This transcript was automatically generated and might contain errors.

[0:00] Jeff Malone: Welcome to Half Hour with Jeff and Richie, the podcast where we explore the latest shows we see, sharing our insights and opinions on the performances, storylines, and everything in between.

[0:09] Richie Grasso: In today's episode, we're discussing the Off-Broadway production of Drag: The Musical, currently playing at New World Stages in NYC.

[0:16] Jeff Malone: Whether you cannot catch the show in person or you want to expand your thoughts after seeing it, this episode is for you.

[0:21] Richie Grasso: And as always, we want to inform you that this episode will contain spoilers.

[0:25] Jeff Malone: So if you're ready to dive into this production, stick around with us.

[0:28] Jeff Malone: I'm Jeff.

[0:29] Richie Grasso: And I'm Richie, and we're thrilled to be your hosts for this episode.

[0:32] Jeff Malone: But before we start the conversation about Drag: The Musical, here are a few words from our advertisers.

[0:54] Richie Grasso: Two drag houses, both alike in indignity, vie for supremacy in a wig-snatching, devious journey of fashion, family, and forgiveness.

[1:03] Jeff Malone: Leave the lip syncs at the door, darling, and get ready for drag realness, real singing in a real theater with real drama.

[1:10] Richie Grasso: After this bitter split, fishy queen Alexis Gilmar opened her club The Fish Tank as glamour puss Miss Kitty established the cat house.

[1:19] Jeff Malone: Heels click, intentions rise as wounds are opened and the two clubs fight to survive.

[1:24] Richie Grasso: So, uh, we are talking today about the Off-Broadway production of Drag: The Musical on today's episode.

[1:31] Jeff Malone: So let's start the conversation with our hot take.

[1:34] Richie Grasso: My hot take on this is this was a fabulous glittery roller coaster ride. And this show I feel like had me laughing, it had me crying, and it had me living for every moment that those queens were on stage.

[1:51] Jeff Malone: I agree. I loved so much of this. I thought it was heartfelt, it was fun, it had elements of camp, it had drama, it had a little bit of everything. And like I had said just a couple of minutes ago, real singing, real theater, real drama, musical theater book score. It was formatted like that. And I think it was nice to see the drag element for that as well.

[2:12] Richie Grasso: I mean, which was so strongly portrayed here in a musical setting. And I just can't wait to keep talking about this because I don't get into it.

[2:19] Jeff Malone: Let's do it. So overall thoughts on plot and concept. I think when you a lot of people think of drag queens, you think of RuPaul's Drag Race, you think of lip syncing, you think of shows in bars or nightclubs, you think of movies, you think of so many things, right?

[2:35] Richie Grasso: Yeah. And when you think musical theater, yes, drag has been done in musical theater before. This is not the first time. We've definitely seen drag, La Cage aux Folles, a huge example. Um, we've seen Kinky Boots, we've seen Priscilla. I mean, there's a bunch of things that we've seen drag.

[2:51] Jeff Malone: Totally. Um, but this seemed like a musical about drag queens for drag queens, speaking truth to maybe what drag queens are going through in the world in a musical theater setting, and it was kind of oriented towards that.

[3:03] Richie Grasso: And going into that, I was like, okay, original score, okay, book, okay, costume changes, wig changes, lighting set. You're getting a full spectacle show here. So I think this concept of like, well, let's only do this or let's only do that didn't exist here. It was almost like this production team said, you're gonna put on a full high commercial budget Off-Broadway midtown Manhattan musical about this. And we're gonna put a mix of queens that are New York City only based, mixed with RuPaul International Queens. They're gonna do the seven to eight shows a week, or however many they're doing. They're not just doing one or two. They're gonna run this like a musical. I think that's great. We really haven't seen anything quite like this.

[3:42] Jeff Malone: Well, what I really liked with this is that it did have a clever book. I actually thought it was super smart of them to take two different drag houses because we hear about drag houses all the time, and we hear about them. Well, if you do watch RuPaul, oh, I'm in this house or I'm in this house. We never really get into that though. Uh, the only time that we've ever really heard about houses was in the voguing land when we would watch things like Pose. So to see this and see what it's like to actually be a house of drag queens, I thought that was a smart premise in the book writing because I think that really set the groundwork for the story here.

[4:21] Richie Grasso: I also think when you're talking about the music and the lyric and the book, there were almost these subtle hidden messages that were not beat over your head. I didn't leave there feeling like, okay, we get it. This is what they're trying to say. I kind of left there like, oh, are you listening to what they're saying there? Are you picking up on that? Like a couple examples being drag is expensive, right? I think that's funny to sing a song, and that's actually the one song that's been stuck in my head, "The Drag is Expensive." No, we left there, we kept singing it over and over again. But I think what that's also saying is like they're joking around and singing about it, they have to sell stuff to make ends meet.

But I think there's also like a serious level of like, no, drag is expensive, and you should be tipping your queens and you should be supporting them because that wig they're wearing, that outfit they're wearing, that makeup costs a lot of money. And even looking at this production, I say, wow, this is an expensive show. There's a lot of props, costumes, scenery, wigs, hair, makeup, lighting. There's a lot going on here.

[5:18] Jeff Malone: Um, there's this straight allyship aspect of it where the brother comes in with the son and tries to understand and they don't get along, but then you know, there's things like that going on here.

[5:31] Richie Grasso: Well, I think that's what's so great about this book is I think it took so many elements that we know of, like bringing in the camp humor, but also bringing in heartfelt moments into this show is something that was completely needed for this, or it was just going to be like a rusical-style musical. And I don't think that's what, you know, like Alaska was trying to go for here in this piece. I think this was really showcasing like what it is to want to be a drag queen and also make a career out of being a drag queen.

[6:02] Jeff Malone: I mean, we also have things about chosen family in this space. And I think when you have your real family that kind of doesn't accept you versus the family that does accept you, it's like it's such a great thing to highlight in this piece.

[6:19] Richie Grasso: Totally. I mean, and then there's also these levels of here comes the IRA, here comes real estate agents, here comes, here comes, here comes people.

[6:28] Jeff Malone: That's the, oh, what do they say?

[6:30] Richie Grasso: IRA.

[6:30] Jeff Malone: Oh my gosh, IRS.

[6:32] Richie Grasso: Why do they say RA?

[6:33] Jeff Malone: Yes, IRS is what I meant to say. Um, yes, tax collection, and we're gonna buy this building and the real estate agents. There's that level of this, what bars are dealing with with nightclub. We're seeing in New York City queer spaces closing left and right, you know. Um, there's also this level of a child being in this piece, an actual child actor, as well as obviously them playing a character who's a child. And what does that mean in the world right of today of the whole of drag queens reading children's storybooks and libraries? That's a big thing in the news right now, right? So bringing that into this piece was important.

[7:11] Richie Grasso: Right. And I feel like you could see some people sit down and like see that, and they would say, oh, this is doing exactly what we're saying we don't want to happen. We don't want children to be kind of going down this path, even though the whole moment here, and like you so many people know, like I know myself, probably you know too, when you start thinking about exploring things that you like, you know, and this is not about the sexuality, this is about what he's attracted to as a kid being like, oh, I like the wigs and I like the dresses, or I like the glittery things. It's nothing about like, oh, I also like boys that never comes up in this piece.

[7:54] Jeff Malone: And there's also this, like, yeah, the child doesn't magically become a drag queen, or want maybe one day, maybe not, but it was just about self-expression. It was about the child saying they were gonna express themselves in with their uncle, with his dad, in whatever way, and the glasses were an attachment to his mother who died. There was a heartfelt moment there. I think that's a big part of this book that I wanted to talk about here. It's like we're writing a character that is exploring what they like, and it is immediately assumed that there's something wrong with my child.

[8:30] Richie Grasso: And I think that's what was wanting to get highlighted in this piece. It's like, oh, the brother immediately thought his son was gay because he liked something that was glittery.

[8:43] Jeff Malone: We don't again, I'm gonna highlight this. We don't know what the kid's sexuality is. That's not part of what this book is about. It's about being like, oh, this is just what they like and self-expression and fashion. You can be a fashion designer and not be gay, you could still be, you know, and it's never talked about in this piece that he is gay.

[9:05] Richie Grasso: Well, Billy Elliot did this too, right? There was that song about the boys dressing up, and right, so like it's about just expressing yourself, right?

[9:11] Jeff Malone: Yeah. And I think there was this whole level to that that was really important. Um, the diversity of drag queen representation was really important here. There was um, there was larger queens, there was ripped abs queens, there was women doing drag. Um, there was all sorts of representation here, right? In the drag community, they even had lines where like, oh, you're a drag queen, do you have to be a guy to be a drag queen? No, I'm a woman, and I'm like, right, they have that scene. Um, there was an older man represented in the show as representing a different time um of drag or queer culture, right? Um, and what his experiences were. So we, I don't think listen, someone could sit here and say, oh, was this a checkbox show?

They just went through and checkboxed every no, I don't think so. If it's necessary, I wouldn't necessarily say it was checkbox. I would say it was like they found the clichés that work in the musical, and they knew how to highlight them and bring them and make them work in the genre. I don't think it had anything to do with it being checkbox, I think it was more like, oh, let's give the people what they want in terms of what's been attached to the drag community all along, highlight it, make it campy, make it funny, and we're gonna put it in our show. I think it was perfectly fine.

[10:24] Jeff Malone: Um, I know we're gonna move on to some direction and actual performances and some design choices now.

[10:29] Richie Grasso: Um, so I definitely want to do that, but before we do, here's a few messages from those that make the show possible.

[10:35] Jeff Malone: And we're back. So, talking about some of this, you know, you mentioned earlier Alaska. This is kind of like the baby of Alaska here. Alaska kind of wrote a lot of this, has been attached to this. I know Juju B has been attached to this for a while as well, but I know Alaska really has been the one driving this, and now Alaska's up there. You're seeing a star, you're seeing a queen who knows what she's doing, who's seasoned, who's correct at what she's doing, and it's really working hard. And I think it's really, really great to see Alaska up there too.

[11:03] Richie Grasso: We have three people that wrote the music book and lyrics to this um piece, Alaska being one of them, and also oh, Ashley Gordon and Thomas Contanza. Um yeah, I would say I think that this is Alaska's like Alaska won Drag Race, All Stars. Alaska has been a force in the drag community, and that this was her moment to really say, I'm going to write a piece about what it's like wanting to be a drag queen and now living that drag queen life.

[11:42] Jeff Malone: Right.

[11:43] Richie Grasso: Right.

[11:45] Jeff Malone: I think that's why I think she's gonna probably stay with it for a while. I think she's, I mean, it's her show, and she's not gonna go anywhere. I think it's like this is something that she's gonna take it um around, you know.

[11:58] Richie Grasso: And I do want to get into the direction too by Spencer Liff. I think that like New World, we talk about this all the time. It's an interesting space. You really have to know how to direct in that space. You have to know that it is a kind of unit set that you're gonna be directing in because there's no wing space, and how are you gonna make it work for this? And I thought they did a really great job because you had to go in between two different drag houses, and they used lighting design, which the lighting design was by Honore. And using color, such a simple technique to use color to say, okay, we're going from the cat house um to the fish house. And it worked.

[12:45] Jeff Malone: Totally. And I also think speaking of lighting, I think there was some great lighting design and directorial choices when they then the power went out and the bills we had to be paid. They used flashlights to light a whole production number with different fun ways of using the neon lights. That was a really nice directorial choice. There was a moment when they threw the glitter and they were using the fans to move to blow the glitter up. They weren't using like a real fan to come out. It was like a they were waving one of the clack fans. Like they were getting inventive with the space, which is all about what theater is, right? The band kept appearing and not appearing. I liked the use of the band being there, but off to the side, but still seen, but brought on. Um and having the ensemble work in between two pieces, uh, two different houses.

[13:30] Richie Grasso: Yes. You know, they're coming that yeah, they're coming here. They're really helping enhance the piece. They're doing a lot of the things that you're talking about with those lights with that glitter, you know, and it just it felt great.

[13:44] Jeff Malone: On top of the who did the choreography for this.

[13:48] Richie Grasso: This was directed and choreographed by Spencer Liff.

[13:50] Jeff Malone: Oh, yeah.

[13:51] Richie Grasso: Um, that's a fighting the name. I thought the choreography was great.

[13:55] Jeff Malone: Totally.

[13:55] Richie Grasso: I thought that was very inventive, and I thought that it was clear that Spencer's also put so much time into creating this space.

[14:01] Jeff Malone: There's different entrances from different places. There's reveals. There's steps at the top that they come down into the club. There's audience interaction, audience entrance, a center stage moment. It was just very thought out. Everything seemed thought out. You're dealing with, like you said, new worlds having no wing space and being just like a box, you know, and having to create in this space. Um, really, really, really great stuff. Talking about casting, we talked about Alaska. Nick Adams, the body is the body is the body. I don't know what I would. I would love to know a little bit about like what his workout regimen is on this because um it's an insanely um worked out body. Yeah, you don't stop looking at it.

Those biceps are on another level, and they even make a joke about it, like queen with biceps. Yeah, it's like whoa. I thought um we it was nice to see Laguna Blue, Jam Sport, Juju B. They were a Lux Noir in London. There were some really, really wonderful queens here from all different times of RuPaul and not RuPaul. And I thought that was great to see a they all played really, really fun, fun roles. And we had some kind of standout moments too. Um, with Jay, is it Jay Elaine Marcos? Jay Elaine Marcos playing like three hilarious bit roles in this hilarious uh camp and belting. The girl belt her face off. And I'm like, okay, come back every single time. Every time we know you're coming, you're coming with bad news.

But it was hysterical because they made it so funny. Not to mention you're like Eddie Corbish in this, which was just like so great to see him after many years of seeing him in so many Broadway shows. He's playing this great character that really transforms the plot. And you never really think that until he the spoiler alert, his character dies at the end, and you realize what is left and what you never think that character had a lot of wealth and was gonna support these queens in the afterlife. And I thought that was smart that they kind of made that. I knew something was coming.

[16:01] Richie Grasso: Okay. With him because you you had those moments with him where you were like, okay, why do they keep why does he keep coming and why is he trying to get them to come back together? He's gonna make something happen.

[16:14] Jeff Malone: Yeah, yeah. Um, there was there's also uh two other names I want to throw out here. Joey McIntyre. I was very impressed. I was Joey McIntyre. He was acting up there, he was singing. I mean, I think it's all I know he's a singer from a boy band from a long time ago, but I'm saying, like, in terms of acting and playing, I thought he was great. I was really impressed with her. People listening to the podcast right now are probably like from a boy band, he was new kids on the block.

[16:43] Richie Grasso: Well, okay. I mean, isn't that considered a boy?

[16:46] Jeff Malone: Yeah, yeah, yeah. No, that it was it's a joke.

[16:48] Richie Grasso: Okay. Um another name on the list here. Um, there's many producers list here, listed here, but it says all these producers' names, and then it says and Liza Manelli.

[16:59] Jeff Malone: Oh, Liza Manelli was brought on as a producer. She's the narrator in the beginning, and I believe at the end. Great to see that happening here. We get Liza sprinkled it. It was great. It was great to see and great to hear. You're listening, and you're like, ooh, they really got her in that last moment.

[17:17] Richie Grasso: I know. Now, what did you think about the music?

[17:22] Jeff Malone: I liked it. I mean, it was definitely this grunge rock 80s, 90s rock grunge vibe, which was the whole score. Um, I maybe I would have liked to change it up a little bit, but I understand that that would have taken us out of the style of the piece. The piece was meant to be this underground rock grunge, not like a top dance music. You know, when you think drag the musical, you think maybe there'll be a show tune number, maybe it'll be a tap number, something splashy. Um, but that there wasn't here, and that's fine. You know, it stayed in this world, um, which is fine, but I thought the band was really killing it. They were they were they sounded great. I did like the lyrics, I like the music.

Those songs seemed extremely long or extremely short, everything's developed plot. I actually kind of did enjoy that it was a different style that we probably were not expecting. I thought it could have been super easy to go like a pop girl um route for the music and to go with more of that like 80s underground city vibe like Joan Jet, Pat Benatar. I think it worked for this.

[18:22] Richie Grasso: Yeah, I think it did too. I thought it was very cool. Well, especially with these costumes that we had by Marco Marco. I mean, these were some high end top-notch costumes that we had.

[18:34] Jeff Malone: Oh, yeah. And that crew back there must be busy because costume changes, wig changes, the wigs, wigs were great. The wigs, oh my. Really good quality and really, really high quality. There was a um well, I'm assuming well, there's a makeup designer build here, and there's a costume designer. So I'm assuming they work together on it. I don't see a separate wig designer on the city here, but yeah, um, wonderful, wonderful stuff. So did totally enjoy this direction, the design, the actors' performances, everything was enjoyable for sure.

[19:04] Richie Grasso: I totally agree. Let's go on to a little bit about some like all uh our own experiences at the show as well as some upcoming Broadway announcements we've recently received. Uh, but first here are a few messages from our sponsors.

[19:17] Jeff Malone: And we're back. Own experiences of the show. Listen, I think New World Stages is having a renaissance. I think we're seeing a rebirth of New World. Well, there was a time there for a little bit that I was like, is New World good? Because there was almost nothing playing in there. I love the line in this about the Gazillions Bubble Show. Because the only thing I think that's been paying the rent at New World Stages the last 10 plus years has been the Gazillion Bubbles show. You know, you've also had Avenue Key was there for a while. You currently still have Play The Close Wrong, I think, still going there. Um, on top of now you have uh teeth there, and then this, uh the mom of the girl now, right?

So it's a it's midtown, it's right there in Midtown, it's in near the house kitchen, it's great for off-road commercial. There's also lobbies and a bar and large bathrooms and big space to gather and talk, and it's not like you're crammed in a theater. I just love that space. And I think it's like when you think New World, you have to think like, okay, we're in Hell's Kitchen, we're in like the gay mecca of like the city. Give program the entertainment that's really going to do well there.

[20:24] Richie Grasso: Yeah, gazillion bubbles. I don't know if that's the demographic, but it's still running. But the other shows that have been there recently, you're kind of just like all right. And now I think they're finally getting it again. I think Heathers might go there.

[20:38] Jeff Malone: Oh, it was there long ago, I think.

[20:42] Richie Grasso: Um, but I think so.

[20:44] Jeff Malone: Yeah, and also not to mention the fans are enjoying this. The audience we were sitting with at Drag the Musical are RuPaul fans, New York City people, it is tourists as well, but it's a little bit of everything.

[20:53] Richie Grasso: Yeah, I think you know, I had in my own experience with this because I'd never thought I was gonna be going to Drag the Musical and thinking that I was going to be almost sobbing at some moments, and I just started feeling tears running down my face because when you see the character of I what what's the um his Brandon, Brendan, and you see what he's starting to like, and you go back to those moments when you're a kid and you're like, oh, this is just what I want to do, and I want to like this, and you're told no, or you're told like you're gay, or you're told these things.

[21:36] Jeff Malone: And there were a few people I looked around in that audience with us, and I see these older men, I see people like us two that are just crying, and it's like we're seeing something that we haven't seen before on the stage like this. And I think that was a moving moment for me.

[21:54] Richie Grasso: Yeah, there was definitely a lot of emotion in this piece, and comedy and and dancing, and serious moments and drama scenes. It was a little bit of everything.

[22:03] Jeff Malone: And for sure, but I also think like that they wrote the music for his character to really soar, and you like had these moments that I was not expecting this kid to belt these numbers out, and it it was enjoyable, yeah.

[22:19] Richie Grasso: You know, for sure, for sure. Um it's definitely worth checking out. I think if you're in New York, if you're in the area, I think it's playing. I I want to say it's an open-ended run, I think.

[22:30] Jeff Malone: Oh, um or at least running for a while, at least until the holidays, I would think. So check this out when you can because I think it's it's it's running nicely.

[22:37] Richie Grasso: Um, we also have a few updates on some Broadway announcements to tell you about coming your way. Uh, three musicals have officially announced they're out of town runs, which means maybe off Broadway or Broadway runs are in the near future for them. One of them is Clueless with music by KT Tunstall. We have 13 going on 30 with film writers Joshua Goldsmith and Kathy Yespa, and music with Alan Zachary and Michael Weiner. And we also have Working Girl, which is music by Cindy Lauper. Three pretty cool titles.

[23:08] Jeff Malone: What do we think of the 90s, 80s, 90s, early 2000s kind of vibe of title coming into the commercial theater space?

[23:16] Richie Grasso: Well, some of these have been in the works for a long time. I think the 13 Going on 30 musical has been on the up and coming list since like 10 years ago. So to see that it's actually happening now is really interesting. I don't really know anything about that team. I am really curious to see what the music by K E T Tunstall is going to be like for Clueless. I know that's having its out of town, I think, in the West End first.

[23:39] Jeff Malone: Um, and Cindy Lopper actually just announced this the other night at Madison Square Garden that she has working girl in the works. So I, you know, are we still going down the lane of like movie to the stage kind of lane?

[23:57] Richie Grasso: Sure. I I like seeing some more of these like pop writers writing for these musicals. You know, it would be interesting to see what happens there. I'm I'm intrigued by all of them.

[24:06] Jeff Malone: I'm like not, so right, right, totally. And I think it'll be interesting to see, you know, right now you have uh, or was I don't know if it's still running in New Jersey. Um Empire Records Records.

[24:18] Richie Grasso: Yeah, no, it's not running anymore, but we haven't heard anything after that.

[24:22] Jeff Malone: So well, we know this upcoming spring is so saturated. They've already got a boatload of shows announced for next season with the Kristen Chenamith piece and um oh, there was something else recently. There's a few things.

[24:34] Richie Grasso: So we'll see. But speaking of shows for the spring, there are two shows that just recently announced they have theaters booked for the spring. One is Real Women Have Curves, going into the James Earl Jones Theater, which is where Left on 10th is currently playing. We know Left on 10th is a limited run anyway, so this makes sense to fill a theater that will be open.

[24:52] Jeff Malone: And Good Night and Good Luck, the George Clooning piece um at the Winter Garden where Back to the Future will be closing in January. So theaters are closing shows and opening shows as fast as you can say broadway.

[25:04] Richie Grasso: So it's I was almost gonna say that oh, we still have the Imperial uh Imperial available, but no, that's where Smash is going.

[25:11] Jeff Malone: So yeah, it is really um intriguing to see how fast a show is leaving, and that means that there is still a line up for shows that want theaters. And it's like when will we ever be in the O'Neill or the Minskkoff theater again? Um you know, it's like you go to Lion King once, or you go to Book of Mormon once, and when do you go back to those theaters?

[25:33] Richie Grasso: You know, meanwhile, with the next time we're in the Minskov is when we want to see the Lion King again because I do, and I will say this boldly on this I don't think that show is ever closing.

[25:42] Jeff Malone: Yeah, well, I mean, I I will say another thing. I for some theaters I could have I could have very well been in some theaters at least 50 times. There's some theaters I know I've been in 30, 40 times at least, and then there's some theaters I think I've only been in one, two, three times, really Kershwang for Wicked. Look, how many times have we been in the James Earl Jones since it's become the James Earl Jones? I mean, some interesting stuff there.

[26:08] Richie Grasso: Yeah.

[26:10] Jeff Malone: Getting ready to wrap up our episode here. What are your final thoughts on Drag, the musical off Broadway and New World's Tages Jeff?

[26:15] Richie Grasso: Again, I'll say that I that think that if you're a drag fan, if you're a drag race fan, um, this show will be everything that you want it to be from laughing to crying. It's a good night out and a good time with a good message um for you to go see.

[26:33] Jeff Malone: So yeah, I highly recommend it.

[26:35] Richie Grasso: I totally agree. Go check this out. It's fun. Bring a friend or two, laugh, enjoy something that's also got a message and a heart to it. It's not just a drag show, it's not just a musical, it's not just just it's everything. And you're gonna get a full on experience, and you're gonna have fun. And you're gonna get impressed with some of the design of this as well. There's some nice stuff going on there. So definitely check it out. I did really enjoy this, and I hope it has a nice long run. Drag the musical new world stages in Midtown Manhattan. Um then after you're right near all of the gay nightlife, so you can go check something out in real time. There's a drag show going on in every street corner of Ninth Avenue in Hell's Kitchen. I feel like every bar, not literally street corner, but I mean like the bar is all over the you know.

[27:20] Jeff Malone: Yes.

[27:20] Richie Grasso: So that does wrap up our discussion for this episode. We hope you enjoyed our deep dive into drag the musical. We're gonna share the link with ticket information in our description as well. And remember, we want to hear from you. Continue the conversation with us on Instagram at Half Hour Podcast and let us know your thoughts on Drag the Musical. If you enjoyed our show, please leave us a review. Your feedback helps us bring more theater to you. Remember, you can listen to past episodes and you can stay tuned for the many upcoming runs we have as well. Until next time, I'm Jeff.

[27:49] Richie Grasso: And I'm Richie saying ta-ta for now.

[27:52] Jeff Malone: Bye.