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[0:00] Mason Alexander Park: My name is Mason Alexander Park, and you're listening to Eleven, the official theatre podcast.

[0:16] William J Connolly: Hello and welcome to Eleven, the official theatre podcast that brings the biggest stars and creatives together in one place to discuss life in the arts. They are the leading star that's most recently made waves with the Jamie Lloyd Company in the Sigourney Weaver-led production of The Tempest, and is now embarking on a new adventure with Much Ado About Nothing, starring none other than Tom Hiddleston and Hayley Atwell. With other theatrical credits including their historic turn as the MC in Cabaret at the Kit Kat Club, the title role in Hedwig and the Angry Inch, and even Dr. Frankenfurter in The Rocky Horror Show, they're no stranger to the spotlight and leading a company. So here in an exclusive conversation direct from their dressing room backstage at the legendary Theatre Royal, Drury Lane, we talk getting creative with Jamie Lloyd, a double billing of Shakespeare, and why there's actually nothing more intimate than the epicness of Drury Lane.

Plus we dive into the ever-growing relevance of cabaret, the balance of life versus art, and why being yourself is the greatest gift to you and others. It's the incredible Mason Alexander-Park, here now on this, the next episode of Eleven, the official theatre podcast. To ensure the safety of all involved in this episode of Eleven, Mason and I connected for this conversation digitally, so please forgive any brief moments while we wait for the internet to catch up. Enjoy.

[1:39] William J Connolly: Please help me welcome to this the next episode of Eleven. They are the musical superstar and stage actor extraordinaire that are currently dazzling audiences in The Tempest and about to step into a new world with their secondary slice of Jamie Lloyd this year in Much Ado About Nothing at the legendary Theatre Royal, Drury Lane. So let me say a very big welcome to Mason Alexander-Park. Hello, how are you?

[2:06] Mason Alexander Park: I'm good, how are you?

[2:07] William J Connolly: I'm doing very well, thank you so much for agreeing to do this. And just to say, obviously this is a podcast so people won't be able to have seen your reaction to me doing that introduction, but I was saying then about your current project and your next one and your smile was big and then even bigger. I feel like now with these exciting projects, it must be a pretty cool time to be you. Give me a little bit of a reality check. How are you doing at the minute, trapped in this, I say trapped in this world of Jamie Lloyd? It must be pretty fun.

[2:31] Mason Alexander Park: Yeah, at the moment, just the mechanics of it are so overwhelming that I haven't quite allowed myself to fully enjoy it. So there's these little moments of bliss where I'm like, how cool that I get to be doing not only two projects at once, but two really, really amazing projects at once that have remarkable casts. It's such a rarity and it's such a once in a lifetime opportunity to get to do two plays back to back at a venue like Drury Lane. So yeah, I think probably what you were saying is like my brain actually taking in the fact that that is the reality right now because I'm sort of living in rehearsal room hell, you know, trying to make sure that I know which play I'm in at any given moment. But it's going well so far. Sunlight is not currently your friend, I imagine, between a rehearsal room and a dark theatre.

[3:21] Mason Alexander Park: No, I'm really, I'm feeling it. I haven't seen the outdoors or the sun during the day in quite some time and it is weighing on me. You still have a glow, I promise, you still look fabulous. But was the plan always for you to do this then back to back? Was this two things that you ventured on or was this sort of like something that came from the first?

[3:37] Mason Alexander Park: God no, no, none of this was meant to happen. This is not how it was supposed to go, you know what I mean? I originally met Jamie probably a year ago to talk about a project that we wanted to do together and then I guess around Christmas time I just got a random, you know, request to meet with him about this. And he basically was just like Sigourney Weaver's going to be in it. And I, and originally I was so struck and excited by that that I didn't really care what, I didn't care if I would be actually like really shit in it. You know, I was like, fine, I'll do it. Because I've never done Shakespeare before. So it sort of was a really random ask. I feel that like American actors aren't often the first people that you would think of when you're going to bring Shakespeare to a venue quite as prestigious as this in London for the first time, you know, in well over 50 years.

So it was a bit of a bit of a shock. But I'm glad that I said yes. I'm glad that Jamie wanted me to do it in the first place. And I really did just think it was going to be The Tempest. And it wasn't until we were about to move into the theatre, that he kind of brought it up really just cavalierly and casually. I was like, oh my god, what, what you mean you want me to do the next one? And it's going really well. I'm really I'm honoured to have that kind of a relationship with that kind of a friendship with someone that, you know, whose work I deeply connect with and admire in that way, that it is so easy to just go, yeah, of course, I'll do anything with you, even if, even if it's scary, or even if I'm not really confident in that skill set, in particular, like, I trust his taste as a human being. So it's quite easy to then trust yourself in some capacity.

[5:38] William J Connolly: I should say the point at which we're recording this, you are in the sort of closing stages of The Tempest in the final few performances for you. So have you had the opportunity, apart from still realising that you are a co-star alongside the legendary Sigourney Weaver, which I imagine probably will never be normal, but is it, are you at the point now where you can take a little bit of reflective time and realise just some of the stuff that you said there about how unique and how special and how challenging I imagine as a creative this process has been and perhaps what you've been able to take from being in this rather legendary production, as you say, at this very special venue?

[6:04] Mason Alexander Park: Yeah, I think I have had some time to really let it sink in, only primarily helped by the project itself. I mean, both projects have this similar delicacy and intimacy when it comes to discussing the human condition just as a whole. Much Ado, obviously, is much more about love, although The Tempest is greatly about love in many ways. But I think there is a pensiveness and a reflection and a release that happens within The Tempest that every night I sort of have the opportunity to really, I don't know, live in the actual reality of what's going on with the fact that I'll never get to do that thing with those people ever again. You know, by the time this comes out, the play will have been closed.

So I think I can, you know, I won't be ruining it for people who haven't seen it, but it essentially ends with everybody on stage in this really large sequence that is entirely about letting go and about, you know, repentance and forgiveness and all of those things. And slowly they all trickle away, except for Sigourney and I. And then she has this really lovely, like, small farewell. And we just have this moment together. And I think that because of the structure of just how that's all been staged and the words, you know, as written, it's such a moving experience. And it gives me so much space and freedom to really just think about so many things, but definitely drink in what this process has been.

[7:51] William J Connolly: And also, what's it like performing said moment that you just referenced that is incredibly intimate and together in such a vast space like Drury Lane, there's sort of two polar opposite moments all existing in the same space at the same time. That dichotomy is really cool, I find.

[8:01] Mason Alexander Park: It's everything that happens, like the second that you bring the energy down and bring it inward, you can hear like a pen drop in the venue, because even though it's vast, and even though, you know, there's 1,800 or 1,900 people there, I don't know, there's something really magical about hearing the words in that kind of space and the way that the sound is designed. Ben Brigham, who designs, you know, the soundscape and makes us sound so stunning in that venue, really allows us the opportunity to pull back and to actively create these moments of intimacy that doesn't necessarily shut out people that might be on the stalls. And that's magic, like that is truly something that you don't get often.

So I really, I really am very fond of the way that this production is structured and how it makes me feel as an artist and just as a human being. And yeah, yeah, I don't think I'll ever appropriately be able to summarize the experience of looking at someone that I've idolized, you know, for my entire youth and my entire life, you know, someone who was really instrumental in me becoming a performer and getting to act opposite them. It's just, it's very unique and very eerie.

[9:45] William J Connolly: When was the moment that you sort of, I guess, were bigger than yourself and you looked at yourself and was like, I cannot believe that I am the vessel that's chosen to be part of this moment with somebody of this stature? Did you have your, oh shit, this is really happening moment, your sort of come to Jesus moment as such that that really is Sigourney Weaver?

[10:02] Mason Alexander Park: I don't know. I guess that would have happened in the very beginning. It's hard to think because now, you know, we've been doing this long enough and I think we all developed such an intimate connection that it is kind of hard to remember the moments of that, that like uncertainty where you're not already immediately tactile and immediately in love with all the people around you. I haven't quite been in a company that's this genuinely like in love. I know that sounds really bizarre. But, you know, I think and a lot of people say that when they're promoting a thing or when they're talking about a project, because it's the nice thing to say. But I've been really fortunate to work with remarkably kind individuals.

And this project just like takes the cake in regard to that. So I think we all just saw each other very, very early on as this weird little ensemble of people that are incredibly lucky not only to get to work together, but just to get to work on this piece. And yeah, it's gonna stick with me that I think for a long time.

[10:56] William J Connolly: You referenced in one of your answers just previous to this about doing Shakespeare as an American in the UK. But of course, then you add like, you add the Drury Lane element too. But then you also add the Jamie Lloyd effect, which I don't think the internet's gonna come for me by saying this. But whatever you think Jamie's gonna do, he always does the opposite, which is absolutely kooky crazy. And it's what is the genius of his creative mind. But when you add all of that together, was that when you were like, Oh, I always sort of wondered what it might be like working with him? What was it like when that moment happened?

[11:20] Mason Alexander Park: Was it as unbelievably extraordinary as I would like to think it would be? I would say it was, it surpassed any kind of preconceived notion or expectation of what it could be. I tend not to walk into things with an idea of what's going to happen, mainly because then I think you just end up disappointed. And I, I was excited about The Tempest, but I hadn't, I was working on another project literally up until the day before. So my brain hadn't fully like fantasized yet. I hadn't taken the time. I think if I was off, you know, and I hadn't had a job for a couple of months, I would have had enough time to really build up this expectation of like, what is Jamie going to be like? What's Sigourney going to be like?

And there is this openness, there is this complete like release and desire to just be in community with everyone in the room that Jamie sort of leads with that I haven't quite experienced before. I feel like it's what most people strive for and end up kind of falling short of. And it has been one of the more emotional experiences I've had as an artist because of the level of care and the level of attention and the ability to play. The freedom that was afforded every single person during this process is like nothing I've ever seen before in my life. The structure of how he runs a rehearsal room is so unique. And so I am, yeah, endlessly grateful that I got to experience it firsthand, not once, but now twice, and hopefully many more times beyond that.

Because, yeah, I have found both a friend and a brilliant, you know, a tour in Jamie Lloyd. And so I really, I owe him a lot. And also to work with a director, and hopefully you agree with this, that doesn't try and mold you into something else, but wants to actually celebrate you as the individual that you are. And that's not always the way that this industry works. Often it is about conformity. And I feel like that's one of the great things that an audience that you can appreciate from the people you see on stage is that you get to see a little peek, obviously behind a character, but of that person as well. And I feel like that must be something that's actually incredibly personal, actually probably quite liberating at times.

Yeah, it's like this, it's this trust that he has with the people that he pulls into a room. He trusts them as, and trusts their humanity enough to be able to just invite them in and say, like, you are, you are now the person that's going to carry the story forward. And how do we make that work, you know, for you in a way that yeah, most people are a little more prescriptive of what they what they need or what they want. But the collaborative nature of how he works with actors is, I think, the reason why so many people keep coming back to work with him, you know, on multiple shows, and why so many remarkable actors, massive names, you know, are excited to drop everything and do a theatre project with him.

It's not just because of, you know, who he is, or who the company, you know, has become. It's, it's because of the process. It's because of the ethos and the art of creating that piece that I think is what continues to draw so many people back into his orbit, because I'm certainly, you know, sold. And yeah, if he if he asked me tomorrow to do another one immediately after this, I would grimace a little bit because I'm absolutely knackered. But I would obviously, I'd be like, hell yes. Yeah, I'll do whatever.

[15:01] William J Connolly: Lovely use of the word knackered there. Thank you for that. I appreciate it. But from one rather legendary piece to another, and the next project that you're working on, of course, is Much Ado About Nothing, which is just this signature piece that people love and adore so much. One thing I love is actually, well, I've been discussing it with people saying, oh, have you heard about this next Jamie Lloyd project, etc. And everybody seems to have this, I don't know if you've experienced this, but like, love towards this piece. Like they really, yeah. And it's interesting that that's similar to some of the other pieces that have such a strong hold over potentially British audiences, perhaps even further than that.

For you, as you look forward to this next chapter, from one iconic thing to another, are you excited about getting to step into this world, a new world, a similar world, some new work, some new friends, some new rather famous faces on that stage with you? Where's your sort of mind at the minute?

[15:53] Mason Alexander Park: I'm pleased. That show is just silliness, you know, like Much Ado About Nothing is ridiculous. And I'm not going to pretend that I'm a Shakespeare nut by any means, you know, I do not know nearly as much as most to really be able to say like, oh, this one's my favourite or that one's my favourite. But the play itself is so funny. It is so supremely silly. And so I get why everyone that I've told about it, like, it has this immediate reaction, they have this idea of, of what that play means to them. And often everyone's like, that's my favourite. That's my absolute favourite Shakespeare. So I guess that raises the stakes a little bit in a way, because, you know, they're going to have these really high expectations of what the play can be, because it is so, so brilliant and so beautiful.

But I think that there are elements of this production, obviously, that mirror elements of, of just the Jamie Lloyd world of kind of building off of the truth and the honesty and the actual like real tangible nature of the character's situations. And so it makes all of these like, scenes, I don't know, just you the way that you can hear the writing is unlike anything that I've ever experienced when I go and see Shakespeare. And when I've seen it, you know, since I was in high school, I've never quite been able to grasp the stories, unless I had read them previously, with as much of an ease as I can, in, in these productions. And I think that that sort of accessibility is really clever, and really genuine and honest.

And Much Ado is just shaping up to be so fun, and so ridiculous. It's just going to be incomplete, like incomplete contrast with how like beautifully ethereal and stormy, you know, the Tempest is. This is so not that, in the best way. It's a great challenge and a great treat to get to be able to sort of do a little bit of both.

[17:56] William J Connolly: And how are you with the comedy? Is it something that comes quite naturally? Because Shakespeare and comedy together? Oh, that's, it's asking a lot of even the greatest of us. How are you feeling?

[18:05] Mason Alexander Park: I don't know yet. Ask me in about a week when we're, when we're in tech. It's always hard in a rehearsal room, because you're doing these things in front of the same people who watch you all the time. So they're like, half the time, you know, they either have to force laughs at the same lines to make you feel like you're doing well, or they just don't laugh at all. And it's because they've already, you know, they've heard you deliver it that way about 10 different times. So I always find rehearsing comedy is really challenging. And what works in a room doesn't often translate, you know, once you get into the big stage. So yeah, ask me in a week.

[18:43] William J Connolly: How has it been as well, we talk about the relationship between British audiences and Shakespeare and the obvious connection there. But how has it been getting to celebrate something in the UK, that is so quintessentially British that you know, an audience has such love for and respect for and is going on the journey with you. It's not sort of crossed arms, impress me. It's a we want to do this with you. And we want you to enjoy it and be good at it with us too. What's it been like finding, I guess, an extra relationship in a way with an audience that feels like they really want you to succeed?

[19:06] Mason Alexander Park: It's quite moving in a way. Yeah, I've been really struck by the amount of people who have come to see this show multiple times, four, five, six, seven, you know, eight times that they've bought tickets to see The Tempest. And, and it's just, it's a bit bonkers. You're like, because, you know, you meet those musical theatre super fans, and you meet the people who've seen every person that's ever done cabaret or, or every replacement cast of, you know, that mincemeat or something. And that, like, there is, there is a sort of built in, like, understanding that that's just what comes with it. But, you know, I haven't done many plays in my lifetime, but I don't necessarily associate plays often unless, yeah, they're really, really, really, really special and unique with that kind of repetition and that kind of desire to see it so many times.

And I think that that really does speak to the desire that people have for something like this to succeed, because then it means that, you know, hopefully, more large scale productions of Shakespeare will be produced in the UK moving forward in a way that isn't just, you know, happening regionally or happening in smaller venues, like seeing it, seeing a story like this play out in front of 18 to 1900 people is crazy. Like, it's just, there's this weird mysticism, this magic of you just being like, wow, the historic nature of what's happening, it connects you to a different time. And that's so unique and so special.

[20:50] William J Connolly: Your reference there about fans and audiences and people sort of showing up and making sure that they turn up for you and that they make sure that hopefully you feel a lot of the love. Have you noticed that fans that have seen you in other projects, obviously, most recently with Cabaret, have you noticed that they've made sure that they continue to show their love for you, that they make sure that you feel it? And I guess it sounds silly, obviously, it must be lovely to receive that, but to know people are willing to give not just their time and their money, but their love as well towards you. I imagine that doesn't go unnoticed or appreciated.

[21:18] Mason Alexander Park: No, it's an incredibly unique thing in, you know, anyone's lifetime to do something that matters enough or has an effect enough, a ripple effect enough that people have developed this sort of relationship to you, even if you're unaware of it or even if, you know, you've never spoken. And then that they would take the time to, you know, express their appreciation for the effect that you've had on their life in any capacity. It's a stunning thing because, I don't know, when I think about the amount of people that it would like, the kinds of people that I would go up to and say, oh my God, you've done X, Y, and Z, you know, people like Alan Cumming, who came and saw the show the other night, and I didn't directly tell him this, obviously, but like a part of me wanted to be like, you are so much of the reason why I'm here as an artist, so much of, you know, why I'm able to do what I do is because I was a fan of you when I was in a very, you know, vulnerable and malleable place in my life where I could have easily not pursued this because the industry didn't really look all that bright for, you know, like gender non-conforming queer trans individuals.

[22:40] Mason Alexander Park: Because there just weren't a lot of roles out there. And to see someone like Alan, who sort of had a penchant for playing these impish, magical, kind of androgynous, genderless characters like the MC, and do it to such great acclaim, and become such a big Broadway star because of it, like, that lit so much of a fire under my ass to want to pursue this. So I get the relationship directly in that regard. And I'm so fortunate that I get to meet people, you know, may or may not have been affected by something that I've done in a similar way. So it does feel like it's just this wonderful cyclical, like, I don't know, expression of appreciation that we all get to share in as time goes on. And until, you know, no one gives a shit about you, and then that's fine.

And then you had your moment and you and you, you know, were very lucky to have lived through a time in which people felt the need to say something nice to you at a stage door or at a restaurant or on a train, like, what a great gift. Do you spend much time perhaps away from the industry able to reflect on said interaction of on a train outside a stage door, perhaps what and I call quote, the real world, you know, away from our industry, where you were able to sit and think, my very existence, hopefully has made at least one other person's day, second hour minute, a little bit better, and hopefully, hopefully a little bit brighter. I often hope so.

[24:08] Mason Alexander Park: Yeah, I'd like to think that I live most of my day in the real world. But that's not been true of the last few months. The schedule has sort of kept me in industry land where I'm sort of only able to be aware of the job as it is. And that actually has been a difficulty of this kind of a schedule, because I really cherish the amount of time that I normally have to be away from it all, to just, you know, I don't know, hide and spend time doing life stuff and being with my partner or being with my family or, you know, doing just normal things. Because then in those moments, you really do get to appreciate, yeah, as you say, the other side of it, whereas now when you're in it all, like, and you're burning the candle at both ends, you're just trying to make sure that you show up for everyone still.

So it's really hard sometimes to continue to find a way to show up for yourself. Otherwise, it's at the peril of other people in a way, you know, if I truly took care of myself the way that I needed to, to be 100% all the time, like I wouldn't be able to stage door. That's just the fact of it. And, but I do that every night. And that is a part of, you know, like a small mental, like mathematic sacrifice that I make when it comes to sleep schedule or whatever, because it's worth it. And because it is nice, you know, to show someone that you appreciate that they're there. And sick is the same, you know, and those are the people that I tend to gravitate towards, who, yeah, try to find the balance between those things, and also not just become so insular that it's only about protecting yourself and only about, you know, being able to be 100% when you're on stage.

Because, yeah, often the way that we walk through the world has just as big of an effect on someone, if not more, the way you conduct yourself in the street is as important to, you know, a lot of people.

[26:12] William J Connolly: You reference about cabaret and obviously this piece and the history of Shakespeare, but it's interesting how there is a conversation now, and obviously you reference cabaret. And I do have a post that's over 50 years old above me from that original cabaret. So it's a show that means a great deal to me. And obviously Adam Lambert, who's playing it on Broadway at the minute has had this discussion around things that he's been calling out during the show, obvious nods that he's done to the relevance of cabaret today. Of course, Shakespeare has a continuing and evolutionary relevance to the way in which we communicate. I mean, the genius of Shakespeare, once again, I don't think I need to reiterate that, but are you always aware of how art and life are two very separate things, as we just referenced, but also two things that have an undeniable connection to the ever-growing and ever-changing world? These two things are separate, but they are also the same in some way, right?

[27:02] Mason Alexander Park: Well, I think the best art is completely reflective of the things that never go out of style, unfortunately. The aspects of the human condition and of the human experience that are everlasting are the reasons that people care to tell stories and to listen to stories. You wouldn't really give a shit about a story if you didn't have some sort of vested connection emotionally to the story that's being told. Therefore, they do have to be reflective of life because that is the bulk of everyone's experiences. It's not necessarily in these massive make-believe imaginary situations. It does have to closely mirror stuff that we can touch and that we can feel and that we can reference. So, yeah, I do think that shows that can find ways to blend both the fantastical aspects of why we seek out entertainment and why we seek escape and the sort of reality of that as well, whether that's grim or whether that's positive is a whole other thing.

But I think stories that are in conversation with that directly always are the ones that are everlasting. Cabaret being a really great example. It is in direct conversation with escapism and turning a blind eye to the reality of life and how quickly that can creep up on you. So it's sort of impossible for me to separate those things. You have to be able to find life in every piece that you do. Otherwise, no one's going to want to watch it. No one's going to be invested in you. So even when you are playing characters that aren't human, the endless goal and the endless search is to find the humanity within them. Because an audience member has to be able to see themselves in that individual somehow and believe that they share commonality, even if it's a being or a phantom or an idea and not a human.

[29:03] William J Connolly: Is there a particular role that you've played in your career so far that you think that theory applied to you the most, the one where you perhaps maybe even learned the most about something that you didn't expect at the beginning?

[29:17] Mason Alexander Park: Well, that's a tricky question. I've been very fortunate to play a lot of roles that have taken me on many introspective journeys. I think the MC obviously is a major one, learning how to balance the representational aspects of a character and of a country and of an attitude and balance that out with some semblance of humanity was such a, I don't know, it was such an interesting challenge. I think in terms of a character that's taught me so much about life or connected with me in a way that changed my life would probably be Hedwig in Hedwig and the Angry Inch. That's a show that has and will always stick with me for a very, very long time. And the experience of playing her completely radicalized me in so many ways and made me feel seen and heard as a trans person in so many ways.

And it really helped solidify so many aspects of my identity and how that identity interacts with the world at large. It gave me so much strength and I will forever, forever be grateful to that show for sort of cracking many things open for me.

[30:44] William J Connolly: And very finally, this is always my favourite question, so this is the one that I look forward to asking the most, is when you look back on all of the chapters that we've discussed here, and obviously there are very many other arts and parts of your career that we haven't fortunately on time had the chance to talk about. When we look back on those things, I think reflection is hard. I think sometimes we have to sit there and force ourselves to realize the journey we've come and hopefully how far we're going to go in the future. What do you think the Mason all the way back at the beginning thinking, the theatre world might be for me, this acting thing might be for me, what do you think they would think of the person that's been sat here in your very own dressing room at the legendary Theatre Royal Drury Lane with this extraordinary chapter existing now, this next one about to come and the future looking so bright for you? What do you think they would think of the person that's been sat talking to me for the last 30 minutes?

[31:29] Mason Alexander Park: I think they would be quite shocked and happy that the world has slowly caught up in many ways. I think that what seemed impossible for me when I was younger, I was really, really fortunate to have found these little glimmers of hope and these glimmers of possibility within other performers and within other people, the John Cameron Mitchells of the world, the Alan Cummings of the world, that sort of opened a door in many ways to me being able to see a world in which someone like me could, you know, play a lead in a musical on the West End or on Broadway or whatever. And to have seen how quickly and how dramatically that's changed even since I was in school, you know, how just the last few years for me have really shifted what would like television and all that kind of coming back into the picture.

I don't know. It's really, it's quite impossible to have imagined any of this happening when I was younger. So I can't be anything other than shocked and incredibly grateful and really, really pleased that any feeling, any small feeling that I had thinking that it would be worth it, that it has paid off because it is, it has been worth it. I've been able to make my living as an artist, you know, ever since I decided to pursue it. I haven't had to do a single other thing like my, I have been one of the very lucky few who has just gotten to act. I cannot say that for so many of my friends and so many other remarkable artists. So I'm just, I'm, I'm like beside myself with gratitude about everything that's happened over the last few years.

[33:17] William J Connolly: You should be very proud. It's an extraordinary journey and it's very, very exciting. The current chapter that you're in, obviously very exciting about the next one that's going to happen in the next few days. You are, the schedule is going to continue to be crazy for you, but it's probably, I argue where we, where we operate the best, but thank you so much for your time. Congratulations. And I very much look forward to seeing you on that rather legendary stage very soon. So thank you so much for your time and good luck.

[33:43] William J Connolly: You've been listening to Eleven, the official theatre podcast. Find out more about Eleven at elevenpodcast.com or via the Broadway Podcast Network.