44] Kimberly: With Brian Darcy James, and it never went, but he was like, it was the most fun we ever had, and but like no one knew that was a thing, so the pilot didn't go.

[9:53] Aaron J Albano: Interesting.

[9:53] Kimberly: Oh but how fascinating.

[9:56] Bryan Plovsky: Huh? What network was that supposed to be for?

[9:59] Kimberly: I don't know. Maybe Fox, NBC.

[10:02] Bryan Plovsky: That would have been so fascinating.

[10:05] Kimberly: It was like a main network. It would have been just like following the players of any of that.

[10:12] Bryan Plovsky: Because I think he filmed it around the time that like um 30 Rock was really popular. It was like the same vein.

[10:19] Hayley Podschun: That seems like, yeah, that seems appropriate.

[10:21] Bryan Plovsky: Haley.

[10:22] Hayley Podschun: Nice. Um, I had seen all of these except Six by Sondheim. And I love documentaries, so I enjoyed revisiting all of these. I made my parents watch Six by Sondheim with me. I actually started it, got about seven minutes into it, and I was like, nope, my parents need to watch this with me. Um and then I made them watch Bathtubs Over Broadway with me as well as Co-op.

[10:49] Kevin Jaeger: Cool. Uh Kevin, had you seen these before? What was your relationship with any of these?

[10:54] Kevin Jaeger: Um I saw Six by Sondheim when it came out, and uh I saw The Best Worst Thing That Ever Happened. I had never heard of Bathtubs Over Broadway or of Co-op. Um or Documentary Now, actually.

[11:12] Bryan Plovsky: Like, all right, it's like a Ken Burns show, I guess.

[11:16] Kevin Jaeger: Oh my god.

[11:18] Bryan Plovsky: That's what I expected.

[11:19] Kevin Jaeger: I was like It's a wonderful rabbit hole of a show.

[11:23] Bryan Plovsky: Truly. Um yeah, so that was uh I had never seen those, but I one of the things Aaron said in our group chat that I think is like really like speaks to how I experienced these was that like when I saw them, I was like in a totally different place as like a creator and like writer and performer. So like I had such a different experience to the ones I had seen previously. So I was almost nervous to watch them again, but like it was like I'm at such a different place that I appreciated so much more and in different ways a lot of the stuff that was in the key stuff.

[12:01] Kimberly: Sure.

[12:01] Bryan Plovsky: Um I hadn't seen any of them. This is all new to me.

[12:04] Hayley Podschun: Really? All of them?

[12:06] Bryan Plovsky: No, I I had seen Documentary Now. I had seen the Co-op.

[12:09] Hayley Podschun: Really?

[12:10] Bryan Plovsky: Never saw Six by Sondheim?

[12:12] Hayley Podschun: Never seen.

[12:13] Bryan Plovsky: No. Oh my gosh. I want you to talk the whole time.

[12:17] Kimberly: Um and I and we're gonna talk through this. To me, I have no I had I always had no interest in learning about Sondheim because he was a myth. And I just accepted that he wasn't a real person. He was just a myth behind all these shows. Does that make sense?

[12:33] Bryan Plovsky: Yeah, I had no deeper Wikipedia interest in it. Um, I you know, I I knew the stories, I'd seen the footage here and there through other things, but like just never, I don't know, it was just something maybe it's stubbornness, maybe it's whatever the case, it may be on my end. Like I also didn't grow up with Sondheim, so he didn't, he doesn't interest me as much as a close personal friends as a youth.

[12:55] Kevin Jaeger: Yeah, no.

[12:56] Bryan Plovsky: I knew Oscar, but I didn't know uh no, but I just didn't grow up with Sondheim musicals. Uh I grew up with Cole Porter and um you know the 80s. Absolutely, that's what I grew up with. And I just it just he I have a very different relationship with him and his musicals than a lot of other people, even ones that are right here. Um but let's start with Six by Sondheim.

[13:20] Bryan Plovsky: Um 2013. Um, the concept behind this is they're telling a story of Sondheim. What what are you smiling at, Kevin?

[13:28] Kevin Jaeger: No, I was just like, wow, that was seven years ago when I like last saw this movie. Like I was just thinking about how different my life is now than seven years ago, and why that like changed how I experienced this.

[13:40] Bryan Plovsky: Yeah, it's so this one, it's interesting because like well, we'll get into that, but just to describe this, this as everyone knows, they take six of Sondheim's most famous songs and songs that define portions of his career, and they basically use those as jumping off points to tell the story of Sondheim um uh for better or for worse, in terms of as a creative, as a teacher, all the in-betweens of that. Um and the doc the so the six songs are "Something's Coming," "Opening Doors," "Send in the Clowns," "I'm Still Here," "Being Alive," and "Sunday." Um I think it's a solid list.

[14:19] Bryan Plovsky: Yeah, let's talk about that list. Let's start off with that list. Do you think that there are ones that were potentially missing from that list in terms of being really nice tent poles of his career for you personally? Do you think those encapsulated it best? Let's let's talk a little bit about that. I'm with you. I did not go listening to Sondheim stuff at all. My first time I ever listened to it was uh Sunday in the Park because the school I was at was gonna be doing it the next year.

[14:49] Hayley Podschun: So I watched the movie with Bernadette and Mandy Patinkin, and I couldn't get through it. And then I ended up doing Sunday in the Park on Broadway, and I was, and they were, you had to sing a Sondheim song. And I was like, I don't know any Sondheim songs. So I sang something from, um, uh, Forum. Sure. Sure. Which is fun. It was fine. I don't know how I booked the show, but I'm so glad I did. But I don't know his, even still today, like it's, it's, I have barely seen a lot of his work, and it makes it like sad to say it, but I'm like, I just didn't grow up doing it. So I don't know how these songs, like I don't know what's missed or what's really great, but I am very glad that they included Sunday. I like that that was the end.

[15:38] Kevin Jaeger: Yeah, I was, yeah, I feel like it would not, there wouldn't be any other number to make the end.

[15:44] Hayley Podschun: No, I feel like, I feel like the list of the songs are their favorites that maybe could make the list too.

[15:52] Kevin Jaeger: Sure, sure. But I feel like it's a good, like you could put something in Gypsy, like from Gypsy in there, but that's covered in Something's Coming. Like you could put something for sure, but that's cut. Like it was a good, all six of those numbers were pretty, were good umbrellas for his entire career.

[16:13] Aaron J Albano: And they feel, I think, a good story of like these markers that they were trying to do. That's what it is. The narrative behind these songs is way more interesting than just like having a good song that he may have written in like a day.

[16:24] Hayley Podschun: Absolutely.

[16:24] Kevin Jaeger: Yeah, yeah. And what I love, what I loved most about speaking of the narrative is what jarred me, because it's been a while, because yeah, last time I saw this was like in 2013, and I've seen many, many documentaries since then. But the fact that there's no overarching narrator, and that it's literally just him telling his own story, the whole movie was really jarring, but ended up being a really nice way to tell the story of his life and his career by basically it being himself narrating his own life. It was really cool in that way. Once I figured out how to watch it in that way.

[17:06] Hayley Podschun: Sure. Did any of you guys see Sondheim on Sondheim?

[17:10] Kevin Jaeger: No.

[17:11] Aaron J Albano: No, that thing about like him narrating his own thing.

[17:14] Hayley Podschun: I didn't even notice that because that's what Sondheim on Sondheim was. It was just like a clip would come down of an interview and then a song.

[17:24] Kevin Jaeger: So I found this documentary at times repetitive from the show.

[17:29] Aaron J Albano: Okay.

[17:30] Kevin Jaeger: But I was just like, oh, it's like they saw that show and they were like, let's make this better and a movie.

[17:36] Hayley Podschun: Right.

[17:37] Kevin Jaeger: You didn't chime in on the six songs.

[17:41] Aaron J Albano: Uh, no, I mean, I think, I think there's like, like it's just where he said, like you could argue for certain songs here and there, but I think overall it's like a really solid mix of what he does really well, as well as like telling the narrative of his like song journey.

[17:57] Hayley Podschun: Sure.

[17:58] Kevin Jaeger: And yeah, I think it all played together really well. I'm like an apostle of Sondheim. My parents, I was like born in the 80s, and they were like, oh, he likes musicals, what do we do? And they were like, buy all the musicals we can find. And so they were just throwing me stuff that was contemporary, which was like Sondheim and Lloyd Webber, and like that's what I grew up on.

[18:17] Hayley Podschun: Sure.

[18:17] Hayley Podschun: So like I actually have holes in my musical theater stuff that's like classics, like what I had known fitted on the roof or chorus line or things like that, because they were just buying me all the shows of the 80s.

[18:28] Kevin Jaeger: And on, so like I had like just like Sondheim. I was like, he's a god. And, um, yeah, well, he was a big reason why I even became a writer. So like watching this movie is just like very emotional experience for me. Cause it's just like I feel like it's a moment of having like a mentorship from him without him like actually being there in the room and mentoring me, just because he's so honest in this documentary.

[18:53] Hayley Podschun: So let's talk about Sondheim as a character, I guess. Um, did I guess kind of explain your relationship to the character of Sondheim that was created in this narrative.

[19:07] Aaron J Albano: Um, does that make sense?

[19:10] Hayley Podschun: I think so. So this documentary, I think that all the something of these two Sondheim documentaries have in them is that they don't look at it in a, they're very biased because they are done by Lapine and Lonny Price, who have relationships with him. So there's obviously not going to be like two sides of the coin. However, in Six by Sondheim, a lot of his interviews do speak for themselves in terms of the tone of Sondheim. And I think that as Sondheim ages, you definitely get a different version of him. Obviously, you have that young Sondheim who is very cocky, and Jerry Herman will deny it and did deny it till the day he passed away. But that like that, that the hummable tune, uh, comment at the Tonys was not necessarily directed towards Sondheim, but like that interview clearly, all of those interviews clearly talk about the hummability of tune.

[20:06] Kevin Jaeger: So, like it was so there's an, there's like this, there's this version of Sondheim who knows how good he is and how, um, and how humble he is, but also at the same time not humble but very charming. Then there's the older Sondheim who really feels more like a teacher, um, and is not maybe doesn't have the same type of ego because he doesn't have because he's not that age anymore.

[20:27] Hayley Podschun: I guess, uh, talk about your feelings of Sondheim as like a character with an arc through this, as opposed to, uh, an actual human being who like has thousands of layers.

[20:38] Aaron J Albano: Does that clarify it a little bit better?

[20:40] Hayley Podschun: Yes, but that's not at all how I watched the movies. Re-watching it in my mind, like, oh that's so smart that you even say it like that. I'm like, yeah, I have never, but he totally did turn into this beautiful teacher. Um, someone who like literally, as Kevin mentioned, sees him as like a god, a myth. All of these things are just like you just hear these stories. Does this person exist because their catalog is just an unbelievable thing?

[21:07] Kevin Jaeger: You know what I mean?

[21:08] Hayley Podschun: Do I love you because you're beautiful? Are you beautiful because I love you?

[21:11] Kevin Jaeger: Right.

[21:11] Hayley Podschun: Sorry, Kevin, you were like one, like one thing Kevin you've been it to say.

[21:13] Kevin Jaeger: Oh no because I, I mean I was just gonna say in terms of because I'm not the hugest Sondheim fan like it's he's, he's a perfect example of where of an artist and a composer and whose work I will always admit to be full to be brilliant but I will never like, hey what do I want to listen to on my drive oh let's listen to Sweeney Todd that's never gonna come out of my mouth outside of what I just said it right then but like I'm gonna cut that and play it all the time that's my new that when someone curses on an episode yeah yeah yeah we're gonna just put it in like at the random uh us talking during like the opening song yeah yeah yeah yeah because that's going under it yeah I didn't bring anything but I'm here to have fun I will absolutely listen to Sweeney Todd under that but like there there's something about watching this documentary where he's just even in in all of his life from arrogant Sondheim to like mentor Sondheim he's it's undeniable that he knows what he's talking about and he's known what he's talking about since day one.

[22:34] Hayley Podschun: This movie made me feel completely inadequate.

[22:41] Kevin Jaeger: No I, I, I think the brilliance of Six by Sondheim, that the reason I think it's an amazing documentary, but also just brilliant in general with because it's Sondheim, is that it's structured like a Sondheim musical.

[22:56] Hayley Podschun: So it's like the way it's told is Sondheimian in itself.

[23:00] Kevin Jaeger: So the arc is a very much a Sondheim character. Like, for example, like it's basically a story of a somebody with a lot of hubris who comes out guns blazing and starts doing a lot of stuff to like make a scene. And then when they realize what happens to them because of how harsh life can be, but also like the beautiful moments of like trusting reality, they have like a very Sondheimian like discovery song. Like that's basically every musical. Like The Witch in Into the Woods goes through that. She's hubristic, she's throwing out curses, but like she loses what she actually wanted to get by causing all of this to happen. At the end, she sings Children Will Listen. Like Sweeney Todd comes in guns blazing, ready to like kill the judge and kill everybody, and like at the end, like he didn't listen to himself and feel anything, so he realizes he just killed his whole life because he was too busy ready to revenge something. So it's like this arc where they all like have this teaching moment at the end.

[24:00] Hayley Podschun: Sure.

[24:01] Aaron J Albano: I mean, that moment, that moment when when I think Diane Sawyer, so I forget who asks him about like regret on having kids.

[24:08] Kevin Jaeger: Yes, Diane Sawyer.

[24:11] Aaron J Albano: Like that is very, I uh, that fits very nicely into your analogy, Kevin.

[24:15] Kevin Jaeger: Yeah, so it just feels like everything and like how he said like teaching is so important. Like one of the last things they talk about is like how uh Oscar Hammerstein like called him Stevie and what he wrote, and like how much that meant to him. And so, like I know. All of that, but it's everything that it's structured. It's like it's structured like a Sondheim musical. So I feel like that's like the most touching thing that like his collaborator who made the movie could do to pay homage to him is to create a perfect Sondheim musical of his life with him being the tragic hero like through the whole thing?

[24:51] Hayley Podschun: Like I think that's just like a really brilliant way to structure it.

[24:55] Kevin Jaeger: Um what are your thoughts on um I guess the videos, like the things that they shot for this, like Audra or the three of them singing, or the four of them doing Opening Doors? Like, did was that too kitschy for you? Did you enjoy all of that? How did you feel like that kind of was that the glue that held it together? Or was that something that like made you like was that the moment like was that the bathroom break at a concert when they sing a song you don't know?

[25:22] Hayley Podschun: And can I add the caveat to that question? If you'd seen this before, was your experience of them different between now and the like the first time you saw it?

[25:33] Aaron J Albano: Yes.

[25:36] Hayley Podschun: Um I remember watching this the night it came out, which now that I'm thinking 2013. December 9th. Yeah, I think I was home like for something with my mom, and we like watched it together because we were so excited. But I thought it was just gonna be like almost a concert. Because the way they advertised it, they just showed the clips performances. So I was like, oh, this will be a fun, like kind of pre-recorded concert, and then it was a full documentary, and I was like, oh, this is fun with Betty's America Ferrera.

[26:11] Kevin Jaeger: I know more than watching it today.

[26:14] Hayley Podschun: I was just like, wait, these weren't necessary. We just saw that there's footage of Marilee that you could have pulled from.

[26:22] Kevin Jaeger: Yeah of Opening Doors.

[26:24] Hayley Podschun: Like, I didn't need Darren Criss and Jeremy and America Ferrera. Although now I do want to see Laura Osnes' Beth. Sounded great. I think that was gonna watch it.

[26:35] Kevin Jaeger: I mean, I thought the performances were fantastic. What I saw in 2013, I thought everything was great apart from I didn't understand why they did what they did to I'm Still Here.

[26:47] Hayley Podschun: Sure.

[26:48] Kevin Jaeger: Oh my god, that number.

[26:51] Hayley Podschun: And like this time I appreciated like the vision and the whole thing together more. I still wish that they had let some like strong belters just kind of like do it that song.

[27:04] Aaron J Albano: Like wait, I was thinking of the wait, that was Audra's number, right?

[27:08] Hayley Podschun: No.

[27:08] Kevin Jaeger: No, no, Audra's saying Send in the Clowns.

[27:12] Hayley Podschun: Right.

[27:12] Kevin Jaeger: I'm thinking it was like that like jazzy do that guy.

[27:16] Hayley Podschun: Oh my god.

[27:16] Kevin Jaeger: What was that?

[27:17] Hayley Podschun: Why is this the longest number in the entire movie right now?

[27:21] Hayley Podschun: I fast forwarded. I needed to because I was nervous that there was gonna be like someone talking over a bit about the story, and I was like, you this has gotta stop.

[27:31] Kevin Jaeger: They just, the lyrics to that song are brilliant for sure. I just wish they'd had like, and I get what the performance was. Like I'm not saying anything bad about the performer, I just like wish they had given that song a chance to really just be belted out because we've already had Something's Coming, which is like a female solo.

[27:50] Hayley Podschun: So it would have been nice to have a female solo because I don't think were any of the other ones female solos.

[27:56] Kevin Jaeger: Just the Send in the Clowns from Audra.

[27:57] Hayley Podschun: Yeah.

[27:59] Aaron J Albano: I will say I had not seen this documentary because I knew that they, um, reenacted like stuff from shows. I was like, I'm not watching this.

[28:09] Hayley Podschun: So on that note, yeah, was Sondheim as the producer way too kitschy in the third act of this?

[28:16] Kevin Jaeger: Yes.

[28:18] Hayley Podschun: Um, I didn't mind it because it was such a bad idea in the first place.

[28:24] Kevin Jaeger: I was like, well, at least he's like turning this around.

[28:28] Hayley Podschun: Sure.

[28:29] Kevin Jaeger: Oh, the hub didn't.

[28:32] Hayley Podschun: Yeah.

[28:33] Kevin Jaeger: And I think at that point I was just like, okay.

[28:35] Hayley Podschun: I mean, I guess we're doing this.

[28:36] Kevin Jaeger: Sure.

[28:37] Hayley Podschun: Like, I just gave up at that point.

[28:39] Kevin Jaeger: I was just shocked that he said yes.

[28:42] Hayley Podschun: Well, James Lapine directed, like, it was that was a strictly like for this documentary.

[28:48] Kevin Jaeger: You know, James Lapine was like, just sit in the chair, sing the song, just do it. It'll take us like 20 minutes. You'll get paid more. Do it.

[28:59] Hayley Podschun: Um, what was your favorite Sondheim hairstyle?

[29:05] Kevin Jaeger: I don't know.

[29:06] Hayley Podschun: I know.

[29:07] Kevin Jaeger: Karen and I really liked it.

[29:10] Hayley Podschun: I really liked younger Sondheim.

[29:12] Kevin Jaeger: Sondheim with long hair is truly the best.

[29:15] Hayley Podschun: Smoking the cigarette being like, listen, I, I didn't expect Send in the Clowns to be that popular. I just wrote it, like, I guess, you know, in Disc Doc, she started playing it once Judy Collins sang it. So, like, hummable tune, am I right? I was like, You're so cool, I hate you and love you.

[29:30] Kevin Jaeger: No, even younger version.

[29:33] Hayley Podschun: Oh, like Something's Coming, Sondheim.

[29:35] Kevin Jaeger: No, I'm all about the one that gets angry and puts his hair behind his ears.

[29:39] Hayley Podschun: Yeah, that was that's my favorite. So that was Dave Cigarette hair. Like that one he's like dashing. I get it. Like he's way hot. Sebastian Stan Steven Sondheim is my favorite. Oh, how cute. Steven is not my first time. Steven Sondheim the winter solution. That's so good. Stephen Sondheim as the winter soldier is everything. Um, I guess I'm calling him that forever. He's like what S4? S what Sebastian Stan Steven Sondheim. Um that's so good. Um for me, I would say the sexiest thing about this documentary is when he described the difference between a poem and a lyric. Oh, found that to be the sexiest thing I've heard in a long time. And that made me think about the rest of the documentary, and even as he gets older, he becomes way more pithy.

So, in those in the Sebastian Stan Stevens, the S4 um interviews, he's just like he loves the sound of his voice way more than he does when he's older. And that Diane was that the Diane Sawyer, I forget who did that one. It is Diane Sawyer, but the way that the reactions and all that stuff, like it was just so sexy the way he described the difference between like the momentum and the listening and everything happening versus like the poem that you're supposed to reread and get something from it, was just like this literally the sexiest thing I've ever heard.

[31:13] Kevin Jaeger: Well, it's like what it's his his intelligence is just hot. It's like oh okay. He's been yeah, it's amazing. So I don't know. What was some of your favorite advice or lines that he had in this that really stand out to you? And and like someone for Kevin, like, was it in 2013? Did something pop differently than it did you then watching it this week?

[31:42] Aaron J Albano: Advice wise. One of my favorite things or moments from this movie is when he's doing the interview with Arthur Lawrence, and um uh I think uh I think Bernstein was in the interview as well. They're like sitting on couches talking to some guy, and Steven Sondheim as like a that's this is like the the sexy version that Hayley and Aaron were talking about. Sure. Like he's like already starting to brood a bit on the couch, and he's like, No one listens to lyrics in a musical. And they're like, Arthur Lawrence, like, no, I think they do, and Sondheim like starts his lecture, which is the same lecture he like talked about in that like ending moment that you were talking about. Yeah, he's had the same through line of like he's had the same like brilliant line, he's just learned how to like structure it better as he's gotten wiser, like but he's always been that brilliant because that's why his stuff has just always been on the same level of brilliant.

But like when he's like when he's saying what he's saying so definitively about the audience experience and why lyrics are like have to be poignant, but like quick enough for them to get it, be like, Great, I got it. Now I have to see what's happening. Like that was like so brilliant to watch him doing that on a couch when he was the brand new nobody, like 26 year old, and like these are these seasoned, like that's who took him on, but he still stood his ground. Like that to me is like such an amazing lesson to like believe that you're the strong one in the room, even if you're not the one with the most money or the most experience, like per se. Anyone else have a standout moment?

[33:18] Hayley Podschun: Um two of two of mine are there's this one that like when he was talking about, and it was it it was it was reflecting when he was like, No, your your lyrics have to be the most direct. It's I feel like so many other artists like cre in the cre and creative teams everywhere are like my choreography, my direction, my and he's like, no, there's a lot happening. Everyone, when you're watching a musical, there's a lot happening. This is why the lyrics have to be as clear as possible. He's not discounting everything else in the musical, he's actually saying these all exist too, and this is why I have to write this way. My mom even commented on that quote. She was like, Yeah, because I'm always looking at the costumes and the sets, i.e. why I'm her daughter. So we're always looking at the details, but like we need we need those lyrics to be standing out.

[34:20] Kevin Jaeger: Yeah, absolutely. My and my other my the other one. Mango, though. Mango, nice, good choice. The other one moment. Um the best worst thing. Yeah. Because man, go on with the next thing. Anyway, Aaron, so you can finish. Sorry, finish your thought.

[34:39] Aaron J Albano: Yeah, no, no, no, no. It wasn't really a lesson, but like the way the documentary sort of spelled out that his trauma with his mother is what like sort of inspired children to listen. So heartbreaking. And yeah, I was just like, that got me. I mean, a lot of things about this documentary got me, but that was like if if if that in fact is what inspired Into the Woods, I was like, whoa, this is a lot. Um, sorry. I was just gonna say really fast that I call I had my parents also in who are in Florida uh watch Six by Sondheim because they have HBO, so I told them to watch it, we could talk about it. Yeah, and my mom said this. My mom said watch that movie made me made her sad for him because of his mom thing, and she was like, Well, you're very lucky that you know that I love you. And I was like, or I'm not lucky because I'd be more famous if you hated me.

[35:38] Hayley Podschun: My dad thought it was hilarious, but my mom did not find it. You were like Candor and Eb live next to us. If you didn't love me, they would have been my parents. That's literally what I said to her. I was like, why am I not saying oh Fred drop got me this thing, mom? Drag her. Oh my god. I'm sorry, poor kids, I couldn't do it.

[36:02] Bryan Plovsky: Brian, I wrote down one note for all three of these movies. And that note is directly for you. His dad joke at the forum. Oh my god. Like an image. And he just goes, you know, a funny thing happened on the way there. Oh, in a t-shirt and shorts and like sandals. I was like, I was like, it's Brian. That's the Sondheim action figure I would buy. That was my favorite song. So all I wrote down was talk to Brian about dad jokes.

[36:32] Hayley Podschun: Oh, I love that. Something something that this movie's I we all know that we all know hi, Maisie. We all know that you know uh uh Hammerstein like became his surrogate father, taught him everything he knows and all that, you know, obviously gave him the connections to start writing lyrics at 25 for like a Broadway production, but I it it's so it's so crazy to watch him talk about Oscar Hammerstein like a father figure, um, so casually, and the the weight that he holds um for that word Oscar versus the way that like a lot of us casually just like understand the fact that like he is the greatest or is considered the greatest or the father of it, however you want to define his role in the musical theater, but to watch the weight every single time he said it carry that name, you was almost like watching like him wearing like a weighted vest of Oscar Hammerstein on him for this whole life, and even the moment where he talks about never trying to write like Oscar again, but then and and that being very clear and and and not hypertherical hypocritical in any way, but at the end, just wanting him to be proud of him was just like a very for me, a very strong and and kind of mind-blowing narrative throughout this.

[37:50] Aaron J Albano: Yeah, which is why I wrote my senior thesis about their relationship.

[37:53] Hayley Podschun: Oh, yeah. Fancy.

[37:56] Aaron J Albano: Well, I wrote it about that, like his whole career has been him trying to like make Oscar proud and like fix all of Oscar's flaws in his own work. And that will be available via PDF on number. I did find it the other day. I was like going through my flash drives and I plugged one in to like move something to Jay's computer, and I was like, this is my entire senior year of college. I want to read it. I would don't know if it's good.

[38:21] Hayley Podschun: Um, but any before we move on to more Sondheim, any final thoughts on Six by Sondheim?

[38:28] Kevin Jaeger: Pull up my notes. Watching the entire being alive was surrendering. Also, if this had been made this year, they would have used um the footage from Marriage Story, guaranteed.

[38:41] Hayley Podschun: I still haven't watched that because it's okay.

[38:44] Aaron J Albano: Okay, never mind. Honestly, don't watch it.

[38:48] Hayley Podschun: It's not that great.

[38:49] Aaron J Albano: Oh, I enjoyed it. I just, I mean, my only things were like minimal stuff. I was like, he was 25 when he wrote the lyrics to West Side Story, and then for him to say, no, don't put my name on it. It's okay. Like, I know. What also I think there are moments where Hal Prince and Steve Sondheim look like twins.

[39:13] Hayley Podschun: That's really I agree with that.

[39:16] Aaron J Albano: Yeah, it's true. Yeah. It was fascinating hearing how he wrote when they he was talking about writing for Ethel Merman. Oh, I love that Oscar kept giving him challenges. Was it in- I feel like his whole career was like Oscar being like, here's a lesson. Here's a um, oh you know what some other things that stuck out to me were actually you brought it up. The concept of that it's not that writers work better under pressure, they work better on the road when they know who they're writing for, and that's why thongs sometimes stick a little bit more. Was like something that like I don't know if I'd ever heard before, but like I knew in the back of my head. But like having a lot of the things that like you know in your gut, but have no one has ever verbalized before. I felt there was a lot of those moments for me in this.

[40:05] Hayley Podschun: Oh yeah, he articulates a lot of truth that like is just cathartic at this point, where you're like, Oh, that's how you say that. And it's yeah, oh go ahead.

[40:15] Aaron J Albano: It's so honestly flabbergasted that like Send in the Clowns was such a big hit because he just wrote it as a very quick, like emotional song for a specific singer.

[40:26] Hayley Podschun: Right.

[40:26] Aaron J Albano: And suddenly it was like, this is my song that's gonna break out. Like he was like so shocked. And I remember I love that. I remember when we did Mary Poppins, and you said that Glennis Johns sang that initially.

[40:39] Hayley Podschun: Yeah, yeah, yeah.

[40:39] Aaron J Albano: And seeing that little clip, that little snippet of her singing it. Sure. I was riveted. I was like, oh it makes me listen to the song completely different now, knowing like her breath patterns. And I mean, we'll get into this with like best worst thing, but like that small Jason Alexander interview he has when Sondheim's like, what do you what are things that you're good or not good at? And he's like, Oh, I'm I'm actually terrible at this. And then he wrote his entire song for Jason Alexander. This is all thematic. That's why I was bad at it. He's like, it's so fascinating.

[41:13] Hayley Podschun: Yeah, teacher at the highest level. Some things that I'll point out about this are watching this documentary, even sa it feels like Sondheim lived in a it look it's like watching a different world of how theater works.

[41:29] Kevin Jaeger: Yes, yeah, it doesn't work like that anymore.

[41:32] Hayley Podschun: And it's just so interesting that like it feels like watching like this antique relic of how theater once worked versus how it works now, and just like they would just churn these out and get them up and like sure. It was just it was just a very the way they auditioned, like it and we'll talk more about that in best worst, but like it just felt like a totally different world. And I bet that you know Hayley and and Aaron, you can talk to that a little bit in more depth.

[41:59] Aaron J Albano: Yes, we can when we get there.

[42:01] Hayley Podschun: Yeah, um, and then another thing is uh my hot take on this is that I believe that Send in the Clowns is totally overrated as a song, and um I completely understand why it was included in this, but like that song I I I don't understand that song and and is and I I understand it like intellectually, but like it just doesn't do it for me.

[42:21] Kevin Jaeger: Oh I disagree wholeheartedly.

[42:24] Hayley Podschun: I think that I have control over the Zoom, so we're gonna kick you out.

[42:30] Aaron J Albano: I mean, Brian, I'm kind of there with you. I again I'm not a Sondheim baby, so I'm like, I I don't I respect it, but I'm like it's I don't want to I you know it it's just like uh but it's a monologue, it's brilliant. Like it's just like it Yeah, for sure. Like we're talking about just as a song, or like what the song I guess that's both both things. It's a really moment for her. Like it's just brilliant short and like it's exactly how you would be if that happened in the moment. Like the speech pattern is this like song path. Oh yeah. I don't doubt it's brilliant. I know it's brilliant, I hear it. I'm just like overplayed maybe, but I don't know if they stuff like overrated. So I that'd probably be a skip on the album. That's a skip on the album for me.

[43:15] Hayley Podschun: I mean it's a skip on the album too. I'm de I'm so the only time I'll ever like listen to it is like if Judy then just doing it on him as your producer. But I think in in recent years, that song has gained more relevance in or is that sharing too much? More relevance in my life than it did before, and now it like resonates way more.

[43:41] Aaron J Albano: You mean we can do starting actually being a professional clown?

[43:46] Hayley Podschun: Sure, yes. Always left on the sidelines. You're just like, send me in, coach. Like I'm writing like you're on. I'm ready to clown today. And then the only thing that I wish was in this that I didn't see in this, and I don't really see down the line. I haven't really don't really talk about his com his purely comic songs, even though he doesn't write purely comic songs. The closest they got were the puns, and they did that little section on Little Priest where they showed that and how he like finds words and stuff like that. But like in terms of like like forum, I I feel like a lot of these writing processes were very redundant throughout, which is totally fine.

[44:27] Aaron J Albano: But I would have loved a little bit more insight into how he, Sondheim, is able to create these humorous moments in songs that are very grounded in the characters, but like his choice of words may be a little bit higher than that character's vocabulary to make it funny, or how do you make it funny by keeping it the same vocabulary level and the same inflections and things like that?

[44:52] Hayley Podschun: I would have you can infer all of that from how he talked about the other songs.

[44:56] Kevin Jaeger: Yeah.

[44:56] Hayley Podschun: Talks about a pinch and a punch and all of that. Um and you get a little bit of but I would have loved the in my opinion. Maybe there aren't interviews that there were no narrative to be able to go by that. But I would have been interested a little bit of more of a juxtaposition to the serious stuff, the Belty stuff, the deeply character stuff that he writes.

[45:16] Bryan Plovsky: I mean, I guess I think that's where it was just all kind of covered in the umbrella. Um when he went like in that stuff.

[45:22] Aaron J Albano: Sure.

[45:22] Hayley Podschun: I feel like the main thing is yes, there are puns, yes, there's like clever wordplay, but it's all character driven. And so I think it was like too. I don't know, I'm making stuff up. It's not like I wrote them.

[45:34] Bryan Plovsky: No, but I mean I mean it's also it's also maybe this is the bigger question. I never really got a sense of his sense of humor, and that is something that I focus in on when I meet someone new or when I'm hearing deeper about someone. Like what is their type of sense of humor? And I never really got that from that. And that's that's that's not the documentary fault. That's just something that I pick up on.

[45:57] Hayley Podschun: No, I get that. And yeah, that that I would say is missing. Um but uh all around I'm assuming this like an A plus for everybody, yeah.

[46:06] Kevin Jaeger: Yeah.

[46:07] Bryan Plovsky: 100% on not Rotten Tomatoes. A get rid of get rid of the reenactments, and I'm great.

[46:14] Hayley Podschun: Yes, fire Hayley.

[46:19] Aaron J Albano: Um can anyone guess what can anybody guess what the uh Rotten Tomatoes was on this?

[46:25] Kevin Jaeger: 94.

[46:27] Hayley Podschun: 96.

[46:28] Aaron J Albano: 89.

[46:31] Kevin Jaeger: 90.

[46:33] Hayley Podschun: 100.

[46:35] Bryan Plovsky: Really? What is that called? It's like totally fresh.

[46:40] Aaron J Albano: Yeah, it's a I mean it's only based on 12, so I don't know if it can count as that.

[46:46] Hayley Podschun: Because only 12 reviews.

[46:48] Kevin Jaeger: I was gonna say, yeah, what people are going on to review Six by Sondheim on Rotten Tomatoes.

[46:53] Aaron J Albano: Correct. No, well these are from these are these are based on the professional reviews.

[46:59] Kevin Jaeger: The audience score is an 80 based on 63.

[47:02] Bryan Plovsky: But I go I go off just the critical reviews.

[47:05] Hayley Podschun: Yeah.

[47:06] Kevin Jaeger: Not it. Oh, that's a big distinction. Because I don't know what jabronies are writing. Like they could like literally Jerry, Jerry Herman could have written a review bringing him down.

[47:16] Bryan Plovsky: It won something, right? It won like the Oscar or the Emmy or whatever.

[47:20] Hayley Podschun: I don't know. Uh let's see. It won a Peabody award.

[47:28] Aaron J Albano: Oh, fierce.

[47:30] Bryan Plovsky: Yes. Anyway, so let's talk about something other Sondheim. Best Worst Thing That Could Ever Have Happened. Um, this was uh from 2016. This is by Lonnie Price, who was in it, and as we know, went on to be a very fruitful director of Sondheim Chosen More. Um, but um this was basically a documentary um the you know showing the the progress, the history of Merrily We Roll Along and the some of the actors who were in it. Um so um let's just go around. Like, what are your thoughts on this?

[48:06] Aaron J Albano: Who had seen it again? I forget.

[48:07] Hayley Podschun: I had seen it, Aaron.

[48:09] Bryan Plovsky: All right, so only me and Kimberly had not seen it before today. Cool. Um anyone can go.

[48:15] Hayley Podschun: Yeah, all this movie wrecked me harder than it did before.

[48:19] Aaron J Albano: Same, same thing. I think I was very fortunate that I was watching it while I was doing work. Because if I had my druthers, I would have like cozied up with a glass of wine and like no one around me on like a big TV, but I did not have that opportunity.

[48:41] Hayley Podschun: Um, and so since it was not my sole attention, it did not wreck me as much as it should have. But I loved it so much. Fun fact, me and Hayley have been in that theater.

[48:54] Aaron J Albano: True.

[48:55] Hayley Podschun: It literally heard it.

[48:56] Bryan Plovsky: So have we. We've sit in that theater.

[48:59] Hayley Podschun: Well, we've been in the seats. My first note was I'm emotional seeing the Neil Simon Theater. I want to go back.

[49:07] Aaron J Albano: Oh.

[49:07] Hayley Podschun: Which is huge for me because I'm like, get me as far away from Broadway as I can right now. But I'm like seeing that theater, because that's where I did Hairspray. And I was like, oh my God, what a magical like three years my life that was not on Broadway, but like all of Hairspray.

[49:24] Aaron J Albano: Um I just like it made me so happy seeing that space. And then it's it's always that fun reminder of like when you go into a new theater with the show, you're like, you forget that sometimes other shows have been there. Done that. You know, I unless you've like, I don't know, like the Schubert Theater was where I saw Chicago. So I was like, oh my gosh, this is where this is, you know.

[49:48] Hayley Podschun: Um, but like I had from my childhood memory never seen anything at the Neil Simon.

[49:55] Aaron J Albano: Um so that is my memory of the Neil Simon is Hairspray and like what a magical gift that was. So to see it again. I was like, oh cool.

[50:09] Kevin Jaeger: Overall thoughts.

[50:12] Hayley Podschun: Yeah.

[50:13] Kevin Jaeger: Deeper. Open it up, baby.

[50:17] Hayley Podschun: Um no, I just it just wrecked me, and it's just like the sad reality of what could happen when you have a passion project that you love and everyone's excited about and the whole team feels good and it just doesn't hit.

[50:30] Aaron J Albano: And like we've seen a lot of like success stories, so it's like intense to watch it like a not success story. Um like seeing somebody get replaced, seeing like them like think they finally worked it out and like going through the kinks and then like to not have a hit. It's just sad.

[50:49] Kevin Jaeger: Um it hit me way more this time because it's like that's like a substantial amount of time for everyone's career to be dedicated to something that doesn't work, and then the ramifications of what it has on people who don't have the like clout and ability to just like brush it off and move on.

[51:09] Hayley Podschun: Well, let's let's talk a little bit, let's talk about a little bit that because Kevin and I were texting about this while I watched it today, and um uh something that I noticed about this was this this movie just did not wreck me. I really enjoyed it, but like I didn't it didn't, I didn't get emotional towards the end.

[51:27] Aaron J Albano: Um I actually found the stories of all these people finding other careers and paths to go down, even though they miss it, very revitalizing. I thought it was a very positive ending that they use their experience with theater to succeed at other things, yes, um, which was like super cool.

[51:43] Kevin Jaeger: Um, but there's also another version of this that Lonnie Price doesn't direct that is about um then there's not if there's not an actual one, but like there's another narrative in here about how and I I mean this in a pop I don't mean this in like to cast doubt on anything, but like kind of how Prince and Sondheim are like the villains in that they created this musical and then just kind of like it failed and then they walked away, but they had these 16-year-olds who had such high expectations, who thought that this was like the real jumping off point and had didn't have that that willpower, that experience to like and or the life experience to overcome what had happened where they go on because that like Kevin said, they have the clout to move on, where all these people like and you can even see in some of these interviews at the end, like there's little pieces of them that never got over that.

[52:35] Hayley Podschun: Oh, for sure.

[52:36] Kevin Jaeger: And maybe just the narrative of it all, but like there's a version of this where like they did them dirty in a way, and I don't mean like they actually did. Like they just planned it. Like does that make sense?

[52:49] Hayley Podschun: But also like as a Broadway kid who's show closed, like that's what happens to you.

[52:55] Aaron J Albano: Absolutely.

[52:57] Kevin Jaeger: It's just the other side. They made it very I'm I'm not saying that that's the movie I wanted at all because it's not, but there definitely is a darker side to this story that they kind of they they tingled.

[53:11] Hayley Podschun: They gloss over, that's the word.

[53:12] Kevin Jaeger: Yeah, yeah. There's a tr there's a trauma that a lot of these kids went through, and you can see it in in their interviews. That and it's it's the people who aren't Jason Alexander and the people who aren't Tonya Pinkins. It's the people who like Yeah, and you're not equipped to to handle that when you're that young. Unless you're un unless you take off afterward.

[53:36] Aaron J Albano: And that's a real thing.

[53:38] Kevin Jaeger: And it also feels like like we talked about the first one. I want I want you all to talk about this. It feels like another world. Like this this what the all these videos that Lonnie Price cuts in between, like the audition stuff, which is truly incredible, they even have it on film. It's amazing.

[53:55] Hayley Podschun: Yes.

[53:55] Kevin Jaeger: Like, and from the two of you who have gone through audition after audition after audition, booked things, not booked things, been in flops, been successes. Like how much of a different world what these actors and actresses went through.

[54:12] Hayley Podschun: I mean, just the dance audition itself, I was like, yeah, that's not a dance show, but I was like watching what they were all wearing and like the technique of everyone. And I was like, wow, if I had been born later with the technique that I have now, I would have been a star.

[54:32] Aaron J Albano: I mean, they were terrible, and then the clothing they were wearing, like they couldn't move in it, or they could, and it was just like a leotard and tights, but that you love that that was that era, and that's what you did.

[54:45] Hayley Podschun: And you didn't have to have, you know, these fancy high kicks and goodness. I mean, at least for that show, you didn't.

[54:51] Aaron J Albano: And I'm like, oh god, what a gift that would have been.

[54:59] Hayley Podschun: And see, have you ever gotten a show like that? Like just been in the room, and they're like, Well, you're all in the show.

[55:05] Aaron J Albano: No, it happened to me on like a this like commercial thing that I did. We were in the room and they told us, and it was like this, it was an environmental commercial that was industrial.

[55:19] Hayley Podschun: No, I wish.

[55:21] Aaron J Albano: We did like 20 different commercials for it, and we were the e-patrol, and there were four of us, and they told us in the room that we got it. And I there I feel like there might have been one other time that happened to me, but that's the that's the one that is in my head.

[55:35] Hayley Podschun: Um, and I feel I feel like it's not like the nuts and bolts of it were very different, but like the stakes were all the same, so that's what I was like, this is right. This is this is the same.

[55:45] Aaron J Albano: The industry stays the same, and that's you book a Broadway show, and I'm like, and especially with like the glee that they all feel when they are all told in the room by Al Prince, this like god that they that they all worshiped at the time, like that they're gonna get to work with them now.

[56:04] Hayley Podschun: I was like, this is real. This is not this is not that different.

[56:09] Kevin Jaeger: This like again, like the emotion is still the same, but the prep work is 50,000 times harder now.

[56:16] Hayley Podschun: What was interesting about this is because I treat Sondheim as like this mythical figure. Watching these kids discover this myth into a man following Six by Sondheim was like very rewarding for me as a viewer.

[56:31] Aaron J Albano: Um, and that the truly the coolest thing in this was like him playing the song for the first time at that party.

[56:38] Hayley Podschun: Yeah, and I don't know, that just humanized this person.

[56:43] Kevin Jaeger: Answering my emails, like I like that as like the subplot of this, the taking Sondheim off his pedestal while keeping him there, like or changing the pedestal he's on for these people was very a very exciting thing for me to watch.

[56:58] Hayley Podschun: But they like created like a big step that everyone could like climb up on and feel like he's more accessible.

[57:04] Aaron J Albano: Yeah, well, he went from a god to a very talented man.

[57:08] Kevin Jaeger: Yeah, well, yeah, one of them says it at the end where they're like, We watched our gods fall very hard, and not and I forget if they said that they couldn't get up or they did get up, but it was really hard on them.

[57:21] Hayley Podschun: But like they watched them fall, and they watched their like idols fall, and that's like that's definitely like a very heavy plot of the moon of the movie itself, yeah.

[57:32] Kevin Jaeger: The the blame thing too, yeah.

[57:34] Hayley Podschun: The blame conversations at the end where some people remembered other people being harder on themselves, and yes, like like that was when they yeah, when she told Lonnie Price, she was like, Well, you like thought it was your fault. He's like, I did.

[57:48] Aaron J Albano: That was fascinating.

[57:50] Kevin Jaeger: Because you wonder if like the the human emotional it blacks you out, or he, you know, like that, or because his career was so fruitful afterwards, like maybe that's something that like he forgave himself for, whereas some of these other people who didn't have maybe the same type of career that they were hoping for, they expected after doing this, like don't didn't let that go.

[58:12] Hayley Podschun: It's it's so the psychological aspect of it is so interesting.

[58:15] Aaron J Albano: I mean, I like what I will say. I love this, I love this documentary deeply. Where I always get really upset is when, and I understand it, but I still get very upset when they replace the first Charlie.

[58:20] Kevin Jaeger: Frank?

[58:20] Aaron J Albano: Charlie Frank.

[58:20] Kevin Jaeger: Frank.

[58:20] Aaron J Albano: When they replace the first Frank, I always get very upset.

[58:34] Kevin Jaeger: In what way?

[58:35] Aaron J Albano: What I've I've lived in those processes of like when people get replaced in shows. It makes sense, and we all understand it. But these people, like this, these people are people, and these people have devoted the like to get super real. When though when those like six newsies in Paper Mill did not go to Broadway, all of us were very upset. We were all happy we were going to Broadway, but like that sent a wave of anger through our company because this was our family, and we watched them like not come with us, and watching like the A the fact that he could he was even able to do any of the interviews for this thing, like even years later.

[59:23] Aaron J Albano: I mean, who knows? I'm not him, but like sure, yeah. But it's like, did you ever see the documentary about the making of Annie and like, oh, that happened with Annie on Broadway? It's fascinating.

[59:36] Hayley Podschun: Yeah, I haven't seen it, but I need to watch it again, it's on YouTube.

[59:42] Aaron J Albano: Yeah, it worked. There was a little girl who was playing Annie out of town.

[59:48] Hayley Podschun: At Goodspeed?

[59:49] Aaron J Albano: Yes. And she couldn't do it. They were like trying to change things the next day, and she had worked really hard but just couldn't do it. She was getting nervous and stage fright and stuff like that, but trying her best. And they were like, it's not working. So they replaced her before Broadway. And like she's an adult woman now, and she's like not over it.

[1:00:16] Hayley Podschun: Like, yeah.

[1:00:18] Aaron J Albano: It's like really she like never performed again. And like she holds it hard.

[1:00:26] Hayley Podschun: That trauma is real.

[1:00:28] Aaron J Albano: That trauma is super real. And it's what I think is really, I think you're right. It does sort of gloss over that aspect of the whole story, but the rest of the story is really good.

[1:00:40] Hayley Podschun: Yeah, yeah. I mean, watching Lonnie Price watch his younger self.

[1:00:46] Aaron J Albano: Oh my god. Well, to watch it twice when you have no context and with context is an editing miracle.

[1:00:56] Hayley Podschun: Yeah.

[1:00:57] Aaron J Albano: She was edited very well. My friend's post-production company did this movie.

[1:01:02] Hayley Podschun: Oh, really?

[1:01:03] Aaron J Albano: Tell them they did a great job. This is really well edited. She texted me because we were roommates for a while, and then she texted me. She's like, she goes, you know Lonnie Price, right? She goes, he's in my office. We're doing a movie.

[1:01:15] Hayley Podschun: What?

[1:01:16] Aaron J Albano: Speaking of Lonnie Price, something that I just never put together is that he's the main human actor in Muppets Take Manhattan.

[1:01:27] Hayley Podschun: Oh, I still haven't seen it.

[1:01:30] Aaron J Albano: In the Muppets Take Manhattan movie, he's the one with the big glasses that helps out Kermit and the gang. And when they talk about his after career, they say, yeah, I was in some movies, and they flash onto him in Muppets Take Manhattan, and I had to pause it and take a breath.

[1:01:46] Hayley Podschun: What?

[1:01:47] Aaron J Albano: Yeah, I got wow. Um, you keep talking. What else kind of struck you about this? Was there one person's interviews that really you were more invested in? Was there one more actress that you were invested in or actor? Or were you just as interested? Did you wish they had other ones in there? Do you think they chose the right ones? I guess we'll talk a little bit about the narratives that they chose in the interviews they did.

[1:02:13] Hayley Podschun: I mean, I feel like the movie just hits in so many different ways. But I think the biggest one A is just the, I think it starts at the Lonnie Price kid interview, but then it continues, especially to the end where they're playing on the Neil Simon stage, they're doing the concert, and it's this idea that they have this very deep memory of this really real possibility that this was the best thing they'd ever done, and it was so long ago now.

[1:02:55] Aaron J Albano: Yeah, that it's not that the peak of their lives, for lack of a better term, is behind them, but there's a sadness but also a celebration of that.

[1:03:09] Hayley Podschun: Forget it. I yeah, I was gone. The voiceovers of them do while they were doing the reunion and how excited they were to be doing this and the one woman was talking about how she lost her voice because she was just going like it was just like I loved her.

[1:03:27] Aaron J Albano: I loved her, one of my favorites. She was like, I'm fine, I just don't do that anymore.

[1:03:33] Hayley Podschun: Yeah.

[1:03:33] Aaron J Albano: Because Alan Alda told me not to in the pool one day. I was so jealous of her being able to find a different career and like being successful in it and like only having one W-2 for her taxes. Like I was so jealous of her life and still get like to have her get emotional in that dressing room. I was like, oh, you're my idol.

[1:03:59] Hayley Podschun: The moment that she, one thing that stuck out to me was that when she was in the dressing room and she talks about like I have a husband, I have kids at home, but like they kind of everything just disappeared for those three days. Like it was almost like you were watching somebody in a time machine and it was truly, there was no acting, it was so genuine and like it was, that really affected me.

[1:04:23] Aaron J Albano: Can we also talk about the clothes? George Firth's jacket was spectacular. Those costumes, the one thing I didn't realize is like when they say like cut the costumes and we'll all wear sweatshirts, those were very involved costumes that also happened to say like my best friend pal. Like Lonnie Price had like patches all over his. Like they weren't all in like a white hoodie.

[1:04:52] Hayley Podschun: Right.

[1:04:54] Aaron J Albano: Well, I think also it was interesting to hear how Prince talked about it in the time and then listen to Hal Prince with all the mistakes.

[1:05:05] Hayley Podschun: Yeah, totally.

[1:05:05] Aaron J Albano: With all of his experience in between and talk about like that was fascinating from a director producer perspective. I did write down that I loved Lonnie Price, like his whole journey of him writing Hal, him then getting the job, then to him investing in Pacific Overtures, then to being involved in this reading and then getting it. It's like you just, he put himself out there and he got what he wanted. And I was like, that's inspiration when a win.

[1:05:36] Hayley Podschun: Something that also stuck out to me in this, and I thought that the inclusion and how they put the narrative of Jason Alexander in this was really well done. Obviously, you need to keep him in there because he's like the super famous one, yeah. But I thought that the narrative that he created for himself, even though he does seem very on at a lot, at all points.

[1:05:57] Aaron J Albano: Um, he talks about that though.

[1:05:57] Hayley Podschun: Yeah, exactly. I thought that he was super genuine in taking the fact that he recognizes how privileged he is because of Seinfeld and his missing of theater and his choice to be Jay Greenspan, as opposed to that like the narrative around that with his kids and how much he misses theater was like, I, that felt very, very real without feeling like first world problems. Does that make sense?

[1:06:29] Aaron J Albano: Yeah, no, totally.

[1:06:32] Hayley Podschun: But I think you saying he's on, I mean, it is, but like it 100% is he is on, but it's also like that is his life now, and when there's a camera and he's sitting down having to do an interview, that's just who he is. And that the B role of him going through that market and taking pictures, obviously they did it on purpose.

[1:06:51] Aaron J Albano: Oh my god.

[1:06:52] Hayley Podschun: But like it was exhausting.

[1:06:53] Aaron J Albano: Yeah, absolutely.

[1:06:54] Hayley Podschun: And that was great. It was great filmmaking because you're exhausted for him while he's talking about how much he misses theater, but he understands he accepts what his life is in the same way.

[1:07:04] Aaron J Albano: Yeah.

[1:07:05] Hayley Podschun: Oh yeah, that was brilliant storytelling. I do want to point out that he did mention that he's from Livingston, New Jersey. I wondered if you were gonna not only is he from Livingston, New Jersey, and we went to the same high school, not at the same time. But the voice teacher that he said he looked for a voice teacher and got one.

[1:07:25] Aaron J Albano: Oh, I had the same voice teacher as him.

[1:07:28] Hayley Podschun: Look at you anyway, yeah.

[1:07:30] Aaron J Albano: And look at my Tony, just kidding. Um, another life you'd be George Costanza.

[1:07:35] Hayley Podschun: Yeah, great.

[1:07:36] Aaron J Albano: Um, I want that. No, I'm kidding. I love it here. I love you guys. Um, but uh, and his bar mitzvah money, the camp story from the other one. There's a lot of the individual moments where he says, like, I played Company so much, there's a 65-year-old divorce lawyer somewhere that can sing every word to Company. Like, I love that stuff leading like, um, before we keep moving on. Um, any final thoughts?

[1:08:02] Hayley Podschun: Um, I'd love to hear more of your opinions on this. I want to watch it again.

[1:08:10] Aaron J Albano: If you watched it again, sorry.

[1:08:12] Hayley Podschun: Oh, go ahead.

[1:08:13] Kimberly: Kimberly, if you watched it again, you probably will. Is there something that you would focus on more when watching?

[1:08:21] Hayley Podschun: I don't know.

[1:08:23] Kimberly: Cool.

[1:08:24] Hayley Podschun: Sorry.

[1:08:25] Kimberly: Oh, that's okay. I think it also captures like that theater kid energy so well, like especially when Lonnie Price is like, Steven Sondheim's in my house when he goes into the bedroom with all of his Sondheim posters. Like, imagine if the shot of him playing the piano and behind him on the wall is like Follies and all this other stuff. If Steve knows that that's like right behind him, like I just thought that was so, if you like even noticed walking into the room, they're like, oh, he's a fan. Like if Spielberg came into my room as a kid and he's like talking to me like underneath like the Jurassic Park parts, oh my god, dinosaurs on your wall, that would have terrified me as a kid.

[1:08:26] Kevin Jaeger: What are your thoughts on this? You haven't talked that much about this one as much as you talked about Six. Did you have other feelings about this or no?

[1:08:26] Kevin Jaeger: No, I just agree with everybody. I just, this one just super wrecks me because like the musical is sad and it's like perfect but imperfect. The imperfections like can't be fixed, which is why it's like tragic. So it's like, it's just, it's just a sad thing to watch like the reality of what this business can be.

[1:09:39] Aaron J Albano: Um, but I mean, I think that it's uplifting to see how like a lot of them got past it.

[1:09:44] Kevin Jaeger: We're fine.

[1:10:04] Aaron J Albano: Eighty-nine, ninety-six, ninety-five.

[1:10:05] Aaron J Albano: Sure.

[1:10:06] Kevin Jaeger: Yeah, so yeah, so I think it's just this one is just like a little less uplifting, so it's just like kind of a sadder one. But do you guys know what the Rotten Tomatoes score is?

[1:10:04] Aaron J Albano: A hundred.

[1:10:04] Kevin Jaeger: This one has to be a hundred, also.

[1:10:04] Kevin Jaeger: We win. I win because I didn't go over.

[1:10:16] Kevin Jaeger: We love the prices, right? The average audience score is 76%.

[1:10:18] Aaron J Albano: Write rules, curses.

[1:10:21] Aaron J Albano: Trombone.

[1:10:22] Kevin Jaeger: Oh, really?

[1:10:23] Aaron J Albano: Yeah, they give you six trombones.

[1:10:26] Kevin Jaeger: It was crazy. Um, so let's switch gears here momentarily.

[1:10:32] Aaron J Albano: Okay.

[1:10:33] Kevin Jaeger: Um, let's talk a little bit about Bathtubs Over Broadway. Now, Bathtubs Over Broadway, the basic narrative, if you didn't watch it, is that this comedy writer for the David Letterman show, um, essentially through back channels or whatever, becomes really obsessed with these industrial albums from the, you know, 60s, the 70s, the 80s.

[1:10:59] Hayley Podschun: Um, started as a joke on the show, didn't it?

[1:11:02] Kevin Jaeger: Yeah, yeah.

[1:11:03] Hayley Podschun: He was looking for fake albums for David Letterman's collection gig for his collection, and they played the funny songs, they were nuts, and he just became so intrigued by this that it just turned into his life, and it kind of chronicles both this man as well as the people who were in them and wrote them, and then in turn the musicals themselves and the industry or industrials.

[1:11:26] Aaron J Albano: Um, I think Hayley's the only one who had seen this before, correct?

[1:11:31] Hayley Podschun: I suggested it.

[1:11:32] Kevin Jaeger: Yeah, yeah.

[1:11:33] Hayley Podschun: I'm so happy you did.

[1:11:35] Kevin Jaeger: So high-level thoughts.

[1:11:38] Aaron J Albano: Let's, Kevin, you, you were ready to jump out of your skin there.

[1:11:41] Kevin Jaeger: This one wrecked me the most. I cried so many times during this movie and did not expect it. I just thought it was such like simple, honest to like stand back storytelling that just let this like simple, sweet man take over, and you see like this whole world that was literally brushed under a rug. And like the way that those women talked about like how you would, they would ask people what you do, and you would tell them you're like mostly an industrials performer, and they were like, I don't know what that is.

[1:12:19] Aaron J Albano: Um, but like hearing also about like the comparison of what kind of money was going into shows for industrials compared to what was on actual Broadway was just like, it's so sad that some of these people who are the star of those like don't get to like, we don't know their names, and like that was so sweet. He was like, went to all these old people and were just like, I know you just like, I feel like that like profound impact. Like I cried so many times when he was talking to people, and they were just like so like touched, touched to the point where they didn't know what to do to react to how someone cared about what they did. And that was how I was like, I can't believe when we first started this, I was like, the David Letterman documentary, what are we watching? And then it got into it, I was like, oh no.

[1:13:14] Hayley Podschun: Um, yeah, I, the what really got me in this one was kind of the theme of legacy that it talks about, and the idea, like the fact that these people, their goal was like they wrote these songs, they were waiting to be discovered. They were never discovered. This is what they did, this is how they made their money. They're proud of it. And then for this guy, like Kevin said, to kind of just like give them all one last hurrah. Like it almost, it ends with one of the composers passing away and even the Michael Brown character, but like, man, didn't it really, really feel like they were almost waiting for this guy to give them one last hurrah?

[1:13:55] Aaron J Albano: Yeah.

[1:13:55] Hayley Podschun: And then like they like let themselves like pass. Does that make, does I know that's a little morbid, but 100%.

[1:14:02] Hayley Podschun: Yeah, 100%. It was just really beautiful. When that woman sang the bathroom song and like at the end, like was just like so choked up, she turned away from the like that was and like with the voiceover saying that she heard like fifteen thousand people like clapping for her, like stadium, like she and the fact that it was her wedding moment. Like she had her moment in this side again.

[1:14:05] Aaron J Albano: Yeah, wedding songs.

[1:14:05] Hayley Podschun: It was her wedding song. It was so sweet. Like this was part of someone's life, like that's like in a very profound way. Which is so beautiful.

[1:14:41] Aaron J Albano: Have you guys done industrials?

[1:14:45] Hayley Podschun: I have not. I missed it by like this much. Um I think for those of you listening, it's not a lot.

[1:14:52] Aaron J Albano: It's a very little bit.

[1:14:53] Hayley Podschun: Oh yeah, sorry. It's like a sliver of a slipper. Um, I had a lot of friends that were doing them, and I was fortunate that I was working consistently, so I wasn't able to do the industrials, but whenever my friends would do them, I was so jealous because they were like, Oh, this week it's with craft or something, you know, and we're going to Ohio, who knows? And or whoever knows where they would be going. But like they would make so much money.

[1:15:24] Aaron J Albano: And I was like, You're making more than me.

[1:15:26] Hayley Podschun: And I'm on Broadway, and I wanna go be a dancing noodle.

[1:15:29] Aaron J Albano: Like, you know.

[1:15:36] Kevin Jaeger: I want that to be every bio you have now on.

[1:15:39] Hayley Podschun: I want to be a dancing noodle.

[1:15:41] Aaron J Albano: I mean, I was a dancing egg, but yeah, and it's pretty great.

[1:15:44] Kevin Jaeger: True.

[1:15:46] Hayley Podschun: Sorry, you get more money when there's possibility of carbonara.

[1:15:52] Aaron J Albano: But I think both Aaron and I missed it because we were working, right?

[1:15:55] Hayley Podschun: I missed it, yeah. But I but I was also this is also why I'm so happy we got to watch it because before this, I was was that disgusting actor, young actor who was like industrials, whatever.

[1:16:10] Aaron J Albano: Like thinking that that like hierarchy of jobs was a real thing.

[1:16:17] Hayley Podschun: And so I like turned my nose up at this whole industry, and I'm so happy I feel so guilty that I did that in the 60s and 70s when like industrials were like flying, like you could have been doing this.

[1:16:33] Aaron J Albano: I was born in the wrong time period because all I want to do is write industrials.

[1:16:38] Hayley Podschun: That's what I was thinking the whole time. I was like, this is Bryan's bread and butter, like industrials is my sweet spot.

[1:16:45] Aaron J Albano: Yeah, I was like, give him a company to write some puns for.

[1:16:49] Hayley Podschun: Give me a uh uh uh Jay did an industrial like comedy show. He hosted uh awards night for a company in Vermont, and it was like similar, like they like asked him to like basically rewrite all of his jokes to be about the company.

[1:17:04] Aaron J Albano: And he had to do like a 20-minute set about a bank.

[1:17:08] Hayley Podschun: Like but it makes sense after a while, you would hear people who had been at the show, you know, who worked for Toyota or something.

[1:17:17] Aaron J Albano: And um, and there was one woman I remember what she said, she was like, You walk away leaving, like you are important, and your job is important. What you do is really important. You don't think about it, and then really listen, and you put yourself in that audience perspective, and you're like, you're getting people who might have never seen a Broadway show being highly affected by it, and they're walking away feeling good about life and about themselves and about what they do.

[1:17:46] Hayley Podschun: And I'm like, why can't we bring this back?

[1:17:49] Aaron J Albano: I know Cheetah Rivera talking about like the magic of theater. She's like, and even an industrial girls, oh yeah. They're doing the same thing, it's just like a heightened specificity of it.

[1:18:00] Hayley Podschun: She leans back into her Stardust chair picture right over there.

[1:18:05] Aaron J Albano: Yeah.

[1:18:06] Hayley Podschun: Oh, she highlights it.

[1:18:08] Aaron J Albano: Oh, yeah.

[1:18:08] Hayley Podschun: It's just like right there. Because who said it? There was an interview where they were saying that like the salesman never sees himself as the hero.

[1:18:17] Aaron J Albano: And then the musical sees himself as a hero.

[1:18:21] Hayley Podschun: They're always the villain, like, even music man, like he's the villain until the very end.

[1:18:26] Aaron J Albano: Like villain, he's a little arithmetic, but like we don't trust him.

[1:18:29] Hayley Podschun: Yeah, like I don't know. I'll Ali Hakeem in uh Oklahoma.

[1:18:34] Aaron J Albano: Like, there are um like all the people, everybody and how to succeed, oh, except for Pierpont, like all of them are jerks.

[1:18:41] Hayley Podschun: Like, like you don't this one is not just like the lovable scam, but he's like cheating his way up.

[1:18:49] Aaron J Albano: Exactly.

[1:18:49] Hayley Podschun: I'm talking like his bosses, the Brotherhood of Manson, like we watch it now, is gross.

[1:18:53] Aaron J Albano: You know, you know what I mean?

[1:18:55] Hayley Podschun: Like, yeah, it's all it's super, and something else that was interesting, it was like, yeah, of course these died because there's no such thing as company loyalty anymore.

[1:19:04] Aaron J Albano: So the turnover is so high in these companies.

[1:19:06] Hayley Podschun: You're not a salesman for 50 years at Shed.

[1:19:09] Aaron J Albano: You know, yeah.

[1:19:11] Hayley Podschun: That was a really interesting point. It was like you don't have that same kind of career anymore.

[1:19:16] Aaron J Albano: It doesn't exist.

[1:19:17] Hayley Podschun: Not at all. I mean, some companies like you mentioned can be like Jay, like you can entertain them, but they're not gonna put those million dollar investments into those things when they know that the loyalty and the turnover is so different now.

[1:19:29] Aaron J Albano: Yeah, maybe if they did put the investment into it, the turnover would have spirit there.

[1:19:35] Hayley Podschun: Theater saves the economy.

[1:19:37] Aaron J Albano: There we said it.

[1:19:38] Hayley Podschun: There we go. Just gotta get them all in a room together first.

[1:19:43] Kevin Jaeger: How did everybody feel about the arc of the main character, the Letterman right?

[1:19:47] Hayley Podschun: Oh my gosh.

[1:19:50] Aaron J Albano: I loved it, but it was heartbreaking.

[1:19:53] Hayley Podschun: Well, it was it was also because what especially the interviews with his family being like this started as this ridiculous hobby, and when then watching them sort of get on board and seeing like this is something that makes our father slash husband really happy.

[1:20:14] Aaron J Albano: Also, notice how they didn't interview his wife, even though he was wearing a wedding ring.

[1:20:19] Hayley Podschun: You know, she hates this.

[1:20:25] Aaron J Albano: Correct.

[1:20:26] Hayley Podschun: They never showed anyone else in that house with him.

[1:20:29] Aaron J Albano: I was terrified that he opened the envelope that was like the separation thing.

[1:20:34] Hayley Podschun: Oh, I know. I was like, divorce seen him on the under because of the wrecker.

[1:20:41] Aaron J Albano: And then I was like, Oh, his job.

[1:20:44] Hayley Podschun: Right.

[1:20:44] Aaron J Albano: Yeah, yeah, yeah.

[1:20:45] Hayley Podschun: Yeah.

[1:20:45] Aaron J Albano: He gets served divorce papers in front of the camera.

[1:20:48] Hayley Podschun: That's right.

[1:20:49] Aaron J Albano: And I was like, oh girl, I come to the clock.

[1:20:53] Hayley Podschun: At first I was like, oh, it's Letterman. And then I was like, wait a second, maybe I forgot this moment.

[1:20:55] Aaron J Albano: And then I was like, oh, right, right, right, wait.

[1:21:00] Hayley Podschun: Yes.

[1:21:01] Aaron J Albano: Um, yeah, I I definitely at first, I mean, what one of my notes is actually like um the connection to Letterman and comedy wasn't strong enough for me if you're gonna open with that.

[1:21:11] Hayley Podschun: Okay.

[1:21:12] Aaron J Albano: But I think that they're just a have they they really put their gas on the Letterman thing because it's a name.

[1:21:17] Hayley Podschun: Um, however, I do think that the And he was an executive producer, exactly.

[1:21:21] Aaron J Albano: Well, and that's the that was the gateway.

[1:21:23] Hayley Podschun: They had to but I think I think the tone that they took with the narrative was reflective of the way that they opened it by saying he was like because he'd worked so long as a writer, he was burned out on comedy.

[1:21:36] Aaron J Albano: So that's what that's what I was gonna say.

[1:21:38] Hayley Podschun: Like halfway through, I'm like, this is not driving, but at the end, when he got when they brought back the being laid off, and now his life is this, that's when I like, oh there was a gap in there where like they lost that narrative, but they really for me they did bring it back at the end.

[1:21:54] Aaron J Albano: Yeah, yeah.

[1:21:55] Hayley Podschun: Don't I tell you my my favorite thing? Like, where in Six by Sondheim we did not like any of the like produced numbers, the finale number in this was one of my favorites.

[1:22:07] Aaron J Albano: Loved it.

[1:22:08] Hayley Podschun: It was brilliant. However, do we think they use the same set as Jersey Boys finale?

[1:22:14] Aaron J Albano: Because the uh how I met your mother musical episode.

[1:22:20] Hayley Podschun: It's that same street.

[1:22:22] Aaron J Albano: And it's like shot by shot.

[1:22:24] Hayley Podschun: I was like, are we watching Jersey Boys in Color now?

[1:22:27] Aaron J Albano: There's ones in the ones at night, one's in the morning.

[1:22:32] Hayley Podschun: Um I love that number. It was so it was really great.

[1:22:37] Aaron J Albano: So wonderful.

[1:22:38] Hayley Podschun: Um other thoughts about this one? What really stood out to you? What like what like something that you remember from it? What what did this do for you?

[1:22:47] Aaron J Albano: I remember the one moment was when he was going to go look for Mrs. Bathroom. I forget her real name.

[1:22:56] Hayley Podschun: But like that, the fact that Mrs. Bathroom brought her friend who was also in it.

[1:23:00] Aaron J Albano: This is second bathroom.

[1:23:03] Hayley Podschun: Yeah, and he was so like it's what a reveal.

[1:23:08] Aaron J Albano: Yeah, and not only is she excited to be there, but he's like Sandy and like he called her Sandra and she said she'd be Sandy for 24 hours.

[1:23:17] Hayley Podschun: Yeah, Sandy.

[1:23:18] Aaron J Albano: Yeah.

[1:23:19] Hayley Podschun: He's like in the presence of greatness.

[1:23:21] Aaron J Albano: It's so I know he's such a fanboy.

[1:23:24] Hayley Podschun: And they needed that. Like you could see the way they lit up. Like they definitely needed just someone to acknowledge what they did.

[1:23:32] Aaron J Albano: And to like the fact that he was basically becoming the archiver of like their like what they starred in in like a genre of musical theater that had like henceforth been like forgotten.

[1:23:46] Hayley Podschun: Not henceforth, but like previously been forgotten.

[1:23:50] Aaron J Albano: Alexa stop.

[1:23:51] Hayley Podschun: It's been like a very um, yeah.

[1:23:56] Aaron J Albano: I just thought it was I thought it was lovely.

[1:23:58] Hayley Podschun: I'm making banana bread because I'm a based in quarantine.

[1:24:01] Aaron J Albano: Basically banana bread, yes.

[1:24:05] Kevin Jaeger: Who are you, Mies?

[1:24:09] Hayley Podschun: My other favorite part was also like Simon goes in banana bread. When they would go to like the quote unquote famous, famous people, and they would have wonderful memories of it.

[1:24:21] Aaron J Albano: And like that it was like this like joyful part of their lives, A, which might be editing, but fine.

[1:24:27] Hayley Podschun: Sure.

[1:24:27] Aaron J Albano: And then fast forward to the more current indust industrials that they got footage for at the end.

[1:24:35] Hayley Podschun: Where Jeffrey Schecker's in there.

[1:24:37] Aaron J Albano: Jeffrey Shecky.

[1:24:38] Hayley Podschun: I was like, Jeffrey Schecker's in there, Adam Lambert's in there.

[1:24:42] Aaron J Albano: Like all Andrea Burn, Andrea Burns is in there.

[1:24:45] Hayley Podschun: Like all of these current Broadway people are also in some are in there too. Where this is a can even though it's a dying breed, it's still somewhat continuing, and it's still a big part of everyone's life.

[1:24:59] Aaron J Albano: And everyone I know who did them loved doing them.

[1:25:02] Hayley Podschun: So it's not like it was like it was great in the heyday. Like it still continued to be the thing that people really enjoyed.

[1:25:09] Aaron J Albano: Oh no, Jenkins has done many of them, and she loves them.

[1:25:13] Hayley Podschun: Oh, I bet. There was also no what I liked about this is there was no cynicism at all.

[1:25:20] Aaron J Albano: This was all pure genuine positivity towards this art.

[1:25:24] Hayley Podschun: And that was really um, that was really special.

[1:25:27] Aaron J Albano: And I think by accident, we kind of stumbled upon three documentaries um that dealt with legacy in very different ways.

[1:25:37] Hayley Podschun: Absolutely.

[1:25:38] Aaron J Albano: Yeah, I would agree.

[1:25:39] Hayley Podschun: They were like a cool little trio, actually.

[1:25:42] Aaron J Albano: Yeah.

[1:25:42] Hayley Podschun: I lost my trick.

[1:25:45] Aaron J Albano: Uh but yeah, that's that's kind of uh w while we're kind of thinking about our final thoughts on this.

[1:25:52] Kevin Jaeger: Does anyone know what the uh the um tomato, uh rotten tomatoes uh present is?

[1:25:58] Hayley Podschun: thrown off 89 I'm gonna say only because like it's it's based on like I'm doing it just on critical critical critics, critic reviews.

[1:26:14] Aaron J Albano: 94.

[1:26:16] Hayley Podschun: 92.

[1:26:17] Aaron J Albano: 100 can release at 92.

[1:26:23] Hayley Podschun: Oh, it was 100?

[1:26:24] Aaron J Albano: Oh, yeah and the audience this act this actually has the I think you do, Kevin.

[1:26:29] Hayley Podschun: Yeah, this actually has the highest audience score at 92.

[1:26:33] Aaron J Albano: Oh wow, people really like this.

[1:26:36] Hayley Podschun: So do we so super relatable to keep like to musical theater lovers and to like muggles.

[1:26:44] Aaron J Albano: Yes, absolutely.

[1:26:45] Hayley Podschun: Yeah, you assume that sometime one's gonna be good.

[1:26:48] Aaron J Albano: You don't know what you're getting with us with a bathtubs one.

[1:26:51] Hayley Podschun: I was just I was really concerned about what this is was gonna be.

[1:26:55] Aaron J Albano: Yeah, I didn't know.

[1:26:55] Hayley Podschun: I'm so glad you guys liked it.

[1:26:57] Aaron J Albano: Oh yeah, I loved it so much.

[1:26:59] Kevin Jaeger: So let's let's let's rank these just without co-op.

[1:27:02] Hayley Podschun: Okay.

[1:27:06] Aaron J Albano: Wow.

[1:27:07] Kevin Jaeger: Oh yeah.

[1:27:09] Aaron J Albano: This is pretty hard.

[1:27:10] Hayley Podschun: This is really hard.

[1:27:12] Aaron J Albano: Um I'll go first.

[1:27:14] Hayley Podschun: Yeah, sure.

[1:27:15] Aaron J Albano: Okay.

[1:27:15] Hayley Podschun: Uh so we're doing like number one is like like what we would say is the top.

[1:27:20] Aaron J Albano: Yeah.

[1:27:23] Hayley Podschun: Yeah.

[1:27:26] Aaron J Albano: Yeah.

[1:27:27] Hayley Podschun: I would say for number three for me, it would be uh best worst thing that ever happened.

[1:27:33] Aaron J Albano: Uh number two would be the bathtubs on Broadway.

[1:27:38] Hayley Podschun: And number one would be six by Sunday.

[1:27:40] Aaron J Albano: That's mine.

[1:27:41] Hayley Podschun: At the end yeah I'd probably flip the top and the top and bottom I know I go really I think best worst things might be my favorite I go back yeah I go best best worst on top bathtubs and then six and then um and then six what Kimberly are you your best worst first oh right not six six by Sandheim what if Sanheim wrote six secretly it was him biggest plot twist ever i was I was expecting your your your intro to be all six songs just for that oh no I'm gonna say that we have some of those queens on there have to be other guests than us Aaron all my good intros for you um that's why I said doc um Kimberly so is best worst your favorite yeah okay cool just because of all the merrily footage yeah sure you don't get to see that every day no you do well I guess now technically you can see it every day um all right so um for those of you um uh who are on Patreon where let's talk a little bit of co-op oh we have a surprise guest as well wait a second hey boo jayo what you doing here can you hear us okay yeah hold on why are you all laughing?

[1:29:22] Jeremy Jordan: Because we had a didn't see my ears.

[1:29:26] Bryan Plovsky: Did you not know I was coming?

[1:29:27] Jeremy Jordan: No.

[1:29:29] Bryan Plovsky: Oh.

[1:29:29] Bryan Plovsky: What's up, Brian?

[1:29:32] Jeremy Jordan: You caught me at the gym.

[1:29:34] Bryan Plovsky: Um, we watched Six By Sondheim and we figured we could ask you some questions.

[1:29:41] Jeremy Jordan: Okay.

[1:29:41] Jeremy Jordan: Yes.

[1:29:42] Jeremy Jordan: That was like, that was like what?

[1:29:45] Bryan Plovsky: Six years ago.

[1:29:46] Jeremy Jordan: I'm stretching while you do this.

[1:29:48] Bryan Plovsky: 2012.

[1:29:50] Jeremy Jordan: What a show.

[1:29:52] Bryan Plovsky: 2013?

[1:29:53] Jeremy Jordan: 2013 we said, right?

[1:29:55] Bryan Plovsky: We would have recorded it, what, 2012?

[1:29:58] Jeremy Jordan: Probably, yeah.

[1:29:59] Jeremy Jordan: I think it was like right.

[1:30:02] Bryan Plovsky: No, no, it was in 2013.

[1:30:05] Bryan Plovsky: It was after Smash.

[1:30:07] Bryan Plovsky: And we started filming that in 2013.

[1:30:10] Jeremy Jordan: We talked a lot about how the movie ends kind of with— you've actually seen it, yes or no?

[1:30:18] Bryan Plovsky: Uh, yeah, I saw it in 2013.

[1:30:21] Jeremy Jordan: Right, right.

[1:30:21] Jeremy Jordan: So it ends with, um, so super fresh, right?

[1:30:25] Bryan Plovsky: Exactly.

[1:30:25] Bryan Plovsky: I remember it.

[1:30:27] Jeremy Jordan: Um, what it ends with Sondheim kind of being in more of a teaching portion of his career. I guess talk a little bit about your experience with working with him as a teacher as kind of filming that segment, how that all kind of worked hand in hand.

[1:30:41] Jeremy Jordan: Yeah, um, yeah, it was crazy because I'd never really worked with him before. I don't even know if I met him prior to that. Because I had been in West Side Story, but I was a replacement and he was never there by the time I got there. Um, and so, uh, the first time that I believe I met him was on set, like while we were doing like a scene together, basically.

[1:31:07] Jeremy Jordan: And it was Darren and Darren Criss and I, um, interviewing him. Um, they had a segment of us interviewing him and then also like doing that, um, that song where he plays the producer.

[1:31:22] Bryan Plovsky: Yeah.

[1:31:23] Jeremy Jordan: And which they told us like as we were filming it that that was the first and only time that he's ever like performed a character that he wrote, which we thought was really, really, um, cool that we got to be part of. And neither of us had ever worked with him, and so we were just like, duh. And they were like, you guys just ask him whatever, we're just gonna film it, and you just asked some questions.

[1:31:44] Bryan Plovsky: We're like, we did not prepare for that.

[1:31:50] Jeremy Jordan: What did you say?

[1:31:51] Bryan Plovsky: You need to tell us this stuff in advance so we can prep.

[1:31:54] Jeremy Jordan: I know, right? I mean, I knew he was gonna be there. Um, but I don't remember if I knew that he was even gonna be in it or not. I mean, it was all like very last minute kind of two to the pants sort of thing. We had pre-recorded it like a few days before, and then we just showed up and shot it in one day.

[1:32:10] Jeremy Jordan: And, um, and I just remember he was like super professional and really, really kind.

[1:32:17] Bryan Plovsky: Do you remember what your question was to him?

[1:32:19] Jeremy Jordan: Because I absolutely not.

[1:32:21] Bryan Plovsky: And was it in— I mean, there some of it was in the documentary. I know there was like some of it was in there, but I don't know if they kept any of my questions.

[1:32:29] Jeremy Jordan: Um, I remember America got her like asked her question about Mary.

[1:32:36] Jeremy Jordan: Um, no, it was, but he— I just remember that he was, he was very humble and very, um, and very smart and all, and just very kind. And I was— I remember being so surprised by that because I had worked, um, with Arthur Lawrence a few years, uh, before, um, you know, and I had heard that back in the day a lot of those guys were just complete assholes.

[1:32:58] Jeremy Jordan: And I'd heard stories about Sondheim being really hard to work with, and I think as, like, as you said, he reached that sort of teaching phase in his career, and it sort of— if there ever was that part of him had sort of shifted to sort of appreciation and, uh, really being, um, humbled by just how incredibly well received and how far his life's work has gone.

[1:33:23] Jeremy Jordan: Um, and you could really feel that talking to him, and, um, and you know, you could sort of see his appreciation coming through and his sort of genius set aside and his sort of ego set aside and just being really grateful to be a part of this, um, you know, legendary, uh, you know, musical theater, you know, uh, being this legendary musical theater, uh, character that he is.

[1:33:23] Jeremy Jordan: Uh, it was really remarkable. And then we— he— we all got free copies of his Look, I Made a Hat and the hat box.

[1:33:57] Bryan Plovsky: You got the hat.

[1:33:58] Jeremy Jordan: Oh, yeah.

[1:34:00] Jeremy Jordan: Yeah.

[1:34:01] Jeremy Jordan: I paid for those.

[1:34:03] Bryan Plovsky: Yeah.

[1:34:04] Jeremy Jordan: Sally.

[1:34:06] Jeremy Jordan: I think they were like still pretty fresh at that point.

[1:34:09] Jeremy Jordan: I think they just came out like as it was— it was like cross promotion because it was coming out at the same time.

[1:34:16] Bryan Plovsky: Yeah.

[1:34:17] Bryan Plovsky: If I remember, was it interesting?

[1:34:20] Jeremy Jordan: Oh, yeah. I think the books were out before. I don't know if that's bad.

[1:34:23] Bryan Plovsky: Oh, I know the books came out my senior year of college because I used them in my thesis.

[1:34:28] Jeremy Jordan: When did you graduate college?

[1:34:30] Bryan Plovsky: 2011.

[1:34:31] Jeremy Jordan: Oh, you child.

[1:34:33] Jeremy Jordan: Jeremy, you did not hold those stretches long enough.

[1:34:39] Bryan Plovsky: That's happening.

[1:34:40] Jeremy Jordan: I guess one last thing, kind of like, I don't know, what did you take from meeting him? Like, was there any advice that he gave you, or did you infer any advice? Kind of what did you kind of take from that experience?

[1:34:52] Jeremy Jordan: Yeah, I don't know if I really got the chance to talk to him like, uh, you know, mano a mano. Um, but, uh, it was just, um, just to sort of live your life with, um, with gratitude and sort of embrace the irony of and, uh, and silliness and like oddity of life.

[1:35:14] Jeremy Jordan: Um, I felt like he really, um, did that in space. Like he— he was just everything was kind of, um, uh, playful about him and almost like childlike, you know. It was just he always had the little smirk on his face and he kind of always looked like something was brewing inside of him and, um, it was a— it was a really charming, I thought.

[1:35:39] Jeremy Jordan: And, um, and, uh, you know, usually when I work with, uh, older, um, you know, seasoned and like really remarkable legendary people, which I've had the opportunity a few times, oh, it's— it's I always like to sort of take in how they, um, how they see the world and how they sort of interact with other people and, um, you know, because I think it gives a window into how they got to where they are without, you know, completely alienating everybody because that's can be the problem with genius and with true, um, you know, diva talent and stardom is it can really mess you up.

[1:36:17] Jeremy Jordan: But I, um, I think that he has navigated his way, at least at this point of his life, into this place of real, um, depth and charm and, and humor. And I can only hope to, you know, reach that, that, uh, at least that level of calm and humbleness when I'm his age, although I'm sure I will never reach that level of brilliance.

[1:36:38] Bryan Plovsky: Nobody— I don't know if anybody will.

[1:36:41] Jeremy Jordan: Or humbleness.

[1:36:42] Bryan Plovsky: Watch me. Did you, uh, do you have a favorite Sondheim song?

[1:36:49] Jeremy Jordan: Oh jeez, I'm not prepared for this. Like it's like you're putting me back in front of him.

[1:36:56] Jeremy Jordan: Can you imagine?

[1:36:57] Jeremy Jordan: Can you imagine asked that in front of him? Yeah, what's your favorite? I'm pretty sure one of us asked him what his favorite song of his was, which was the terrible question.

[1:37:06] Bryan Plovsky: What did he say?

[1:37:08] Jeremy Jordan: I'm pretty sure he was like, I hate all of them, something stupid like that.

[1:37:13] Jeremy Jordan: Um, he's like whichever one you're singing, I like that one the most. Yeah, I mean we all know that he hates "I Feel Pretty" the most, like a very widely known fact.

[1:37:23] Jeremy Jordan: Um, but what is my favorite Sondheim song? It changes. I mean, off the top of my head, um, I can't think of the title of the song. I know all the lyrics but I can't think— what is the song? Uh, in the world, um, I was listening to "Pat" the other day. So many people, um, so many people. That one was sort of the one that I— that kind of came to my head the second that you asked that question.

[1:38:04] Jeremy Jordan: So I'll go with my gut.

[1:38:06] Bryan Plovsky: Huh?

[1:38:07] Jeremy Jordan: From Saturday Night, right?

[1:38:08] Bryan Plovsky: From Saturday Night, that's right.

[1:38:10] Jeremy Jordan: Actually, random ones. There's also "Anyone Can Whistle," which is beautiful.

[1:38:15] Jeremy Jordan: Um, I also love "Losing My Mind." I, um, also love a lot of them.

[1:38:23] Jeremy Jordan: So, um, yeah, I— I've done— I've gotten the opportunity to do, um, a few Sondheim things, uh, but never like an actual show, which is mostly sad.

[1:38:34] Bryan Plovsky: But, um, one day.

[1:38:36] Jeremy Jordan: Yeah.

[1:38:37] Bryan Plovsky: Other than West Side, that counts.

[1:38:38] Jeremy Jordan: West Side, right?

[1:38:40] Bryan Plovsky: Yeah.

[1:38:41] Jeremy Jordan: Yeah, but not really.

[1:38:43] Jeremy Jordan: Like fully, fully his.

[1:38:45] Bryan Plovsky: Yeah.

[1:38:46] Bryan Plovsky: Music and lyrics.

[1:38:47] Jeremy Jordan: Yeah, that was like baby Sondheim, just lyrics.

[1:38:50] Jeremy Jordan: Brilliant Leonard Bernstein. So I don't think you can take away from Leonard Bernstein in that regard, you know what I'm saying?

[1:38:55] Bryan Plovsky: No.

[1:38:56] Bryan Plovsky: By calling that a Sondheim show.

[1:38:58] Jeremy Jordan: Sure, I get it.

[1:39:00] Bryan Plovsky: Cool.

[1:39:01] Bryan Plovsky: Well, cool.

[1:39:06] Bryan Plovsky: Thanks for popping in.

[1:39:08] Jeremy Jordan: It's so good to see you.

[1:39:10] Jeremy Jordan: Someone has some.

[1:39:11] Bryan Plovsky: Brian, do you like my headband?

[1:39:12] Jeremy Jordan: I did! I worked for you.

[1:39:14] Bryan Plovsky: It's beautiful.

[1:39:15] Bryan Plovsky: Your hair is long, bro.

[1:39:17] Jeremy Jordan: It's so long.

[1:39:18] Jeremy Jordan: It's like ludicrously long.

[1:39:20] Jeremy Jordan: I don't know what to do with it.

[1:39:21] Bryan Plovsky: The head, Uncle Jeremy, buddy.

[1:39:23] Jeremy Jordan: Hey bud!

[1:39:24] Jeremy Jordan: What's up, bandit?

[1:39:26] Jeremy Jordan: Hey!

[1:39:27] Jeremy Jordan: You haven't seen him in ages.

[1:39:29] Jeremy Jordan: Look at those eyes.

[1:39:31] Jeremy Jordan: Look at that gray face.

[1:39:33] Jeremy Jordan: He's so old now.

[1:39:35] Jeremy Jordan: I know.

[1:39:35] Jeremy Jordan: Look at the— his eyes are starting to get like that old dog look that is so like cool looking.

[1:39:42] Jeremy Jordan: That looks— they make him look like ghosts and like they're staring into your soul.

[1:39:47] Bryan Plovsky: Yeah.

[1:39:48] Bryan Plovsky: Uh-huh.

[1:39:49] Bryan Plovsky: You know what I'm talking about.

[1:39:50] Jeremy Jordan: How old is she?

[1:39:52] Bryan Plovsky: Yep.

[1:39:54] Bryan Plovsky: How old is he?

[1:39:55] Jeremy Jordan: Eight.

[1:39:56] Jeremy Jordan: Going on nine.

[1:39:57] Bryan Plovsky: He's not that old.

[1:39:58] Bryan Plovsky: Why is he getting so gray?

[1:40:00] Jeremy Jordan: Oh, he has a brown face and that turns white.

[1:40:03] Jeremy Jordan: I don't know.

[1:40:03] Jeremy Jordan: He deals with Aaron all the time.

[1:40:10] Bryan Plovsky: Because— because Ryan says Ryan's eight.

[1:40:13] Jeremy Jordan: Yeah.

[1:40:13] Jeremy Jordan: How's Ryan?

[1:40:15] Bryan Plovsky: She's great.

[1:40:15] Bryan Plovsky: She still looks like a puppy.

[1:40:17] Bryan Plovsky: I mean, she has a white face though, so you're not gonna see her.

[1:40:20] Jeremy Jordan: Right.

[1:40:21] Jeremy Jordan: She's— she's just a little queen, that's all.

[1:40:24] Bryan Plovsky: That's okay.

[1:40:28] Bryan Plovsky: Well, that actually now brings us to the end of our episode. Thanks, Jeremy, for popping in and talking Sondheim a little bit with us.

[1:40:35] Bryan Plovsky: Um, I should have watched the show beforehand, but Brian gave me very little notice.

[1:40:43] Jeremy Jordan: Um, but, uh, you know, we end every episode with a quote.

[1:40:49] Bryan Plovsky: And, uh, I gave you so— I gave you a little time to say that.

[1:40:53] Jeremy Jordan: I appreciate it.

[1:40:54] Bryan Plovsky: Um, if the world were like the movies, we would never make mistakes. We'd correct our little blunders and select our better takes, and the person that we should be would be all the public sees. For if life should go off track, we could simply fade to black if the world were like the movies.

[1:41:07] Jeremy Jordan: I know we talked a lot about Sondheim, but I figured a little, um, uh, my favorite year seemed appropriate for the documentaries that we watched overall.

[1:41:16] Bryan Plovsky: Um, you really should have like, uh, read that better though.

[1:41:20] Jeremy Jordan: Yeah, I agree.

[1:41:20] Jeremy Jordan: Very— that was very like robotic, Brian.

[1:41:24] Bryan Plovsky: I'm pretty sure that we went both with the school and got an acting group, so it's true.

[1:41:28] Jeremy Jordan: You have the same degree.

[1:41:31] Bryan Plovsky: Um, needs one.

[1:41:37] Jeremy Jordan: But yeah, I'm still the same spot.

[1:41:40] Bryan Plovsky: I'm just kidding, Brian. I'm sorry, I didn't mean to insult your acting.

[1:41:43] Bryan Plovsky: No, you didn't, I wasn't acting.

[1:41:44] Bryan Plovsky: You insulted me as an individual.

[1:41:48] Jeremy Jordan: But a couple of shout-outs. Thank you to Teresa Hill for joining Patreon.

[1:41:52] Bryan Plovsky: Hi, Teresa.

[1:41:53] Jeremy Jordan: Thank you.

[1:41:54] Bryan Plovsky: Hi, Teresa.

[1:41:55] Jeremy Jordan: Hey Teresa.

[1:41:56] Jeremy Jordan: Teresa, you're beautiful.

[1:41:58] Bryan Plovsky: And then want to give a huge shout out to A Strange Loop for winning the Pulitzer today.

[1:42:04] Jeremy Jordan: It did?

[1:42:05] Bryan Plovsky: Yeah.

[1:42:05] Bryan Plovsky: For drama.

[1:42:06] Jeremy Jordan: For drama.

[1:42:07] Jeremy Jordan: It's the first off-Broadway show to ever win.

[1:42:10] Bryan Plovsky: Which is awesome.

[1:42:11] Bryan Plovsky: Yeah, they're all— all the others were Broadwaysted.

[1:42:13] Jeremy Jordan: It's number 10.

[1:42:14] Jeremy Jordan: It's the first Broadway.

[1:42:15] Bryan Plovsky: That's so cool.

[1:42:17] Bryan Plovsky: So that's super amazing and awesome. If you haven't listened to that album, it's on Spotify and wherever you find music. It's amazing.

[1:42:24] Bryan Plovsky: And then you can follow us at Broadwaysted. You can follow all these jokers by just typing in their names into Google and finding them.

[1:42:31] Bryan Plovsky: You can find us on Facebook, join our Patreon. You can find us on iTunes, write and review us there. Five stars, please.

[1:42:40] Jeremy Jordan: Thank you.

[1:42:44] Bryan Plovsky: This was super fun. We'll all let you know what we're gonna be watching for next week. Documentary was just really fun, right, everybody?

[1:42:50] All: Yeah.

[1:42:50] Bryan Plovsky: Absolutely.

[1:42:51] Jeremy Jordan: I'm so happy to hear this.

[1:42:54] Bryan Plovsky: Again, Jeremy, thanks for popping in. We appreciate it.

[1:42:57] Jeremy Jordan: But, um, happy that I came.

[1:43:00] Bryan Plovsky: Good.

[1:43:02] All: We raise a glass and we say, Zoot doo!

[1:43:13] Jeremy Jordan: This is the screen cleaner for my Peloton.

[1:43:18] Bryan Plovsky: That's fair.

[1:43:19] Bryan Plovsky: Yes.

[1:43:20] Bryan Plovsky: Don't drink alcohol.