This transcript was automatically generated and might contain errors.

[0:01] Caleb Dicke: Oh, God. This is HUNGOVER, a new mini-series where we follow some of our favorite theater artists on their way back to the stage. We're going to be checking in with these artists before rehearsal, during rehearsal seeing the process, and then afterwards during performances. So you'll get a unique perspective on their journeys to getting back to normal. So grab your hair of the dog, because this is HUNGOVER. Cheers!

[0:40] Elliott Mattox: This needs to be a weekly thing.

[0:42] Caleb Dicke: I know. I was just thinking, this is sad that this is the last episode in the trilogy. And I'm like, okay, well now Tim and I and Caleb are just going to have to get drinks.

[0:52] Elliott Mattox: Yeah, for sure. We just have to pretend to know what we're talking about.

[0:56] Caleb Dicke: No, those conversations will not be for air. Confidential.

[1:01] Elliott Mattox: Welcome to this week's episode of HUNGOVER, an Equity One mini-series where we chat with some of your favorite theater artists about their journey back to the stage.

[1:12] Caleb Dicke: That's not it, but close enough.

[1:14] Elliott Mattox: Yes. I've already had a glass of wine. I'm going to be transparent. And that's Elliott, and I'm Caleb. And we are here with our very good friend, Tim Hughes!

[1:28] Timothy Hughes: Welcome back!

[1:30] Elliott Mattox: Thank you for having me.

[1:32] Caleb Dicke: One of the, I would say, probably our most interviewed guests.

[1:38] Elliott Mattox: I think you've done more episodes of Equity One than literally anyone.

[1:42] Timothy Hughes: I need to check my badges, but I think you're right.

[1:45] Caleb Dicke: We do give you a badge every time we come.

[1:47] Elliott Mattox: This would be four. I would say that maybe...

[1:50] Timothy Hughes: Izzy might be like...

[1:52] Caleb Dicke: Well, you know who he is actually tied with.

[1:54] Timothy Hughes: Who? Please tell.

[1:55] Caleb Dicke: One, Jay Armstrong Johnson.

[1:57] Timothy Hughes: Who has done...

[1:59] Caleb Dicke: Well done, sir.

[2:01] Timothy Hughes: Halloween.

[2:02] Caleb Dicke: Halloween.

[2:03] Timothy Hughes: His own.

[2:04] Caleb Dicke: His own.

[2:05] Timothy Hughes: Highlights.

[2:06] Caleb Dicke: Highlights.

[2:07] Timothy Hughes: And then...

[2:08] Caleb Dicke: Uh-oh.

[2:10] Timothy Hughes: Did he do that? No, he wasn't in the thing.

[2:14] Caleb Dicke: We'll call it a tie. We'll just call it a tie.

[2:16] Timothy Hughes: Well, I think I would love it if you guys would brawl.

[2:18] Caleb Dicke: Can we get you both here on an episode?

[2:20] Timothy Hughes: Yeah, I would love that.

[2:22] Caleb Dicke: Just like a live arm wrestle?

[2:23] Timothy Hughes: Or just for us.

[2:24] Caleb Dicke: Yeah, yeah.

[2:25] Timothy Hughes: Then I'd be into the confidential night.

[2:28] Caleb Dicke: Yeah, yeah, yeah.

[2:29] Timothy Hughes: The next one.

[2:30] Caleb Dicke: No phones.

[2:31] Timothy Hughes: That'll be a girls' night.

[2:32] Caleb Dicke: No, I think you do... I think you are the winner with four episodes.

[2:35] Timothy Hughes: Oh my gosh, I'm honored to join.

[2:37] Elliott Mattox: I know, that's... pew, pew, pew. Quite an honor.

[2:40] Caleb Dicke: And we have something for...

[2:42] Timothy Hughes: No, I'm just kidding. We don't have anything for you.

[2:44] Caleb Dicke: We actually do have a shot glass.

[2:46] Timothy Hughes: Can we give you that Queen One shot glass?

[2:47] Caleb Dicke: Oh my gosh, yes!

[2:48] Timothy Hughes: Okay, cool. We will. We'll get you that by the end of the episode.

[2:51] Elliott Mattox: Please. We need to give her that stuff. And if you want one, just Instagram us, and I will send it to you. Or just pay for postage. We have so many.

[3:00] Caleb Dicke: So Caleb and I bought shot glasses... This is off the rails already. Caleb and I bought shot glasses for BroadwayCon, and we bought like 200 and sold two. So we've been...

[3:10] Timothy Hughes: Cole is all like, Caleb, what are these shot glasses? I'm like, it's like a shared baby. Elliott has the same number as I do. We just hold it. We keep it in stock. We'll get rid of it at some point.

[3:20] Caleb Dicke: Yeah, there'll be other opportunities, I'm sure.

[3:22] Timothy Hughes: I'm sure.

[3:23] Caleb Dicke: I think my fourth episode is really gonna take off.

[3:26] Timothy Hughes: I think so too. I think it's already shaping up to be our best yet.

[3:32] Elliott Mattox: Tim, thank you for joining us today.

[3:34] Timothy Hughes: Of course.

[3:35] Elliott Mattox: You are a working diva, so Caleb and I are imbibing, and we are having the Red Lip Zin.

[3:42] Timothy Hughes: Love.

[3:43] Caleb Dicke: Yes, from Intermission Cellars. Yes, and it's delicious. And here to tell you a little bit more about it are Kristen and David.

[3:49] Kristen: Confidence. Glamour. Depth. Texture. Rebellion.

[3:54] David: Wait, are we talking about Red Lipstick or Zinfandel?

[3:56] Kristen: Both. Red Lip Zin embodies these characteristics, and if you're lucky, might even stain your lips the same way. I like to say, a red lip instantly elevates your performance, whether gracing the stage or out on the town. Similarly, this luscious wine makes a statement that will make everyone listen. Zin is a showstopper filled with bold, dark berry flavors with a 5% kiss of cab to add a peppery, chocolate finish. Enjoy Red Lip Zin and wear your red-stained lips proudly. Remember, everyone will be looking at your mouth, so you better have something to say. Kristen dedicates this performance to all the bold, strong, and beautifully talented women with whom she's shared a dressing room with. This blend is 95% Zinfandel and 5% Cabernet Sauvignon. To order Red Lip Zin or any of the other Intermission Cellars wine, go to www.intermissioncellars.com. Cellars with a C, and you can find us on Instagram at intermissioncellars.

[4:52] Timothy Hughes: Oh, it's so good. I love this wine, especially for fall. We were talking earlier, this is a heavy pour. It's like heavy in my hand, but light when it goes in me, and it's like...

[5:02] Caleb Dicke: Are all the wines from the Sonoma region for this?

[5:07] Timothy Hughes: Yes.

[5:08] Caleb Dicke: Okay, good. They are. I know. I'm on the email list, but I need to get a subscription.

[5:13] Timothy Hughes: Oh, my God. And if you want to hear them wax poetic, we had them on to talk about the wines.

[5:18] Caleb Dicke: Oh, yeah. Amazing.

[5:20] Timothy Hughes: Wait, is there a wine club that they have? A monthly wine club?

[5:22] Caleb Dicke: You can get all the information you need about that at www.intermissioncellars.com. I am not a representative, especially one glass of wine.

[5:29] Timothy Hughes: Exactly. I love their wine. That's all I can tell you. It's delicious to drink.

[5:35] Caleb Dicke: Tim.

[5:36] Timothy Hughes: Yes.

[5:37] Caleb Dicke: It has been a while since we've seen you.

[5:39] Timothy Hughes: Right.

[5:40] Caleb Dicke: Right before opening, right?

[5:41] Timothy Hughes: Right before opening.

[5:42] Caleb Dicke: We were dancing in the street for opening.

[5:44] Timothy Hughes: Yes.

[5:45] Caleb Dicke: Oh, my gosh. I love that song. And that picture of you...

[5:48] Timothy Hughes: Right.

[5:49] Caleb Dicke: Just going viral.

[5:53] Timothy Hughes: Absolutely viral. Thankfully, the best photographers ever came to the reopening of Hadestown, so I got some great shots, like from Curtain Call, and then we did that little sing-along on the street after. And I was living my best life and not posing for a photo, but it was captured.

[6:11] Caleb Dicke: But you saw a photographer and you said, oh, I should probably... I should probably put this flower in my hair.

[6:15] Timothy Hughes: Yeah, yeah. No, actually, that came from when I did a Hadestown takeover on Instagram and I pretended the whole day that I was creating a fashion statement by putting a carnation in my hair.

[6:25] Caleb Dicke: A pioneer.

[6:26] Timothy Hughes: And it kind of worked. For myself. There's been some fan art that has all the workers, and there's one that has a carnation in his hair. So I'm owning it. But I kind of subconsciously did it that night on the balcony. I put it in my hair and then it was captured.

[6:44] Caleb Dicke: Oh, my God. Come on, the fans work quick.

[6:47] Timothy Hughes: They really do. Oh, my God. Yeah, we have some wonderful fans at Hadestown.

[6:51] Caleb Dicke: Yeah. I remember during Beetlejuice, they were doing fan art of moments from Leslie's blog.

[6:58] Timothy Hughes: Oh, wow. Specific.

[7:00] Caleb Dicke: Yeah. So funny. But yeah. Tell us. When we last talked to you, you were just about to start performances. You're now a month and a half plus in.

[7:14] Timothy Hughes: Yeah, yeah. Almost two.

[7:16] Caleb Dicke: Yeah. How's it feeling?

[7:21] Timothy Hughes: It's been a wild, incredible ride. When we first reopened, it was electric. It was better than a traditional opening night. The reopening had this new sense of overcoming.

[7:40] Caleb Dicke: Yeah, totally.

[7:41] Timothy Hughes: And surviving. And it's been a lot of audience members, especially for those first couple of weeks, their first show back. So it is electric in a new way in the room. And there was a sense of just the utmost appreciation that this is even happening, which was super special. And it lasted for a long time. It comes in waves still. There'll be a performance, and I'm like, oh, there's a lot of people who feel like they're just back for the first time. It's been two months, people. Where have you been? There's a lot of shows to go support. Hello. But still, it's happening. And then there are now days that we're getting back into the swing of things. Because the process was so quick in getting it back on its feet, all the adjusting to the turntables, all the physical adjustments of eight shows a week, hit very hard in the middle of the run. In September, instead of maybe during tech, when you're like, oh gosh, I'm learning to adjust to all of this.

[8:45] Caleb Dicke: Oh my god, my hips were...

[8:46] Timothy Hughes: Your hips are tight.

[8:47] Caleb Dicke: It's the turntable.

[8:48] Timothy Hughes: Yeah, you're clenching.

[8:50] Caleb Dicke: Yeah, you have to stay on.

[8:52] Timothy Hughes: Yeah. You're singing and you're projecting. It's a lot. And that combined with this new sense of the importance of a balance in my personal life has me questioning how I did eight shows a week for so long.

[9:11] Caleb Dicke: Yeah.

[9:12] Timothy Hughes: How did I do this? And I think it speaks to what has always been expected of us as Broadway actors, as actors, is to just give absolutely everything we have. Every single time. And connect to the show every single time. And now I'm still trying to maintain a business. I'm still trying to maintain the bi-weekly Zoom meetings with my family. And that rarely happens because I'll have a Sunday afternoon show and then I'll teach class on Sunday night and then I'll come back and they'll be already in the thick of it. And it's interesting because they're just adjusting back to the idea of like, oh, well he just can't come because this is what he does.

[10:00] Caleb Dicke: Right.

[10:01] Timothy Hughes: And that is the most difficult pill to swallow in coming back. I feel like that is sitting in the back of my brain more than I thought it would. I still absolutely love the show. I love being a part of this company. When the show begins every night, it's wonderful. But as a result of that kind of haunting the back of my mind, all the other politics and the sense of kind of undervaluing certain members of this company are just highlighted in a new way. So it's something that I'm just grappling with at this point that was new and unexpected in this return to an eight show a week.

[10:42] Caleb Dicke: Well, it's hard. It's like we have experienced an 18-month trauma.

[10:47] Timothy Hughes: Yeah.

[10:48] Caleb Dicke: And it's not going to just jump right back after two months. We are going to be adjusting to this lifestyle for a couple months, I think.

[10:55] Timothy Hughes: Right.

[10:58] Caleb Dicke: Years, if that. I don't know.

[11:01] Timothy Hughes: Yeah. And I think in the adjusting back out of it, I honestly thought that there would be more of a change. More of an actual change. Not just in the industry of how we treat every human, but how we are approaching diversity and inclusion and systemic racism.

[11:26] Timothy Hughes: In the structures of our companies, the structures of capitalism, and some of that is being addressed, but nothing is really, I mean I hate to be so honest about it, but nothing is really changing.

[11:41] Elliott Mattox: Yeah, and I think that like that is kind of a reality that we're gonna be facing for a while. I think that like the idea and the hope was that hopefully with all of the, you know, calling for change and the, you know, listening to people to tell us how the, you know, industry can be safer for everyone and safe in all kinds of respects. Safer with for your health with COVID, but also safe for every single person who works on Broadway. I think that the reality of that is that those changes are going to take a really long time to actually happen. Because it's an entire industry and system that has to change. And that's not just going to happen by, you know, by a flick of a switch. Yeah, you're not just going to be able to turn it off. And you have to want to like actually implement it and not just appear to be implementing it either.

[12:39] Timothy Hughes: And I think it's going to be the new shows that have that weight on their shoulder to really like make the change because they have the opportunity to create new material. Yeah, like it's hard to be like, well, this is our show, these are the lyrics, these are the songs, we can change like a lyric here too, and maybe a scene. But like, we're still kind of telling the same hetero story, probably. And it's just, but within those structures, like, like Slave Play is coming back. And I've heard that those cast members will have both a royalty from their from the show, and profit participation. So royalty for the show being licensed in the future for their contribution to the script. And then when the show if the show recoups and makes money, then they make more money.

[13:31] Elliott Mattox: Yeah, which that's, that should be like a standard.

[13:38] Timothy Hughes: Yeah, standard. And I know that there was, we've been fighting for that with lab agreements in equity, but people are always baffled to hear like, okay, so Hadestown recouped in some crazy fast amount of time, like six months or something. But for the actors, that doesn't change anything. We're not, that just means the producers and everybody else continues to make more money than they expected, because they're the small sliver of this pie of musical theater that actually recouped.

[14:03] Elliott Mattox: Yeah.

[14:03] Timothy Hughes: But we're still, it's on the backs of literally the actors, blood, sweat and tears. And they're trying to pay you less for a less show week.

[14:10] Elliott Mattox: Yes.

[14:10] Timothy Hughes: Like if you do like seven shows versus eight, they can. Yeah, they can. We've been doing eight. There was no transition. It was eight right away. Yeah. But yeah, they're allowed to. Yeah. At this point. And for like, for any of an ensemble member, if you go from year one, and if you want more like flexibility in your contract for year two, you can do a four week out. But that means all the like incremental raises that you've earned in that first year of dedicating your life to that show, go away.

[14:44] Elliott Mattox: So like, literally, they take away your pay for any kind of flexibility. All of those things are like things that can be adjusting.

[14:51] Timothy Hughes: Wow, if there was actually any shift in how we're approaching this industry and these humans again, but it's just not being seen with any new lens.

[15:06] Elliott Mattox: In a very surprising way.

[15:06] Timothy Hughes: That is surprising. And it's unfortunate that like, you know, when you talk about the example of Slave Play, that's not a surprise to me that Jeremy O. Harris is, you know, on the front of that, you know, you know, really, is making sure that what they're doing is Stan is, is making good change in the industry setting a standard, especially when we talk about like, you know, wealth in this country, and how important it is for, you know, people of color, especially to have wealth, right? Like, that is one of the big parts of our, you know, structures in this country that has kept people oppressed for so long.

[15:46] Elliott Mattox: But again, unfortunately, we're using we're relying on the same people every time to make change. And while everyone else stands to the side and doesn't do anything different, right.

[15:59] Timothy Hughes: Right. And I agree with you. I think it's, it's not surprising that it's coming from the playwright of Slave Play, right?

[16:05] Elliott Mattox: Yeah.

[16:05] Timothy Hughes: And knowing what that show is about, which is also why it's even more frustrating, coming from the producers of Hadestown, because it's like, literally as a worker in Hadestown, to, to build and make money for Hades story that I'm telling, which is paralleled to, you know, what's happening in life. Yes, I get, yes, I get paid a salary. And, and yes, of course, I understand that. But we all take that risk in, in coming together to create this show. And when that product actually makes a profit and turns a profit, everybody should share. Everyone should profit.

[16:53] Elliott Mattox: Yeah. Did we not learn that from the show?

[16:53] Timothy Hughes: Like, that's what's, it would be less frustrating to me if I was going back into Phantom of the Opera. And, you know, sure. Oh, I understand that this is a machine.

[17:05] Elliott Mattox: Yeah.

[17:05] Timothy Hughes: Even though I wouldn't do it, wouldn't necessarily do that because of that same idea that it has become a machine. You're saying you're making art and you're giving back, but like, you're in it for the dollar.

[17:13] Elliott Mattox: Right?

[17:13] Timothy Hughes: Yeah. It's a tough. It's a tough capitalism.

[17:20] Elliott Mattox: Yeah, thing to uproot.

[17:20] Timothy Hughes: Well, and that's, that's also like, you know, in offline conversations, it's like, you know, there's so much call for change, especially on Broadway, because it's the most visible kind of theater community. But I think sometimes it's lost that it literally is peak capitalism. I mean, yeah, it's called commercial theater. Like, so it's going to, there's going to be resistance, but it's hard when you are one of the most artistic shows on Broadway right now to...

[17:50] Elliott Mattox: Mm hmm.

[17:50] Timothy Hughes: You are a jukebox musical. Like you are like presenting.

[17:57] Elliott Mattox: Well, I mean, technically it was a concept album.

[17:57] Timothy Hughes: Right. Well, if we want to. Okay. Sure. Right. I'm not, I'm just nerding out. I'm not trying to like, okay.

[18:04] Elliott Mattox: I don't know if that concept album was played on any jukeboxes.

[18:09] Timothy Hughes: Fair enough. Fair enough. Maybe some record player.

[18:17] Elliott Mattox: Yeah, exactly. Lots of acoustic guitars. Um, do you want to talk more about kind of like that, finding that balance, like with personal life and, uh, staying healthy for the show? Because we've talked with some people about how like, you know, now there's kind of this mental game to play of like, okay, what does my social life look like when I also have to think about protecting the company, the company I'm working with, you know, making sure I stay healthy, um, and balancing that with doing the show. Cause it's so hard to, it's all before it was hard to have a social life when you were doing a Broadway show. Now there's like added elements to that challenge.

[19:06] Timothy Hughes: Yeah. Yeah. It is, it is, um, it's a difficult thing. I don't know if, um, I just have fallen into like a habit of being a little less social as a result of 18 months. And therefore it's like, I don't put myself in a ton of group settings of like, you know, of like a COVID spreader. But I certainly have, you know, I certainly have gone into a restaurant still and taken off my mask and eaten.

[19:34] Elliott Mattox: Right.

[19:34] Timothy Hughes: Um, which according to like all of the government restrictions and everything that's currently out, it should be fine. Yeah. But there is an added layer of like, okay, we've signed this contract to be responsible and we have to protect, do our part in protecting everybody in that, in that building. Um, and I think because we are allowed to do those things now and because, um, it feels like there's more of a comfort level in doing it, but I, I still have my hesitations about it. You know, it's for example, like the gym, like you have to have been vaccinated at the gym. Masks are optional.

[20:11] Elliott Mattox: Um, there are a lot of Broadway people who go to the gym that I go to, and it's a mixed bag.

[20:15] Timothy Hughes: I like, ironically, our company has been, um, really safe and we haven't had any, um, like positive cases. Um, but the companies that have like a lot of those members, when they show up back at the gym, I'm like, Oh, you're wearing a mask until this, until this comfort level of return. Sure. Um, and sure enough, like a week later, like there's that, there's that guy's face again. Like now that everybody's in the clear.

[20:47] Elliott Mattox: Yeah.

[20:47] Timothy Hughes: Um, yeah. So I think that like taking those small precautions when you feel like it's, um, necessary, um, are, are part of my routine, but otherwise I like I'm trying to get back to a sense of normalcy as all the restrictions get back to a sense of normalcy, especially in New York City.

[21:10] Elliott Mattox: Right.

[21:10] Timothy Hughes: Um, what has it been like balancing your company with being back open?

[21:18] Elliott Mattox: Yeah. So I, I do, um, with performance personal, I still teach live on Sunday night. So I'll do eight shows and then I have like 20 minutes and then I run over to usually open jar studios and teach live next door, next door.

[21:31] Timothy Hughes: Yeah. It works out great. Um, and sometimes it's exhausting.

[21:38] Elliott Mattox: I mean, eight shows a week are, are, is already exhausting, but...

[21:42] Timothy Hughes: I've found, um, it to be great to like break away from that routine of doing the same choreography eight shows a week and then break into something totally different in order to end the week and allow my body to move totally differently.

[21:54] Elliott Mattox: Um, finding the time to like choreograph every week and do the design and do all the communication for the, um, um, company is much harder when there's all these moving parts at Hadestown and I'm, I've been called a lot into rehearsal and I'm, I've been called a lot into rehearsal and I'm like, if I don't have an afternoon, if I don't have a, like a full day before a show in the week to do it, um, it's very, very difficult.

[22:20] Timothy Hughes: So, and I don't like to do it on my day off because my day off now becomes grocery shopping, laundry, cleaning, like all of my, like any dentist appointment, any doctor's appointment hasn't like shoved into that day, your whole checklist for like your weekly things all go to one day then.

[22:40] Elliott Mattox: Yeah.

[22:40] Timothy Hughes: And it becomes a full day. So to do, and that's like your personal life job. And then to actually have another job on top of that, it just...

[22:54] Timothy Hughes: It takes some creative thinking into figuring out how I can do all the work that I need to do before each Sunday. Luckily, like this week, I have an afternoon off. I'm like, okay, great, I can do it then. And that is what I think should be the norm. If I need to go back and fight producers on it, if it's going to be too hard to maintain a balance, then that's something I need to decide. But it certainly hasn't been easy. I'm really grateful that I have maintained Performance Puzzle because it's been overwhelmingly thrilling and still exciting, and people who come to see the show can now come and dance with me on a Sunday night, and that's really fun and an easy connection to make now. So I love that aspect of it. I wish I could be spending more time devoting and expanding the curriculum of what I'm doing in there. I just haven't been able to yet.

[23:56] Caleb Dicke: Also, you're like two months in. Don't be like so hard on yourself. You're figuring it out, and that's amazing just that you're still doing both things.

[24:06] Timothy Hughes: Yeah, thanks. Trying.

[24:08] Caleb Dicke: Yeah. And I think that you're bringing up something that we know the reality of, but I don't know that other listeners necessarily know. Once you open a Broadway show, if you are a cover or a swing, you are in rehearsal all the time. It's not so much like, oh, you rehearse for weeks, and then we open, and now we don't rehearse anymore, and we have the whole day free. Your days are full. So do you want to talk about what that looks like, what a week looks like for you, and especially if it's different now with COVID protocols, et cetera?

[24:43] Timothy Hughes: As of late, my week has been Tuesday night show, two shows Wednesday, Thursday rehearsal, all afternoon show, Thursday night, Friday rehearsal, all afternoon, Friday night show, two Saturday, Sunday afternoon show, Sunday night class, Monday day off. I think it's been like four weeks back to back of both Thursday and Friday. Sometimes I get that Thursday or Friday off, and that's a cherished moment. And it's something I really need. And I think we all need that. We all need another daytime opportunity to not be in that theater. But we've had a lot of turnover already because people came back to finish out the year contracts. There's only like four weeks left. They wanted to invite everybody back. And our Persephone is going down to six shows a week. And then she's also filming a movie. So we had to put an alternate in. And then we also had to get another understudy ready. And so it's been just nonstop. So hopefully that will calm down.

[26:03] Caleb Dicke: It will.

[26:06] Timothy Hughes: But it's hard right when you're shot out of the canon to also have that extra responsibility. I was like, I'm rehearsing at like more hours now than when I was originally learning the understudy role for Hades. Yeah, it's a lot.

[26:23] Caleb Dicke: Well, because also, you know, with a lot of Persephone happening, there's a lot of you happening.

[26:31] Timothy Hughes: Yeah. And then the other cover for Hades is the dance captain. So like he has to be there for everything else.

[26:35] Caleb Dicke: Yeah, sure.

[26:36] Timothy Hughes: Yeah, I mean, that's but it really that really is something that like people don't realize, like, how much rehearsal continues after the process. And I'm sure I mean, I would imagine, for myself, at least would have been kind of like a, Oh, right. Oh, my God, this is part of. Yep. I only remembered doing the doing the show. Right? Yeah. Like, I know, I thought that like, you know, usually after the first year, once you get a new show open, you go through all the awards seasons, you do a lot of like TV events. We're in it, like it's finished.

[27:11] Caleb Dicke: Yeah.

[27:11] Timothy Hughes: Most of the time gone on for the roles, like it should be like smooth sailing. And I didn't anticipate like the rocky waters of getting the show back up with all these moving parts. That's a new aspect to the reopening.

[27:28] Caleb Dicke: Yeah.

[27:28] Timothy Hughes: Yeah. Because, you know, once everything's taught and learned, understudy rehearsal is maybe like a run through every other week or something like that. I hope that's the goal.

[27:39] Caleb Dicke: Goal. Goal.

[27:40] Timothy Hughes: So how's the audience response been?

[27:43] Timothy Hughes: Good? Amazing. Yeah. So many people returning to see it, which is always a great, great sign. So many people getting the opportunity to see it for the first time. Lots of stories of how I was planning on seeing it this time. And now I finally like have gotten the opportunity to return and see it for my first time. Yeah. And for the most part that like additional excitement of returning to the theater has been has maintained a very high level of enthusiasm there. You know, there's always like a Sunday matinee or a Wednesday matinee where it's a little chiller, a little chiller. Yeah. But then and then I was like, oh, do we do we lose all the freshness of like a new beginning and then it returns again?

[28:36] Caleb Dicke: Yeah.

[28:36] Timothy Hughes: We had John Krause go on for the first time as Orpheus last night, which was amazing because the whole show shut down the night he was supposed to go on for the first time. But as a result, a ton of his family came in again after, you know, missing out on that opportunity in 2020. And last night felt like another opening night. It was like brand new. We had a lot of different people in the mix in the rest of the cast. It just was a really, really exciting night. And the audience was wonderful on a Tuesday, which is great.

[29:10] Caleb Dicke: That's so exciting. Praise for sure.

[29:12] Timothy Hughes: Yeah. We love that.

[29:16] Caleb Dicke: Yeah. We're going to take a quick break and we'll be right back with Caleb's Quick Cues.

[29:21] Timothy Hughes: Ooh, Caleb's Quick Cues. Caleb's Quick Cues. Here we go. Okay. Sad this is our last time.

[29:29] Timothy Hughes: Oh my god. You'll have to come up with questions every time we hang out.

[29:32] Caleb Dicke: Exactly. I know.

[29:33] Timothy Hughes: Three things you need at your station in your dressing room. Floss, crystallized ginger, and cashews.

[29:39] Caleb Dicke: I love all three of them.

[29:40] Timothy Hughes: Cashews. Do you floss your teeth in front of everyone? Do you do it in front of your mirror? Where do you do it so it doesn't like...

[29:46] Timothy Hughes: I have like shelves, so I'm not like constantly looking at myself in the mirror. But usually I floss at my station.

[29:55] Caleb Dicke: Yeah. Okay.

[29:55] Timothy Hughes: Yeah. But I, because it's the worst thing on earth to go on stage when I feel like I have things in my teeth. Especially, it usually goes ginger, cashews, then the floss. Of course.

[30:08] Caleb Dicke: Because especially like a little cashew in the throat, it's like takes you out.

[30:12] Timothy Hughes: Yeah. But you don't use cinnamon, right, for your floss? Flavored floss?

[30:16] Timothy Hughes: No. Mint floss. I'm in a floss renaissance. Flossing regularly now. My dad always says, only floss the teeth you want to keep.

[30:28] Caleb Dicke: Oh wow. Wise.

[30:29] Timothy Hughes: Wise.

[30:30] Caleb Dicke: Favorite seat in the theater when you're watching a show.

[30:33] Timothy Hughes: I love an aisle seat for the leg room. Yes. Famously tall. Yes. So probably like, I would say like center orchestra, but on the aisle.

[30:41] Caleb Dicke: Of course. Yes. And I lean to the left. Like, yeah. I don't know why. I feel like I don't know.

[30:47] Timothy Hughes: Love it.

[30:48] Caleb Dicke: Your first time stage dooring experience.

[30:54] Timothy Hughes: Oh gosh. I have a lot of different stage door experiences. The first big, most exciting one was with Frozen. And what I didn't anticipate is most people didn't recognize who I was, like coming out of like a full wig. And a lot of people, actually the security guy who still is over at Hadestown as well, was over at Frozen. And he always calls me Hans because a lot of people thought that I was Hans coming to the stage door. But I mean, that stage door was super exciting anyway. Like all of the excitement around Frozen and the families and the young audience members and girls and like the, well, the kids in the Elsa dresses. I had secretly started an Instagram account that was called Frozen Meltdowns because I wanted to try to capture, I never took, I never did it because I never was like there for, I was getting there too early because I had to get this tattoo on my back. So I missed all of like the people coming into the theater, but there was always a lot of like kid meltdowns.

[32:04] Caleb Dicke: Yes.

[32:04] Timothy Hughes: And I wanted to have, I wanted to capture and like have the account of like all of these kids going to their first movie show. Everyone go follow Frozen Meltdown. It didn't take off. I didn't ever post anything. But you have all the footage on your phone. I have a great idea. I didn't execute it well. Full of great ideas.

[32:16] Caleb Dicke: So fall fashion. We're getting to like the peak of fall.

[32:20] Timothy Hughes: Layers.

[32:21] Caleb Dicke: Fall. Layers. Yes. Okay. Are you more boots, scarves or hats? What's your accessory?

[32:24] Timothy Hughes: Boots.

[32:25] Timothy Hughes: Boots. And scarves. All three. Layers. Layers. Layers. Layers. We love it.

[32:34] Caleb Dicke: Yes. What's something small you didn't realize you missed until you got back into performances?

[32:39] Timothy Hughes: Like the tiny things about being back in the theater. Those like little moments that you find that are with people on stage in your company that are unspoken and then become like part of the show. Every time like finding those and then seeing which ones like survive and last. Like, oh, she looks at me at this moment.

[33:02] Caleb Dicke: Yeah.

[33:03] Timothy Hughes: And finding like when it clicks. And then when you like rely on it, it's just like an unspoken, beautiful language. You're like, you didn't look at me.

[33:11] Caleb Dicke: Yeah.

[33:11] Timothy Hughes: Yeah. You missed our moment that we only did for two days in a row. Yeah. I thought it meant more to me. But I love, I love rekindling some of them and like letting some of them fall to the wayside and then finding new ones. Amazing. Yes. Yes. Yes.

[33:22] Caleb Dicke: Tim, it's such a pleasure always to have you on the podcast. We're sad this is our last in the series, but I have a feeling you haven't seen the last of me. I'm back. Where can people find you on social media if they want to follow you?

[33:35] Timothy Hughes: On Instagram, I'm Timothy R. Hughes. You can check out my business at Performers Puzzle and I'm Timothy Hughes and Performers Puzzle on Facebook.

[33:45] Caleb Dicke: Amazing. You can find the show at Equity One Podcast on Instagram and TikTok and at Equity One underscore on Twitter. Send us an email at equityonepodcast at gmail.com and head over to the iTunes Apple app for podcasts and give us a five-star rating review. It really helps other people find us and raise us up. Elliot, where can we find you?

[34:04] Elliott Mattox: You can find me at Elliot Maddox on everything.

[34:09] Caleb Dicke: Caleb?

[34:09] Caleb Dicke: Caleb Dickey on everything. And until next time, cheers.

[34:16] Timothy Hughes: Cheers. Hangover cured. You can find us at the bar.