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[0:06] Dori Berinstein: Welcome to Deep Dive Broadway.

[0:08] Dori Berinstein: I'm Dori Berinstein, and today and always we celebrate Pride.

[0:12] Dori Berinstein: Our guests are the creators of the Pride Plays, producers Doug Nevin and Michael Urie, and festival director Nick Mayo.

[0:20] Dori Berinstein: Now, in its second year, the Pride Plays, in association this year with Playbill and Rattlestick Playwrights Theater, are once again celebrating queer-themed works from renowned artists such as Lisa Kron and the Five Lesbian Brothers and Mart Crowly, alongside brand new voices with a spectacular lineup of theatrical events, readings, and workshops.

[0:42] Dori Berinstein: Due to COVID-19, their festival takes place entirely online this year.

[0:47] Dori Berinstein: Let's dive in.

[0:50] Dori Berinstein: Welcome, Doug, Michael, Nick.

[0:52] Dori Berinstein: Let's start it day one. How did Pride Plays begin?

[0:57] Michael Urie: Well, last year as World Pride was approaching, Doug and I were approached by Daniela Topol at the Rattlestick Theater, and Daniela wanted to do some kind of programming for Pride to celebrate the 50th anniversary of Stonewall and World Pride. And she knew that Doug and I had been in talks about how to help queer theater find more outlets. Obviously, there's no shortage of queer theater in the theater, but we felt like so often the various voices within the community would get lumped together, and we were looking for a way to find a platform for them all to live sort of side by side rather than as in the same pile of scripts. And so I think because she knew Doug and I had been talking about that, she reached out about programming something for World Pride in the 50th anniversary of Stonewall, and we had a couple of stupid ideas right off the bat, and as we continued to think about looking back, it made more and more sense to look forward, and our workload or our ideas became much bigger than either Doug or I could facilitate or execute.

And then my old friend Nick Mayo from college came back into my life and had recently spent a few years working, in fact, on festivals and producing events and putting together large groups of people in short periods of time, and suddenly here was this person who I knew from not only Juilliard but Broadway who had all the same knowledge about queer theater that I had and that Doug had, but he also had all of this extra knowledge about making stuff happen in a festival setting. And so we suddenly saw a way out of our deep hole of imagination, and that's how we were able to do last year 19 play readings in five days instead of what Doug and I probably would have ended up with, which was like a few readings with, you know, a couple of bottles of wine and a wish. We were able to use the Rattlestick for these five days and have nearly 250 artists come through and do 19 plays. It's extraordinary.

[3:39] Dori Berinstein: You're just so unbelievably ambitious, but you pulled it off beautifully. Doug, you were about to say something.

[4:01] Doug Nevin: Thank you. No, I was gonna say, just to supplement what Michael said, you know, we had sort of been trying to tackle the twin notions that LGBT artists, writers, directors, actors often would get lumped into one pile, and we wanted to be able to provide more opportunities for a sort of array of existing and emerging voices. But we also did want to, particularly for World Pride and Stonewall 50, be able to look back a bit at the sort of ways in which the theater had fed the movement, and also the ways in which the movement had fed theater. And I do remember one specific moment where Michael and I decided we were gonna do four play readings and then four one-week workshops of plays over the course of the month.

And I remember specifically walking with Daniela Topol in the village, and she looked at me and said, "Well, you can do that. But I strongly suggest that you do a shorter festival and do as many readings as possible within that time, but sort of be consistent about what you are asking of audiences and artists because it will make it a lot easier to gather a larger community of people." And that was a really cool idea, which also I think caused Michael and I to panic, which is then when Nick very thankfully walked back into Michael's life and into my life.

[5:38] Dori Berinstein: Well done, Nick, you know, and what perfect timing. What I love so much is that you celebrate existing voices, and I know you have four incredible readings, live readings that I'm eager for you to talk about that will be happening every Friday night. And you have workshops that are happening this year, and I know you did last year as well, and I believe this year it's with 11 new playwrights, which is so exciting. So, Michael, you—or I should say Nick, you stepped in and you gave this some structure, you figured out how to implement it. I mean, with everything that was going on with World Pride last year, it was such an exciting time. You also managed to make Pride Plays such an important part of last year, you know, and you didn't have that much ramp-up time to do that. I'm just amazed at how quickly you were able to pull everything together. How did you do it?

[6:40] Nick Mayo: You know, Doug and Michael are incredibly generous to say what they're saying, but all we really did was give a platform for the community to come together. We opened the stage and swept the stage and made sure that the bathrooms were working and that everyone had scripts and pencils, and the magic really did come from the community coming together. It didn't have, you know, we were facilitators, so truly the spark came from everyone else and just the gathering of those amazing spirits and telling those stories. So short answer is we just set the stage and they did all the magic.

[7:21] Dori Berinstein: But I think you also pulled together a group of people around you, advisors, people who were vetting the plays, people who were supporting the artists. Could you talk a little bit about that? Because I think the group of people that came together around Pride Plays last year and that, you know, and this year are extraordinary and are helping you process all the submissions and to help focus, you know, what you ultimately present during Pride Month.

[7:53] Nick Mayo: Absolutely. I mean, I think that last year when we were putting together the festival, initially when Michael and I first started talking with Daniela about what this could be, we had some informal discussions. And we had one particular discussion with Lisa Kron, who is easily, you know, maybe the smartest, certainly one of the smartest people I've ever spoken to. And it really kind of blew our world open as to what the possibilities of the festival could be, but also of sort of what some blind spots were, particularly that if you are going to look backwards at the LGBT Theater Canon, which I do think is very important, the reality is that's going to look overwhelmingly like, you know, upwardly mobile and white and male, because those are the plays very often that were produced, and certainly the ones that were produced commercially.

And so, in order to really explore the movement up to this point, we had to think about artists and writers and performers that weren't necessarily that hadn't necessarily been viewed as mainstream as we would like them to be. And so we realized that we knew what we knew, but there was so very much we didn't know. And so we put together an advisory committee for last year's festival that included people like Che Yu and Lucy Thurber and Sam Hunter and Ted Snowden, all of whom came from different areas of the theater world, and really helped us focus on what kind of plays we should be looking at, what kind of newer writers we should be thinking about, directors that we might want to work with, performers we might want to work with.

And I think that was a big part of us ensuring that across those 19 plays and 200 plus artists that we were building as big a tent as possible. And we're proud to say that the advisory committee has grown from year one to year two. We have a wonderful group of people, including I think now MJ Kaufman and Malik Pinchasi and Daryl Roth. It's obviously not an exhaustive list, all of whom we can rely on for different things as we continue to grow and shape our programming and the various Pride Plays initiatives.

[10:31] Dori Berinstein: And I also think that you focused right early on on plays that were about pride and not necessarily looking at the trauma and the pain, which is certainly there, but that the plays that I saw were so uplifting and positive. Do you want to talk about that for a sec?

[11:02] Nick Mayo: Yeah, we definitely started the mission last year was pride. We would always, anytime we talked about a play, we would say, "Is it prideful?" And this in part came out of our conversation with Lisa Kron too, because if you look back at the things that so many of the stories that were told about queer people were about the punishment of being gay. What happens if you're gay, that you'll end up alone, that you'll end up dead, that you'll end up in the sanitarium or on drugs or whatever. And of course, there are stories that are true about that that happened that way, and that is a part of our history. That like for so many people being gay was going to be a hardship. But we wanted to enlighten people to the stories of the success stories of queer people, to the plays that had a happy ending, or at least had a positive outlook.

So last year it was always, "Is it prideful? Is it prideful?" You know, we realized very quickly, like we could do The Children's Hour, but it's not written by a queer person, it wasn't written about queer people, and in it, the queer people are punished. So as good a play as that is, and as much of a classic as that is, it made a lot more sense for us to instead tackle Brave Smiles, another lesbian tragedy by the Five Lesbian Brothers, which is in some ways a satire of The Children's Hour and The Killing of Sister George. And it was a huge hit for us last year at the festival, and that's part of the reason why we're bringing it back this year for the primetime plays, and we're reuniting the Five Lesbian Brothers who haven't acted together in a long time, which is very, very cool.

[12:57] Nick Mayo: Um, this year, so so that was at the forefront of our mind. We were also celebrating global pride, celebrating the 50th anniversary of Stonewall. We didn't want to tell a bunch of sad stories, we wanted to tell about how far we'd come and how well things are going. Um, and and and and so this year we we have we we we're still we we still always ask the question, is it prideful? But we're also um we we're also looking into more um socioeconomic disparities, we're looking into um cultural disparities. Uh we we were not so um locked into the idea that it had to have a happy ending. Um we wanted to look at the next step. So instead of the play about a trans person who comes home and is shunned by their family, we wanted to tell the story of a trans person who comes home and it's complicated and challenging, but they find their way through it.

Um, so that those are the stories that we're putting out there, and that people who need art who look to art for guidance would see what we think of as positive examples of how to hold each other close and work through things. Problems that these characters have aren't that they're queer. That play, that's Masculinity Max, right? With um by MJ Kaufman. Um I was actually referring to another play, Crooked Parts, but yes, Masculinity Max is also about a trans man coming home and being re-enveloped and and and and it in similar themes. You're right. Um MJ Kaufman's play has similar themes to that. Uh and and then goes to other places that I don't want to spoil. Um and deals with it with humor and love and whimsy.

I think that what was interesting about last year was we were really looking to celebrate the community um and every aspect of the community. And I think this year something that we're looking at, particularly given the times we find ourselves in, is what is each of our individual obligations to the community and what is a community's obligations to one another.

[15:10] Dori Berinstein: The perfect segue to let's talk about the four plays that you are presenting this year. And obviously there are some this isn't exactly how you expected to be presenting them, uh, but perhaps there are opportunities buried in this the way that this is happening. Um so could you could you guys talk both about uh figuring out how to how to uh present Pride Plays during uh a pandemic uh in quarantine, and uh can you also talk about um the four plays for starters?

[15:48] Doug Nevin: Well, I'll say um that you're right, it is a challenge, but it's also an opportunity. We really do get the opportunity to engage with people who are in Los Angeles or in Oregon or in Canada or all over the country, all over the world, can now play a part in this uh festival. Whereas, you know, our little home at the Rattlestick has 90 seats. So, in a lot of ways, we've just broken down fences and opened it up. That's a little bit of the Pollyanna version of it. The other version of it is it's very challenging to connect with each other during this time because we're oversaturated and connecting with each other so much. But I will tell you whether it's in a Zoom open house that we had the other night for playwrights and directors to meet each other or in one-on-one stage manager calls that I have via Zoom.

Everyone is so excited to connect with each other from this platform of pride. And we hope that we can find in each other that strength that we've always had. Queer people are always um looked at for symbols of resilience. We're a resilience culture, and we're doing a version of that right now through this festival. So we're so excited to start off next Friday with Danye R. Love's critically acclaimed production of One and Two, starring the original cast from the new group. Um, so that's a really beautiful way to start off this particular pride. Um, we're we're happy that uh viewers will have the opportunity to see that play and it'll reach a larger audience. Um it's a three-person cast. I don't want to talk too much about it, but you can be prepared to learn something about our community.

The second play is um Masculinity Max, as you we just mentioned by MJ Kaufman, directed by Will Davis. Uh, we're very excited about presenting Masculinity Max. The third play, which was a little bit of a readjustment. Um we had intended to uh to present Brave Smiles and Other Lesbian Tragedy, but we're very happy to present it on June 22nd. So that'll be the entire Five Lesbian Brothers coming back together for this fantastic hysterical uh piece directed by Lee Silverman. So we're very happy about that. And then it'll culminate on the last Sunday in June, which as we know is oh, I just made that up. I missed a step. The last Friday in June is Men from the Boys, Mart Crowly's um sort of uh sequel to Boys in the Band.

Let's see where these characters from Boys in the Band develop. That'll be directed by Zach Quinto. I'm so excited about all of the plays. I'm just so curious with the uh the Men from the Boys. Is this the world premiere? Has that ever been produced before?

[18:43] Nick Mayo: Um it has been produced before. It was produced, um, it was developed with and produced at the New Conservatory Theater in San Francisco back in, I believe 2002. Um I think this this may be the you know, well, quote unquote New York premiere. Um, and it's certainly the live stream premiere. Did did Mark um know that this was happening before he passed away?

[19:15] Doug Nevin: So he did. He did. So actually, that's a great question. He did. Um, we had been talking about doing it as part of the, you know, as part of our festival, you know, at Rattlestick based on the assumption that we were going to be able to do a physical festival this year. And actually the prospect of Zach directing it had even been discussed with Mart. And he was very excited about that. So we're we we definitely feel that we're doing it, you know, in his honor and with his blessing. And and Boys in the Band is so fresh in all of our minds, you know, with the play on Broadway. So I think it's such great timing. And you know, we're so vested in the story and these characters. So I cannot wait for that.

Um let's talk about the hundreds of artists that you have been working with around the world, uh, emerging artists. How did you take that their work that that all these incredibly uh exciting new voices? How did you narrow it down to the 11 that you're going to be doing um you're gonna be presenting workshops uh with them, right?

[20:29] Nick Mayo: A lot a lot of fighting. Um that's not true. We had a um we have a wonderful lit manager named George Struss who handled all of our submissions. So this year we opened some last year we kind of curated it, we asked around, we we we lent, we leaned on our advisory committee. This year we're still we still asked around and leaned on our advisory committee, but we also opened submissions up and got uh like 200 submissions from all over the place. And George um was in charge of getting through them, telling us which ones to read. We all three of us read lots of plays, um, dozens, I mean dozens of plays. He read, you know, millions. Uh we had a reading committee, which uh included Ryan Spawn and Caroline Prue, who were playwrights that we did last year, um, but also Nick Corey and Denia Esperanza, um, who were who George would sort of like deputize to read and get back to us.

And I think the way it worked out. Every play got read by two people, one way or another. And um, and then we whittled it down to a much bigger number than we have now. And then um, and then eventually we got down to about 11. And um, and when the pandemic hit, uh, and and we by the way, we've made all of our decisions and engaged all of our playwrights, and not just the new plays, but the old plays too, the recent plays or the canon plays that we were doing. We'd engaged everybody, and we were ready to announce when the pandemic hit. Um so when we pivoted, um, we decided to let go of um all of the existing plays, with the exception of Men from the Boys, um, and and and take all of our new plays online and offer them workshops and an opportunity to focus less on putting on a show and more about developing the work.

And um, these eleven uh opted to do it and um and they run the gamut. I mean, it is uh plays and this and this really to me, this is something I'm so proud of. It really speaks to the the concern that we had at the beginning of this whole thing, which was we don't want plays to be lumped together when they have when the only thing they have in common is being queer. Um, for example, we're doing a play by uh Carmen LeBieu called Will You Hold My Hair Back, which is a um multimedia farce about a lesbian wedding, um, a biracial lesbian wedding. Um, and um, we're also doing a play by Omar Hantash called Roof, which is about a queer, a closeted queer man in Syria who's found out and dragged to a roof to be thrown off.

And before he before uh that it happens, he gets a moment of reprieve to uh beg for his life, and it's told through flashbacks of uh love affairs and romances and and how a queer man lives in Syria in the closet. So these two plays um could not be more different from one another. Uh and yet they are about queer stories, and we can tell them in concert, which is which is very exciting. Um we're also doing um a play by a very young writer uh named Haley St. James about um about the the queer experience of someone who is on the autism spectrum. Uh we're doing um a play, a romantic comedy written by a trans man uh called Modern Gentleman by Preston Allen. Um uh we're doing uh uh we're doing Ryan Haddad's play, who's a Ryan Haddad, who's a wonderful cabaret performer and writer and actor.

Um he's written a play about his gay uncle and and uh and how he he he and his gay uncle used to make their family produce shows in their backyard, and it's delightful and very meta. And um, and and a lot of these plays, you know, they're not written for Zoom, but some of them will actually work really well on Zoom. We're doing Rodney Hicks, Rodney Hicks, who you might remember from um uh the original company of Rent and Come From Away. So we've teamed him up with Michael Grife to do uh Brodney's new play, Just Press Save, which Rodney is rewriting all the time as the world changes. Uh and it's really exciting to see. It's a play about high school students. It's really fascinating to watch him evolve as the time changes so rapidly.

And and and to hear Michael Grife talk about how great it is to rehearse on Zoom. You know, you think this is a man who's made his entire life in theaters and and now he's been forced to work on Zoom and he's finding this silver lining. Pretty, it's is it's pretty incredible.

[25:20] Dori Berinstein: Well, you have the what a lineup. I I want to see every single one of those plays desperately. So I I know this will be a really important step in their evolution. So I cannot wait. Thank you for doing this. Um you've Michael, have done you have been the busiest guy uh make being so creative during this time. What is it like to perform when uh when you did Buyer and Seller, it was so impactful, so such a thrilling theatrical experience, but you were performing it without an audience.

[25:56] Michael Urie: What was that like? Very weird, very quiet. Um, it was a very quiet experience because the only person in the room was my partner Ryan, who doesn't think I'm funny. Um, and uh certainly and was and wasn't allowed to laugh anyway. Um so it was it uh I I mean I'm lucky, like uh I have done that play six hundred times in front of an audience at least, and all over the place. And and sometimes, and and so I've had audiences that I couldn't shut up, and I've had audiences that I I had to check their pulse and so I knew where all the laughs were and where they might not be too and so I think given that I was it was a comedy um I was super armed with the knowledge of what people found amusing in the play because I've had so much trial and error um uh that that uh you know I mean basically that play we put that together we put that play together seven years ago by failing um it was always trial and error it was always I could do it this way or what about this way and then when we got in front of an audience that's when we really learned what we had um and and it grew and changed for years as I did it and um which as all great plays do that and I mean that's why actors love running plays for for you know long periods of time because you find so many things and they grow and they change um and they're like you know they're all like onions and and and they have layers and layers and layers so anyway that's that's just to say that like I was super well equipped for for the task at hand because I didn't I could imagine the laughter and I and I imagine and then in terms of like holding for a laugh um I just would imagine one two three maybe four people together watching on their screens and you know I imagine what that laugh might be like and um the hard part was figuring it out and I was lucky you know Doug and Nick were were both producers on that night um Nick Corey, who had worked who I'd worked with on doing a scaled-down version of the original production that Steven Brackett directed.

[28:07] Michael Urie: He was with me from Indiana. Uh Ryan was here, of course. Um Paul Wontoric from Broadway.com. So, like, so like we would have these rehearsals where I would stand in the room and try things out, and I would, and and Doug and Nick and Nick and Paul would holler out ideas. Um, and Ryan would translate, and we figured it out. You know, we found a language. And it was a lot of it took everyone had to be really patient. Um, everyone had to be really creative and think outside the box. Uh, there were a few very very scary moments along the way. Um, and then right before we started, Paul, I had Paul in my ear, and he said, Oh, there's a lot of people here. And uh, you know, he's looking at the wait the the waiting room or whatever.

He said, Oh, there's a lot of people here, and I was like, that's all I need to know. As long as there's a few people, I can do it. You know, like and that's and I had no idea. I mean, I was imagining, you know, if there's if there's 30 people, I'm good. I had no idea we would end up with like 10,000 views. Um, which is just households. More than that. Is it how much how many views? In my heart. A hundred thousand or a million. Yeah, it was it was close to a hundred thousand viewers once it was done. And and I think at the end at the end of it, I think that the the buzz and the word of mouth, there's so many people out there who were so upset they didn't get to see it. You know, it it's well, I'm not doing it again.

And also being a fundraiser for Broadway Care's Equity Fights AIDS at that time COVID-19 emergency assistance fund to help members of the acting community through uh so that was also like the the other silver mining is that it was incredibly successful from a fundraising perspective. Um I was a nervous wreck.

[30:04] Michael Urie: I felt like I'm not a parent, but I felt like I was watching someone like a dance recital. I was terrified. Just didn't want I didn't want my Michael to fall off the stage. I didn't want the computers to turn off. I didn't want uh, you know, mics to go bad. Poor Michael the night before his ear pods were running out of juice. So I, you know, ran to disinfect my ear pods and ran them to him. We're all just doing whatever we could to make sure we took as many variables out of the process. Yeah. But I will say there was something really extraordinary about watching it in real time because it was a shared experience that people had in their homes in a way that I think isn't very common anymore. You know, because most television isn't watched live anymore.

Most, you know, people will watch something whenever they choose to watch it. And there was something really remarkable, um, just you know, following our social media, which which I was sort of helping, you know, f run throughout the evening to make sure we raise some good money and got the word out and just watching people respond on Twitter or texting one another, you know, Instagram and Facebook, um, and even the comments and the sort of likes and stuff that would, you know, that would pop up as you watch it, um, and then again on the Facebook event the next day was truly extraordinary because how often do we have at home that collective experience anymore? It's very rare. And it was really, you know, the notion of sort of bringing that collective uh theater experience where we all get to sit together and watch something at the same moment into homes was really really extraordinary.

[31:53] Michael Urie: Yeah, theater is just a very dangerous to begin with. You know, live theater is such a scary, exciting, unpredictable kind of thing, but this adds a whole other layer of drama behind the curtain, so to speak, you know, that um I in a way makes it even more thrilling. Uh, but but you set a bar that's extremely high for everyone else because it's so great. So with the workshops that you guys are doing, the 11 workshops, is are they being directed for live theater, even though it's being done on Zoom? They're it's being directed anticipating a live audience.

[32:35] Doug Nevin: Yeah, the the idea behind the workshops is that we want the play, you know, we we didn't want to present them for the masses because they weren't written for Zoom, they weren't meant for Zoom, they're meant to be on a stage. And and and to the extent that like they want the final presentation to be um enjoyable, they they're they have license to do what they want, you know, in terms of like whatever tricks they want to come up with for a Zoom reading. But the purpose, our purpose is for them to spend time with actors and a director and the text uh and and hone the play and really like find the play so that eventually it can be um produced on a stage. Now, with the primetime shows, we we are kind of putting on a show.

We are trying to like, you know, use you know, pull all the uh bells and whistles and and and the things that we have learned um doing buyer and seller and doing zoom readings and uh you know doing all these various things that that we find ourselves doing during this time we want we want we want people to to tune in and have and and enjoy themselves and and experience theater in in um this way which is obviously not the same as joining together uh in in a theater but there are ways to make this feel like community to make it feel like we're we're together um to make it feel like it's it's dangerous as you say because that's that's you know the the even though we're not we're not worried about falling off a stage as Nick said or like forgetting our lines because they're all readings uh you know there are a lot of very um very uh mysterious variables that could you know I mean someone's one of the five lesbian brothers could lose their wifi and and they'll have to figure out what to do and they're fully equipped to do so I mean that's that's actually I kind of hope that happens because that would go crazy.

[33:22] Michael Urie: Michael it it's so exciting that um the five lesbian brothers are are coming together for this and it's it's so surprising that it hasn't happened before this time. So you know thank goodness for Pride Plays thank goodness for your you know uh bringing um such great art to the forefront. It hasn't, you know, as far as I'm concerned, it has nothing to do with you know the the the subject matter. These are uh I mean obviously that's hugely important, but they're these are great plays, and these are great artists with important stories to tell. And um, and I and I'm excited that with how you have pivoted and figured out how to do this remotely, that your audience um can just explode, which would be really exciting.

[35:31] Doug Nevin: And I think it's important to, I think it was said earlier, but just to I believe your Pride Play Um Friday nights are in support of Broadway Cares Equity Fights AIDS.

[35:44] Nick Mayo: Yes, very important.

[35:46] Doug Nevin: Yes. Um those Friday night present um presentation readings as well as the Pride Play Spectacular on the last Sunday in June will all go to benefit Broadway Cares Equity Fights AIDS.

[35:58] Michael Urie: And so it's every Friday night at 7 p.m. And playbill.com is your partner, right?

[36:05] Doug Nevin: Yes.

[36:05] Michael Urie: And so that's where people go, playbill.com.

[36:08] Doug Nevin: Playbill.com backslash.

[36:10] Michael Urie: How do you say it, Michael? You're cooler than I am.

[36:13] Michael Urie: I I it might be forward slash.

[36:15] Doug Nevin: Forward slash Pride Plays.

[36:17] Michael Urie: Try both slashes, everyone, and you'll get there.

[36:22] Doug Nevin: But it'll be, you know, it'll be on it'll be easy to it should be easy to find on on Playbill. And that's um it's every Friday, and then uh, and then that wily Monday, the 22nd is is when Brave Smiles is happening.

[36:35] Michael Urie: Um plus the musical spectacular, which I don't think we really mentioned uh, but it's it's because it's coming, it's coming along. It's gonna be a really, really exciting night. We have some amazing people already uh on board, like Michael R. Jackson and uh John Cameron Mitchell, and um uh who else Douglass?

[36:54] Doug Nevin: And J. Rodriguez and uh Mac Goldenberg.

[36:57] Michael Urie: Jin Kalella.

[36:58] Doug Nevin: Jim Calella.

[37:00] Michael Urie: Uh yeah Caitlin Caitlin.

[37:05] Doug Nevin: Oh my gosh.

[37:05] Michael Urie: Um a little show I like to call the prom.

[37:08] Doug Nevin: Um my favorite show ever.

[37:10] Michael Urie: Uh yeah, Caitlin is uh it's gonna perform, which we're very, very excited about.

[37:15] Doug Nevin: Excellent.

[37:16] Michael Urie: And that is gonna be on what day?

[37:19] Doug Nevin: Sunday.

[37:22] Michael Urie: Okay. Can't miss that.

[37:25] Doug Nevin: So every Friday night, everybody who's listening, you're busy. You have someplace to go on your computer, very important on the 22nd, Essential Viewing, and on the last Sunday in June.

[37:39] Michael Urie: You can't miss this. Brave Smiles, another lesbian tragedy, one in two masculinity max, and app so exciting men from the boys.

[37:49] Dori Berinstein: And um Doug and Nick and Michael, uh, what you guys have put together is magical and thrilling and um just so grateful and can't wait.

[38:02] Doug Nevin: Thank you.

[38:04] Michael Urie: Thank you for having us, Dorothy.

[38:05] Nick Mayo: Thank you, Dorothy.

[38:06] Michael Urie: Thanks, Dory.

[38:10] Dori Berinstein: Thank you for listening to Deep Dive Broadway, produced by Dory Berenstein, edited by Alan Seals, and special thanks to Bia and Brittany, who are fabulous. You can find me at BPN.fm slash deep dive broadway. My Instagram is Dory.berenstein, which is B-E-R-I-N-S-T-E-I-N. Please subscribe and leave lots of fabulous comments. And check out my website at dramatic forces.com.