This transcript was automatically generated and might contain errors.

[0:20] Bryan Plavsky: Hello and welcome to the official Broadwaysted! podcast where we're drunk on theater. I'm your host, Bryan Plavsky, and it may be raining, but don't worry, it's just a little fall of rain. Hit me with a hot note because I've got that mood.

[0:29] Kevin Jaeger: Indigo.

[0:32] Kimberly Cooper: Slap that bass before I open my mouth, because it's my lucky day. It's all right with me when you love me for what I am. What now, my love? Well, take the Alabama song to Mr. Monotony and do it again.

[0:44] Bryan Plavsky: Joining us today are the usual miserables, including Kevin on my own Jager.

[0:49] Kevin Jaeger: Oh, I got the big one.

[0:52] Kimberly Cooper: Yeah.

[0:52] Kevin Jaeger: But the sad one.

[0:53] Kimberly Cooper: But the sad one?

[0:56] Bryan Plavsky: Um, this one is a repeat, but like, how could I not use it? Our game master of the house, an unofficial babysitter for the hour.

[1:04] Kimberly Cooper: Yes, hello.

[1:04] Bryan Plavsky: Um, and with us today is...

[1:04] Kimberly Cooper: My name is Kimberly.

[1:08] Bryan Plavsky: Did I not say your name?

[1:10] Kimberly Cooper: No.

[1:10] Bryan Plavsky: Um, Kimberly, our game master of the house.

[1:13] Kimberly Cooper: There you go.

[1:14] Bryan Plavsky: Um, and with us today is a Tony-winning actress. You know her from winning that Tony for her role as Eponine in a pretty miserable show, if you ask the title. Or maybe you saw her in the West End in Starlight Express, Apples, Children of Eden, The Wild Party, or something else, because those are just some of the highlights. You're gonna have to check her out in her solo theater piece.

[1:42] Frances Ruffelle: Live in New York.

[1:47] Bryan Plavsky: Live in New York, lives in New York. Well, it's hello everyone. It's Frances Ruffelle, because I've moved to New York, but then it's a play on the word live in New York, so we sort of slash an S across.

[1:56] Kimberly Cooper: Oh, I love that.

[1:57] Bryan Plavsky: But let's give a big Broadwaysted! welcome to Friend of the Show.

[1:57] Kimberly Cooper: Friend of the show.

[2:01] Bryan Plavsky: Frances Ruffelle.

[2:08] Frances Ruffelle: Welcome.

[2:09] Bryan Plavsky: Thank you. Thank you so much for joining us.

[2:11] Frances Ruffelle: Thank you. This is very exciting. I'm very excited.

[2:13] Bryan Plavsky: Yes. You can follow her on social media at her name. No one else has your name.

[2:19] Frances Ruffelle: That's right.

[2:19] Bryan Plavsky: So you have it on all platforms.

[2:21] Frances Ruffelle: I am the only one so far.

[2:22] Bryan Plavsky: That's amazing. Double F, double E, double...

[2:26] Frances Ruffelle: Double everything, but not in that order. Those are the only letters. Triple F if you can count both names.

[2:32] Bryan Plavsky: Oh yeah.

[2:34] Kimberly Cooper: Right.

[2:34] Bryan Plavsky: But let's just start with...

[2:35] Kimberly Cooper: Lots of effing going on.

[2:38] Bryan Plavsky: What are you drinking?

[2:39] Frances Ruffelle: I have a lovely bottle of Freakshow wine here, which we cannot open because we can't find a corkscrew.

[2:47] Bryan Plavsky: We are so American drinking show that cannot find our corkscrew.

[2:51] Frances Ruffelle: Or America is like an excuse. We're lazy millennials that only buy screw tops. So I'm like, I've never had a use. We used to have one. It was in my backpack, but TSA took it away from me.

[3:01] Bryan Plavsky: Oh.

[3:01] Frances Ruffelle: And then I just can't find the one that we have here at the office.

[3:04] Bryan Plavsky: Yeah, we don't know what happened to it.

[3:06] Frances Ruffelle: So it's like your office doesn't condone drinking or something.

[3:09] Bryan Plavsky: But we have a full bar. So I'm doing sober October anyway, so you're just helping me.

[3:18] Frances Ruffelle: I'm drinking our staple Milagro tequila. It's fantastic and smooth. That agave realness. And I'm mixing it with a raspberry lime sparkling water.

[3:29] Kevin Jaeger: I'm doing the Milagro as well.

[3:31] Frances Ruffelle: It does look good, actually. I'm tempted.

[3:35] Kevin Jaeger: I have gin, as always. But also in this, what is it?

[3:38] Frances Ruffelle: Raspberry lime.

[3:39] Kevin Jaeger: Raspberry lime sparkling water. It's really good.

[3:41] Frances Ruffelle: With real squeezed fruit.

[3:44] Bryan Plavsky: So it's not your calorie-free seltzer.

[3:46] Frances Ruffelle: Oh, almost.

[3:49] Kevin Jaeger: Oh, that's right.

[3:49] Frances Ruffelle: There's nine calories.

[3:50] Kevin Jaeger: Oh, nine whole calories.

[3:52] Frances Ruffelle: I have ruined my... I'm gonna have to like chew a piece of gum for like five seconds to burn that calorie.

[3:58] Bryan Plavsky: One jumping jack, please.

[4:01] Bryan Plavsky: Um, well, let's uh let's just get started.

[4:03] Kimberly Cooper: Yeah, um.

[4:05] Bryan Plavsky: What's your musical?

[4:06] Frances Ruffelle: What is my musical?

[4:07] Bryan Plavsky: What's your favorite musical?

[4:08] Frances Ruffelle: Oh, my favorite. Oh my god, I've got so many favorite musicals. But I was thinking that you might ask me that.

[4:14] Bryan Plavsky: Okay.

[4:14] Frances Ruffelle: Oh, you're prepared.

[4:15] Kimberly Cooper: She did her homework.

[4:18] Frances Ruffelle: But you speak so fast that I wasn't sure whether you said, what's your favorite musical or what's your musical?

[4:25] Bryan Plavsky: I want to be answered. What's your music?

[4:26] Frances Ruffelle: What's your musical? Which I thought, what would be my musical if it was really mine? And I thought Oliver actually, that works with me, the kids. You know, when I was a kid, I used to love um Oliver, Oliver Twist. But Oliver is the name of the musical. Lionel Bart wrote it, and he's a sort of real Londoner. I'm a Londoner.

[4:47] Bryan Plavsky: Um, I couldn't tell.

[4:49] Frances Ruffelle: You know, and then Nancy, the character of Nancy is really that sort of, you know, she does the um baba, you know. Yeah, it just feels like that's where I come from. Um, because also before I really understood about musical theatre, I was actually into music hall, which is an old style of music from um, well, the turn of the last century, and my mum was the collector of those music, of that music, so I had all the old records that used to sort of, you know, you know expressions, yeah, yeah, yeah, yeah.

[5:19] Bryan Plavsky: Um, and so mu you know, when I was I first learned to sing to music hall, and then I guess the next step was musicals, and Oliver was one of them.

[5:27] Bryan Plavsky: Was your mother musical? Like, did she music hall?

[5:32] Frances Ruffelle: Yeah, she did. She sang in like um what we call amateur dramatics in England, and I used to go and watch her, and I used to be a very uh precocious child, and she used to sing along loudly from the audience, and in the end she gave up and she used to bring me on stage at the age of four.

[5:48] Bryan Plavsky: That's amazing.

[5:49] Frances Ruffelle: Do you uh have you played Nancy?

[5:51] Frances Ruffelle: I've never played Nancy. And actually, sort of breaks my heart. Well, you played Oliver many times.

[5:57] Frances Ruffelle: Um, but it breaks my heart a bit actually because Lionel Bart became a good friend of mine before he died, and quite a few years before he died, he was saying to me, "You're my Nancy, I really want you to play Nancy."

[6:07] Bryan Plavsky: Yeah, but I didn't get that opportunity.

[6:10] Kevin Jaeger: Producers, do you hear that?

[6:11] Frances Ruffelle: But have not yet had the opportunity. I'd be, well, I'll be a bit of an older Nancy, but that's all right.

[6:16] Bryan Plavsky: Yeah, why not? Opera singers by all ages.

[6:19] Frances Ruffelle: Exactly.

[6:22] Bryan Plavsky: So I'll play Oliver today.

[6:24] Frances Ruffelle: Throwing a hat.

[6:25] Bryan Plavsky: Actually, that'd be quite interesting production.

[6:27] Frances Ruffelle: Yeah, with grown-ups playing the kids.

[6:32] Bryan Plavsky: But yeah, I love it. Did you see kids play the grown-up?

[6:35] Frances Ruffelle: That show made me do that. I wouldn't be playing Nancy.

[6:40] Bryan Plavsky: Like a little kid Bill Sykes like trying to intimidate an adult Oliver or something.

[6:45] Frances Ruffelle: I mean, I would see a little kid think it. That would change.

[6:50] Bryan Plavsky: Right, and then he'd like, oh yeah, made a terrible mistake.

[6:53] Frances Ruffelle: Yeah.

[6:54] Bryan Plavsky: Like a Bugsy Malone.

[6:55] Frances Ruffelle: Yeah, exactly. Yeah, I do like Bugsy Malone.

[6:59] Bryan Plavsky: Um, do you have a favorite experience seeing a show?

[7:03] Frances Ruffelle: Oh. Um, God, that's a bit of a... I mean, I love going to the theatre all the time. I absolutely do. I'm trying to think what is my... I mean, I think one of the most... well, one wonderful experience I had was going to see War Horse.

[7:16] Bryan Plavsky: Have you seen War Horse?

[7:17] Frances Ruffelle: Yeah.

[7:18] Bryan Plavsky: It ch... I just got chills watching it. It's such an incredible, you know, the creation with the horse and the way they moved the horse. And also how the story, how touching the story is. A bit like Les Mis is so touching as well. But um, I just sat there and thought, how lucky am I to be alive to be able to see this and be in a town where I could see this? You know, I just came out of that theatre feeling so lucky.

[7:46] Bryan Plavsky: Yeah.

[7:46] Frances Ruffelle: So I guess that's my experience.

[7:48] Bryan Plavsky: Do you remember seeing your first Broadway show?

[7:51] Frances Ruffelle: Um yes, I do. It was um, um, Dreamgirls.

[7:57] Bryan Plavsky: Oh wow.

[7:58] Frances Ruffelle: I saw the original production.

[8:00] Bryan Plavsky: That's a great person.

[8:01] Frances Ruffelle: Yeah, that's awesome. Yeah, it was my first ever trip to New York.

[8:05] Bryan Plavsky: What was your first West End show?

[8:07] Frances Ruffelle: Oh gosh, I will not remember that because I was taken since I was about two.

[8:11] Bryan Plavsky: Yeah, yeah.

[8:12] Frances Ruffelle: Um, I... every week. My parents are big theater goers, so I can't remember the exact...

[8:16] Bryan Plavsky: Well, your mom is a music hall, apparently.

[8:19] Frances Ruffelle: Exactly. So you saw the original Dreamgirls where like they did like the zoom in on her face, like at the mirror and everything at the end of the act one.

[8:26] Bryan Plavsky: I don't remember that thing.

[8:28] Frances Ruffelle: That's what people always talk about that they felt like it was almost cinematic because they like used like a camera in her mirror. So like she was singing like the "You're Gonna Love Me" thing, and she looked into like her own mirror to like look at herself, and it was like a giant...

[8:42] Bryan Plavsky: No, I actually can't remember that. Basically, I don't remember things.

[8:45] Frances Ruffelle: Sure.

[8:45] Bryan Plavsky: Terrible.

[8:46] Frances Ruffelle: But you've also seen so much.

[8:48] Frances Ruffelle: I have, I have, yeah. Um, do you have a cast album that if you were sent to a desert island, you would bring with you?

[8:57] Frances Ruffelle: Um, well if I was sent to a desert island, probably wouldn't bring it, but she's like, I can only bring limited things that that would not be one of the things.

[9:13] Bryan Plavsky: Yeah, but I mean, I guess it would be something from, you know, when I was young and I was learning to sing really in the bedroom, and I'd play things over and over again, and I used to sing along to Evita, but it was actually not actually it wasn't a cast album, it was a concept album. It was the one that came out before, yeah.

[9:31] Kevin Jaeger: Yeah.

[9:32] Frances Ruffelle: Yeah, I mean, that's a beautiful score, you know. I mean, there's, I mean, you know, loads of cast albums and things back then I used to listen to over and over again. But I don't really, I don't listen to things so much now.

[9:45] Frances Ruffelle: Um, I become very lazy. I just put Spotify on and listen to the odd track here and there.

[9:49] Bryan Plavsky: Right.

[9:50] Frances Ruffelle: Whatever it is next.

[9:51] Bryan Plavsky: I'll be right back.

[9:53] Frances Ruffelle: Do you ever pop up on there like skip?

[9:55] Bryan Plavsky: Um no.

[10:01] Frances Ruffelle: Is that weird if you're like listening to musical theater Spotify and like your own voice comes up from one of the many albums?

[10:07] Frances Ruffelle: I haven't actually heard that, but I've heard obviously on theater shows and stuff on radio occasionally it and I actually I still get quite thrilled.

[10:17] Bryan Plavsky: I do, yeah.

[10:18] Frances Ruffelle: Um, let's talk a little bit about Les Mis. Um can you explain the plot to us in great detail?

[10:25] Frances Ruffelle: I don't know, that's Starlight Express.

[10:27] Bryan Plavsky: Oh yeah.

[10:28] Frances Ruffelle: Um, I have no idea what it's about. Looking back on what Les Mis has become as part of the canon of musical theater and just pop culture in general. How do you now looking back see how you fit into that story? What um kind of what's what's what how do you view your part in kind of the evolution of it?

[10:49] Frances Ruffelle: Um looking back as like a piece of that puzzle of like what Les Mis now is. I mean, yeah, um I mean obviously looking right back, I didn't expect it to be such a big hit, obviously, even though I thought it was amazing. Um it's I don't really think I use these words personally, but people, other people look at that role and it's like an icon iconic role.

[11:21] Bryan Plavsky: Um and it's also not just the beautiful part, but it's also the look of the role as well.

[11:28] Frances Ruffelle: Yeah, you know, I literally, I mean, oh that's so true. I mean, annoyingly for me, if I wear a long coat, I can never wear a hat.

[11:36] Bryan Plavsky: So look like a music because that's such the iconic.

[11:46] Frances Ruffelle: I seriously talk about it. It's me. Like your friends are like really and then you know, there's lovely little caps and things. I really want to wear them. And um, I just can't know I can occasionally will wear like a black version on a on a plane, you know, for just to cover up bad hair, but I can't wear a long coat with it at all after wear jeans and maybe a whole different sort of kind of belted coat.

[12:11] Bryan Plavsky: So amazing spectacular answer. Do you remember when uh so you did it in in London? You were part of the first ever English production, English speaking production of the show.

[12:20] Frances Ruffelle: Yes.

[12:21] Bryan Plavsky: And then you and Colm Wilkinson were both asked to come to Broadway and do it here as well. Do you remember like what it was like being told that you're gonna go across the sea and do it in Broadway?

[12:32] Frances Ruffelle: Yeah. Well, I mean, I wasn't gonna be coming, it was absolutely gonna be at only Colm. The whole I mean, obviously, every single person in the production room wanted to go to Broadway. So, and but we were told absolutely not, you know, back then it was even more difficult with equity.

[12:46] Bryan Plavsky: Yeah.

[12:47] Frances Ruffelle: So and and they actually did cast Eponine. I don't know if you know this, they cast um the role with uh an actress called Amory Bobby, and she um decided to do a different show. She did um Smile. Oh if you've heard of that before smile again.

[13:02] Kevin Jaeger: Very briefly.

[13:03] Frances Ruffelle: I don't know her then.

[13:05] Bryan Plavsky: Yeah.

[13:07] Frances Ruffelle: So sadly for her, she chose the wrong show, and and luckily for me, um, they didn't find anyone else they wanted as much, and they had a good, you know, cause to talk to equity about it and bring you on because they had actually cast someone so they could prove they actually did try.

[13:24] Bryan Plavsky: Yeah.

[13:25] Frances Ruffelle: So um so it was like a you're not gonna do it, and then all of a sudden it was like, okay, you can come over it quickly.

[13:30] Bryan Plavsky: Yeah, I actually it was a Saturday matinee. They'd already started rehearsals here in New York, and Saturday matinee in London, and Cameron called me at my apartment and said, "Darling, I'm taking you to Broadway."

[13:42] Frances Ruffelle: But it was like just like that.

[13:44] Bryan Plavsky: Yeah, literally, can you pack and go tomorrow?

[13:48] Frances Ruffelle: Tomorrow.

[13:49] Bryan Plavsky: Yeah.

[13:49] Frances Ruffelle: And then he said, "But I need you back here because he's got some important people in or something the following week." So I had to go for a week's rehearsal, then fly back and perform for a week and then fly back again.

[13:59] Bryan Plavsky: And were you like, but I know the show? Can I just go?

[14:01] Frances Ruffelle: Yeah. I know, why don't they be able to do that? We'll do like an hour.

[14:09] Bryan Plavsky: Get the understanding to do her.

[14:11] Frances Ruffelle: Oh my god. In that transfer, did you find yourself shifting and changing things about the character?

[14:16] Frances Ruffelle: Um not necessarily about the character particularly. I mean, I always shift and change every day anyway. Right. Um but um I had to do in England, I did it in a cockney accent. And in the States I had to do American accents.

[14:29] Bryan Plavsky: Did they use American?

[14:30] Frances Ruffelle: They used you in an American accent?

[14:32] Bryan Plavsky: Yeah.

[14:32] Frances Ruffelle: Wow.

[14:38] Frances Ruffelle: Was that harder to do like the Cockney or the was it definitely harder to do the American?

[14:42] Bryan Plavsky: Um no, it wasn't harder to do American, but it was a shame in some ways because I think the character that I did in London, it was more interesting in Cockney.

[14:53] Kimberly Cooper: Sure.

[14:54] Frances Ruffelle: And they did it because of the class system they have in England. It shows, you know, even though we were all French anyway.

[14:59] Bryan Plavsky: Right.

[15:00] Frances Ruffelle: But they didn't want us to do French accents speaking English. So that's the way they did it then.

[15:04] Bryan Plavsky: Well the theatre wings seemed to like it, so yeah.

[15:08] Frances Ruffelle: But they were pretty happy. Do you remember anything about Tony Knight? Or like is it like you black out?

[15:13] Bryan Plavsky: Like you know, like So the only thing I really remember is like first of all, I didn't expect to win, I just didn't.

[15:21] Frances Ruffelle: Um and then I thought, but if I do win, I just mustn't trip over in these high heels. Because I wasn't used to wearing high heels in those days.

[15:30] Kimberly Cooper: Yeah.

[15:30] Frances Ruffelle: And uh you don't in the show.

[15:32] Bryan Plavsky: No.

[15:34] Frances Ruffelle: In fact, in the show, the character I insisted on getting boots that were like two sizes too big, because she's a she would have grabbed whatever she could. She had no nothing.

[15:42] Bryan Plavsky: Right.

[15:42] Frances Ruffelle: Yeah. So she was even lucky to have boots. So um and that that really helped with my characterization and my walk and the sloppiness of her. Which I don't know if other people did later or not. But I know that when I came to New York, they gave me a pair of boots that fitted me, and I was like, no, no, no, I need my I need the big ones.

[15:59] Kimberly Cooper: I don't get these, I'm going back to London at one of the colours.

[16:05] Frances Ruffelle: Just get those frequent flyer miles. Um so um many of the songs that you sang in that production um are no no's at auditions.

[16:16] Bryan Plavsky: Um what?

[16:17] Frances Ruffelle: Like on my own.

[16:19] Bryan Plavsky: Oh I got anyone.

[16:23] Frances Ruffelle: Do you um do you sing them at all? Do you still sing them at all?

[16:26] Bryan Plavsky: I have to.

[16:31] Frances Ruffelle: No auditions, obviously. You know what? I do really stupid things in auditions. I think they must think I'm crazy, which I probably am. But I do like my last audition I went on, I sang Lilot Wine by you know, that's made famous by Jeff Mugley, he didn't actually like to and I did it as a as a as a woman who was really really pissed.

[16:50] Bryan Plavsky: And I thought, you know, and I and and some of the room laughed and some didn't. But I just walked out there thinking maybe that was not a good idea.

[16:58] Kimberly Cooper: Oh I love that.

[17:00] Frances Ruffelle: That's you have to make a choice.

[17:02] Bryan Plavsky: Yeah, you made a choice.

[17:03] Frances Ruffelle: I just don't want to I never want to do anything normal.

[17:05] Kimberly Cooper: Yeah.

[17:06] Frances Ruffelle: Um like Starlight Express.

[17:08] Bryan Plavsky: Yeah.

[17:09] Frances Ruffelle: No pun int no, pun intended. What was that like getting it up on its feet?

[17:15] Frances Ruffelle: Um well I I did the workshop um when I was only 17. And um plain uh playing diner.

[17:24] Kimberly Cooper: Yeah.

[17:25] Frances Ruffelle: Um uh and I wasn't really a good skater, so they they gave me lessons, so that was hard. Um and they it took them a year to get the right theatre because they did the theatre was incredible. They had tracks running around the back of the theatre.

[17:36] Bryan Plavsky: Oh really?

[17:42] Frances Ruffelle: Yeah. No one would go to the bathroom during the show.

[17:46] Kimberly Cooper: No, not easy.

[17:47] Frances Ruffelle: There was only certain moments they were allowed to cross.

[17:50] Bryan Plavsky: What theatre was it in?

[17:51] Frances Ruffelle: Um Apollo Victoria in London. I mean, it was incredible. And we had um a track also going around the um dress circle as well.

[17:55] Kimberly Cooper: Oh wow.

[17:55] Frances Ruffelle: I mean it was and then like hydraulic bridges that that that that connected us from the stage to the dress circle. I mean, unbelievable. Um it's such a shame. I mean, it went on for 18 years there in London.

[18:14] Bryan Plavsky: Right.

[18:14] Frances Ruffelle: Yeah. But it's such a shame. It's still in Germany.

[18:17] Kimberly Cooper: Yes, yeah.

[18:18] Frances Ruffelle: Well, the theater was built specifically for it, right?

[18:21] Bryan Plavsky: No, that's the only reason I want to go to Germany. I would quite like to go and see it though, actually.

[18:26] Frances Ruffelle: But it was um it's a sort of a shame because I don't think apart from Germany that it's ever gonna happen again like that. Because I know they're talking about doing it again without the skates, but I don't actually see the point.

[18:35] Kimberly Cooper: Yeah.

[18:37] Frances Ruffelle: That's like doing cats in like regular dress.

[18:41] Bryan Plavsky: Can you imagine just like t-shirts that say the name of your cat and only comments?

[18:45] Frances Ruffelle: Apparently we roll along. But I mean see what happens, you know. They if they do it again without the skates. I mean, obviously it'd be much nice if the actors um was they'd have to fly or something.

[18:57] Kimberly Cooper: Like they'd have to fix it.

[18:59] Frances Ruffelle: Well maybe they're not gonna be trains anyway. I don't know, I don't know. Were there like this is silly, but were there like a decent number of injuries in the cats because of skating?

[19:07] Kimberly Cooper: Yeah, a lot of injuries.

[19:08] Frances Ruffelle: Um swings were on all the time.

[19:10] Bryan Plavsky: Yeah, yeah.

[19:11] Frances Ruffelle: Oh my god, but well let's play a game.

[19:14] Kimberly Cooper: Let's do it.

[19:14] Frances Ruffelle: Oh, okay. Um this game is called On My Own.

[19:17] Bryan Plavsky: Okay.

[19:18] Frances Ruffelle: And you were okay. We're all on our own.

[19:22] Kimberly Cooper: Right.

[19:23] Frances Ruffelle: Really.

[19:25] Bryan Plavsky: Uh uh.

[19:26] Frances Ruffelle: So it's a finish the lyric game.

[19:29] Bryan Plavsky: Okay.

[19:30] Frances Ruffelle: So I have a few lyrics that I'll read the beginning of, and you need to finish it.

[19:33] Kimberly Cooper: Uh-oh.

[19:34] Frances Ruffelle: If you think you can do it on your own, you can ring in and try and finish it on your own.

[19:39] Bryan Plavsky: Okay.

[19:40] Frances Ruffelle: And you get three points. If no one can do it on their own, you can choose a partner and finish it together.

[19:47] Kimberly Cooper: Okay.

[19:48] Frances Ruffelle: And you each get two points. If all three of you need to work together, you each get one point.

[19:54] Bryan Plavsky: Okay.

[19:55] Frances Ruffelle: I like this game. Does that work? Well, do you have to ring if it's three of us? How do we do that?

[19:58] Kimberly Cooper: I think you just ring if you think you can do it by yourself.

[20:01] Frances Ruffelle: Oh yeah, okay. And then you can choose to partner up. And then if like no one does, then you can like ring and be like, me and Kevin.

[20:08] Bryan Plavsky: Okay.

[20:08] Frances Ruffelle: Got it. I'll go.

[20:10] Kimberly Cooper: Alright.

[20:11] Frances Ruffelle: Ready?

[20:11] Bryan Plavsky: Yep.

[20:12] Frances Ruffelle: Yes. Here's the first one.

[20:14] Frances Ruffelle: In the rain, the pavement.

[20:17] Bryan Plavsky: Shines like silver.

[20:19] Frances Ruffelle: Yes.

[20:23] Bryan Plavsky: You patiently waiting for me to read it.

[20:27] Frances Ruffelle: Well, I have a feeling that Kevin should get right away.

[20:31] Bryan Plavsky: Three.

[20:31] Frances Ruffelle: Okay.

[20:31] Bryan Plavsky: Oh, yes. Thanks for counting.

[20:33] Frances Ruffelle: Because you did that one on your own.

[20:38] Bryan Plavsky: Okay.

[20:40] Frances Ruffelle: Every street lamp seems to beat A.

[20:48] Kimberly Cooper: I can't remember how that goes, but I know it is.

[20:49] Frances Ruffelle: Fatalistic warning.

[20:51] Bryan Plavsky: Correct.

[20:53] Frances Ruffelle: I tried to choose like the weirdest phrases. I was like, huh.

[20:57] Kimberly Cooper: Okay, ready?

[20:58] Frances Ruffelle: Yes. I learned so many big words as a child from musicals because I feel like I would just like memorize what I was listening to, and then I would be saying these words, especially songtime shows.

[21:08] Kimberly Cooper: Yeah, or super califragilistic example.

[21:10] Frances Ruffelle: Yeah, exactly like that. But there were like songtime shows where I would be singing along and saying words, and I'd be like, I don't know what this word means.

[21:16] Bryan Plavsky: No, I still don't.

[21:18] Frances Ruffelle: Constantly. Sometimes I was like, that wasn't just gibberish.

[21:22] Kimberly Cooper: Yeah, look that up.

[21:23] Frances Ruffelle: Okay. Starlight Express.

[21:26] Bryan Plavsky: Answer me yes.

[21:31] Frances Ruffelle: Correct.

[21:34] Bryan Plavsky: Right.

[21:34] Frances Ruffelle: Oh, is it? Please.

[21:36] Bryan Plavsky: I don't care.

[21:37] Frances Ruffelle: Is it?

[21:38] Bryan Plavsky: Well, that's what Google said.

[21:40] Frances Ruffelle: They weren't in the show. Answer me, yes.

[21:44] Bryan Plavsky: Right.

[21:46] Frances Ruffelle: Okay, ready?

[21:49] Bryan Plavsky: Yes.

[21:51] Frances Ruffelle: Way, way back many cents.

[21:54] Kimberly Cooper: Oh.

[21:54] Frances Ruffelle: Two years ago, not long after the bubble began.

[21:57] Bryan Plavsky: Correct.

[21:58] Frances Ruffelle: Yeah. You knew. Did you know I played the new way too?

[22:02] Kimberly Cooper: I did.

[22:02] Frances Ruffelle: I think I'm making this easy to me.

[22:04] Bryan Plavsky: Well then ready for Kevin's.

[22:06] Frances Ruffelle: I'm gonna.

[22:07] Bryan Plavsky: Alright, I'm ready for this.

[22:09] Frances Ruffelle: Heart.

[22:10] Bryan Plavsky: Don't.

[22:11] Frances Ruffelle: Fail me now.

[22:12] Bryan Plavsky: Yeah.

[22:13] Frances Ruffelle: Anastasia.

[22:14] Bryan Plavsky: What's that for?

[22:14] Frances Ruffelle: Oh Anastasia.

[22:19] Bryan Plavsky: Let's see.

[22:20] Frances Ruffelle: I look handsome.

[22:22] Bryan Plavsky: I look smart.

[22:23] Frances Ruffelle: Oh, sorry, that's me again, isn't it?

[22:24] Bryan Plavsky: No, you am.

[22:25] Frances Ruffelle: Oh, yeah. This was mostly me, just always wanting Brian and Kevin to figure out if they know all the colors.

[22:35] Kimberly Cooper: Oh yeah. We we tried one week to try to do all the colors and it didn't work out.

[22:39] Frances Ruffelle: You can you can't do it.

[22:46] Kimberly Cooper: Red and yellow and green and brown and scarlet and crimson and okra and move and I've got it won't be.

[22:51] Frances Ruffelle: No.

[22:52] Kimberly Cooper: Way further than we can do.

[22:54] Frances Ruffelle: Red and yellow and green and brown. What if this is just a cumulative game? Everyone, extra point for which one you've memorized.

[23:00] Kimberly Cooper: We could do that.

[23:01] Frances Ruffelle: We could probably do like every week we add a new color to memorize it.

[23:05] Kimberly Cooper: Oh god.

[23:06] Frances Ruffelle: Okay. Oh god. We'll start. It was red and yellow and green and brown.

[23:11] Kimberly Cooper: And scarlet and black and ochre and peach.

[23:15] Frances Ruffelle: Yes. And ruby and violet.

[23:19] Kimberly Cooper: Olive.

[23:19] Frances Ruffelle: Olive. Okay, so next week we'll pick up at olive.

[23:22] Kimberly Cooper: Okay.

[23:24] Frances Ruffelle: That was hard to remember everything like that. I put it. I can't. Especially with like everything else going on around you to be like, all right, focus on going.

[23:33] Kimberly Cooper: It should be in the olive.

[23:36] Frances Ruffelle: According to where it says, I'm pointing to the book.

[23:40] Kimberly Cooper: What if it's like a really like like uh like off the wall production where his coat is actually just all black, but like the colors are written on it, so it's just words on it.

[23:51] Frances Ruffelle: Or it lights up.

[23:53] Kimberly Cooper: I do see it.

[23:56] Frances Ruffelle: Still before you say it.

[23:59] Kimberly Cooper: Or he like ripples off a few.

[24:01] Frances Ruffelle: Everyone's behind a half beat. It was color. Red. Yellow.

[24:06] Bryan Plavsky: Okay.

[24:09] Frances Ruffelle: I want to move on. I want to explore.

[24:14] Kimberly Cooper: Wait, it's that's uh I explore.

[24:16] Frances Ruffelle: It's it's Sunday in the park with George.

[24:18] Bryan Plavsky: Correct.

[24:19] Frances Ruffelle: Uh I want to explore. Ring in. If you think, unless you want to choose a partner.

[24:25] Kimberly Cooper: Um, can I pick you?

[24:28] Frances Ruffelle: He's actively looking at the lyrics.

[24:31] Bryan Plavsky: It's George.

[24:32] Frances Ruffelle: Yeah. I want to move on. I want to explore something.

[24:37] Kimberly Cooper: I don't know.

[24:38] Frances Ruffelle: Sing it.

[24:39] Bryan Plavsky: Uh.

[24:40] Frances Ruffelle: I want to move on.

[24:42] Bryan Plavsky: No.

[24:43] Frances Ruffelle: What part is it? Start it out for me.

[24:47] Bryan Plavsky: I want to move on. I want to explore.

[24:51] Frances Ruffelle: I don't know.

[24:53] Bryan Plavsky: I don't know this at all.

[24:57] Frances Ruffelle: That's a winner.

[24:57] Bryan Plavsky: The light.

[24:58] Frances Ruffelle: Uh explore the light. I want to know how to get through.

[25:03] Bryan Plavsky: Okay.

[25:04] Frances Ruffelle: All right. And there's now.

[25:06] Bryan Plavsky: Yes.

[25:12] Frances Ruffelle: Uptown, you cater to a million jerks.

[25:16] Bryan Plavsky: Uptown, your messengers.

[25:19] Frances Ruffelle: And mailroom clerks.

[25:21] Bryan Plavsky: Correct.

[25:23] Frances Ruffelle: That's our little shop.

[25:26] Bryan Plavsky: Oh, I only have one more. I only know that because I did it in high school.

[25:30] Frances Ruffelle: Right?

[25:31] Bryan Plavsky: Oh no, I have two more.

[25:32] Frances Ruffelle: Okay.

[25:34] Bryan Plavsky: Uh Uptown Your Messenger or Room Clerks.

[25:37] Frances Ruffelle: Uptown.

[25:40] Bryan Plavsky: Eating all your lunches at the hotbox cart.

[25:42] Frances Ruffelle: Hotbox?

[25:43] Bryan Plavsky: Hot dog.

[25:44] Frances Ruffelle: Hot dog? What's a hot box?

[25:46] Bryan Plavsky: I was in hotbox and I did it in high school. So I sang the hotbox.

[25:49] Frances Ruffelle: Isn't the hot box where um Adelaide did it?

[25:52] Bryan Plavsky: That's what I thought it was about.

[25:54] Frances Ruffelle: Is that the hot dog?

[25:55] Bryan Plavsky: I was in hotbox and I did it in high school. So I sang the hotbox.

[26:03] Frances Ruffelle: No, it's a hot dog cart.

[26:04] Bryan Plavsky: Right. That's why I'm going to go. Give me a uptown.

[26:09] Frances Ruffelle: Or downtown.

[26:11] Bryan Plavsky: Two more.

[26:12] Frances Ruffelle: Okay.

[26:13] Bryan Plavsky: Join us.

[26:14] Frances Ruffelle: Leave your fields to flower.

[26:16] Bryan Plavsky: Join us.

[26:17] Frances Ruffelle: Leave.

[26:20] Bryan Plavsky: Join us.

[26:21] Frances Ruffelle: Uh-huh.

[26:22] Bryan Plavsky: I can't remember the actual words then.

[26:26] Frances Ruffelle: That's like my favorite weird rhyme. Join us. Leave your fields to flower. Join us. Leave your something for an hour?

[26:36] Bryan Plavsky: No.

[26:37] Frances Ruffelle: I don't know.

[26:38] Bryan Plavsky: Partner up.

[26:39] Frances Ruffelle: No?

[26:40] Bryan Plavsky: I don't know.

[26:41] Frances Ruffelle: Leave your cheese to sour.

[26:43] Bryan Plavsky: Yeah.

[26:44] Frances Ruffelle: That's really that's the words?

[26:46] Bryan Plavsky: Correct.

[26:46] Frances Ruffelle: Is that from Pippin?

[26:47] Bryan Plavsky: Yes.

[26:48] Frances Ruffelle: I don't remember those words. Leave your cheese to sour. Join us. Come on, waste an hour or two.

[26:52] Bryan Plavsky: I knew there was an hour rhyme in there.

[26:54] Frances Ruffelle: Yeah, it's an internal rhyme.

[26:56] Bryan Plavsky: Yeah.

[26:57] Frances Ruffelle: After the cheese. Okay, last one.

[26:59] Bryan Plavsky: One more day to revolution.

[27:02] Frances Ruffelle: We will.

[27:04] Bryan Plavsky: Nip it in the bud.

[27:06] Frances Ruffelle: That's such a great line.

[27:08] Bryan Plavsky: It is. I picked like the third verse to be tricky.

[27:11] Frances Ruffelle: I was with you.

[27:12] Bryan Plavsky: That's the line that made me realize that it's not nip in the butt.

[27:17] Frances Ruffelle: Like when you were young.

[27:18] Bryan Plavsky: When I was young, I thought it was nip it in the butt. And then I read all the lyrics in the booklet.

[27:23] Frances Ruffelle: Yeah.

[27:24] Bryan Plavsky: And it was nip it in the bud. And I was like, no, this is a misprint. It should say butt.

[27:31] Frances Ruffelle: What about that? What a palava, what an absolute treat.

[27:34] Bryan Plavsky: Everyone always says, What's a palava?

[27:35] Frances Ruffelle: Is it weak?

[27:37] Bryan Plavsky: Yeah, what is it?

[27:38] Frances Ruffelle: Oh, okay. Palava is like, oh, such a oh, it's so annoying. What is it? So irritating. This is such a, you know, it's like that kind of thing.

[27:46] Bryan Plavsky: I thought it was baked good.

[27:47] Frances Ruffelle: I thought they were saying powder.

[27:49] Bryan Plavsky: I thought you were saying it was irritating to explain what a palava was.

[27:59] Frances Ruffelle: That's so that's a meta.

[28:02] Bryan Plavsky: You do tied. Really?

[28:03] Frances Ruffelle: Is there a tiebreaker?

[28:05] Bryan Plavsky: At 12.

[28:06] Frances Ruffelle: Yeah, but that was because I had all the easy.

[28:09] Bryan Plavsky: I feel like I just wanted to. Listen, I got zero.

[28:12] Frances Ruffelle: You had zero?

[28:13] Bryan Plavsky: Yeah, I didn't do anything.

[28:14] Frances Ruffelle: Ready? I'll do a tiebreaker.

[28:15] Bryan Plavsky: Okay.

[28:20] Frances Ruffelle: It is the first thing that came to my mind to Google the lyrics of, so apologies.

[28:24] Bryan Plavsky: No worries.

[28:28] Frances Ruffelle: Let's see.

[28:31] Bryan Plavsky: Hand over the buzzer.

[28:34] Frances Ruffelle: Oh, it gave me not the song I asked for. So let's do this one.

[28:36] Bryan Plavsky: Oh god.

[28:40] Frances Ruffelle: Google one song, get another.

[28:42] Bryan Plavsky: Okay.

[28:43] Frances Ruffelle: Sure. And you'll all say.

[28:49] Bryan Plavsky: Oh.

[28:50] Frances Ruffelle: Oh well, there never was there ever a cat so clever as magical Mr. Mistopheles.

[28:55] Bryan Plavsky: Close.

[28:58] Frances Ruffelle: Oh well.

[29:02] Bryan Plavsky: It's weird.

[29:03] Frances Ruffelle: Never. Is that? Is that what you just sang?

[29:06] Bryan Plavsky: Oh well, there never was there ever.

[29:08] Frances Ruffelle: No.

[29:10] Bryan Plavsky: Oh well, there never.

[29:11] Frances Ruffelle: Yeah, this is another you never would have thought this to be the lyric.

[29:14] Frances Ruffelle: Oh, well, I never was there ever a cat so clever.

[29:20] Bryan Plavsky: Well, I never.

[29:20] Frances Ruffelle: I never knew.

[29:22] Bryan Plavsky: Oh well, there never.

[29:24] Frances Ruffelle: But also I Googled Rom Tom Tugger lyrics.

[29:28] Bryan Plavsky: And it brought up.

[29:33] Kevin Jaeger: Well, you win.

[29:34] Frances Ruffelle: Yeah!

[29:35] Bryan Plavsky: You used it.

[29:38] Kevin Jaeger: Yes, gets the win.

[29:39] Bryan Plavsky: Alright, alright.

[29:40] Kevin Jaeger: Um, so there's no prize.

[29:43] Frances Ruffelle: So yeah.

[29:50] Bryan Plavsky: So let's talk about your show.

[29:52] Frances Ruffelle: Yes.

[29:53] Bryan Plavsky: You're back in New York.

[29:54] Frances Ruffelle: You're back in New York.

[29:54] Bryan Plavsky: You live here.

[29:55] Frances Ruffelle: You're lives here.

[29:57] Bryan Plavsky: Lives in New York.

[29:58] Frances Ruffelle: Um.

[29:58] Bryan Plavsky: I live in New York.

[29:59] Frances Ruffelle: Tell tell us I love it.

[30:01] Bryan Plavsky: Tell us in your best New Yorker dialect about the show.

[30:07] Frances Ruffelle: What do you say?

[30:08] Bryan Plavsky: What what was the question?

[30:10] Frances Ruffelle: Just tell us a little bit about your show.

[30:12] Frances Ruffelle: You have two performances coming up.

[30:14] Frances Ruffelle: One is on uh October twentieth, and then the next one is Octo uh November twenty-third at the Green Room for the first time.

[30:20] Frances Ruffelle: So they're my last shows at the Green Room basically.

[30:22] Bryan Plavsky: Okay.

[30:23] Frances Ruffelle: So I've been doing it for three years there.

[30:24] Frances Ruffelle: It's been amazing.

[30:26] Frances Ruffelle: Um I don't do cabaret like um like people say, Oh, you should do Frances Fel on her own.

[30:33] Frances Ruffelle: You know, that is to me like the most obvious cabaret title.

[30:38] Frances Ruffelle: And um and there's nothing wrong with obvious cabaret, and there's a lot of very good obvious cab cabaret.

[30:44] Frances Ruffelle: But I I do what you call a theatre piece in a cabaret space.

[30:44] Frances Ruffelle: Cabaret space.

[30:49] Bryan Plavsky: Sure, sure.

[30:50] Frances Ruffelle: Um and it's um it's a story of a character who doesn't really have a name, although I am gonna give her a name today.

[30:57] Frances Ruffelle: Her name's Ruby.

[30:59] Frances Ruffelle: Um decided from now on.

[31:01] Frances Ruffelle: Um and it's been fun um and it's it's now um it's gonna now gonna be off Broadway next year.

[31:09] Bryan Plavsky: Oh that's amazing.

[31:10] Frances Ruffelle: It's um um i the piece that we're doing off Broadway is gonna be inspired by Nine Show, so it's gonna be changed, but um inspired by it by a big deal.

[31:19] Frances Ruffelle: Um Jolie Fisher's directing it and creating it with me, and we've also written the movie version of it as well.

[31:26] Bryan Plavsky: Incredible.

[31:27] Frances Ruffelle: Wow.

[31:27] Bryan Plavsky: So me and Jolie have become a bit of a team, which is amazing.

[31:30] Frances Ruffelle: She's she's a genius.

[31:31] Bryan Plavsky: Get on it, Netflix.

[31:33] Frances Ruffelle: I love her.

[31:34] Bryan Plavsky: Yeah, that would be nice.

[31:36] Frances Ruffelle: Alright.

[31:37] Frances Ruffelle: And then so that's happening next year.

[31:39] Frances Ruffelle: Um, but that if you want to see the show as the original inspiration, then even got two chances, basically.

[31:46] Kevin Jaeger: Yeah.

[31:47] Frances Ruffelle: And then I'm gonna stop.

[31:48] Frances Ruffelle: I mean, I've had a really good time, but it's time to stop and move on to the next one.

[31:52] Bryan Plavsky: Yeah.

[31:53] Frances Ruffelle: Um, and then um I've just written a play with Alan Cumming as well, which I'm um seeing next year too.

[31:58] Bryan Plavsky: Oh, we'll have to fly over there.

[32:01] Frances Ruffelle: Yeah, yeah, yeah.

[32:02] Frances Ruffelle: But then come back a week later.

[32:10] Kevin Jaeger: Um, but you could also take a flight to Tuesdays in the corner with Kevin.

[32:18] Kevin Jaeger: Sorry for my verbal iron.

[32:20] Kevin Jaeger: Welcome to Kevin's Corner, where I have three highly researched questions that started from your Wikipedia page.

[32:26] Frances Ruffelle: Oh no.

[32:27] Kevin Jaeger: And then went in weird rabbit holes from there.

[32:30] Kevin Jaeger: So we'll see where we go off and we'll see how it goes.

[32:34] Frances Ruffelle: Okay.

[32:34] Kevin Jaeger: Okay, so question one.

[32:36] Kevin Jaeger: In 1984, you appeared in the London original London cast of Angela Weber's Starlight Express, where you took on the principal role of Dinah.

[32:46] Kevin Jaeger: We first learned that someone was in the kitchen with Dinah, strumming on an old banjo, while she was urged to blow her horn in the American folk song I've been working on on the railroad, which was first published as Levy Song in uh Carmina Princeetonia, a book of Princeton University songs published in 1894.

[33:03] Kevin Jaeger: The earliest known recording of that song was released by Victor Records in 1927 by the Sand Hill 16.

[33:11] Kevin Jaeger: The Sixteen Kingdoms, less commonly known as the 16 states, was a chaotic period in Chinese history from AD 304 to 439, when a political order of northern China fractured into a series of short-lived dynastic states, most of which were founded by the five barbarians, non-Chinese people who settled in the northern and western China during the preceding centuries and participated in the overthrow of the Western Jin dynasty in the early fourth century.

[33:46] Kevin Jaeger: The family originates from the first design, Century Roman, cut by the American type founders designer Lynn Boyd Benton in 1894 for master printer Theodore Lo Devin for use in the Century magazine.

[34:01] Kevin Jaeger: So my question is if you could have an exclusive tell all interview appear in any major magazine, which magazine would you choose and why?

[34:12] Frances Ruffelle: You only have to listen to the last sentence is so.

[34:33] Frances Ruffelle: I'm gonna have I'm gonna say Rolling Stone.

[34:35] Kevin Jaeger: That's a great one.

[34:37] Frances Ruffelle: Also, I still have obvious cabaret title in my head as a cabaret title.

[34:37] Frances Ruffelle: Obvious cabaret title.

[34:43] Kevin Jaeger: Obvious cabaret title.

[34:46] Frances Ruffelle: That's so noir.

[34:48] Kevin Jaeger: I love it.

[34:49] Frances Ruffelle: So it would be Rolling Stone.

[34:50] Kevin Jaeger: Yeah.

[34:51] Frances Ruffelle: Just because you're a little bit rock and roll.

[34:52] Frances Ruffelle: Because a bit of rock and roll, but also because it's going right way, way, way, way back.

[34:56] Frances Ruffelle: So you know, they in the like Finnstones.

[34:59] Kevin Jaeger: Totally.

[35:02] Frances Ruffelle: I love it.

[35:03] Kevin Jaeger: Uh question more.

[35:04] Kevin Jaeger: There's no, this is question two.

[35:07] Kevin Jaeger: The creative team behind Le Miserable, Claude Michel Schoenberg, and is it Alan?

[35:12] Frances Ruffelle: Alain Boubi.

[35:13] Kevin Jaeger: Alambubi.

[35:13] Frances Ruffelle: Alain Boubis?

[35:13] Kevin Jaeger: Yeah.

[35:14] Frances Ruffelle: Used your vocals as Kim while writing Miss Saigon.

[35:17] Kevin Jaeger: That's correct.

[35:17] Frances Ruffelle: And Andrew Lloyd Weber used your considerable talents to workshop both Sunset Boulevard and Whistle Down the Wind.

[35:24] Kevin Jaeger: Yeah.

[35:25] Frances Ruffelle: Your Wikipedia says that.

[35:26] Kevin Jaeger: Did you know that?

[35:27] Frances Ruffelle: That is true.

[35:28] Kevin Jaeger: Wind in the Face is a 1930 Soviet drama film that tells about a group of comsomal members who in the early 20s of the 20th century remake a beer hall under a communal h or into a communal hostel.

[35:43] Kevin Jaeger: The organizer of the commune, Boris, together with his wife Nina, have a child and move into the apartment of Nina's parents, but they are very uncomfortable there, and Boris moves back to the commune.

[35:54] Kevin Jaeger: Also, their city their city is under the threat of flooding.

[35:57] Kevin Jaeger: Flooding, sometimes referred to as in vivo exposure therapy, is a form of behavior therapy and desensitation, or desensitization, or exposure therapy based on the principles of respondent conditioning.

[36:15] Kevin Jaeger: As a psychotherapeutic technique, it is used to treat phobia and anxiety disorders, including post-traumatic stress disorder.

[36:21] Kevin Jaeger: It works by exposing a patient to their painful memories with the goal of reintegrating their repressed emotions with their current awareness.

[36:28] Kevin Jaeger: Awareness technologies is an American corporation headquartered in Westport, Connecticut, that develops, manufactures license, and sells computer monitoring and cell phone monitoring software as a service.

[36:58] Kevin Jaeger: And what would your basic plot of the show be?

[37:04] Frances Ruffelle: I I'm dumbfounded here.

[37:06] Frances Ruffelle: We can actually take that one.

[37:07] Frances Ruffelle: I could just push the cook in.

[37:11] Frances Ruffelle: I think it would be helpful.

[37:13] Frances Ruffelle: So it's Eponine, so it's uh Lame is two, Eponine's Revenge, and you're a zombie.

[37:18] Kevin Jaeger: Johnny Depp and Alan Cumming.

[37:21] Frances Ruffelle: Okay.

[37:21] Kevin Jaeger: And then what would the basic plot of your adventure?

[37:24] Frances Ruffelle: It would be a love triangle.

[37:27] Kevin Jaeger: An undead love.

[37:29] Frances Ruffelle: Who would you end up with?

[37:31] Frances Ruffelle: Um probably Alan.

[37:35] Kevin Jaeger: I love it.

[37:35] Kevin Jaeger: She chooses the Brit.

[37:36] Frances Ruffelle: That's perfect.

[37:37] Kevin Jaeger: Okay.

[37:38] Kevin Jaeger: And question three.

[37:39] Kevin Jaeger: You're doing really well.

[37:41] Kevin Jaeger: He's Scottish.

[37:42] Frances Ruffelle: Oh, is he Scottish?

[37:43] Kevin Jaeger: Yeah, that's British, though.

[37:45] Frances Ruffelle: Oh, okay.

[37:46] Kevin Jaeger: You're the only one.

[37:47] Kevin Jaeger: I'm getting a little bit more.

[37:49] Kevin Jaeger: It's not English, but it's British.

[37:51] Frances Ruffelle: British.

[37:51] Kevin Jaeger: Yeah.

[37:52] Kevin Jaeger: Great Britain.

[37:53] Frances Ruffelle: Oh, sure.

[37:54] Kevin Jaeger: Yeah.

[37:55] Kevin Jaeger: England's got a lot of people.

[37:56] Frances Ruffelle: I get well used to me.

[37:57] Kevin Jaeger: Yeah, yeah.

[37:58] Kevin Jaeger: Sure.

[37:58] Kevin Jaeger: Question three.

[38:00] Kevin Jaeger: Oh, that wasn't questioned three.

[38:02] Kevin Jaeger: No, we're almost there.

[38:02] Kevin Jaeger: Question three.

[38:03] Kevin Jaeger: You appeared as series regular kitty in Headless.

[38:07] Frances Ruffelle: Oh my gosh, yes.

[38:08] Kevin Jaeger: For which you also composed the music.

[38:10] Frances Ruffelle: I did.

[38:11] Kevin Jaeger: Music in the Rockies.

[38:12] Frances Ruffelle: Not all the music.

[38:13] Kevin Jaeger: You did?

[38:14] Frances Ruffelle: Some of the music.

[38:14] Kevin Jaeger: Did you was the stuff you composed for just you or for other people as well?

[38:18] Frances Ruffelle: Um, just well, it was it was just me, really, because it was um kind of incidental music, you know, that or songs that they play while there was a scene or something.

[38:29] Frances Ruffelle: It wasn't for me to actually sing live.

[38:31] Kevin Jaeger: Do you play uh piano guitar?

[38:33] Frances Ruffelle: What were you playing?

[38:34] Frances Ruffelle: I I play piano badly, but I was working with other people, otherwise.

[38:38] Kevin Jaeger: So you wrote the song, and then they were that's awesome.

[38:40] Frances Ruffelle: It's all based in trombone lines.

[38:42] Kevin Jaeger: Oh, right.

[38:42] Frances Ruffelle: Yeah, all trombone trombone all the time.

[38:46] Kevin Jaeger: Why not?

[38:47] Frances Ruffelle: Uh music in the Rockies was a week-long festival with a combination of seminars, competitions, concerts, and events related to contemporary Christian music, other kinds of Christian music, and the Christian music business industry.

[39:00] Kevin Jaeger: It has been replaced by a new event called Immers.

[39:04] Kevin Jaeger: Immersed Learning, formerly called LanguageLab.com, is an English school based on in an online virtual world.

[39:11] Kevin Jaeger: It was the first ever school that teaches exclusively online in a virtual environment.

[39:16] Kevin Jaeger: Students and teachers use avatars to navigate the environment and take part in lessons.

[39:20] Kevin Jaeger: Lessons are also completely contextual.

[39:23] Frances Ruffelle: Yep, that's the word, which is in direct contradiction to the traditional classroom system.

[39:29] Kevin Jaeger: A system on a chip is an integrated circuit, also known as a chip, that integrates all components of a computer or other electronic system.

[39:38] Kevin Jaeger: These components typically, but not always, include a central processing unit or CPU, memory, input-output ports, and a secondary storage, all on the single substrate of microchip or microchip the size of a coin.

[39:53] Kevin Jaeger: So my question is if you had to coin the term for your super fans, the way that Taylor Swift calls her fans Swifties, or super fans of Broadway musical newsies are called fansies, what would you call your super fans and why?

[40:08] Frances Ruffelle: The Roughs and Reddies.

[40:14] Kevin Jaeger: The Roughs and Reddies.

[40:15] Frances Ruffelle: That's incredible.

[40:16] Kevin Jaeger: So all you Roughs and Reddies get ready for her off Broadway debut.

[40:21] Frances Ruffelle: Yes, pretty much.

[40:23] Kevin Jaeger: And this has been Kevin's Corner.

[40:25] Frances Ruffelle: You did it.

[40:26] Kevin Jaeger: We got through all of those big words.

[40:28] Frances Ruffelle: Your face while I was reading those questions the whole time was epic.

[40:33] Kevin Jaeger: It's not that one more than usual.

[40:35] Frances Ruffelle: It was like the whole cast trying to remember the colors in Joseph.

[40:40] Bryan Plavsky: Where are my words taking me?

[40:44] Kevin Jaeger: What they should do is have each ensemble member remember one color and know who says it before that.

[40:49] Bryan Plavsky: Then it's the opening of company.

[40:50] Kevin Jaeger: Oh yeah.

[40:52] Bryan Plavsky: It's hard.

[40:53] Kevin Jaeger: Red, yellow, green, blue.

[40:55] Bryan Plavsky: Bobby.

[40:59] Kevin Jaeger: Which is a police officer for you.

[41:02] Frances Ruffelle: It is.

[41:04] Bryan Plavsky: It's a lovely word, isn't it?

[41:05] Kevin Jaeger: The Bobby.

[41:06] Frances Ruffelle: Or the last name of the woman.

[41:08] Kevin Jaeger: Or the last name of the woman that shows smile.

[41:11] Frances Ruffelle: Yeah, yeah.

[41:12] Frances Ruffelle: Well not.

[41:14] Frances Ruffelle: When you're smiling.

[41:17] Kevin Jaeger: Do you find that there's still a stigma when you're trying to audition for something else, or like it that you just like can't shake Eponine?

[41:25] Frances Ruffelle: Yeah, I mean, there is that, but but I'm I mean, I'm grateful to have it.

[41:29] Frances Ruffelle: You know, it's a nice one to have.

[41:31] Frances Ruffelle: Um, I think that people can get um a little bit um closed-minded and just assume that I just sing ballads all the time.

[41:40] Frances Ruffelle: I hardly ever do, and I love doing comedy.

[41:43] Frances Ruffelle: That's my big thing, you know.

[41:44] Bryan Plavsky: So what I'm what I'm understanding is that you don't wear a hat and long coat into auditions.

[41:51] Frances Ruffelle: And no.

[41:52] Frances Ruffelle: I I I I am partial to a long coat.

[41:55] Frances Ruffelle: I love long coat.

[41:56] Bryan Plavsky: I love long coats as well.

[41:58] Frances Ruffelle: But no hats.

[41:59] Kevin Jaeger: I wear one in there.

[42:00] Frances Ruffelle: I feel like every theater person though, like long coat and hat, anyone is just like I have epany today.

[42:06] Frances Ruffelle: Yeah, it's I even say it when I wear a long coat.

[42:12] Kevin Jaeger: But Kevin's Epany.

[42:13] Frances Ruffelle: That's beautiful.

[42:15] Frances Ruffelle: Especially when it's raining.

[42:17] Kevin Jaeger: If it's raining, you were in the cat coat.

[42:19] Frances Ruffelle: Like you're living your best life.

[42:22] Frances Ruffelle: I, as a young gay little boy, definitely used to have my Eponine days when I was little, and you put on the hat, and then you'd be like, you're alone.

[42:30] Frances Ruffelle: I once had um in England when I was doing Pippin, um, there was a guy that came back stage off to say hello, and he said, Look, I just want to show you this picture of me.

[42:37] Frances Ruffelle: I dressed up as you on Halloween.

[42:40] Frances Ruffelle: So, and actually, apparently that's a compliment if someone dresses as you see.

[42:43] Frances Ruffelle: And I wasn't just Eponine, I was Frances Rafella's Epanine.

[42:46] Kevin Jaeger: So that's a compliment.

[42:48] Frances Ruffelle: But in England, you know, someone who dresses you as for Halloween is actually a bad thing because we only think of Halloween as spooky costumes.

[42:55] Frances Ruffelle: And like scary parts or things.

[42:57] Frances Ruffelle: Yeah, monsters.

[42:58] Kevin Jaeger: So I was like, oh my god, I don't know how that already dead.

[43:08] Frances Ruffelle: No, this is from the C.

[43:09] Frances Ruffelle: Epanine 2, yeah.

[43:11] Frances Ruffelle: He actually wrote the musical that you're gonna do.

[43:12] Kevin Jaeger: It's great.

[43:13] Frances Ruffelle: Actually, you might know him as called Michael Kushner.

[43:16] Kevin Jaeger: He's a photographer.

[43:17] Frances Ruffelle: Yeah, he's coming on the show and then.

[43:22] Frances Ruffelle: That was when he was very young.

[43:24] Frances Ruffelle: He totally would dress.

[43:26] Kevin Jaeger: You remember playing him this on Magic?

[43:28] Frances Ruffelle: Yeah, absolutely.

[43:29] Frances Ruffelle: Oh yeah, yeah.

[43:30] Frances Ruffelle: I went to college with him.

[43:31] Kevin Jaeger: Oh, did you?

[43:32] Frances Ruffelle: Yeah, yeah, yeah.

[43:34] Frances Ruffelle: No, he was younger than me.

[43:35] Frances Ruffelle: And with Josh, and with Josh as well.

[43:37] Kevin Jaeger: And with Josh, Patty, Patty's son, Josh.

[43:40] Frances Ruffelle: Yeah, oh no, he's a little, he's I had graduated um before Josh hadn't gone into it.

[43:46] Kevin Jaeger: So funny.

[43:47] Frances Ruffelle: Yeah.

[43:48] Frances Ruffelle: Um Michael Gritters.

[43:52] Frances Ruffelle: Um should we all be able to do that? I was I was the phantom of the opera when I was like eight years old. That was like my exciting costume. I don't know that I was ever a Broadway thing for Halloween. But in college we had Broadway party where you had to come in a Broadway costume and we gave out a Tony for the best costume. But that was separate from Halloween. My mom got like what is like one of those, because they had like the scare were they Jason masks? The white ones with the walls? I think a hockey, yeah, I think it was a hockey. It was like a hockey mask, and like my dad like like cut it so that it would be like a phantom thing, but instead of having like the half of the face, because we couldn't figure out how to do the half with and have like the strap go around the head without having the strap in front of you.

So I had like a phantom mask that was like the actual eye. It was like the the picture, because isn't the actual like image of the show the mask like a masquerade top half? It's not the side. So I had like the image that's like on the CD, but not the one he wore.

[44:45] Bryan Plavsky: Because you were in Florida.

[44:46] Frances Ruffelle: Right. Exactly, Cyric. It's fine. So you US audiences versus West End audiences. Do you do you've you've been at the highest level of both? Do you find there's a major difference? And if if there is, what do you see it as?

[45:02] Frances Ruffelle: Yeah, I think that the I mean US audience uh have always been more vocal, which is nice. And it's interesting as well because I a lot on the comedy I do in my show is um British, quite British humor actually. But I've m i it's been a learning experience over the last three years. I really feel like now I can be myself, do my British humor, and and the American audiences are getting it. That's really been it's been really fun.

[45:28] Bryan Plavsky: Because we're all watching the Great British Baking Show, so we're like, you know, because when I think British humor, I think the Great British Baking. I do, because like the comedians who like host the show and stuff.

[45:41] Frances Ruffelle: I just like I haven't watched it actually, but I think it's a good idea.

[45:43] Kevin Jaeger: Oh see, I thought that was like required viewing for like they're like every night when it's like.

[45:49] Frances Ruffelle: Do they just know do they just call it the Great Baking Show over there?

[45:54] Kevin Jaeger: Oh, is it?

[45:54] Frances Ruffelle: But Bake Off is trademarked in the US by Pillsbury. So when Netflix bought it, they had to switch it to the Great British Baking Show.

[46:01] Bryan Plavsky: I've always wondered if the British like when it airs in London, if people are like, I'm watching the Great British Baking Show.

[46:12] Frances Ruffelle: Yeah, maybe.

[46:13] Kevin Jaeger: Yeah, it's our American show.

[46:14] Frances Ruffelle: No, we do.

[46:15] Kevin Jaeger: Yeah, you do do American Baking Baby.

[46:16] Frances Ruffelle: Exactly. American. We're becoming more like like the steaks, I think then.

[46:23] Bryan Plavsky: Yeah.

[46:25] Frances Ruffelle: Like the holiday baking show or something. I think they actually do call it the Great American Baking Show. They tried it. It didn't really happen. And then it got canceled because someone was.

[46:35] Frances Ruffelle: I have a I have a buddy who just had moved over here from London recently. And so he's always teaching me like British slang, or like because my parents are obsessed with like uh all they watch is BBC America.

[46:44] Kevin Jaeger: Yeah.

[46:45] Frances Ruffelle: Like that's literally all they watch. My dad's obsessed. He like pretends he's British almost. Um so like I'll I'll watch shows with them and I'll then like text him. He's like, what does this mean? Like they made fun of a guy by calling him Posh. And I was like Posh Spice, and he was like, I mean, sort of, but it just means you're like like stuck up and like rich and like your posh like that. It could be it can be said as a nice way as well.

[47:08] Kevin Jaeger: Right.

[47:08] Frances Ruffelle: Because he was and he just like keeps telling me these like phrases. I'm like, I don't know what this means.

[47:12] Kevin Jaeger: Yeah.

[47:14] Frances Ruffelle: Br British comedy-wise, what do you look as as the things that influence you?

[47:19] Kevin Jaeger: Um, as in comedy on on TV and stuff. Uh yeah, like are we are you more of like a money pot on Black Adder or more towards like faulty towers?

[47:29] Frances Ruffelle: I never really got the brilliance of all that. Sure, actually. I've not been somebody who's been into watching comedy on TV. The comedy that I do just happened by accident, really. Sure.

[47:41] Kevin Jaeger: Um, so no, I haven't really been influenced by the the brilliance of that. I know it's brilliant, I've been told so have we.

[47:50] Bryan Plavsky: Um is uh and then before our last game. Um is there what was when you were doing Les Miz, um, what was the stage door like? Wasn't was there a was there a culture around that at all?

[48:07] Frances Ruffelle: I mean you get people there every now and then, but it's not like in on Broadway or or like it is in London now, actually. It's much more of a every everyone's so celebate um in into celebrities now. Yeah, sure. So now you know you've got the sort of rope that you know that cordons off everybody's from getting straight into the stage door. But back then, no, people would often be inside the stage door waiting for you. Oh wow. And everyone was great. I mean, you know, a couple of times there's a couple of you know stalkery, you know, difficult thing, difficult people, but on the whole, everyone's really nice and sort of relaxed, but but now yeah, it's a different culture, isn't it?

[48:41] Kevin Jaeger: Yeah, yeah.

[48:42] Bryan Plavsky: Let's play a game.

[48:44] Frances Ruffelle: Let's do it.

[48:45] Bryan Plavsky: Okay. Um this is the lazy title, so just Starlight Express but different.

[48:46] Frances Ruffelle: Starlight Express but different. Obvious cabaret title.

[48:55] Kevin Jaeger: Right, perfect.

[48:56] Frances Ruffelle: Yeah, this is the obvious cabaret, basically. So we're gonna each create a new musical. Kevin will go first to explain to do it for everyone.

[49:04] Kevin Jaeger: Okay. Basically, pick one lights of Broadway show card, which has an actress. I think I only picked ladies. Okay. Um in here, and then I have slips of paper with modes of transportation. Sure. Okay. And so create a new star vehicle for whoever you've picked.

[49:22] Frances Ruffelle: Okay. Um a musical about this mode of transportation. Mode of transportation. And like create something fantastic, like the Starlight Express or the heavyside layer, like, you know, sure. Right. The supernatural element.

[49:35] Kevin Jaeger: Okay, Kevin, you do it. Let's see this.

[49:40] Kevin Jaeger: Alrighty. So I have the newest star vehicle for Carrie Butler. Sure. And uh the show is called uh Model T. So it's a Model T, it's my mode of transportation. Okay. So instead of Model T Ford, the show is called Model T Lord. And it is a uh it is heaven for cars. When like a car breaks down and gets taken to the junkyard, the like amazing, like what it was in its prime essence goes to like car heaven. And so uh all these people, Carrie Butler is playing the engine of the car. And so uh she gets her car is like the newest one to enter into this heaven area, and they've realized that they have too much too many cars there now. So uh they're starting to send some, they're trying to pick one of the cars that they just send like the like junkyard, which is like the bad side.

So all of the cars are telling their story. It's kind of like cats, but for cars, they're all telling their story about like what they did in life, what happened inside of their car, what kind of races they did, and things like that, and then the uh the mechanic who is like their like godlike figure is gonna pick one of them that has to go instead of in cats when it's a good thing to go, they're picking one of the cars to go to the junkyard, and that is Model T Lord.

[51:05] Frances Ruffelle: Okay, like dancing with the stars where they one gets chucked off in the game.

[51:09] Kevin Jaeger: Exactly, exactly. And then sing with the colour. And the fun of the audience is every I was gonna say every every performance is a different car that gets chosen, so you can come back every time and see a different show.

[51:19] Frances Ruffelle: I thought the point of the game was we would just have to say the title. Did we have to do the whole what is it?

[51:24] Kevin Jaeger: You can elaborate as much as I would just nervous now.

[51:28] Frances Ruffelle: I'm gonna make up a whole musical So I have Horse Drawn Carriage starring Liz Callaway.

[51:34] Kevin Jaeger: Okay.

[51:34] Frances Ruffelle: Um and uh essentially Liz plays um the horse.

[51:40] Kevin Jaeger: Okay.

[51:41] Frances Ruffelle: And so it's they're all in a like a uh uh uh uh a frontier circle, uh-huh. Or like they they circle the wagons, yeah. Um, and it's told from the horse's point of view. So, you know, you you never see the like kind of like um the teacher in or uh uh uh in Charlie Brown, uh-huh, you know, you never really know like who's driving the horses arrives, yeah. But you know the horses, and the horses have just been told of what the gold rush.

[52:13] Kevin Jaeger: Okay, so the horses don't know what a gold rush is, right?

[52:16] Frances Ruffelle: So they keep they keep trying to like figure out what it is, and and and they're you know they sing about it, obviously. Yeah, and Liz Callaway is the yeah, of course is um, and uh so Liz Callaway is singing uh about the gold and what she thinks the gold is.

[52:33] Kevin Jaeger: Um, and at the end, they find out that the gold is um poisonous.

[52:39] Frances Ruffelle: Oh, it got it's like a darkhead game.

[52:43] Kevin Jaeger: The gold is not poisonous, to be fair.

[52:45] Frances Ruffelle: Do I take anything?

[52:46] Kevin Jaeger: Yeah, take anything you want.

[52:47] Frances Ruffelle: So Liz Callaway and Horse Drawn Carriage. And somebody plays the other, the back end of the horse. She's the front end of the horse. Her cover plays the back end.

[52:53] Kevin Jaeger: Yeah.

[52:59] Frances Ruffelle: And then the swing flies into the back.

[53:01] Kevin Jaeger: The back end is Aaron J. Albano.

[53:03] Frances Ruffelle: Yes.

[53:04] Kevin Jaeger: Yeah. Aaron. Well, he was the railway cat.

[53:06] Frances Ruffelle: Right.

[53:07] Kevin Jaeger: Okay, Donna McKetney in Snow White.

[53:10] Frances Ruffelle: Oh.

[53:11] Kevin Jaeger: And she sings incredible song about a mirror, mirror on the wall.

[53:17] Frances Ruffelle: Yes.

[53:17] Kevin Jaeger: That's who I have that.

[53:18] Frances Ruffelle: That's who I have. That's great because.

[53:22] Kevin Jaeger: So I've been given a snowmobile.

[53:24] Frances Ruffelle: Oh, so I get it. The snow.

[53:25] Kevin Jaeger: I'm I'm there.

[53:27] Frances Ruffelle: And then Donna McKetney, who's the most amazing person and dancer and incredible. And she's used to mirrors.

[53:34] Kevin Jaeger: Mirrors.

[53:34] Frances Ruffelle: She dances with music in a mirror.

[53:36] Kevin Jaeger: Yeah.

[53:36] Frances Ruffelle: And that's all I have to say, but anything Donald's in isn't going to be amazing anyway. Obviously.

[53:41] Kevin Jaeger: And I would like to see her in a snowmobile.

[53:43] Frances Ruffelle: I would I would too.

[53:45] Kevin Jaeger: Yes.

[53:45] Frances Ruffelle: Yeah, this is not my finest hour here.

[53:50] Kevin Jaeger: I have Alex Brightman and Hovercraft.

[53:53] Frances Ruffelle: You did say you had all ladies in the cat.

[53:55] Kevin Jaeger: I think it literally just, it's all women and Alex Bright.

[53:58] Frances Ruffelle: Okay, check.

[53:59] Kevin Jaeger: Because I thought you'd be a fun person to play with.

[54:02] Frances Ruffelle: Yeah.

[54:04] Kevin Jaeger: I'm interested to see what you're gonna say about Hovegroff.

[54:06] Frances Ruffelle: Yeah. How do you make a show about that?

[54:08] Kevin Jaeger: Yeah.

[54:09] Frances Ruffelle: Well, it'll be not unlike Via Galactica from 19 whatever that we learned about.

[54:18] Kevin Jaeger: 70s something?

[54:19] Frances Ruffelle: The 70s, whatever. Opened the what was it called then before the Gershwin?

[54:23] Kevin Jaeger: Oh, I don't know.

[54:24] Frances Ruffelle: Well, it opened the Gershwin, right? Or was it the last one? But it wasn't called the Gershwin yet. Anyway, I'll look it up. Keep going.

[54:29] Kevin Jaeger: Because it was called something else.

[54:30] Frances Ruffelle: Anyway. Tour guide Tim Knows. Star Guide Tim knows. Ask him. Go on his tours.

[54:36] Kevin Jaeger: But the whole stage will be a trampoline, just like that show.

[54:39] Frances Ruffelle: Yep.

[54:39] Kevin Jaeger: So that everyone can hover. So they'll be on trampoline and like those bungee things. Like, you know, those trampolines at the beach?

[54:44] Frances Ruffelle: Yep.

[54:45] Kevin Jaeger: Or like beach towns in Florida.

[54:46] Frances Ruffelle: Yeah, I'm with you.

[54:47] Kevin Jaeger: I would try the green thing.

[54:48] Frances Ruffelle: Yep. Um, so they're all wearing those or like moon shoes from the 90s.

[54:53] Kevin Jaeger: I had a pair of moon shoes.

[54:54] Frances Ruffelle: And it is a 90s jukebox musical.

[54:57] Kevin Jaeger: Okay.

[54:58] Frances Ruffelle: Um about like it's a dream sequence of this kid is just like, yeah, well, when I grow up in the future, like it'll be cool, and I'll have a hovercraft. And then he gets hit on the head, and he has a whole dream sequence about his life in the future, and his future self is Alex Brightman.

[55:07] Kevin Jaeger: Yep.

[55:07] Frances Ruffelle: And he has a hovercraft, and like life still kind of sucks. And then he wakes up and he's like, I like my mom.

[55:23] Kevin Jaeger: Such weird.

[55:24] Frances Ruffelle: Yeah, that's another weird thing to throw in there.

[55:27] Kevin Jaeger: So this was Starlight Express, but different.

[55:29] Frances Ruffelle: Yes.

[55:33] Kevin Jaeger: Oh, I love that.

[55:34] Frances Ruffelle: I love that.

[55:35] Kevin Jaeger: Thanks.

[55:37] Bryan Plavsky: Um, well, that brings us to the name of our episode.

[55:39] Frances Ruffelle: It does.

[55:40] Bryan Plavsky: Um, thank you so much for joining us.

[55:42] Frances Ruffelle: Yeah, thank you.

[55:43] Bryan Plavsky: Um don't forget to go see her uh obvious cabaret title show.

[55:49] Frances Ruffelle: Um, maybe isn't it? Fun Jeff Lives and New Orleans where to find you.

[55:55] Bryan Plavsky: Um but again, you can follow her at her name. Um, you can see her at the Green Room 42 again. Again, go to the greenroom42.com to check out tickets.

[56:05] Frances Ruffelle: October 20th and November 23rd to see her final two shows at the Green Room 42.

[56:12] Bryan Plavsky: Um, we want to thank everybody for listening.

[56:16] Kevin Jaeger: Uh you can follow us at Broadwaysted!.

[56:18] Bryan Plavsky: Hey, that's us. You can uh do that on Twitter and Instagram, and you can join our Facebook group.

[56:23] Kevin Jaeger: Um go to our Patreon uh page.

[56:26] Bryan Plavsky: You can become a patron there. Please.

[56:28] Kevin Jaeger: Um, and uh you can also check us out on the Broadway Podcast Network.

[56:32] Bryan Plavsky: Do it go to uh Broadway Podcast Network.com.

[56:35] Kevin Jaeger: Or BPN.fm.

[56:37] Bryan Plavsky: Yes. Backslash broadwaisted.

[56:39] Kevin Jaeger: Um and you can also find us uh on iTunes, Spotify, all that fun stuff.

[56:45] Bryan Plavsky: Rate and review us there.

[56:46] Kevin Jaeger: Five five stars, please.

[56:48] Bryan Plavsky: Thank you.

[56:49] Kevin Jaeger: Um we end every episode with a quote.

[56:50] Bryan Plavsky: Oh, yeah, we do.

[56:51] Kevin Jaeger: And today's quote is and so while there's a fighting chance, just turn and go.

[56:56] Frances Ruffelle: I won't send roses, and roses suit you so.

[56:59] Kevin Jaeger: Oh, Mac and Mabel's Mac and Mabel.

[57:01] Frances Ruffelle: Yeah, yeah. That song is really sad.

[57:03] Kevin Jaeger: Yeah, we know I figure we go with some sad songs too.

[57:05] Frances Ruffelle: No worries.

[57:05] Kevin Jaeger: Okay, thanks.

[57:06] Frances Ruffelle: We got the lame this going on.

[57:08] Bryan Plavsky: Um, but thank you so much for joining us. This was so fun.

[57:11] Frances Ruffelle: Thank you.

[57:11] Bryan Plavsky: Um, next time we'll bring it corks group.

[57:15] Kevin Jaeger: Hashtag failed.

[57:16] Frances Ruffelle: Yeah, big time.

[57:17] Bryan Plavsky: Um, but as we end every episode, we raise a glass.

[57:19] Frances Ruffelle: Yes, we do, and we say I can't find what it was called beforehand.

[57:29] Kevin Jaeger: I think the new channel should be Nickas.

[57:30] Frances Ruffelle: Nickas.

[57:33] Kevin Jaeger: Niggas, what is the other word?

[57:35] Frances Ruffelle: Um pagoda?

[57:37] Kevin Jaeger: Uh no, Chaplava.

[57:43] Frances Ruffelle: I was like, I thought they made that on Greek or the Great Brace Baking Show.

[57:46] Kevin Jaeger: They definitely baked something like the Pilasa.

[57:49] Frances Ruffelle: Pavlova.

[57:51] Kevin Jaeger: That's what it is.

[57:52] Frances Ruffelle: Because Via Galactica was called something else, and it like looked weird with the biggest.

[57:55] Kevin Jaeger: Yeah, they just had such fancy.

[57:56] Frances Ruffelle: Oh, it's called Up.

[57:59] Kevin Jaeger: Like the show Via Galactica that was opening the Euris Theater initially was called Up.

[58:04] Frances Ruffelle: So the poster just said up Uris.

[58:08] Kevin Jaeger: Oh, right. Right, right, right.

[58:09] Frances Ruffelle: And so that's why they changed the name.