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[0:00] Dori Berinstein: Hello, this is Stephanie J. Block, and you are listening to Broadway Podcast Network.

[0:06] Dori Berinstein: Hi, I'm Lara Bonante, and you're listening to the Broadway Podcast Network.

[0:10] Alex Brightman: Hi, this is Alex Brightman, and I play Beetlejuice in Beetlejuice, the Musical, The Musical, The Musical, and you're listening to Broadway Podcast Network.

[0:18] Norm Lewis: Hi, I'm Norm Lewis, and you're listening to the Broadway Podcast Network.

[0:29] Dori Berinstein: Welcome, listeners to As the Curtain Rises. Bobby Kearns and Kay Fields are partners in work and in life. After years of shows that lasted around three weeks but received rave reviews, go figure. They're almost ready with their next masterpiece. But first, a few things are going to put a damper on their spirits. Can Bobby and Kay pull this off? Will Cheryl and Steve survive one another till opening night? Will James Cameron find out an Avatar musical is in the works? Will the Hellinger rise again? As the Curtain Rises. Rises as the curtain rises.

[1:11] Dori Berinstein: Welcome to Deep Dive Broadway. Tonight we go behind the curtain to celebrate the incredible cast of As the Curtain Rises, the first ever Broadway soap opera, which you can find on the Broadway Podcast Network. I'm Dori Berinstein, and I couldn't be more excited to chat with these incredible and very dramatic artists. I adore them all so much. Tonight's event celebrates and supports the Actor's Fund. The Actors Fund is a national human service organization that has helped so many throughout the entertainment industry for so long. Since March 2020, the Actor's Fund has distributed over $18 million in emergency financial assistance to over 15,000 performing arts and entertainment workers in need due to the COVID-19 pandemic. You can learn more about the tremendous work of the Actor's Fund, and you can support their heroic efforts by going to Actorsfund.org.

[2:05] Dori Berinstein: And now, as the curtain rises, let's start by taking a look at some interview clips from three of our superstar guests. Composer Bobby Kearns, writer of Avatar the Musical, also known as the amazing Michael Urie, renowned Broadway producer Cheryl Phillips, brought to very stylish life by Lillias White, and our narrator who has an opinion about everything, and then some, the intoxicating Alex Brightman.

[2:44] Bobby Kearns: Well, we're working with Steve Jones again. And I guess pigs are flying. I thought that the last cigar was the last cigar. Um, but we don't have a choice. We're stuck with him. He's getting us an amazing star, just like he did with Nathan Lane on the last cigar. But this time, this time we don't even know what the show's about. I don't even know. I've never even seen. Um, but he's got the money, he's got a theater. He's got me by the balls. It's gonna be awful. It's gonna ruin our careers. I've got no inspiration. Kerry is dry as a bone. It's just gonna be nothing but misery. But maybe we'll win another time.

[4:00] Bobby Kearns: Well, what you just said was a bunch of nonsense, but what I'd like to talk to you about is my love of nachos. The perfect combination of crunchy, gooey, salty, spicy, sweet, I think not. Cheese shredded atop a mountain of tortilla chips, tomatoes sprinkling down like manna from heaven. Guacamole. One big glob that nobody gets a chance to have except one lucky person. Next question.

[4:43] Michael Urie: But it uh it was quite funny to see people come with their livestock. They did bring chickens, they brought all sorts of rocks, and um, and there was even someone who brought a miniature schnauzer and uh dressed it up in blue and thought that they could use that as uh some kind of capital to get into the theater. Uh, but we are going to uh put an end to all of that. We're gonna make sure that people know in advance not to bring the chickens or the dogs or their rocks.

[5:35] Dori Berinstein: I have to know how you find your characters. How did you, you know, reach and find the character of the narrator, the composer? How did you guys do that? Michael.

[5:51] Michael Urie: It's all on the page, Dori. Um, I actually actually that's that's a joke, but it is true that this script is so fun. It was, I mean, and and the characters are so stupid. Just like watching these improvs, you can, you know, like they're all so it feels like it's like Broadway, but with fools or morons, you know, it's like Broadway with morons. And it was just so delicious. I immediately feel like immediately um at home in the words and you know, and I got to do all my stuff with Ashley Park, who's a really good friend, and uh, and so we were able to actually record together. So a lot of it I feel like came out of our chemistry with each other, and um just like so fun, and so it's just so dumb and delightful.

I like that you think that I had to come up with anything. You were like, just have a bunch of opinions on things. I was like, okay, but what's the character? I was like, okay, sure. And then they're like, but also lower your voice. I was like, done, that's the character. Bunch of a big word. It's really really sort of kind of where I found it was that the minute I was allowed to play, we played, and then I, you know, we kind of got as we went more and more comfortable with just sort of reading what was there and then doing a second pass, which is just sort of me mystery science theater 3000ing it. Um and just sort of seeing where that went and then leaving it up to the kind and and uh you know sharpshooter like hands of you guys to edit it.

Like, you know, I think editing is also where you can either make or break a comedy. I think and because we couldn't do this together, it is in the editing to sort of make the pace what it is. So I'm thrilled that we all came out smelling like roses because we sure didn't have to.

[7:37] Dori Berinstein: Well, um, shout out to Bart Fastbender uh and and Marty McGuire on the sound side, sound design side, and and uh Britt Bigelow and uh Alan Seales on the tech side because yeah, it really is masterful and you on the writing side and Mark, yes. I um, you know, it's it's been uh the first time we all got together, we were very ambitious, you know. We hadn't really done this before, and we had the entire cast on the call at the same time, thinking that we'd be able to, you know, just read the script all together. That was a disaster. That's but uh but it that should be that should be released as extra footage. Everyone just sort of sitting there like well, there was so many Wi-Fi problems, and you know, so many freezes, so many people who would be in the middle of a in the middle, and this is a few months, you know.

This is like a little while ago. We were still all getting used to this. Now I feel like we're all pros at oh, yeah. Zoom and StreamYard, and you know, absolutely. I think that like you know, now I sit down and like a mic appears, and I have a like now, it's just like feels like I like uh Pee-wee Herman in the beginning of that movie. I have like a Rube Goldberg machine for everything I do because I so Alex, I know you have to you are in a starring role on uh television tonight, and everybody has to right after this go to Law and Order uh to see you could watch it streaming tomorrow if you want to pay. I don't want to I don't want to cut people out of this thing if there's people to be seen. So you can also watch it tomorrow or DVR it and watch it in like 30 minutes after it's on miss and skip all the commercials, you know what I'm saying?

[9:20] Dori Berinstein: Well, before you go, um and and Michael, eager to know this. So we're where we left off, um, but because we've we've released eight episodes far, and you guys don't know what the next four episodes uh are gonna be. You know, it's very, very, very dramatic. And literally, quite literally biting my nails. So, but I'm curious to know because we left everybody hanging with you know, a lot of drama. Do you have any hopes for your characters? I mean, does the narrator want a star? You know, are you working on another musical?

[9:56] Michael Urie: Uh only because I only because I have to go, I would like to answer this first. But um, I do think uh like anybody, you know, like in any sort of dramatic sort of piece, I just hope the narrator finds love in or out of the show. Um and I hope that when and if there is a sequel, um, we can sort of dip back into sort of his more domestic life with whoever he ends up with. Um and I'm not claiming to know what what he likes uh or doesn't like just yet because I think he's open to interpretation. Um and so I think he can find the sexual silver lining in just about everybody. And so I think that, you know, stay tuned and uh stay open and stay loose, everybody.

[10:38] Alex Brightman: Alex, thank you so much. I know you have to run. We don't want to keep you, but uh I always think about if what if those were my last words and I would really regret if that was really like if just a meteor happened stay loose everybody the worst thing no uh please everybody you know everybody please when you can donate to the the all all these wonderful charities and stuff like that that's the the best thing you can do during this time so thanks for listening uh thanks for dealing with my big booming uh not really booming voice um and I hope to see you all in the next four episodes thank you Michael don't go anywhere by Alex bye Alex happy to stay I I uh so what do you think is gonna happen for Bobby Kearns he he is uh just in a in a quagmire he is indeep he has uh he has to come up with a musical he's now working with his ex uh husband and current wife uh and I'm I mean it's it's really thrilling for me because I've always wanted to play a bisexual but what I'm hoping for in the final four episodes is one more husband and one more wife and I feel like then it gets out of the uh the the love triangle and into the love uh hexagon wait no what's five polygon pop policy yes yes we'll take that uh Andrew Barth Feldman will probably have the right term for that um whatever it is pentagon there it is in the chat thank you Andrew pentagon I want a love pentagon, Dori.

[12:17] Dori Berinstein: Okay. Well, you know, it's not too late. We can we can write something in for you. I think, you know actually also have uh what about a sex scene um okay just throwing it out there in audio, uh, you know, like uh like uh you know it just the sounds of of of romance and love and um I think that I think that that's it's an inspired idea. It's an inspired idea, and it would work with your character. You have so many different directions to go.

[12:44] Michael Urie: Yeah, absolutely. I I think we'll we'll look look for that. Why don't you stay here and let's bring on two of your co-stars?

[12:51] Dori Berinstein: But before we do, let's look at their clips, if we may. Uh I'm going to tell you a little bit about who's next. And if you are you okay to stick around?

[13:01] Michael Urie: Yeah.

[13:02] Dori Berinstein: Okay, good. I'm not on SPU tonight. Uh not tonight. Coming soon. So uh he's in everyone's business and is always the first to know. The Broadway disher, also known as the Divine, Lesli Margherita, and our Avatar Science Consultant, Andrew Barth Feldman, played by none other than the magnificent Andrew Barth Feldman.

[13:35] Andrew Barth Feldman: I just I'm mostly consulting on making sure that the stage looks like a real place. So um, I just did some work on a jagged little pill. Uh my good friend Antonio Cipriano. I had to make sure he looked like a real person. Uh he usually does not. And then uh, you know, that sort of thing. And then there's the new um Star Wars musical that's opening. Uh I'm ensuring that each of the planets has its roots in a real planet while staying true to the planet that it isn't Star Wars. So there's lots of projects like this where I have to merge fiction with reality. And and that is uh one of my favorite things to do. So yes, I'm I'm I'm I'm very busy. Uh but I if you have any more projects to throw my way uh please I'm I'm absolutely all ears am I still hoping for a role in hashtag avatar um you know honestly I feel like they've burned that that tree with me um would I take the lead yes yes I would after some like careful consideration um I won't I don't do blue so that is um something that we'd have to discuss in my contract um it's just something that I feel very strongly about um that you know I uh other people are are happy sharing themselves as as a blue person.

[15:07] Lesli Margherita: I just it doesn't look good on me. I would maybe um go for like a pink to stand out a little bit like a special Navi but again things that could be dealt with um later on with my contract. But yeah I mean I think you know they would have to really kind of amp up my role um and you know when they when they escorted me out of the audition I mean when I when I when I um left the audition um I remember turning to them and I I think they saw me because I know that the security guard was in front of me but I know that they saw me say you're gonna regret this. You're gonna regret this with everything you have. And I know as I was leaving, I heard I heard one of them say, I never want to see her again.

And I knew in that moment what that meant. They were gonna add me into this cast in some way. I knew it. I knew it because everything is opposite in this business. Everything is opposite. So the fact that they said they never wanted to see my face again means that my face will be on the posters.

[16:33] Michael Urie: You're a freaking genius.

[16:35] Lesli Margherita: Oh my god. You know, one of those what are you doing? Stop talking. One of the best things about this whole experience behind the curtain for me is like keeping Broadway alive. And and I'm really um so grateful to all of you because it really feels like it's still going on. And in fact, I have this musical I'm working on, and I swear I almost called you, Andrew, to say, could you help us out? Could you be our science consultant?

[17:09] Andrew Barth Feldman: Listen, I'm happy to fake it the same way I did in that interview. I'm more than happy to just continue to make things up all the time.

[17:18] Lesli Margherita: I bought it. I I totally buy it. You're in deep, Dory. You're in real deep.

[17:23] Michael Urie: Oh, yeah. How many hours of interview footage do you have of Lesli?

[17:31] Lesli Margherita: That's that's the spin-off. Let me tell you, that's gonna be a whole other season that we're gonna be doing. It's amazing.

[17:41] Michael Urie: It was hard to choose the clip. Very hard to choose the clip.

[17:46] Lesli Margherita: I mean Lesli, don't you don't you think there should be a Broadway disher?

[17:51] Lesli Margherita: I mean, there are so many of them already online, but yes, I do think that there should be a Broadway disher series. I think she's got a lot to say. And it really is just a good way for me to diss people in character.

[18:09] Andrew Barth Feldman: Exactly. Exactly. And you're and you're fighting for a role in the show, which may or may not happen in the next four episodes.

[18:17] Lesli Margherita: I think she I think she would absolutely be in a featured role. Whether that's backstage, I don't know.

[18:27] Michael Urie: In the audience, featured audience member.

[18:34] Lesli Margherita: Yeah, featured usher. Absolutely.

[18:37] Michael Urie: So how do you how do you all find the the process of creating an audio drama as opposed to live performance? I'm curious to know how you find the whole the whole process.

[18:50] Andrew Barth Feldman: Well, it's easier. It's definitely easier because we can do things a bunch and our faces don't matter. And we just, you know, it's it's nice in that way. Um, but it's really I mean, I have a very easy job because I'm just playing basically myself with my regular name and everything. So my job's really easy. I'm just having a good time.

[19:13] Lesli Margherita: And same. Yeah, I'm really just playing myself.

[19:19] Michael Urie: And and you and Ashley, you know, after after the debacle uh of that first uh attempt, very ambitious, you know. Um you continue to record at least with with Ashley and so you have the repartee, but you guys have been doing it solo. And so you're you're re you're doing your lines and you know if there are other people that are chiming in, you don't you don't have that back and forth.

[19:44] Andrew Barth Feldman: It's pretty easy. I mean you know my stuff is so done like tweets anyway. So I don't really have to interact with people, which is what I prefer anyway in real life. I'm kind of just on my own.

[19:59] Lesli Margherita: And for me Dor Dory, you're an excellent scene partner I was gonna say. So uh we have a great time you and me when when I have to do my stuff. So I'm doing just fine.

[20:13] Michael Urie: Yeah it's so fun you know for you know having a uh Ashley but it it's also fun it's also fun to imagine the physicality of it. I mean uh it's a little dorky I guess but like in a scene where people are in a room together it's fun to it's sort of especially like the if there's like any kind of conflict to imagine uh any uh physical struggle or uh physicality whisper you know what that's what I love about an audio drama is is like you have to put all of the situational conflict in the voice uh whether it's you know like changing the way you speak to certain characters at different times or or uh any kind of uh uh public versus private moment um and especially those big scenes with like the rehearsals or the uh the the big presentation, there's so much great like side talk and um and I love that in an audio drama.

[21:11] Lesli Margherita: I love and I love a sound effect and uh and I love the highs and the lows. It's it's really intimate, you know, it's it's just so immersive because it's in your ears and you I just I just get caught so caught up in audio dramas, but I mean I'm curious to know also like being in different roles than you typically are in, uh having to do with Broadway, like being a composer or being a science consultant or or you know, dishing about Broadway. I mean, are you are you seeing the world of Broadway through a different lens? And has that informed your future?

[21:50] Andrew Barth Feldman: Yeah, yes. I I don't think it's yeah, I mean, when we like in the last couple episodes, there are a lot of like marketing meetings that I'm part of and lots of meetings about the production that I'm like, this is great. I'd love to just sit around when people are having these discussions and being like, let's make it yellow instead of blue, and I'm like, awesome, you know, like that kind of thing, I think is so fun.

[22:12] Lesli Margherita: Um isn't you know, I that's usually not the conversation is let's make it yellow instead of blue, or let's have like stilt walkers in Times Square, but like it's fun for now in the podcast. I'm having a great time.

[22:25] Andrew Barth Feldman: I guess you know, Dory, I'm I'm curious. I've never really made a musical before. Is this what it's like?

[22:33] Lesli Margherita: Oh, exactly. How accurate is the show? You know, you were talking earlier just about how they're crazy, and then I'm sitting there thinking to myself, you know, we were really inspired. A lot of colleagues. When I listen to it, I'm like, I wonder if that's no, I I I'd say an exaggerated version of the Yeah, I because I remember when you were describing characters there were certain ones that were like blank type and I was like got it but like with me it's I'm I don't have to worry about anything because I'm just me regular I'm I this great you are playing you which is I'm indeed you know do you have do you have a lot of you know what what is your process to get into that zone so you can be you?

[22:49] Andrew Barth Feldman: I think getting out is harder I think I I leave the recording session I don't know which one I am um I I don't know it's it's fun I've been explaining it to people is like so here's the list of people and they're all playing these hilarious characters and then I come in and I'm playing regular myself and I'm the only one which is so hilarious.

[23:42] Lesli Margherita: No I don't know I it's it's it's extraordinarily easy and so much fun to to like I I think uh Alex Boniello who I do everything all the time with he when I were talking about and he listened to a bit of it and he was like whoever wrote this gets why you the whole thing that you are is funny and I was like I think that's true. So so it's very it's very easy um to to slip into the the silliness of my whole deal I guess well I I can't wait to find out what happens for all of you next um leslie andrew if you want to stick around a little bit and Michael thank you um because we have to we have to squeeze people out to squeeze people in to bring in uh some other members of our cast.

[24:31] Lesli Margherita: I know um I'm sorry um but um thank you for being a fabulous composer. I'm very excited about great to see you great to see you.

[24:46] Dori Berinstein: So I have a little intro for our next group.

[24:51] Dori Berinstein: Awesome. Joining us in a moment is my wonderful partner in time as far as writing is concerned, Mark Pikert, our very fabulous but disruptive book writer, Thomas, brought to Scheming Life by Mauricio Martinez, our CAA receptionist and triple threat by Alana Levine. The lighting designer Natasha Katz played by the legendary Natasha Katz. And finally Randolph, our Sardis Matre D, our Lyft Driver, and our Starbucks barista, all played by the extremely versatile Jake Smith.

[25:33] Dori Berinstein: We got everybody all right.

[25:39] Dori Berinstein: Hi everyone.

[25:41] Mark Pikert: And there Mark and I have had so much fun playing with your lives.

[25:50] Mark Pikert: We really had a blast.

[25:52] Dori Berinstein: But Mauricio is a real nemesis to for Bobby.

[26:01] Mark Pikert: O composer lyricist team and uh you know have you enjoyed stepping shoes of a a Broadway book writer?

[26:11] Mark Pikert: Oh yeah it's fun. I get to be on the other side and and be um be shady and and villainous and it's always that's always fun you know uh and it's yeah definitely fun I'm I'm having a lot of uh laughs uh in the in the session i i just love how it's written well uh and alana you are an agent but you have a whole backstory that that uh you know you're a triple threat but you are working at cause i added love playing a receptionist anytime i can i always think of those 1940s movies where like they're putting the plug into all of the little like what do you call them like those old switchboards where they kind of put the things in and out and i literally even though c a um is an incredibly present day agency in my mind i am putting the little things connecting everyone like um like his gal friday like that's actually what I was imagining in my mind i hope that came through

[26:12] Alana Levine: I think you nailed it I think you nailed it um and you when we were out uh you know oh my god we need another character here we need another character there and it was so convenient to just turn to Jake and and he did them all he did you know let's say hello to Randolph for a moment

[26:12] Jake Smith: Oh hello everyone our Sardis Matrodine he's also our lift driver what's going on everybody like good to hear your voices then he's also our barista wait how many shots did you want not one, bro.

[28:02] Dori Berinstein: So it certainly made it easier and and then, you know, we were looking for an incredible lighting designer because obviously avatar the musical has got to be lit beautifully, right? And you know, we searched high and low, and then we found the most amazing lighting designer, uh person to play a lighting designer who happens also to be the most extraordinary lighting designer, Natasha, make your uh audio drama debut.

[28:33] Natasha Katz: Thank you, Dory. This that this is my audio drama debut. And it's been a gas, that's for sure. I tell you, I um, you know, I've always had so much respect for actors, and I've spent my life trying to make actors look as beautiful as I possibly can, but my respect has gone through the roof.

[28:53] Dori Berinstein: I don't know how any of you do it. So hats off to all of you. Well, now, you know, you did you uh adopt some kind of creative process for yourself to get ready to do your scenes?

[29:09] Lesli Margherita: Oh well, I actually I did find it hard to play a different Natasha, a different version of myself. Or yeah, oh well, I guess it lurks underneath somewhere that Natasha.

[29:23] Dori Berinstein: Well, you you were amazing. Mark, you you've you've particularly um you've given voice to a lot of the people on this on this screen right now. And it's been so much fun to work with you. Do you want to share some of your thoughts on the whole process?

[29:45] Mark Pikert: Uh well, much like Lesli, this is just a chance for me to drag people into the guise of comedy. Uh so uh Dori, that's where you've been very helpful because I will write the most outrageous thing and you'll read it and go. I love this. What if we did this instead? And I'm like, you're right, you're right. We don't actually need to say that person by name. We don't. We're a good team in that way, I have to say.

[30:15] Dori Berinstein: That's true. True. So what about Avatar? Do you think it would could really be a Broadway musical? Should we just go do this? What do you think?

[30:25] Lesli Margherita: We've proved it. We've proved it. We've proved it.

[30:27] Dori Berinstein: Oh yeah. But of course, poor Natasha can't actually work with the color blue after all the work you went to to, you know, with your blue color uh demos and that.

[30:42] Lesli Margherita: Yeah, I'm dying to do a musical with uh that's blue black light and orange light. That's behind my list now.

[30:55] Dori Berinstein: Natasha came prepared when we recorded with her.

[30:58] Lesli Margherita: I love that. I love that. It was amazing. And then she also was she was able to switch the the light in case we wanted a different hue.

[31:10] Dori Berinstein: A different designer will travel.

[31:13] Lesli Margherita: I I have a Mary Poppins bag at all times. Whenever an actor needs a little pink or a little orange and black. I'm there for you.

[31:24] Dori Berinstein: We we had a lot of fun with cameos. Uh and we continue to have fun with cameos because we're not done with the series yet. And and so we've we Lynn Nottage and Alex Lackamore and Gordon Cox and uh um oh my gosh, uh Matt Britton and uh uh who am I for my friend goodness? We hate we've had incredible um uh guests that have been themselves. Um and it's been so much uh to work with all of them and they're acting, you know, these are not people who are typically behind the mic in that way, you know.

[32:02] Lesli Margherita: And uh it's been it's been really interesting to see them uh maybe be a little nervous about performing in that way. And so I think they're you know, particularly we've had a lot of press do cameos and and uh and maybe they'll they'll you know think about that next time they're writing an article because it's hard, right? It's it's I like that.

[32:30] Lesli Margherita: Can I just interrupt to thank Mark and Dori on behalf of the entire cast? And you have during a time where uh it's it's really hard to find work because there are just limited possibilities right now. Not only have you written something that is actually fantastic and bringing so much joy to the listeners, you've heard tonight how much everyone has had such a great time doing it, but it really means a tremendous amount to all of us in this community that you wrote such a huge piece that gave so many people an opportunity to do the thing that we love, which is act at home with no makeup, um and and audio is a an actor's dream. Um, but truly, like it's an incredible thing that you guys did. You made a great piece of art, and then you gave us all a chance to do what we love during a time where there are just limited opportunities. So thank you, thank you, thank you.

[33:27] Dori Berinstein: I agree, I agreed well um thank you guys i uh and mark please and i you know just the opportunity to work with all of you guys and during this time it's been the the light you know really just can't wait till we can all be in the room together you know that's what i am counting down until i can see the all of you on stage and Tasha see your extraordinary work you know that i can't wait for um but um we have we have another segment to go and i thank you all so much for for being part of as the curtain rises stay tuned there are uh our final four episodes um are very dramatic so i'm very excited uh to share them uh with you all very very soon and with everybody who's who's listening so thank you thank you guys everyone so um we have a final uh segment uh that i'd love to tell you about um uh this is about uh our our personal our very humble personal trainer who turns Broadway upside down with his incredible talent Stavros who is brought to life uh by the amazing Ramin Karimloo and our killer mega Broadway Empressario Steve Jones also known as Broadway Empresario James Monroe Iglehart.

[35:02] Dori Berinstein: Let's take a look at their character clips.

[35:15] Ramin Karimloo: I'm embarrassed to admit it. I've never seen the film. But I can I obviously know how big big biggest box off is hit. I'm uh I believe. Um but I think uh now's probably not the time to watch it because I'm like a sponge as well, and I don't want to emulate and maybe take on preconceived ideas, and I don't want to narrow my field of creativity. So at this point, no one has also forced me to watch it. I know Emmy's been trying to get me to do it, but I think at this point I'd like to see it tour up and running, and maybe then watch the film. So I'm embarrassed to say, and I hope that doesn't go against me, but I've never seen the film.

[36:13] James Monroe Iglehart: I don't see the side for soft side. That's that's like again, again, people okay. Let me tell you something. People in this business, especially Broadway, they get this family atmosphere crap. And they're like, we're a family, we're a family umbrella. It's not we're not a family. We're not a family, it's show business. This is this is it. This is about taking art and finding a way to manipulate it to make money. That's what we do. If we didn't, why in God's name would people pay $500 to see a girl who's green when the show's been on for what 30 years? They still pay $500? But this is show business, ladies and gentlemen. That's what this is.

[36:52] James Monroe Iglehart: Look, mostly everything that has happened in America, a black man has done it first, right? Okay, so look at Scott Rudin. Who does Scott follow? Me. Thomas Schumacher, who do you follow? Me. The brother did it first, and then the rest of these boys came out and decided to be all hard ass. We got Jeffrey Seller out there being a hard ass for Hamilton. I was a hard first. Okay. I am the one. I'm the one who suggested we do ET the musical. I'm the one who suggested that. That joke, that wonderful, amazing joke that Mel put in his show, put theater in the round in the square. What do you think he got it from? Me. I mean I am I am just to be in the presence of mega producer Steve Jones and Stavros, the new blockbuster star of Broadway. It's an honor.

[37:48] Dori Berinstein: Both of you have so seamlessly stepped into the shoes of your character. Um, and in a shocking way, um James, Steve Jones just seems like you know, your alter ego. Um and and you know, the as as terrifying and ominous as he is, it's just been for you. It's like I got this guy right off the bat. And and uh Ramin Stavros, it's it's seamless. It's Ramin Stavros. Who am I talking to? I don't know. Let's be honest. I don't know. Because um I think both of them are winging it.

[38:27] James Monroe Iglehart: Let's be fair. Yeah, honestly. It it it always amazes me as an actor when I'm when I meet producers, and there's a there's this uh there's this uh kind of look that all the producers know exactly what they're doing. That's where they're producers, they're in charge. And then when you get bit bigger in the business or more known in the business, you start your producers become friends, you go, oh my god, they have no idea what's going on, just like me. And so you have to bring this bravado. It's like going to an audition, you have to bring this bravado with you to let people think that you know what you're doing. And people are like, Well, he looks like it's just sure. Go ahead, give it to him.

So I kind of think that's how some producers are. And Steve just he believes his own hype. That's the fun thing about him. He I've met a couple producers like Steve, where they've like done a lot of big name shows. So after like the first two, the five could flop, but those first two are still still riding on them because they're still on Broadway. So yeah, these guys, they're just totally believing their own hype, you know.

[39:21] Ramin Karimloo: So, not not to name names, but you you've been inspired by people you've worked with, perhaps. Yeah, there they're there's those party conversations. There's those party conversations where an actor walks in. I know Ramin knows this. Rami, you walk into a place and you meet um producers, quote unquote, and then they just start talking to you, like, oh my god, oh James, so nice to meet you. Listen, man, saw you in this show, and you were great. Listen, I'm a producer myself, got a little show off Broadway. And they start going to you and you're like, Oh, I was trying to get to the order. I don't know why we're still talking. What is happening? So Steve is that dude.

[39:58] James Monroe Iglehart: Well, you had the great insight to cast Stavros.

[40:03] Ramin Karimloo: Yes. Uh, you know, when he walked into the audition room, it's like the world stopped. And and and Stavros entered and it changed everything. Well, first of all, that now that is a real thing. There are moments in life where you're in an audition, because I have been on the other side of the table at times. You're on the other side of the table, and you've just seen audition after audition. And it's not like these people aren't talented, but you're just looking for it. You're looking for something, and then that person walks in and they look flustered and blood, you don't even dare to be for the audition. And then they just then they do something, and you go, That's it. That that oh my god, fight run after that person and get them back in here.

And then they sing and they you realize, oh my god, they're so talented. And you find it. I mean, there have been so many moments uh where Broadway has found a person like that, or that person that other people see as just an ensemble member, and you see them do something in the ensemble, you go, Why are they in the ensemble? They should be out front. I'm watching them the whole show, and next thing you know, bam, that's the person. So a situation like Stavros, that's that's a real life situation. Stuff like that happens.

[41:13] Dori Berinstein: And and for Ramin for you, you know, the the line between Ramin and Stavros is is like this, because I'm sure that's happened to you a million times walking into that audition room and just you know, leaving not that it hasn't happened to you, James, but you know, that that it just you've blown people away. So you were you were really created the character of Stavros looking at your own life, perhaps.

[41:39] Ramin Karimloo: I have to be honest. Um, I think I was playing Stavros in a way that I wish my career went that way and was a bit uh uh that seamless because for the longest time I was kind of known as uh Ramin two times because I had to keep going back because I'd get to the final and the producer would be like, I like them, but something's does not write. I swear, maybe in my first four jobs, and ironically, they were all for Cameron, or three of them were for Cameron Macintosh. I'm like, but I've just done other shows for you. How am I still coming back? You don't know what I'm doing. But I I I get flustered at auditions, and it's always at that crux at when you get to the final. Up until there, I play a cool I don't want it, whatever.

And you get to the front of the table, you're like, I really gotta get this job. I gotta feed my kids. And I and I flustered up and you become too green and too uh, I don't know, not untrustworthy in the wrong sense, but just like, can he this guy hold it together when we give him the big part? So I always had to go back a second time to kind of like show me once again, you you'll be all right, right?

[42:51] Andrew Barth Feldman: I'm I'm with Ramin. There's only been one audition for me that was like that. The others have I've always had to go in again and go in again. There's only one. Actually, the fun thing is only it was it was Aladdin. Aladdin was the only one where I walked in and they went, Yeah, that's him. And I think that's only because I walked in with a forgive me, I I walked in with a I don't give up attitude.

[43:14] Ramin Karimloo: I was like, you're either gonna love me or hate me. So I'm gonna go in here and have fun for me, and then I'm out. I'm out of here. I literally was just there just to show Alan Maker that I could sing because I jacked up an audition so badly before with him. I was like, I crack so bad. I'm like, so this audition, I just want to show the man I can sing, and I'm out. And next thing I know, my agent calls because you got it. I'm like, oh, that's amazing. Whenever I go in, I'm usually like Ramin, I'm like, I really want this. I got I got a house to pay for, got rent to things to do. And I'm like, I'm just I just come in too too needy and they can feel it. But that sense of contentment is a wonderful thing, and it's always it's always uh it's like when you do a workshop and then you get the role off that, yeah, it seems seamless because you weren't auditioning, you were creating, you're having fun. Well, yes, why can't we always do that? You know?

[44:00] Ramin Karimloo: So well, and I think that's what happened with Stavros. He had there was something so calm and naive about him. He wasn't there for that reason initially. So when you're thrust into it, and yet you don't have time to think, oh, I'll give it a shot. Yeah, yeah, we'll be fine. Yeah, and then you're relaxed, you have nothing to lose. My favorite moment recording with you, Ramin, was when we had to do a little a little song um that uh you were auditioning for, and and you you it was a bluesy version of the song um that uh yeah you you did and you just nailed it, of course, immediately. And then you said, but this was not in the script. You said, you know, how about I do a phany version of it? And then and then you just like the roof blew off, and it was just like, yeah, let's do that.

[44:54] Ramin Karimloo: What made the cut? Made the cut. The phantom recording? No, I had to use both of them. How is I supposed to decide? Are you kidding me? Just even the line, you know. How did I try a phantom version? That was just so perfect. So we have both in there. It just was so good.

[45:11] James Monroe Iglehart: Yeah, and James, you have perfected the closet recording process. People all over are looking to you to learn from you.

[45:22] James Monroe Iglehart: It's it's called necessity. It's like what what I need to record someplace, and this office wasn't free because I had my kids were sleeping in here, so I was in my uh master bedroom closet, which is really, really tight, you as you see in the in the clips, and I have all foam stuff all on the wall and clothes behind me, and I literally could I have this much power to move, so it's like all my energy must be put into the mic. There's no place else to go. So that's and the funny thing is I've done a bunch of cartoons over the past since uh during 2000 during the pandemic, a bunch of cartoons in that room because it everything was so focused, I couldn't think of anything else. So I it was it was a at first was a curse and became a wonderful blessing. Now I'm in here for my podcast show. I do a podcast show with Marvel Comics. Uh, but once I've once I'm done tomorrow, I go right back into the closet because that's that's where I can concentrate now.

[46:12] Ramin Karimloo: Well, you always sound great.

[46:14] Ramin Karimloo: Thank you very much. Uh both of you, uh, when you're not Sto Ros and producer Steve Jones, you're you're killing it, you know. And uh for during COVID, you both are so prolific and accomplished. Uh it's kind of unbelievable. I'm curious to know though, in recording shows like this, when you have to dive into the script and you don't have you're not working opposite an actor as you typically would be when we're not in the middle of a global pandemic. What is that like? How do you how do you become Savros and Steve Jones when when you know you're reading opposite me as opposed to a real person?

[46:58] Ramin Karimloo: Well, I think it's not taking that leap of faith, it's putting trust in you and knowing how our schedules to coordinate our time difference was uh uh a tight window. It's just taking that leap of faith, having fun, not self editing, not worrying, uh uh listening to yourself. And for me personally, was judging by your reaction, so getting that great feedback instantly. I thought, okay, well, I guess we're on the right path because you know the show inside out. I was new to the game and new to the series. So leap of faith, and if you're happy, I'm happy, and we just keep rolling it from there and just see what what snowballs after that.

[47:36] James Monroe Iglehart: He's right. That's pretty much what it is. I mean, the great thing is what people what people don't know is that Dori is actually a wonderful producer, but she's also a fun, fun voice director. Uh you you know the story and you know what you want. And so when we bring things to it, and also you let us be silly, you let us kind of just be as big as we want, and then you kind of bring us down if we're too big. Uh so it's really it's it's a fun thing of just letting go and just having a good time because this is all with your voice, so you have to tell a story in a certain way. So I just kind of I do like Ramin does. I watch your vibe, and if you dig it, I'm like, okay, cool. I'm in the right, I'm in the right space.

[48:11] Dori Berinstein: Well, I I couldn't adore working with you both more. I just um uh love it and thank you so much. And I am um pretty much obsessed with Stavros and Steve Jones, and just like I want the series to go on forever because I don't want to let go of these guys. So thank you very much.

[48:27] Ramin Karimloo: Thank you both.

[48:28] James Monroe Iglehart: Thanks for having me.

[48:29] Ramin Karimloo: Thanks.

[48:33] Dori Berinstein: Uh I'm uh for our final very important guest. I'm just thrilled to be able to welcome uh Cheryl Phillips, an in very important Broadway producer who is brought to life by the amazing, incredible Lillias White.

[48:50] Lillias White: Hello, hello. Can you see me okay?

[48:54] Dori Berinstein: You look fabulous.

[48:58] Lillias White: You look like a very important producer.

[49:00] Lillias White: You really am. I am. I am. Yes. I have my jeweleries on. I have other jewelry and and you know, and I'm ready. Ready for my close-up.

[49:10] Dori Berinstein: Clearly, clearly. I I'm curious to know because you know, you just stepped into Cheryl Phillips' shoes. Like you had been producing Broadway shows as as kind of a diva producer for for decades. You just like I I want to partner with you on things. I'm just totally sold. Is that from observing the world of Broadway forever and all and and people around you?

[49:41] Lillias White: I think it's from um from having to be the boss in in real life, you know, a lot of the times and make the important decisions and get the stuff done. Um I'm uh the eldest of three. I have two younger brothers, and my brother under me is 11 months younger than me. And uh I have my other my young, my little brother, I call him my little brother, but you know, he's a few years younger, and I've had to be the big sister and be the boss and write the checks and cash the checks and pay the bills. And I was a single parent for a long time, and so I've had to be the boss. And so uh, Cheryl taking uh taking charge of the shows and calling the shots and getting the stuff done, feels very natural to me.

[50:30] Dori Berinstein: Uh but here you are partnered with uh your your nemesis uh or someone who is not so easy to work with, uh Steve Jones, uh played so beautifully by James Monroe Iglehart, and uh but you two are navigating together how to get Avatar on its feet.

[50:47] Lillias White: Yes, yes, we are, and Steve Jones is my nemesis because he thinks he knows everything, and um, and I'm here to show him and tell him that he does not. So um, yeah, and I do, and I love it. So you uh you've been very busy during this whole uh terrible uh pandemic, very prolific. And and how do you, you know, you have become quite proficient at at uh audio recordings and all that. How do you like uh doing these kind of voice recordings?

[51:24] Lillias White: Um I know it doesn't replace live, but I I absolutely, absolutely positively love doing this. Um it uh gives me a chance to be somebody else, and I've done some voiceover work. I I haven't done in my estimation, not nearly enough. I am the voice of the lead muse in Disney's animated Hercules, and I got to do that with some fantastic women and with Alan Mencken and uh um how would how Harold Real Wheeler, um uh David Zippel's words, um and uh I just I I enjoy it a lot because it's it seems easy to me to do, um, and I think that the people get to listen and uh and kind of figure out their own image of what the person is who's behind that voice, and I I just I love that I like doing it.

[52:25] Dori Berinstein: So, what do you think uh is the future for Cheryl Phillips? What's gonna happen to her in the going forward?

[52:32] Lillias White: Well, Cheryl Phillips is going to produce not only Avatar, but she's producing a wonderful comedy on Broadway, and I can't tell you the name of it just yet because I don't want to spill the beans. But Cheryl is going to be a that show is going to be a huge hit. It's a comedy. It's going to be something that we all need right now, a little levity. And um, she's going to have uh several boyfriends that she talks about in the series. She's not going to show you them because they are quite a bit her junior, and she doesn't want the young people in the theater to get the wrong idea, you know. So Cheryl's going to have these love affairs and be giddy some days, and some days she's going to be dreadfully disappointed. Um, but she's going to produce, and she's going to produce a comedy, she's going to produce avatar. Um, and she's going to venture maybe into some television producing as well.

[53:34] Dori Berinstein: Wow. Cheryl is model. Absolutely. I am admire her so much. And she stands up to Steve Jones, and that that means a lot. Um, Lilius, uh, it is always incredible and a dream to work with you.

[53:51] Lillias White: Uh it's my dream. We have so much fun, and I really love you so much, and and we just have such fun together.

[53:59] Dori Berinstein: Yes, and so I'm looking forward to to this being a huge success, and and uh and us doing more and more of them until maybe it does become a TV, something like maybe Avatar becomes real, and and we are are producing Avatar, you know? Why not?

[54:17] Lillias White: But what I did do, I went back last week and I watched Avatar. It's long as hell.

[54:27] Lillias White: Yes. Not too hard to watch the whole thing. I'm gonna have to go back and see that last part. Right. But um it's a lovely love story as well as everything else. And that always appeals to me. Well, good choice for you to be producing this show on Broadway.

[54:44] Dori Berinstein: Well, I can't I can't wait to see what happens with you in the next four episodes. I am ready. I'm ready. Um and and um I'm I'm very thankful to be here. It's it's a lot of fun.

[54:57] Lillias White: Well, thank you so much. I'm gonna I'm going to uh just look forward to recording you in the very future, uh our next round of episodes. But uh adore you thank you for doing this and uh see you very soon.

[55:11] Dori Berinstein: And I'm gonna just thank also um the incredible cast that joined us tonight, as well as uh all the other cast members from As the Curtain Rises uh that were not on tonight's show. But um uh they're amazing and just a dream uh to collaborate with. And I also uh am eager on behalf of everyone to thank again our design team, sound design team, Bart Fassbender and Marty McGuire, and thank you to our incredible BPN team that works so hard on this series. Alan Seals, aka Alan Walrus, Brittany Bigelow, Joanna Nicolova, Katie Rosen, Cindy Schatz, BOSB, and our incredible executive producer Liz Armstrong.

[55:54] Dori Berinstein: Uh please remember if you can to donate to the Actor's Fund, their Herculean efforts right now are just uh amazing. And we, and we you know, we need to support them in every way we possibly can. Uh please also check out the Broadway Podcast Network at BPN.fm. Uh there are over a hundred spectacular theater-related podcasts, musicals, plays, and this soap opera as the curtain rises. Thank you for joining us tonight.

[56:23] Dori Berinstein: Uh, please stay safe. Show business people love talking about one thing: show business.

[56:33] Dori Berinstein: We can't shut the fk up about it. How's rehearsal going? How's the show going? What's your next project? It's like, okay, we get it. Showbiz is rad, but how about what was the weirdest thing about you as a child? Or if you could have a threesome with two Pokemon, who would they be? You know, real questions.

[56:52] Dori Berinstein: Have you ever wondered what Broadway's Amber Ardino's nickname was in high school, or if Tony nominees Alex Brightman and Lily Cooper played in a band? Or would Rising Star Colton Ryan know the best public restroom in New York City? I bet you don't know how much money is in Mark Summers' bank account. Well, guess what? I ask all these questions and more on my new podcast.

[57:11] Drew Gasparini: Now we're talking with me, Drew Gasparini. Tune in each week for a new amazing guest from the worlds of Broadway, TV, film, and beyond. Don't be crazy. Subscribe right the hell now. Now we're talking as partner with the Broadway Podcast Network.