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 it's a quiet life, a perfect life over Whitby Bay. But how do you choose? The weddings give us life after life, but the mist in the modern world keeps us forever young. Get out of Jonathan's bedroom before the sun ends and make the fresh blood deep in the darkest night. All is dark, so say a prayer for the dead because the heart is slow to learn that if I could fly over Mina's seduction before the summer ends, the longer I live.

[0:54] Kevin Jaeger: Did you say Mina?

[0:55] Kimberly Cooper: There's someone in my past named Menna who does that.

[1:00] Bryan Plovsky: Oh yes, it's a Victorian novel. Join us today. Joining us today are the usual undead ones who surrender, who's who surrender because there's always a tomorrow, including Kevin, Nosferatu Jaeger.

[1:16] Kevin Jaeger: Ooh, I like that one. Fancy.

[1:17] Bryan Plovsky: Kimberly, our game master, song and unofficial babysitter for the hour.

[1:22] Kimberly Cooper: Okay.

[1:23] Bryan Plovsky: And with us today is somebody you may have seen on Broadway or Off in highlights like Anna Karenina, My Fair Lady, Call Me Madam, One Touch of Venus, The Importance of Being Earnest, Major Barbara, High Society, Amour, Short Talks on the Universe, Dracula, Finian's Rainbow, Children and Art, White Christmas, Passion. Do I have a lot? And on a clear day, you can see forever. Those are just highlights.

[1:50] Bryan Plovsky: Let's give a big Broadwaysted welcome to Friend of the Show, Melissa Errico!

[1:59] Melissa Errico: You all ready for this? Thank you so much for taking the time and joining us.

[2:02] Bryan Plovsky: It'll be a test.

[2:04] Melissa Errico: Yes, all of the above. I was in all those. And that's even literally, that's probably like one one hundredth of the truth. You know, it's the highlights.

[2:11] Bryan Plovsky: Those aren't even highlights.

[2:16] Melissa Errico: Like the magazine. It depends on what you consider unworthy of the word highlight.

[2:20] Bryan Plovsky: Is it the boyfriend you had because of it?

[2:26] Melissa Errico: I think it was out of order.

[2:29] Bryan Plovsky: That's amazing. Um, let's just start with what are you drinking?

[2:32] Melissa Errico: What are you drinking?

[2:33] Bryan Plovsky: Am I saying we need to tell the truth?

[2:34] Melissa Errico: Yeah.

[2:35] Bryan Plovsky: Yeah, I'm drinking what he's drinking.

[2:36] Melissa Errico: Yeah, so we're drinking the Milagro tequila. We love it as the agave, it's the silver tequila.

[2:42] Melissa Errico: Do you know that all tequila has agave?

[2:44] Bryan Plovsky: Yeah, but this one has agave written on the bottom.

[2:47] Melissa Errico: Okay. So that's how you know like when the new kind of tequila.

[2:55] Bryan Plovsky: But when it's made into a sweetener, it's organic.

[2:57] Melissa Errico: When it's made into tequila, it's something fair.

[2:59] Bryan Plovsky: Yeah, it's fine. Tequila doesn't have calories.

[3:01] Melissa Errico: We didn't start drinking that. We still have to do it.

[3:03] Bryan Plovsky: I'm confused by alcohol.

[3:04] Melissa Errico: Yes.

[3:05] Bryan Plovsky: Alcohol has calories.

[3:06] Melissa Errico: Many of them.

[3:07] Bryan Plovsky: Don't tell me that.

[3:09] Melissa Errico: When you drink on the podcast and people can't see you drinking, then you're good.

[3:13] Bryan Plovsky: Yeah. It's like vacation.

[3:17] Melissa Errico: Oh yeah, those are very tell the truth.

[3:19] Bryan Plovsky: Yeah.

[3:20] Kimberly Cooper: And Kimberly.

[3:21] Melissa Errico: I have our new Hudson maple cask rye. It's really good.

[3:24] Kimberly Cooper: Which is very good. I don't usually sip whiskey by itself.

[3:28] Melissa Errico: Yeah, this is good. But this I can do.

[3:30] Kimberly Cooper: To where we're recording. Because it tastes like syrup.

[3:32] Melissa Errico: We're actually being quite elegant. This is a mere sipage in these tiny little glasses.

[3:38] Bryan Plovsky: Like this is two dollar pictures of margaritas.

[3:42] Melissa Errico: So there's the track in the corner. Absent and every affair. Nothing's going on. We're like these nice educated people, like, you know, sharing a drink at the end of the day.

[3:54] Kimberly Cooper: Yeah.

[3:55] Melissa Errico: Yeah. End of the day for some of you. I have to put my kids to bed.

[4:00] Bryan Plovsky: There is no end of the day.

[4:02] Melissa Errico: You have no idea. In fact, I almost want to look at my telephone because I actually wrote myself a note at one o'clock the other day because the dog sensed a coyote. So he was barky. You know, and then at like 9:20, Juliet comes out of a room because she was having a thought that something flew into her eye. I said, Did you have in your room? Something just flew into your eye? And I said, Would you wear that little eye mask? I know, but something flew into my eye. I'm like, through the eyes. So then she goes to bed. Then Diana has a bad dream. Then Victoria's walking, then the dog senses the coyote. This goes on until Diana fully can't sleep at like 11:20. Then I go, my husband's lying with her, then I go lie with her.

And then there's a bad dream. And I was like, I'm half asleep. I'm like, now who's having a bad dream? It's Juliette. I mean, and at some point Victoria wanted me to rub her head, and she's upstairs. I mean, this is what I think. It sounds like a sitcom, like all in itself.

[4:48] Melissa Errico: You know, I know, and I actually went on my phone at like one in the morning and I wrote that whole thing down, which would be more interesting if I read that little memo. But I had to write it down because I was like, this is my evening.

[5:00] Bryan Plovsky: That's so crazy.

[5:00] Melissa Errico: Like a mosque art play. It's really. I have doors on both sides and one above. So it's really, it's little as well.

[5:08] Melissa Errico: Oh my god. Middle-aged Broadway star and her kids coming from every door with a concern of the dog. Extra sexual experience, you know? And I'm like, seriously?

[5:23] Bryan Plovsky: Oh my god, I love that.

[5:24] Melissa Errico: Oh my goodness. How do we train the dog to always sense Mr. Coyote?

[5:34] Bryan Plovsky: Okay. Help people.

[5:36] Melissa Errico: Amazing. You had to start with this whole Dracula thing.

[5:38] Bryan Plovsky: Okay.

[5:40] Melissa Errico: What the resurrection? I'm working on the exorcism of all my demons and the circumstantial demons.

[5:46] Bryan Plovsky: Okay. Is this podcast going well?

[5:48] Melissa Errico: Yes, of course.

[5:50] Bryan Plovsky: Yes. Do you have a favorite musical?

[5:54] Melissa Errico: A favorite musical that I was in, or that someone else to watch?

[5:59] Bryan Plovsky: Yeah.

[6:00] Melissa Errico: The answer is A Chorus Line. It's always gorgeous. There's nothing better than A Chorus Line. You know why? And because even though I don't know the three of you, I know you each have rich and interesting stories behind your faces. I can't wait to get to know what they're. But you know what? I learned that right at the very beginning because the whole point of A Chorus Line was at the audition where people are there to prove their competency, to please the director, right? To come in, God, I hope I get it, and all that. Somehow, the process of getting it became how to be yourself. Tell your story. And the people who most effectively told their stories and shared who they were really touched us.

And those are the stories that I'm sure the research of A Chorus Line was incredible. There must have been thousands of people who gave them the stories, but those 12 people are the people who got on that Broadway in that Broadway script. Which is which and the point of a play was that each person touched the director or somehow got heard because they were willing to tell their individual story.

[6:55] Melissa Errico: And then at the end, you have this. I don't I tell my kids this all the time. The great thing about that show, my children are small and they're the same age. They’re 11, 11, and 13. They're the same age I was when you don't know that, you're so in trouble. The whole business is supposed to say, like, how did she do it to you? We're more concerned with the coyote and the dog.

[7:15] Bryan Plovsky: Yeah, I guess the coyote. Um no, so the whole point as I tell my young three teen daughters is that at the very end of the show, this line of people come out, this absolutely perfect and uniformed line of golden people in little golden jackets and perfect tall golden hats and little legs that do everything just exact. They're all the same. And the point of A Chorus Line is the exactitude, is the balance, is the incredible precision of letting go all your individuality and working as a team. That's the thing about theater is that it is a team job. But what I love about that image itself is that they're all the same at the end. But we as the audience know each individual person.

[7:58] Kevin Jaeger: Yeah.

[7:59] Melissa Errico: So we know right, Kevin?

[8:00] Kevin Jaeger: I know.

[8:01] Melissa Errico: Kevin has just learned about A Chorus Line.

[8:03] Kevin Jaeger: Really?

[8:04] Melissa Errico: So I knew I knew the show, but I'm not a dancer. Come to my book and I'm not a dancer, so I didn't know like what the show is about, so like it kind of always eluded me to do what it is. But I thought it's not about dancing. I thought it was like Noises Off, but for chorus members, so it was like a mad cap kind of like, oh, I lost my hat, and where are my shoes? And like, stayed like an hour late at dinner this one time. Yeah, we had to do it the other night and my friend Aaron was explaining what actually these songs are about. And like, because I didn't know like the music in the mirror and the mirror. I thought was called the music in the mirror because I've only seen a joke video of it where Jessica is. She does not think it's a joke.

[8:43] Melissa Errico: No, she's Jessica Simpson was a good one. Jessica Simpson performed it in high school and somebody filmed it and like made a whole YouTube video out of it. So that was like the experience I've seen of that song. So I thought from what she was doing, I was like, I just guessed it was about a boy. Alright, so I'm not here, I'm not quitting. I'm one of the few people left who knows everything. And I'm going to continue to say it to help things along because some of the references educationally are completely off. And they have to be restored because you're missing stuff.

[9:13] Melissa Errico: Yeah. Yeah. And the kids, I mean, there's the process the audience is getting created in an awkward way. I mean, my kids, I took them to Beetlejuice this weekend to absolutely love it, but they were ahead of it. They knew all the lyrics, they knew all the dances from TikTok.

[9:24] Kevin Jaeger: Oh, it's barbaric.

[9:28] Melissa Errico: They are too TikTok. Kids are already there doing their saying like they're you know, they're busting out like lyrics that say pedophile and martinis, and they're going in this big like cocaine sniff. They don't know what they're doing, they're 10.

[9:40] Kevin Jaeger: Sure.

[9:41] Melissa Errico: But it doesn't matter. I mean it doesn't matter, but they don't have they learned it on TikTok. Right. And then the show was a confirmation of what they learned on an app. So in other words, the exposure that we're getting backwards way to learn a show. Yes, concurrently, exactly.

[10:05] Bryan Plovsky: Give me your rest.

[10:09] Melissa Errico: Um anyway, so what are we saying? So, tip of the iceberg, by the way. My favorite musical because of not so much, well, actually, because of the music, Marvin Hamlisch is a king and a god. And, you know, one of the things I'm here to talk about is Michel Legrand, who's also his contemporary and friend, and they shared the Bergmans, which was the lyric writing team. So this is all the same era, actually. So I think that there was something in that, you know, late 60s and 70s and you know, later 70s, sort of second wave of the great American musical. Seth Rudetsky would probably be way smarter on this, but that was still a golden age. You know, the Marvin Hamlischs, the David Shires, yeah, yeah, sort of the pre-Andrew Lloyd Webber and so on. The pre-you know, I was a Les Mis person. I was sure from the first Cosette replacements in the late 80s, and so that was a that's a new kind of musical.

[10:58] Kevin Jaeger: Yeah, yeah.

[10:59] Melissa Errico: But prior to that's the musical that influenced me. So I love that. I loved Robert Lindsay in Me and My Girl, I'll never get over, like the real British pastiche musical, like something that really feels like an old English vaudeville routine, like just there's something so charming. You know, there's something about that British band also in the lamppost, oh, I'm late, and on the little post on the goon or the street, and I'm just like, yes, you are. It was style to me, you know. And even that Tony's year, he beat all the Les Mis men.

[11:37] Kevin Jaeger: So he did.

[11:38] Melissa Errico: Yeah, so like I think that also shows like sure there's a changing of the guard, but there's still a place for how we got there, and you even just bringing that up as just like giving it away. I have a head crush on him. Yeah, he was supposed to take over for Richard Chamberlain when I started My Fair Lady. Richard Chamberlain did it for a long time on the tour, sure. And then we did it on Broadway for whatever it was, six months or eight months, you know, but less than a year. But he had already fulfilled his like 18-month contract, and he was done. He was done, I think that time he was go back to Hawaii and so on. He was a huge movie star, he had success, he got some acclaim for Henry Higgins, which he did really well.

The show was a little more radical than maybe Richard Chamberlain would be the perfect match for, or that the Broadway was ready for, because this year, My Fair Lady was so radical, you know, with her saying, you know, screw off and like walking through the wall and like leaving the theater.

[12:32] Melissa Errico: Yeah, breaking that fourth wall and going up the stairs. Our production was the last Broadway revival prior to this year's, and it was meant to be equally, if not more radical, because and it got changed. There was I wrote an article in the New York Times about sexism and misogyny in mid-century musicals. And one of the things I talked about was my production of My Fair Lady. The world wasn't ready for it back then. And as we got closer and closer to Broadway, they got more and more nervous by the concepts. Howard Davies was the director, and he was one of the creators of the National Theater. He was extremely political, extremely left wing, extremely conscious of what George Bernard Shaw meant by My Fair Lady, and he really wanted our production to be rough and feminist, and he wanted right, and without getting into the details of that, if you're happy to, but as we got closer to Broadway, the producers got more and more nervous.

People are gonna hate this. It should be a fairy tale, it should be really nice. All of those super edgy left-wing, harsh political things and the look of the show, they brought in chandeliers, they made things prettier, they changed my clothes from black at the beginning. I looked like I was supposed to look like Charlie Chaplin and look like a man.

[13:53] Melissa Errico: I was only 22, but I looked like a young man in their I had they had a vision. Not that I have anything masculine about me, but I'm tall, really tall. So, no, I mean not really tall. I'm just I'm tall enough to do that to walk that fine line. Yeah, put me in boots and whatnot, and I look imposing, right? And I'm certainly not little. And uh the idea was that Eliza, when she was selling flowers, was already um working in the a free market, and she was she was completely confident in what she was buying and selling, and it was her intelligence that got her, um got her uh uh it was the speed of her mind and stuff, and that made her go to Henry Higgins, and she wanted to advance herself. The girl was already free, and as she got her education in um proper English, she was uh thrown into the bathtub, she was changed, she found her gender, she was sort of pushed back into her, she was given a blouse and a skirt and a waistline and so on.

But then she was only free for the marriage market, where she'd been free before. She was one of the boys. This is the most engaging conversation I've ever heard about My Fair Lady. Yeah, I I want this. Well, well, great. Here it is. I'm telling you, of course. My Fair Lady, call me. Because even the most recent revival, I feel like didn't push those boundaries very far. Just at the end. They had like they had the moment at the end where they kind of like changed the button to like but like they didn't really go to Lincoln Center. Like the like feminist agenda at all, really. No, no, which is why the end was such a shock, maybe in that production. Because especially when you see a show like that at Lincoln Center, like Lincoln Center likes to do like a golden age kind of like this is the beautiful version of exactly what you expected to see.

And then they threw in that little moment to like uh Can I can I give you can I give you one example that's not beautiful that's so brilliant? Yeah, of course. Um speaking of boyfriends, by the way, I'm sure that this is sort of like you know, there's like one or fifteen people out there going like I know the story. I did fall in love with the director of the show. Sure. I was right out of Yale, I was as smart as a whip, I was like super strong intellectual kind of an actress, and he was a British act yeah, and he was a single man, he was, you know, already and I I absolutely fell passionately in love with this with the director. We were a match made in heaven. And so just to just mentioning it, it was it was a passion of mine to see his vision through.

And so one of the I'm so impassioned by it, he has passed away. But it was an absolute, he was an absolute genius. Um went on to have an amazing uh other relationship and marriage. He has a beautiful family. Um, but he did uh leave us a couple years ago, but I still feel he wasn't seen because he was such an intellectual and such an exciting um person. Um one of his ideas was that Eliza's entrance into s into society is dangerous and frightening and terri and should terrify us, actually. It shouldn't be just like, wow, she's so pretty. Oh my god, they dress like that's not it should be like whoa, where this is a big this is super first of all dangerous, so she might be caught of you know caught out and humiliated, but also it's it's a class is really intense, like if you really pay attention to it, super intense.

And the work she did to get there and the way the way in which Higgins denied her any um uh recognition that she actually had propelled her own education. He was always like, I did it, I did it, and stuff. So she's like out there scared because she actually did it, and she's gonna have to teach herself. I did it, right? So she's at the top of the stairs, and the way he designed it, which was never seen on Broadway, Ralph Coltei, also no longer with us, but in one of the great intellectual set designers, he had created a ballroom, which no one ever saw, which were sheets of antique uh mirror that were in big rectangular um uh uh pieces, so large that had they were hung down, so they came down in in I like modern art, they came down and not not in one line, like not clear walls, just the idea of walls, the idea of glass, and they were antique, so they looked elegant, but there was an agedness because of course society is age-old, and so these big sheets of glass came down, very hard to tour with sheets of glass.

It made them producers, you know, who hadn't done Chicago yet and made millions of dollars. They they made them upset and stressed, and so but these were sheets of um mirror that came down, and then a precipitous white uh not porcelain, but white um formica, I think is the word. It's like a kind of shinyish plastic set of stairs, a staircase that came like a modern, it's almost like a goognica. That's right. Formica, like white 70s kind of white, sort of a 70s thing. It was like a like a conceptual art. White staircase without a banister that literally just came out of space and through these shards of glass and like came down in a smooth shape, but beautiful, worthy of MoMA kind of to like create the tension, like as she walks down the stairs.

You're up you're dying. You're dying for her safe physical safety, which was what everybody was upset. Melissa's gonna fall and have to be railing. I didn't think one minute about that. I thought this is so profound, right? And I knew what I was doing. I was very short-footed, I was 22, I was the same age as Julie Andrews, which um you know, this year we had a more mature act, you know, more mature people in their 40s playing the part and so on. Um we still were young, however, the director was also much older than me. So December, May can work. It doesn't mean it depends on the 22-year old. That said, like I was a sure, I was sure-footed physically, and I didn't mind it. So I the idea was that Eliza comes down and it's terrifying.

The experience should be terrifying and uncomfortable and profound, and you should really feel her entrance. And it shouldn't be beautiful and easy and a chance for you to say, Oh, she's finally made it. You should be like, yikes. This is a big move. Because every pro every like production I've ever seen has played it like Cinderella arriving at the ball. Yes, yes, where you see the beautiful gown and she's consistent. Yeah, and then it's just about like, oh, is he gonna scoop her up and is she gonna fall in love tonight? That's not what you should be thinking about. Yes, aligned to the potential ideas in the place. My director, you know, was searching for these ideas on his idea at the very end, because there was so much um at that time, so much involvement.

You see, that in the old days the estates would have been like, no, no, no, no, no, right? Well, the estates in the old days would never have allowed like Eliza to walk out on Higgins or change anything that's not traditional, right? Never mind casting and colors and this and that, but also meaning. So he was tricky, and so there was this phrenological head, which is sort of a big scientific sort of symbol, and his idea that was in the laboratory, his idea was at the very end of the play to not have us at the laboratory, to not even know where we were. We were in a black space, but to have this big scientific head come out again, like MoMA or something conceptually, and uh he's sitting there and he's hearing her, but there's no literal phonograph where he's hearing her voice back, and he's just sitting on the head, hearing her, like finally listening to her, like I'm hearing her, and I came around the back of it.

I was actually on the pedestal of the statue at the science, and I come around as it's a so you don't know if it's a dream, he wished it was her, it was a fantasy he was having, or that I literally came back. But Howard allowed it to be like did that just happen because he was basically Howard was trying to think of a way to subvert the script to sort of yeah, which is wonderful. And this is the night early. This is not the early, it's like the mid-90s. Yeah, you know, I was right out of college and stuff. So that was my My Fair Lady and then. I would have fallen in love with all of that too, right? Of course. Other um scenes and bathtub things, you know, issues of nudity and class and that you know, were were also pared down, you know, as we got closer to Broadway.

The set was changed, like my clothes that were black were turned pink and purple. Oh different, super weird. Yeah, I I actually stepped out of the show out of town for a period, heard my voice on the um and came back. Um, you know, the tour was long. I came back super healthy, whatever. My clothes had changed color. So you left. I left the tour for a little while. Yeah, to get rest. And when I came back, my clothes were pink and yeah, yeah, yeah. Yeah, yeah. Did something happen in the watch? Let's play a game.

[22:14] Kevin Jaeger: Yeah, let's do it.

[22:15] Kimberly Cooper: Let's do it.

[22:16] Bryan Plovsky: Oh, okay.

[22:17] Melissa Errico: I have a silly game of plot points.

[22:20] Kevin Jaeger: Great, fun.

[22:22] Melissa Errico: So it's a little different. Do we ever do serious plot points?

[22:26] Kimberly Cooper: I was just thinking that too.

[22:27] Bryan Plovsky: Oh, I guess all my games are so much.

[22:28] Melissa Errico: That's like a non-serious game.

[22:30] Bryan Plovsky: Let's do that one day.

[22:31] Melissa Errico: So I have two files in front of us. The way plot points works, it's a game that they both know. Um, and you listening, maybe if you listen ever, you know this game. Um basically, I have well, today is a little different. So I have um the name of an ingenue character.

[22:49] Kimberly Cooper: Oh, okay.

[22:50] Melissa Errico: Um, because I read your Times piece this morning.

[22:52] Kimberly Cooper: Yeah, that was my first piece in the New York Times.

[22:55] Melissa Errico: Yes, yes. And the New York Times approached me. I'll just tell you quickly. The New York Times approached me two years ago. They had read um an interview, a spoken interview like this, but that had been transcribed exactly, and that they had, and it was about um being uh uh I had an arc on Billions, and I was asked to do nudity in the television show. And it turns out, well, I had to agree, but it turns out that when you get a job to do a whole sex scene, there's a whole lot of um uh uh negotiations, very clear contractual things you have to agree to or not agree to, this snipple of that line and this crack and that, not that crack, you know, right? But there's clauses in this for everything, so negotiating nudity is a is an interesting task.

So I had done some interview about this, and as it turns out, I was expecting I was supposed to be sleeping with like this, I don't know, this a book publisher, I was trying to get my book published, this character, and I was expecting this hot guy, and it turns out it was this 72-year-old man who was my coach to get me the job in my Fair Lady, Austin Pendleton, who's one of America's greatest directors and actors. Yes, he worked with like Carson Wells, like he's yes, he goes back to the Stone Age, right? Sure, nicest man in the world. He was a Yale class of 61 with my father.

[24:08] Kimberly Cooper: Oh wow, right?

[24:08] Melissa Errico: So I, when I got to the sex day, I had already sort of been spray painted. It's working out for weeks. My father was perfect, and I was just like freaked out. I look at the call sheet and I was like, wait a minute, I'm gonna have to sit on Austin Pendleton. I had to learn, by the way, the sex in the city trick, which is a when you have to sit on a person, but the way they do it um is they fold a bunch of towel, well, one large towel or a series of smaller hand towels, and they create like a little mountain on his thing so that you don't see his thing or sit on his thing, and you sit on all these towel mountain. That's very um, you know, educational.

[24:50] Kevin Jaeger: That's how it's dumb.

[24:51] Melissa Errico: To sit on your mentor.

[24:53] Kimberly Cooper: Sit on the mentor.

[24:57] Melissa Errico: Anyway, so I had done I had I had done this like a kind of funny uh interview. Um was very uh grateful to this amazing publicist that I was working with at the time, I still work with named Sam Morris, everybody call him. Um he'd got me all these great interviews, and that was for Gotham. And the New York Times read that, and then they called me out of the blue and they said, We were just thinking that maybe you could write for the Times. And I was like, What? Uh you hello? You're crazy. Call my agent. Like if he's talking to me right now. So um he said, What's going on in your life? And I was like, Nothing. And he was like, What do you mean nothing? I'm like, There's nothing. I said, I'm getting asked to do Finan's Rainbow again, which I've done like three times. I'm now too old. But he goes, That's funny. And I said, It's not funny. As we all laugh, right?

[25:46] Bryan Plovsky: It's not funny.

[25:46] Melissa Errico: I'm so old, I said I'm gonna get arrested. There's the Ingenue police will come and say, This is not allowed. So you can now Google Melissa Errico, Ingenue, and New York Times, and you can read and that is what happened. It's like the police are on the door and I'm being taken away.

[26:00] Kevin Jaeger: I want to Google the Ingenue Police.

[26:05] Melissa Errico: Yeah.

[26:03] Kimberly Cooper: I invented uh well here's one one little quick aside, which was that my my experience of being an ingenue was, you know, uh as on a as I'm implying it went on too long. And um I think I coined the idea that I'm the terminal ingenue, which may inspire the gamer about the title. The terminal ingenue. And I had to, you know, all the ingenues I've played. Like, like I tried to do interesting things and make them, you know, not just ingenues. I tried to make them, you know, erotic and mean as we discussed the Dracula Mina. And that was I believe it's Minna. Yeah, thanks. So um, and that was the, you know, that was the moment where you know, uh I tried to make it things edgier, and you know, Kelly was willing to do it, and we did we both did nudity actually in that play.

And um, then I was writing about that, and I created the word ingenuity. And Scott was like, No, that's like the New York Times that's a do word play. That's too much like the New Yorker. And I was like, I got it in trends. I got it in front of it. I'm very tenacious in the editing room. I love the ingenuity. There's this whole other side to my personality, which is like his his girl Friday side, which is like once I get like a commitment from the Times, and like I've had a bunch of pieces now, like once we get rolling, I can openly say this if they're all listening. I love these people. I love the I love news people. I'm sure I love news people in every publication. I just happen to have been working there, and they are so interesting.

I love fact checkers and and spell checkers and people who ask people these crazy questions and then change everything, and you're like, whoa! But they know they change the meaning by changing the words, by doing they change a lot.

[27:38] Melissa Errico: Like writing is not, it's not always your exact sentences. Like they have to fiddle because they have to condense ideas. They can sometimes, sometimes you have a whole thought that's gone, and then you go, and you like beg this like young 30-year-old guy, you're like, please, that whole idea is gone now, and they'll come back to you in five minutes. They'll call you back or send it right through your computer, and in a fragment, an aside, not a parentheses, but like a parenthesis. They'll get all that information into like six words by just creating it. They're so good with words. They know what you're trying to defend, and they'll go and get it for you. And I love that process. I'll go and I'll just scream.

Like, but you're missing the whole point. Because, and they're like, what point? And I'm like, this point. And they're like, got it. Like we work really well. They're not like she is really cuckoo bird. They're not like that. They're like, Melissa's not cuckoo. Melissa's got a point. And they come back to me with like a six-word solution. And I'm like, thank you, thank you, thank you. That's awesome. It's really fun. It's really fun to be. So you get your point, they get their word count. It all works out. It's collaborative, and as is our business, it's so collaborative.

[28:41] Kimberly Cooper: Let's bookmark that.

[28:42] Melissa Errico: Yeah, yes, but great. So plot points. I have a pile of ingenues.

[28:46] Kimberly Cooper: Okay.

[28:47] Melissa Errico: And I have a pile of songs sung by not ingenues.

[28:51] Kimberly Cooper: Okay.

[28:52] Melissa Errico: Okay. And so the idea of the game is that you'll draw one of each, and you will sing the tune of the song, but trying to get us to guess the ingenue you've pulled.

[29:01] Kimberly Cooper: Okay.

[29:02] Melissa Errico: I'm just getting over a cold, so don't judge me.

[29:03] Kimberly Cooper: Okay.

[29:04] Melissa Errico: That is fine. So are we all.

[29:06] Kimberly Cooper: It is New York in fall.

[29:08] Melissa Errico: Okay. We have all been sick. I work with kids. I'm like.

[29:10] Kevin Jaeger: Kevin will start so that.

[29:13] Melissa Errico: Okay, so we're gonna try to make this work. Um she loves to dance, and she is in a show the business.

[29:23] Kevin Jaeger: It's defying gravity.

[29:24] Melissa Errico: And she is a young girl off the bus who wants to be in a Broadway show.

[29:29] Kimberly Cooper: 42nd Street.

[29:30] Kevin Jaeger: Oh.

[29:30] Kimberly Cooper: The girl from 42nd Street.

[29:32] Kevin Jaeger: Um The Bond. Um is not Libra.

[29:34] Melissa Errico: Peggy Sawyer.

[29:34] Kevin Jaeger: Yes.

[29:35] Kimberly Cooper: There you go.

[29:38] Kevin Jaeger: That was like bus violet?

[29:39] Melissa Errico: Nope.

[29:40] Kevin Jaeger: Very different.

[29:41] Melissa Errico: Very different.

[29:42] Kevin Jaeger: It wasn't a Dina Menzel.

[29:43] Melissa Errico: It was, yeah, it was uh just a gravity.

[29:45] Kevin Jaeger: Yeah, it's defining gravity and Peggy's Soyez. That's the point.

[29:49] Melissa Errico: So the song is not an on-party, okay, okay, okay. And the person is.

[29:52] Kimberly Cooper: Okay, okay, okay, okay.

[29:53] Melissa Errico: So the opposite.

[29:54] Kimberly Cooper: Okay.

[29:54] Melissa Errico: Sure, go for it.

[29:57] Kimberly Cooper: Yeah.

[29:58] Melissa Errico: Okay. Cool, cool, cool. This is clever. Let's see. What's new in that bird cage?

[30:08] Kimberly Cooper: There's a bird and a boy looking out the streets.

[30:11] Melissa Errico: It's Joanna from uh and it's uh Buenos Aires.

[30:14] Kevin Jaeger: Yes!

[30:16] Melissa Errico: I got that. I don't know what this is gonna be, but here we go.

[30:20] Kimberly Cooper: One and mix, mix, mix.

[30:22] Melissa Errico: Okay. Oh, this is funny. Okay. Oh, I have to sing her song. That's the song I should sing.

[30:30] Kimberly Cooper: Yes.

[30:31] Melissa Errico: But with her voice. Well, describing her. I'm trying to describe it.

[30:36] Kimberly Cooper: Kim, you're not gonna like that.

[30:37] Melissa Errico: I got this one. It's kind of like too easy. I'm a cockney.

[30:43] Kimberly Cooper: I'm a need my teacher.

[30:47] Melissa Errico: Want to go to the bowl.

[30:50] Kimberly Cooper: There's a delittle maybe this.

[30:53] Melissa Errico: Of course that's what you pull.

[30:57] Kimberly Cooper: Right.

[30:58] Melissa Errico: Sure. Okay. Well, I mean, you have played a lot of ones, so you've probably played quite a few of them.

[31:04] Kimberly Cooper: I think I did a few from the resume.

[31:05] Melissa Errico: It's just her residence.

[31:06] Kimberly Cooper: Oh, yeah, that was handy.

[31:08] Melissa Errico: Oh, okay. I started as a girl, and then I became I put on leather and was accepted by the whole school.

[31:23] Kevin Jaeger: Nobody reigns.

[31:25] Melissa Errico: It's Sandy from Greece.

[31:26] Kevin Jaeger: Yes, it don't rain on my purpose.

[31:29] Melissa Errico: That's amazing. That show has a bad message. Can we just put that out there again?

[31:32] Kevin Jaeger: Yeah, yeah.

[31:32] Melissa Errico: Let's talk about your new album.

[31:34] Kevin Jaeger: No, let's talk about my album because we have to do it.

[31:36] Melissa Errico: Actually, no, we can do you want to do one more song?

[31:40] Kevin Jaeger: Nah, we're fine.

[31:41] Melissa Errico: Okay. Yeah, well, we're good. We work. Let's talk about the album Eliza.

[31:44] Kevin Jaeger: We're not gonna top you pulling Eliza.

[31:47] Melissa Errico: No, no. But here's what we what we did miss was Joanna. Everything's coming up roses. Worst Pies in London. Those are the songs.

[31:53] Kevin Jaeger: Okay, hang on. Let's go through the Engineers quickly.

[31:55] Melissa Errico: Oh, Cosette. Christine Day, I didn't do because I chose to go back to college.

[32:00] Kevin Jaeger: Oh yeah, I was asked to do it.

[32:02] Melissa Errico: Yeah, after Cosette, I was asked to do that, and I chose to go back to college.

[32:06] Kevin Jaeger: I was I was a freshman at Yale, and I dropped out to do Cosette.

[32:06] Melissa Errico: And I dropped out in the middle of my freshman year. And then I was gone for fifth uh for the entire freshman year and then the entire next year. And then if I had done the fantasy, I get it.

[32:28] Kevin Jaeger: That was important to you to make sure you got your degree.

[32:30] Melissa Errico: It was important to me to make sure I got my degree. I was actually very interested in art history.

[32:35] Kevin Jaeger: Oh things that I've got to do.

[32:38] Melissa Errico: Yeah, my sister has her uh graduate degree and she manages an artist studio. I love it, you know, and and sort of in the in in Me Too style. Um, I'm not gonna be like give you like big sob story, but um I was a natural intellectual. I loved Yale. I wanted to go back and do art history, and I think a whole side of myself was meant to be um a s someone who writes and speaks and and and and and and researches, and maybe I could have gone into art history, but at my senior year and at Yale, a professor was c grossly inappropriate one day and freaked me out, and I felt demoralized because he had been my thesis advisor. So we'd we worked together for the entire year on the most powerful sort of aspect of my education. It all came to this thing where they they gave me the chance to write a thesis, which was a graduate thesis as an undergraduate.

[33:27] Kimberly Cooper: Wow.

[33:27] Melissa Errico: And I did it, and it was great. And it was really cool 15th century painter of Italian. And I was like that good at it. And he was my like everyday kind of person. And then he just like went at me like it was late very toward the end of the semester. Right before I graduated like a week or two before we graduated. And my I was a horrified thing is the whole thing went away from me. Yeah. I just got Melissa as a smart person. Except the occasional like play where I really attach myself to the ideas like which the f one of the early ones was my fair lady. But the whole like confidence to be like a like an intellectual person went way out the window. I think it's only started coming back when since I've been writing and I have three kids that's not an uncommon story.

[34:14] Kimberly Cooper: Yeah yeah I was very d you know bummed out but and just sort of like ugh but anyway so like until being a being a like intellectual person is something that I sort of keep taking some ownership, you know.

[34:26] Kimberly Cooper: Yeah.

[34:27] Melissa Errico: Yeah. More now that I'm a mother to these girls. You know, there's like I have like yeah and I sort of like we have to all evolve you know and one of the things that I have done my whole life is very quickly put a very intelligent man on a pedestal. Like I have done that all the time. I spent the last three years doing that in a completely positive and and you know passionate and sort of maybe the first most brainy uh passionately brainy uh light was the Sondheim album that I made.

[34:55] Kevin Jaeger: Sure.

[34:55] Melissa Errico: And which was brilliant it was an amazing album thank you. And and it was so uh rapturously received and the idea that was called Sondheim's sublime the idea of the sublime is a um sublime is an art movement. Mm-hmm. The idea of the sublime it's an actual um English uh movement in romantic painting of uh painters uh showing scenes of Mother Nature in really violent uh ways like uh storms and and glaciers cracking and high in high high uh precipitous mountains so you feel sort of the danger of mother nature so things that are beautiful but terrifying and I thought the idea of beauty and terror sometime put together yeah actually that makes sense so that's a whole other thing and so I spent my my whole year you know or all those the it was the three year process but all last year touring uh Sondheim concert and then um in January Michelle Legrand died and Michel Legrand was a guy who I I um do I have like two minutes more to talk yeah that's like like I don't want to go on and on but like Michelle Legrand is my current project because he passed away in January and I had um also known him very well another powerful man a multi-oscar winner he wrote Yentel for Barbara Streisand and um but many many movies I mean well meaning many equal like 300 plus movies and he was honored at the Oscars this year and um he had never done a Broadway show and he wrote Amour which was on in Paris as Le Passe Mouray this play and I was living in Hollywood at the time doing television and film and you know all that stuff that wasn't that w worth my time but I did it um as all Broadway actors do.

[36:40] Kevin Jaeger: Of course it's time to get famous let's go get there and so I did this and and one of my Hollywood managers over there was saying, Oh, there's this musical in New York they want you to audition for. And I looked at the paper and it said Michelle Legrand music by and I said, I mean to James Lepine was the director. I said, Michelle Legrand wrote a musical, and the mo manager of this was a female. She said, Oh, I know, I know, I love her. Oh, it was going back to my own. I love Michy. I flew back, I got the part, I met James Le Pine. That's how I met Sonheimer. Okay. Because he came to see the workshop of that. And then I did Sunday in the Park with George, which is another art history thing.

[37:20] Kevin Jaeger: Yes, Doc.

[37:21] Melissa Errico: George Surat. I mean, I was like, like, I was just on fire for that. And that's when I volunteered right away the first day I met Sondheim. Would you mind making a change to the color and light sequence? I have this idea, an art history-based idea of doing it naked in the bathtub because bathers and bathtubs are so impressionistic and so appropriate. And I the first day I met Sandham, I was like, Would you mind changing a bunch of things? Which which oh, like nothing fits me anywhere. Well, I had to do more soap instead of more red and more rouge and more makeup, she was in water, so she had to be doing things that were liquid, like a little more oil and scent and soap. So he he put different rhymes in.

And um, but I had I was so young and I was so brazen, and I was just like, hi, would you I have some notes? Um, but anyway, that so this is all my you know, my early 30s, and then I did work with Michelle Legrand. I did a more it was incredible. When it was over, um, Michelle had this idea to do a symphony. Well, he I've written prolifically about this um in French and in English, actually. There's some essays online. My life with Michelle L'Agrand was incredible because it even preceded meeting him then. My father used to play Michelle Legrand. The 60s, the Vietnam War, all this stuff. It's like I I was meant to meet this uh Titan.

[38:46] Kevin Jaeger: Yeah.

[38:47] Melissa Errico: And this was a positive Titan. Michelle was never, and so was Sondheim, by the way. Both of them were deeply respectful and so different. One being this most intellectual, really appeal to my intellect and so on. But Michelle really openly uh appeals to a more erotic sensual nature and fantasy based, you know. He's uh French, he's another, it's all about another thing.

[39:10] Kevin Jaeger: Yeah, it's all about desire and seduction, and it's French, you know.

[39:15] Melissa Errico: So anyway, so Michel Legron was uh, you know, we did an album, a symphonic album, and that was a long time ago. And um, I'm re-releasing it right now in the wake of his uh passing and in the wake of writing um a requiem to him in the Times. And then I got asked to do all his memorials in Europe.

[39:35] Kevin Jaeger: What in Europe?

[39:36] Melissa Errico: The um well the well, the the I did a tribute, I think the tribute concert in Paris.

[39:43] Kevin Jaeger: Yes, yes, that's the one I'm speaking about.

[39:45] Melissa Errico: That's like the Radio City Music Hall of Paris. It's called the Grand Rex. It's ridiculous, and nobody there was never mind British, American, nobody. It was it's the all the coolest people in Europe came out from his first big memorial, including his family, his wife, his son, and the best jazz musicians.

[40:03] Kevin Jaeger: Yeah, I was there.

[40:04] Melissa Errico: So not this is not even our world.

[40:07] Kevin Jaeger: Yeah, still these are like the most famous accordionists in the world, like people with you know who play the accordion who have an entourage of agents, business people's day.

[40:16] Melissa Errico: It was a men's club of jazz stars, and there were a few women to sing. Um French stars, and uh one Greek, Nana Mask M Scourie, who's like uh was sold millions and millions of records. She's the Strasiant of Europe. She is eighty-seven, maybe she's so she they got her out there. She was so cool with the big glasses and stuff.

[40:39] Melissa Errico: No, no, so I was a part of the French memorial, and Notre Dame burned up burns down the night before.

[40:47] Kevin Jaeger: Oh and then Trump comes out and says, you know, we should have put water balloons or whatever to make it fix it, you know, like whatever his great idea was.

[40:53] Melissa Errico: And it was just not super sorry.

[40:58] Kevin Jaeger: Oh, yeah.

[40:59] Melissa Errico: I wrote a quick speech in French with um a counselor's help to make sure it was right, and actually ran it by some of the singers too to make sure the accent was right, and I said something like um, you know, bonsoir uh uh like I want to say something uh uh just uh ju uh dire just un petit mot. I just want to say one little thing. Uh we Americans, some some toujours avec vous, Paris, surtout cette semaine.

[41:31] Melissa Errico: We Americans are always with you, Paris, especially this week. Because it was over these couple of nights and parcels and so on, and the place went crazy. Just to be an American who likes to struggle through like a little sentence about that and just it just not to connect to connect. And I came out and sang, and then I made friends all over his biographers, people in Hollywood, all over France. And then I've been invited back and went back and did the Royal Festival Hall in London, same people. Cool, the best guitar players in you know, Marseille and Paris and stuff that came in. Everyone and then the Ronnie Scott's jazz orchestra of London played the London concert. So, you know, now I'm going back and doing Radio France cool December 2nd.

That's amazing. And Thierry Ellias, like this famous pianist, you know, and I are getting together, and Sylvan Luc and I are probably gonna do like some recordings. I just met these people and we shared this affection for Michelle Legrand. So I went back into the studio at the end of August and I recorded um four new tracks, including the last song that Michelle Legrand ever wrote. Oh wow. With the Bergmans, actually. And um merely because I wrote a quick email to Marilyn asking her what she'd love me to record if I was gonna redo a tribute. Sure. And stuff. And she said, This, this, and this. You wanted Little Boy Lost, which you know is out already. And um, I said, Is Hurry Home the last song you ever wrote with Michelle?

Hurry Home is a single that I put out in 2017. You know, look, I'm not working, I'm not getting, you know, the Barabi phone calls, you know, at the moment. I'm raising kids and I'm doing well. But sometimes I record stuff and put out a single or do concerts and cabaret. This is how I've had to stay. Everybody has their thing, whether it's in a go to the gym or whatever, you know, you gotta keep busy or you're gonna just or just walk out and quit. I've chosen not to quit. So this world has kept me going. And so I harked back to two years ago. I did a single called Hurry Home. I said, Was that your last song with Michelle? And she said, No. And she attaches it on an email. This is the last song I ever wrote with Michelle.

I would love to hear you sing it. And I was like, sing it. Does Rob Barbara have this song? So I took that song and um we recorded it, and it's coming out um as a single on November 1st. But it's the whole album comes out November 8th. I don't know when you air, but this is uh that's gonna come out a couple days after you're hearing this. So this I can't do the today is on that occasion. So the day is like the fifth. You're listening to this on the fifth, listeners. So the album comes out on the side. You can have it already, but yeah, on the fifth, you can have that single. It's called I Haven't Thought of This in Quite a While. And it's the last song he ever wrote, and the three singles will be out by that point. And um, and it's just it's a masterpiece. And I did it in London as a debut for the song, a public debut, and people were just like, What? You know, so he he finished with the on a high.

[44:25] Kevin Jaeger: So in terms of like, you know, my journey, like I've been admiring, you know, these kind of men and brilliant men and so on. And I think when I did the original album, which was an orchestral album, I was glad to be one of the other, one of the many instruments. There were 100 pieces in the orchestra. And I was like, he conceived that I was like the one of the flutes, and I was fine to be to sublimate myself. But now that I'm older, I feel like it's my top Michelle Legrand. I think I've now I think this this particular album represents like the whole Melissa story.

[45:00] Melissa Errico: Sure. I've really stepped forward as his interpreter, someone who knew him, someone who can um be a biographer for him uh and love him, but also step forward as a singer. I mean you'll really hear on these new tracks. Like there's no I'm not blending into an orchestra.

[45:17] Kevin Jaeger: Yeah, that's awesome.

[45:17] Kimberly Cooper: So have you ever performed in Tuesdays in the corner with Kevin?

[45:25] Kevin Jaeger: Kevin's corner. Let's welcome Kevin's Corner. I ask some fun and zany questions. And today I googled top 25 weirdest interview questions, and so these are what came up. So I'm just gonna ask you like three of them.

[45:39] Melissa Errico: Okay, and we'll see what happens.

[45:40] Kevin Jaeger: Um we haven't already hit those.

[45:44] Melissa Errico: No, trust me.

[45:47] Kevin Jaeger: Okay.

[45:47] Kevin Jaeger: Um, if you were a box of cereal, what would you be and why?

[45:53] Melissa Errico: Um, I was a box of cereal. I wanted to say something funny about Wheaties because my husband is a tennis learner and he was on the Wheaties box we had in the house of course. You know? So um if but that's him. If he was, he's a we if I was a cereal box. Um maybe it's something with cinnamon.

[46:19] Kevin Jaeger: Okay.

[46:19] Melissa Errico: A toast crumbs cinnamon squares of some kind. How about life cereal with cinnamon?

[46:24] Kevin Jaeger: Oh, that is my favorite city.

[46:26] Melissa Errico: I like that. Because I'm kind of a life type of person, the word I think.

[46:30] Kevin Jaeger: Yeah.

[46:30] Kimberly Cooper: Um I hope I gave that meaning.

[46:34] Kevin Jaeger: No, that was perfect.

[46:35] Melissa Errico: Did not deserve it.

[46:36] Kevin Jaeger: Um if you if I just snorted, by the way.

[46:41] Kevin Jaeger: You're a new you're a new addition to the crayon box. What color would you be and why?

[46:49] Melissa Errico: A golden green of some kind.

[46:52] Kevin Jaeger: Ooh.

[46:52] Melissa Errico: Golden green, a combination of the shimmer that you feel in the Greek islands and the an olive trait.

[47:01] Kimberly Cooper: Oh, that's really nice.

[47:02] Kevin Jaeger: Really good. She's taking these ridiculous questions and giving us lovely things.

[47:08] Melissa Errico: I'm trying to get the stupid question.

[47:12] Kevin Jaeger: Like the sublimity thing.

[47:16] Kevin Jaeger: Okay. Um, have you ever been on a boat?

[47:22] Melissa Errico: That is the 25th most weird question to ask you.

[47:25] Melissa Errico: Actually, I have been on a boat, and I go on a boat once a year with my best friend. My best friend has a sailboat. Her husband is a sailor, and he um can do it all by himself. This massive wooden sailboat. Whoa. And she lives out um in the Hamptons. And um, we used to be raising our kids together in Manhattan. I had to move out of the city for different reasons. I have a tennis playing daughter, and it's just better and healthier for girls, I think, to not be in Manhattan the whole time.

[47:52] Kevin Jaeger: Sure.

[47:52] Melissa Errico: She moved out far away with an autistic son. And it's just it's just it's not easy. But once a year, for sure, she goes out almost every day with her that's their chance to calm down and just be together as a couple. He sails her out. But they always find that on a boat. They always find time, and I always find time in my calendar to get out to the Hamptons and get on that sailboat. And I know that um I won't say the sailor's name, the husband. He has that big wheel, and I know he watches me and Beth until we're calm, both of us, and we go out and we sit at the very tip, and we get into these deep conversations, and sometimes like so much time goes by, and I'll like realize I'll look back and I'll realize that the husband is protecting our friendship. He wants this ride, and he wants the two of us, he wants this like jumpy actress friend and his wife to just talk.

[48:47] Kevin Jaeger: Yeah.

[48:47] Melissa Errico: And like that ride, we love it. We just live for that ride on a boat.

[48:51] Kevin Jaeger: So I did I think I have six and seconds.

[48:54] Kevin Jaeger: Yes, it's tennis questions.

[48:56] Kevin Jaeger: I know. And this is the last question, but I'm gonna ask you because of your husband.

[49:00] Kevin Jaeger: Uh why why is a tennis ball fuzzy?

[49:03] Melissa Errico: That's on the list.

[49:04] Kevin Jaeger: It's on the list.

[49:05] Melissa Errico: All right.

[49:05] Melissa Errico: These are questions that were asked by the biggest. I found one in my sink yesterday. I was doing dirty dishes. It's on my Facebook page. I literally was doing the dishes. I was like, there's a tennis ball in like a in a water bottle thing, like a like a smoothie cup thing. But it was like you can see it's all the disgusting pasta and like the gross thing. You find tennis balls everywhere in my house, and I never would have thought.

[49:28] Kevin Jaeger: You don't know if it's from the dog, from the husband, from the daughter.

[49:35] Melissa Errico: And this has been Kevin's corner.

[49:38] Kevin Jaeger: That brings us to our episode. Thank you so much for joining us. This was so much fun. Um just remember you can follow her at Melissa underscore Errico. Um you can also don't forget to uh pick up her new album.

[49:56] Melissa Errico: Um again, that is La Grande Affair, the songs of Michelle Legrand.

[50:00] Kevin Jaeger: Uh November 8th is the full album.

[50:02] Melissa Errico: Uh you can also see her at 54 Below.

[50:05] Kevin Jaeger: Um the 7th and the 8th.

[50:07] Melissa Errico: 78 and 9.

[50:08] Kevin Jaeger: 789 um at 7 p.m. slot.

[50:11] Melissa Errico: Um so uh take a look at those.

[50:13] Kevin Jaeger: You can follow us at Broadwaysted.

[50:15] Melissa Errico: Um that's us.

[50:16] Kevin Jaeger: You can find us on Twitter, Instagram, our Facebook group, Patreon, um all those fun things.

[50:21] Melissa Errico: Um find us on Spotify, iTunes, rate and review us there.

[50:24] Kevin Jaeger: Five stars, please.

[50:26] Melissa Errico: Thank you.

[50:27] Kevin Jaeger: Um and then you can find us on the Broadway Podcast Network.

[50:30] Melissa Errico: That's PPN.fm backslash Broadwaysted.

[50:32] Kevin Jaeger: That's us.

[50:33] Melissa Errico: Um but we end every episode with a quote.

[50:35] Kevin Jaeger: Oh yeah, we do.

[50:36] Melissa Errico: And today says, blood will done run down his face when he is decapitated.

[50:40] Kevin Jaeger: Ah, his head on my mantle is how I will let him know.

[50:43] Melissa Errico: How much I love you.

[50:45] Kevin Jaeger: Die, die, die.

[50:46] Melissa Errico: I can't.

[50:47] Kevin Jaeger: That is Dracula's lament from forgetting Sarah Marshall.

[50:51] Melissa Errico: Uh oh.

[50:52] Kevin Jaeger: That wasn't on my show, was it?

[50:54] Melissa Errico: No, no, no, no.

[50:56] Kevin Jaeger: That was the movie for getting Sarah Marshall.

[50:58] Melissa Errico: It's like a parody of Dracula.

[50:57] Kevin Jaeger: Oh, thank you.

[50:58] Melissa Errico: I've been blocked out here.

[51:00] Kevin Jaeger: We did a dragon book end.

[51:06] Melissa Errico: But again, thank you so much for joining us.

[51:09] Kevin Jaeger: We really appreciate you're so busy.

[51:11] Melissa Errico: We so appreciate you being here.

[51:10] Kevin Jaeger: Thank you.

[51:11] Melissa Errico: I'll get home for bedtime. Don't worry.

[51:17] Kevin Jaeger: Cheers.

[51:19] Melissa Errico: Cheers.

[51:20] Kevin Jaeger: Thank you.

[51:21] ♪ Musical number: "Little Boy Lost" — performed by Melissa Errico ♪