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[0:01] ♪ Musical number ♪

[0:21] Marc Tumminelli: Welcome back to Little Me: Growing Up Broadway with me, Marc Tumminelli. My guest today is an actress, director, writer, and producer who definitely grew up on Broadway. She started her career on Broadway in The Will Rogers Follies, originating the role of Mary Rogers, directed by the great Tommy Tune. She then starred as Lucy McFadden in Neil Simon's The Goodbye Girl, opposite Bernadette Peters and Martin Short. Some of her film and TV credits include Another World, Only You, Criminal Minds, The Thompsons, and Limerence, a film she wrote, directed, and starred in. I've wanted her on this podcast since I started it 64 episodes ago. So please welcome Tammy Minoff.

[0:59] Tammy Minoff: Hi.

[1:00] Marc Tumminelli: How are you?

[1:02] Tammy Minoff: I'm fantastic.

[1:03] Marc Tumminelli: Who's saying that right now, except for me?

[1:07] Tammy Minoff: Well, you know, like I told you before we started recording, we're similar in age, and I grew up being very obsessed with what you were doing because you were doing all the things I wanted to be doing, and you were doing it at the top of the game. You were definitely the child star of the 90s on Broadway.

[1:26] Tammy Minoff: Oh yeah, I mean, what there's not? There was no bigger role. I mean, with the exception of Secret Garden, there was really no bigger role than playing Lucy in The Goodbye Girl.

[1:36] Marc Tumminelli: So we're gonna talk all about that. My friend Daisy in The Secret Garden, who I knew and know. And the greatest. So let's go back to the beginning. Where did you grow up? How did you know that you had this gift? Because obviously, your voice as a kid was like so astounding, like the crispest, clearest musical theater voice ever. Talk to me about what was happening and where you grew up and all that fun stuff.

[2:02] Tammy Minoff: So I grew up in Larchmont, New York. Yeah, Larchmont, 35 minutes outside of the city. If you hop on that way, kids.

[2:11] Marc Tumminelli: Yes, that's right.

[2:12] Tammy Minoff: Although we often drove. My parents were big theater fans and took me to theater. I saw my first musical, which was MAME when I was three years old at a dinner theater, and apparently was riveted and just was like, you know, super into it.

[2:29] Marc Tumminelli: Was that at the Westchester Broadway Dinner Theater?

[2:32] Tammy Minoff: I think it might have been.

[2:33] Marc Tumminelli: Like, wow, how do you know that? You really did do your research.

[2:36] Tammy Minoff: I didn't do my research; we couldn't find anywhere. I just know West. I grew up in New York, so I know the things.

[2:43] Tammy Minoff: Yeah, yeah. I mean, I loved musicals, I watched movie musicals, and when I was around six years old, my dad was reading a local newspaper. There was an ad in the paper for an audition for Annie, which I think if you grow up doing musicals as a girl, you are forced. It is like by law that you are an Annie. I unfortunately had to do that four times before I was done with that sentence.

[3:05] Marc Tumminelli: Um, Annie four times, or did you play multiple roles?

[3:11] Tammy Minoff: I played Molly three times and Annie the last time when I actually played Annie in Lancaster, Pennsylvania, in between my two Broadway shows, which is kind of crazy that I did that. That's another story, but was that the schoolhouse? What was the name of that theater?

[3:29] Tammy Minoff: The Dutch Apple Dinner Theater.

[3:33] Marc Tumminelli: Okay. There was also like the strip. Do you remember the Struthers Library Theater?

[3:36] Tammy Minoff: Yeah.

[3:37] Marc Tumminelli: Jamie Lynn Sigler played Annie there when we were growing up.

[3:40] Tammy Minoff: Okay. I didn't know that. That's crazy.

[3:42] Marc Tumminelli: Okay, back to you. So you were doing like some regional jobs and so yeah.

[3:47] Tammy Minoff: There was an audition in the paper. It was local community theater in Porchester. I was six. I said, I want to audition for this show. My parents said you can't, you're six and you can't sing. And I said, Okay, I want to do it. And so I like wore them down as I did it for most of my childhood and teenage years. And they said, Okay, well, you know, do you know a song? And I said, Oh, um, yeah, I'm gonna sing "Maybe" from Annie. And my mom was like, Okay, well, do you want to do you want help? And I was like, No. So apparently I locked myself in my room to go practice this song. I didn't, I wasn't like a naturally great singer as a little kid. They all saw this first audition because it was in this super weird place in Rye where like the parents could see, which was super not typical and never happened again.

[4:36] Tammy Minoff: Yeah, but my parents saw my first audition, and apparently, like I acted the shit out of this song, and they were like, Who is this child? Who is our daughter? This is strange. And so the director called my parents and was like, you know, we want her to be Molly. I was really tiny, and I could barely read. And she was like, is she gonna be able to do this? And my mom was like, Well, I don't know, she learned that whole song. I'll help her. And that was my first show, and I fell in love with performing. So I continued to do community theater and dinner theater and local things. I did Gypsy; I was Baby June in Brooklyn Heights when I was seven, and my first agent saw me in that show. Actually, her partner, Marion, who passed away, saw me in that show, but I didn't get the note.

They sent a note backstage to the stage manager that Nancy Carson, Carson Adler agency, which is a big kids agency, wanted me to come in and talk to them. And I never got the message. It's such an old show business story.

[5:43] Tammy Minoff: So it wasn't until years later I was at an audition. And by the way, through this whole time, my parents, who are not stage parents and don't know anything, would just call people and be like, Can my daughter audition for this? Like I don't even know. They were managers before they—I mean they didn't know what they were doing. I wasn't allowed to get an agent because the idea of an agent was like, I guess like an old fat guy smoking a cigar. Like my parents didn't know anything. They were just like, that's gonna be dangerous. So I just did all this stuff, and then I was at an audition for a tour of The Sound of Music starring Debbie Boone.

[6:22] Marc Tumminelli: Okay. That's right. Crazy.

[6:25] Tammy Minoff: And Jeffrey Dunn was the casting director, and I had left my jacket upstairs. And when we went back to retrieve it, he said to my dad, you know, she's really good. She's not gonna get this job. I was, you know, I don't really look like a Sound of Music type child. Maybe now, maybe in 2022, but not then.

[6:44] Marc Tumminelli: Not then.

[6:44] Tammy Minoff: But she's really good. But if she wants to really do this, you need to have an agent. You can't randomly call casting directors because that's weird.

[6:53] Marc Tumminelli: It's a good thing you forgot your jacket.

[6:56] Tammy Minoff: Yeah, exactly. Didn't get the message, forgot my jacket. And he said, This is my friend Nancy Carson. Call her and tell her Jeffrey Dunn sent you. So when I showed up, they said, We've been trying to find you, which was cool. And I auditioned and I read commercial sides, and I was very, very bad. I was not a commercial kid. I was too offbeat.

[7:18] Marc Tumminelli: What's that? What's that?

[7:19] Tammy Minoff: That's a polite way of saying something.

[7:22] Marc Tumminelli: Off—I love offbeat.

[7:23] Tammy Minoff: Offbeat's cool now, but it was like not right.

[7:28] Marc Tumminelli: No, no, it wasn't. I wasn't a commercial kid at all. But she said, you know, if you want to do this, you have to take voice lessons, you have to take dance lessons. And so that's what I did. And I started professionally training in the city until I got my equity card when I was nine, doing One, Two, Three, Four, Five for Manhattan Theater Club with some great, great creative. It's a great creative team, Larry Gelbart, Maury Eston, all these people, all these amazing words in that.

[7:56] Tammy Minoff: Yes, once you do it. Davis Gaines sang that every night. And so yeah, all these incredible people, if you go back and look, you're like, oh my God. That was my equity card. I kept auditioning, and then I was doing a Christmas show in Westchester. And I had got an audition for Will Rogers Follies. And I don't know if you know how the audition process for that show worked. It was not typical. Because normally, like if you have an agent, you kind of you go, you get an appointment, you go and you sing, maybe you get a callback and come back and dance. So that's kind of what I had been doing. So Will Rogers was a giant open call that was covered by the news. The news was there. Very strange. And we were all there, and it was a dance call first. So we danced before we sang, which was because it was Tommy Tune.

[8:49] Tammy Minoff: Yeah, of course. And they kept like cutting us down and cutting us down and cutting us down through that dance process. And my mother suggested I wear, I believe, a red leotard so that I would be noticeable.

[9:05] Marc Tumminelli: My mom was smart.

[9:06] Tammy Minoff: My mom is smart.

[9:07] Marc Tumminelli: Your mom is very smart.

[9:09] Tammy Minoff: Yeah, yeah, yeah. Like, what am I doing? I need my mom now to be doing telling bossing me around. She's great. So I did that, I danced, I got called back in, and then the callbacks were at the Nederlander Theater on stage. They were before it was turned into what it became for Rent. And it fell in between a matinee and an evening performance for this little show, this Christmas show I was doing in Westchester. So my dad had to drive me into the city, and they were terrified. There was no understudy; like the show just would have been canceled, which would have been bad for those people. But we were like, look, it's a Broadway show. Like we're going, and we're gonna get her back in time somehow, which was crazy.

[9:57] Tammy Minoff: So we got to the Nederlander, and this really was like a chorus line, like those moments in that show. They had us all on stage, we danced, they kept—we all sang, the whole creative team was there. Tommy Tune and Betty and Adolph, and everybody was there and like in the theater. Oh, the parents were there actually, up in the balcony watching all of this, you know. Your parents are constantly watching you on your case, but just my dad was there, but like all the stage parents were there, and they you know, they all show up in the jackets and the whole thing trying to psych you out.

[10:39] Marc Tumminelli: Oh, show jokes. What's your audition song? And you're just like, I don't know, leave me the fuck alone. Like, I'm gonna go get ready.

[10:44] Tammy Minoff: So that was probably a quote. So we sing, they have us back up to dance, and it's the final dance, and they start calling people off stage, and I'm one of the people being called off the stage, and my dad, as he tells the story, is like, oh, all right, well, we made it this far. He's really bummed. They've called me off. Well, the children that they've called off the stage are being given sides to read. So the kids left on stage finish their dance; they're so excited, and then they're all told thank you very much, and they don't know what's happening, and it takes a minute for them to realize like, oh, that's the end. We go in, we read; by the end of that audition, it was me and the three boys who did it, and we kind of were like, Is it us?

Do we get it? Did we get it? We like sang, we started to sing music from the show around the piano. They were like, come sit, can you do a harmony? Can you do this stuff? And I was like, this looks pretty good. There's just four of us, and I'm the only girl, but we still had to wait for the call.

[11:50] Marc Tumminelli: Did you make it back to do your night show?

[11:52] Tammy Minoff: Obviously, I did. They held the curtain. I ran in like a crazy person. They were not happy, but also very happy because I eventually got that job.

[12:02] Marc Tumminelli: So when you—who told you you booked it?

[12:05] Tammy Minoff: So I was in the sixth grade; I was out to lunch with my friend Stacy at the deli in Larchmont around the corner. Yeah, this is super weird, but this is only what happened in the 90s. Like, we were allowed to leave school in elementary school and go walk to the deli and just like do whatever we want.

[12:25] Tammy Minoff: Same thing, yeah. So, like, what? Yeah, I was like, Oh, that's fine. I had dates in the third grade. That's true. So I was, I um, was at the deli, and my mom came in, she knew where I was and said, You have to call your agent, and you have to call Nancy. And I said, What? And I thought, oh no, she's calling to tell me bad news. And I walked to the back to the payphone, and there was a payphone there, and I called her, and she said, Are you busy?

[12:56] Tammy Minoff: And I said, No, and she said, Yes, you are. You bought this show, and I was so excited, and then I had to go back to school for the rest of the afternoon. Yes. And I told one boy who became my boyfriend for like 12 seconds that I had gotten this show, and I was like, You can't tell anyone because everyone's gonna make fun of me. You know, it was like this is my secret life, um, doing shows. So that's uh that's how I found out. I love it. So Will Rogers was a massive hit, yes, um, more than anyone could have anticipated. What do you remember about those first rehearsals being in this huge show with an enormous cast led by Tommy Tune, written by Psycho? Like, it's just the the greatest of the greats coming together to create a very old style musical in a time when Broadway had really shifted to these British imports and things like that.

This was like a very American musical. Yeah, I mean, I don't think I was as aware like of that historical state of the American theater. You mean we weren't worrying about that? So much again. Um but it had to feel big, you know. Yes. Well, first of all, it was my first Broadway show, and it was a Broadway show, so that's a big deal. I knew and loved a lot of the musicals that these people had created, and Tommy Tune, in case you didn't know, is one of the nicest humans. I do know. I've spent actually quite a bit of time with him. He's he's the kindest person, could the best person in show business. Yeah, yeah, I agree with you. He's as as kind as he is tall. Um, he uh was so there was a real and you know, Keith Carradine was fabulous, and um Katie Huffman and Katie, I saw kind of recently, a couple years ago, reconnected with her, and Dee Hody, who was amazing, and these people are all amazing, you know.

And the kids, everybody, but you know, we workshopped it, so that was cool. I really liked that process and learned a lot. And again, that was all at the Niederlander Theater. And Jerry Mitchell, Jerry Mitchell was in that show. Yes. He was in your ensemble. I remember almost buck naked. Almost buck naked, which was like again, totes normal for me. I was like, yeah, education. Oh, well, that's that's the least of it. The Follies girls are to think for a lot of my um education. And I would sneak into their dressing room and like listen to them uh share, share stories about romances and boyfriends and things. They were amazing, yeah, and they were gorgeous, these gorgeous girls. Like, I was like, oh my gosh, like I and people were like, You're gonna grow up to be like that.

I'm like, probably not. I'm short, that's not gonna happen. But um, they uh they were like just everybody working on that show was incredible. Um, we yeah, it was such a success. So I don't know, it was unexpected, but it was also like kind of normal because it was just happening, you know. That's that's the weird way to describe all this stuff. I don't think when you're a kid and you join a Broadway show, you're not thinking about ticket sales, you're not thinking about it. It's like it's just happening. Yeah. What do you remember about that opening night? I mean, I can't imagine it's overwhelming to have this huge show. Your parents seeing it, you know, obviously you have previews and things like that, but it feels like we're opening on Broadway.

It's your Broadway debut. What do you remember from that night? Yeah, I mean, I'm trying to remember the night. I I think that well, I remember the party, and I remember my dress, which I just uh was just actually found in storage. My dad has just moved from New York to the West Coast and he hoarded all this crazy stuff. And so that was in it. Um, all my all my childhood stuff. Um I remember, oh, I I I mean, I don't know if I'm allowed to say this, but I will. I I tried champagne for the first time in a Dixie cup. Somebody I was 11, right? Sounds like really it was a Dixie cup. It's very sweet. Okay, it was really sweet. Yeah, like I said, um, Katie and uh those women were so kind to me, really just took me under their wing.

You know, I was 11, then turning 12. And it's like, you know, that's a really unique time. And so I remember that. I remember the party. I remember being at the marquee. I remember like it's just it kind of goes by in a blur, and all of a sudden, you know, you're taking there's a picture of you in the paper with Adolph Green, and you're like, that's normal, I guess. I don't know. What was the reaction of kids at school? Were they do they think it was cool? Did you have a hard time with that? I had a hard time in school, but I don't really want to totally blame performing because I think like I had a hard time because I was just very knee, which is like outspoken and like was the kind of person to sit in the front of the class.

And, you know, there were certain kids who maybe had trouble with that. And I think like I certainly was bullied as a kid for different things, but it was and sometimes somebody would use that, but it wasn't always that. Um, and and definitely now as an adult, like people who I'm still in touch with, you know, share that like they remembered that. And it was so cool. And some people uh fewer there was a class trip to see, I don't think it was Will Rogers. I think it was the Goodbye Girl. And that was cool for people, but you know. Oh, that is really cool. Yeah, everybody knew I was a performer. I did some musicals at school. Everybody kind of knew it, but you know, all of the the bullshit that goes on at school, like usually had more to do with like social things, friends, boys, like whatever.

And again, I kind of kept it secret. I did not talk about it because you know, there were a handful of times where I was accused of bragging, and I was just like, oh, forget this. You know, we're not we're not gonna talk about it then. It becomes like the safe place. Like you get through the school days so that you can get to the Palace Theater on Broadway and hang out with those kids and see those show girls and have that experience. Now that show obviously you got to make a Broadway cast album. You guys, uh you did not perform at the Tonies, but the show performed at the Tony's and one, um, which was also quite unexpected because it sounded seemed like it was gonna be Miss Saigon's year. And it's probably like one of the best years of Tony's ever.

It's your show, Will Rogers, Miss Saigon, The Secret Garden. Oh, it's the fourth show. It'll come to me. Um something else. Oh, Tommy. Tommy, right. All those kids from Tommy. Oh, no, wait. Or maybe Tommy was goodbye girls. The Goodbye Girl. That's the Goodbye Girl. Okay. Yeah. So did you go to did you get to go to the Tonies that year? Did they have a big party for you? Do you remember any of that? No, I don't remember going, I didn't go to the Tonies. I didn't do any of that. I remember watching going to people's apartments and watching Saturday Night Live with the cast members. I remember going to bachelorette parties. I went to someone's bachelorette party at a bar and slept over at someone's house.

My parents were cool. My parents continued to stay cool. And I remember, yeah, we made for Halloween. I was bummed. This is something that I think kids who work can relate to. You miss a lot of things. And we were gonna miss trick-or-treating in Halloween. So Jason Opsell, who's no longer with us, who is amazing, um, helped me and with some other people create a haunted house backstage. Like it was amazing. You know they still do that now, right? Wait, what? Really? Yeah, it's a big thing. All the Broadway theaters have the kids. You can the kids trick or treat to each Broadway theater. And so I invent this. I think you may have. But I'm taking credit. No taking credit, but I know it's like started with or restarted again with the kids in the Lion King.

And that they would, and then um Disney made it a thing, and then all the Broadway shows. So but I'm gonna say Tammy started it. I didn't know. I invented Broadway Halloween. So now you're a Broadway kid, which means you get to do a lot of cool things. You get to do some press events. You became one of the Broadway kids, which is a very um special thing where you got to do all these cast recordings with the kids from Le Miz and Sea Your Garden and things like that. What do you remember about making those albums and doing doing those kinds of things? Um, you know, I think the things that I remember the most from like being with the other kids were like we did some, we did a bunch of different like benefits and things over time.

Like I remember I'm gonna mess this up. You might know what it is because someone else might have told you. But at some point, I was in a limo with Mickey Mouse riding to Times Square and Jody Benson sang and we all sang and we wore really ugly t-shirts and it was like project it was like you know um in Times Square like behind us the live recording like a jumbotron yeah my best friend one of my best friends who I met doing Annie in Lancaster Pennsylvania uh was visiting me in New York and got to ride in the limo so that was super exciting. Um and I I remember like especially as I got older and by older I mean 13 um and 14 like it's not that old feeling protective of the younger kids like I remember those little cutie pies and Tommy like they were so little like they were these children.

And certainly like I knew all those kids Jeffrey Landman who was in Falsettos like who I ended up going to college with and um yeah like there was definitely camaraderie but you were also sort of in your own lane doing your show like there there was a little bit of both um I don't have huge vivid memories of recording the Willow Rogers follies I mean I did it so that happened we can all hear me. Yeah and people for years were followed me around singing howdy I'm Mary Rogers which is always a little um, you know sort of like oh okay um I mean like the two people who know who I am so um but the goodbye girl that recording experience is burned in my mind which I'm gonna get there if you want to I don't know, we're not ready to jump there yet.

There's two recordings that I thought of this week. I was like, oh my god. She was on this Peter Pan recording I used to listen to and lost in Boston, I think. And you sang a cut song from Gypsy with Lindsay. Um what was her name? She was the girl from Ruthless, right? Lindsay Ridgway. Did Lindsay Ridgeway sing with me? I thought so. [23:09] Tammy Minoff: I have memories of you wiki. I sang a song with Michelle Pac. Um so all those albums that I recorded, and then I originally sang Joshua Novic, which kind of got some like airtime and and girls started auditioning with it because Susan Egan did a recording of it after me, but it was on Broadway bound. All of those things I did kind of after Broadway.

So that's all from like 14 through like college. And um Bruce Kimmel, who produced a lot of those albums, uh found me and was like, you know, I I loved doing that. That's my favorite thing. Honestly, like performing and singing live would be terrifying to me now. But like singing in a studio, that's really fun and learning new songs. Yeah. So when did the goodbye girl like enter your world? I imagine the search to find this Lucy must have been like incredibly big because there's no rules like that. Yeah, I so I'll tell you what I know. And uh, you know, the Neil Simon and Marvin Hamlish and all those guys might disagree, but we can't ask them, unfortunately. We unfortunately cannot find out anything.

We can't. So your your word is on record right now. So this is all my from my perspective. Um, so I I uh we'll have to draft backtrack the the first Broadway show technically I ever booked was Meet Me in St. Louis. However, it was that's Jay Binder who cast it, and it was to replace it was a replacement role. And with we watched the Tonies, they won no Tonies. We thought this isn't good. The show closed. I never got clapola. No, I never got to do it. And also, like, yeah, great. I wasn't gonna start as a replacement. Come on now. I had to, I had a cast only for the first time. Obviously, no. So um I didn't get to do that, but Jay Binder uh knew and liked me. And when I went into that audition for Meet Me in St. Louis, this is whatever.

If she listens, sorry. But he said, Where were you at uh the original auditions? Why weren't you here? And I was like, I don't know. Okay, one of the many times where mixed. So he really like I think kept me in mind. He brought me in for the goodbye girl. I sang for him, and then the callbacks were um this was for backers audition, so it wasn't for the show, and um, it was for Backers Audition. And uh Marvin Hamlish and David Zippel were at the callback.

[25:41] Tammy Minoff: I sang, I sang my song again, and I got the call that I had been cast as Lucy in the backers audition. And the other thing that's super weird is that when I was 11 years old, I watched The Goodbye Girl, the movie, and I loved this. I was like, I love—I mean, what 11-year-old is watching? I watched it. I remember watching this movie. I was like, oh my gosh, this is incredible. And so we did the backers audition. It was Carolie Carmelo and Greg Adelman who did that. We were married then, I guess. I don't know if they—maybe they were just dating then. My story is that's how they fell in love, but I have no idea because I was 12 or whatever. Well, they were soon to be let go, friends, The Goodbye Girl.

That's right, that's who did it, and then Aaron Torpey did that first reading with us as one of the other little girls. And then another little girl did it, but she didn't continue on because she booked The Secret Garden. So that happened. We did a backers audition, it went great. You know, Neil Simon was there, like introducing scenes and talking about it, but we didn't read. And he's like, um, both sweet and warm and terrifying at the same time because you're just like, I don't want to mess up this person's joke. Like, it's for real. Like, he's in the back of the theater with a typewriter, like that's real. And you're like, oh, I better not mess this up on stage tonight. Like, yeah, but again, incredibly sweet, soft-spoken.

Also, like nobody your generation can say they worked with Neil Simon. So it's kind of cool. I mean, it's very cool. You're in a very small group of people. Keep going. He is one of my, you know, my teachers. When people are like, how do you—well, how do you know comedy? Like, who taught you comedy? The answer is Neil Simon. That's one of the answers. It's all of those people in this show because they're comedy geniuses. Anyway, backers audition, we did it. That's great. And then I think we did another one. And at some point, it was like I had to, but the search continued for Lucy, and I was like, this is so awkward. And they were seeing everybody, and it was horrible. And people were saying terrible things to my mother, and like just, oh, like your kid's not gonna get it, my kid and this. I don't know what went on. I'm sure crazy stuff. All the things that you think went on is exactly what happened.

[28:03] Tammy Minoff: Yeah. So at some point it was like, well, we've never seen her read a scene. Like I had only sung. Sung the music. And so I went into this audition, and again, it's this whole creative team who like I knew and loved. You know, Marvin Hamlisch taught me that music. That was who taught me the music for, and he's an incredible guy. His wife was amazing, is amazing too. Um, and so I sang, I sang my audition song for them, which it's like this is why. And then I did the scenes, I made them laugh. I think Neil was like, that was funny. That's kind of my memory. And I left. And then I went around the corner and I auditioned for a tour of Annie, because that's what you do. That's what you do. And Peter Lawrence, the stage manager, ran into us.

This is like an hour or two later, and said, whoa, what are you still doing here? And I was like auditioning for Annie. And I—we kind of like, and he kind of, you know, confirmed the story. He went back in and was like, you guys, she's auditioning, like, you better get like the loser. Right. Yeah. So they called. My mom took a call in our kitchen. The way I knew I got the job is I just saw my mom jumping up and down. And they called early because it was a holiday weekend and they didn't want us to wait all weekend, which was super sweet. And did you know at that point it was Bernadette Peters and Martin Short?

[29:26] Tammy Minoff: I did not. I did not. When did you find that out? Oh, when they—and they might have already known, but I did not know. I don't know when that happened. But they—so I did this production of Annie, and at some point I had to let my understudy go on because I was being called to New York to do a first reading, table read of The Goodbye Girl. And Bernadette Peters and Marty Short were the leads, and I lost my freaking mind because first of all, like, I mean, I love—who if you don't love her, you're wrong, you're incorrect. And she was—that's what I wanted to be when I was a little girl, right? 13-year-old me was like, when I was a little girl, I wanted—and I just—I loved her. I loved everything she did, and I loved him too, so that was super, super exciting.

I met them at this reading, I sat between them. I basically introduced myself, and the first thing out of Marty's mouth was, so which one of us do you like better? And it was—I—that was the beginning of just all of—I mean, he's just one of the funniest, sweetest, kindest people, and he was amazing. They were both amazing. So when you think about it now—and this is normally a question I ask towards the end of these interviews—but when you think about it now, can you believe that like that was what you were dealing with at how old were you for The Goodbye Girl? 13?

[30:39] Tammy Minoff: 13. Like sitting with the two biggest—like the biggest, certainly theater female star and a huge movie TV star, like sitting together and being—it's the three of you starring the show. Like, can you imagine that that happened? I can't, and yet of course it happened. Yes, it's both actually. It's both. You know, it's such—and that you handled yourself, that you like squeezed yourself in between these two people and killed it, you know? Thank you. And here we go. But yeah, you know, I think I—I'm not all that different than I was when I was six. In fact, the older I get, the more I am like the six-year-old me, which is kind of—I don't know. That's just—yeah, I think it was what I was meant to be doing.

It was what I wanted to be doing, and I worked really hard and was good at it too, you know? You're allowed to say that about yourself. Yeah, um, I was—at what I did, I was good at it. I couldn't do all the things, but I could do the things that I did. Now you guys went to Chicago first with that show, so the show changed in wild ways. I mean, oh my god, yes. I now—I know that's a lot, many opening numbers, and I'm sure your character changed a lot. Tell me how you dealt with all of that at 13 being out of town. Obviously, did one of your parents go with you?

[31:33] Tammy Minoff: Yes, so my mom came with me, and then my dad and brother came to visit at different points, but my mom stayed in Chicago. It's very cold in the winter, in case anyone was wondering. Um, we all know. So how did you handle the constant, you know, hamster wheel of trying to create this new musical? That was out of town, obviously. It was a new musical in trouble. It was stressful. It was stressful because it was kind of like no one was—like I wasn't in on those creative conversations, but you could see that things were—people were stressed and people were fighting or disagreeing or trying to figure it out. And you know, everybody was so—you're talking about some of the greatest people ever. Like, you know, everyone's got their ego, everyone's got their opinion, everyone's—and again, I'm not really privy to it.

I'm just like, oh, I better show up and do the new—try the new song for the third, fourth, fifth time or whatever, you know? And you know, Neil would rewrite jokes and you would get those jokes. And Gene Sachs, before he was no longer, would come to my dressing room and give me my notes. It was like you want to play.

[33:24] Tammy Minoff: He didn't die, he got fired. Yes. Let's just keep that—just so that everyone could follow along. Sorry, director got fired between—oh my god. What is this? It's really—that must have been so awkward because Gene and Neil had done everything together. Yeah, years later, I found out like what that meant, right? Like I didn't know. I was like, oh, this is a lifelong collaboration and friendship. And I think in some ways, again, this is just my opinion, you know, he kind of took the fall for why the show wasn't working because there needed to be someone to blame. And in my opinion, that it wasn't why the show didn't totally work. And one of the things that we were up against, which is, you know, around in 2022, is this fear of being politically incorrect.

So I'll give you an example. Like in the movie The Goodbye Girl, when um, Elliot plays Richard the Third, the director asks him to play him gay, and that was not a cool thing to do, or they thought. So he became a man playing a woman, playing a man. Very like, what? What? Can't he just be gay? I don't know. Anyway, so I think like that was part of it. And also, um, on the—like, you know, women were now working and powered and strong, and I don't think anyone was comfortable with the story point that happens at the end of the movie in The Goodbye Girl, where she's falling apart because he's left her again. And in the musical, she's like, go, go follow your dream. I'll be okay. And it's kind of like, well, that's not dramatic.

And also, you know, I'm a strong working woman. Like, I've been through breakups. Like, it sucks if somebody leaves. Like, why couldn't that have been the story point? So I think some of those things certainly contributed to issues in the book. Again, that's my opinion, sort of now, and watching what went on. But yeah, it's very stressful. It's hard to learn an opening number, and it would be confusing because you'd be like doing your opening number, rehearsing the new song for three days, but you're like, don't sing that tonight. You have to wait until we get there. And it's fast, it goes fast. I don't think I could do that today. It was fast.

[35:45] Tammy Minoff: Now, obviously, was there a moment at all where you're like, this show's not going to Broadway? We're gonna close out of town. Did you ever get worried that that would happen? I didn't. I didn't feel like that. Yeah. Did Bernadette like help you through that some of that process? Because I imagine, you know, based on the interviews I've seen of her actually speaking about you, which we're gonna talk about the Pat Collins special in one minute.

[36:11] Tammy Minoff: Hello. Oh boy. But you know, the way she talked about you, it's just that she felt like she had a real scene partner, that you were so present for her, and that the two of you were creating this thing together with Martin. Oh, you know, Martin Short. But um, did—was she helping you? I mean, you're a young person, and we have the greatest musical theater star of multiple generations happening in front of you.

[36:37] Tammy Minoff: Yeah, she was incredibly protective of me. She was a child actress herself. I think—and her—this is random, but her mother used to take her into my grandfather's butcher shop when she was a little girl. So we knew her in that way. I mean, I didn't know her, he did. And when she was auditioning, and so she was really protective of me. I think if she had her druthers, she would have been like, don't do this crazy business. This is a hard business, and you're smart and great. But um, we were very close. And you know, Bernadette's a private person, and but I again I was incredibly close to her through the whole process. And she, yeah, she definitely took me under her wing, and it definitely just—that was my scene partner, you know? She was my mother. That was our relationship.

[37:35] Tammy Minoff: So this Pat Collins thing that I mentioned ago, this is how I became obsessed with The Goodbye Girl because there used to be these specials on what was then called UPN, whatever, whatever. Whatever. And it was these—there was these like two and three hour specials about the opening of a Broadway show. And there was a Goodbye Girl one. I think there was a Tommy one. I know that there was a Kiss this—there was like a—I didn't even know that. Wow. There's like a bunch of them, but the Goodbye Girl one was great. I think I have it on VHS like under my bed, which is so embarrassing.

[38:05] Tammy Minoff: No, that's—that's pretty great. It's pretty great. I rewatched it on YouTube before we talked today.

[38:10] Marc Tumminelli: Oh, that's horrifying.

[38:11] Tammy Minoff: It's not the whole thing.

[38:13] Marc Tumminelli: It's on YouTube.

[38:15] Tammy Minoff: In like 10 parts. But you get interviewed, your whole family's interviewed. What do you remember about that? Like them, they—you had your dad made a little, I'm assuming it's your dad, but mate, you had an ice hockey rink in your backyard.

[38:27] Tammy Minoff: Like yes. Can you I mean, I'm not like a weird sick person, but I mean, now I do know quite a bit about you. But it's fine. I am a weird sick person, and that was a weird sick special. Um, because first of all, well, yes. So he I don't know why that ended up in this special because an ice skating rink and ice hockey has nothing to do with me. Although that my father was a coach, he just retired since I was born. So he was a hockey coach. My brother played hockey, and so we used to ice skate like normal people at an ice skating rink, but for some reason, I guess it was cold. I don't know. And the people who, you know, film that some producer was like, it'd be really cool to see that like let's do that.

Get them on the stage. Did your brother like filming that? Was he like, oh, this is so cool? No, my brother, probably he liked ice skating, but my brother kind of stayed out of all of this and you know, kind of thought he treated me like a brother treats a sister, which was a very good thing and was not was not starstruck or by any of these things going on, although he did kill it on the dance floor at the Goodbye Girl opening night party. And oh, this is a good story. This is a compliment to my brother. Neil Simon walked up to my mom after my brother had like around where's this video tape? Everybody around him going, go Cory, go Corey. He was a little little kid. Neil Simon went up to my mother and went, Where did your children come from?

And it was just like so amazing. It was like my brother's not a performer. So anyway, yeah, that's special. So she's kind of frightening, huh? She is kind of frightening. Um, yes, she's am I allowed to say that? Did she ever hear this? I don't know. No, I think. And again, like in not in like, I mean, just if you're me and that's who's in front of you, it's wow. That was it's really fun to re-watch because she's interviewing people like Joan Rivers and Karen Channing at the opening night in the Minsk. I mean, at the marquee in the lobby. And um, there's a really sweet thing that your dad says, which is that he shows you Brishnakov on the TV and says, That's the best dancer, and you say, No, I'm the best dancer.

And that's when he knew like you could handle show business. I was three when I did that. It's like it's very, very sweet. And it also is you get all this cool footage of Bernadette rehearsing on the beat behind. Yeah. And you see why she's so brilliant. You know, it's it's so different than it sounds on the cast album, and it's so because she's so present. Now tell me about making the cast recording, which lives on forever. And you have this the most incredible kid singing voice. Oh, and it's preserved for all time. Give it a listen if you haven't in a minute, and you'll be like, oh my God, I'm so good. I'm so good. What happened? You are so good. We're gonna I want to know about singing, but tell me about making that album.

Yeah, so we were scheduled to make that album, and I got sick and got laryngitis and was still in the show going on. And I went to go sing, what is it? Who would have thought? And I and I did all the things that a singer does, and I could not hit the last final high note. So if you listen on the album, the three of us sing it together, and they just turned my mic all the way down because I couldn't do it, no voice. Um, but in the show, I sang that last word by myself. So I did that, and they were like, hey, we can't record like your whole I held up the entire cast recording of The Goodbye Girl. They had to wait and push me. Um, Marty was like, why don't you let your understudy go on? That would be really fun for the girl, you know.

To do the cast album? No, no, no. In the show on the show yeah and I said would you let your understudy go on literally and he was like no so we were the only two people whose understudies did not go on in that show I think we did all the performances and I was like yeah yeah bitch I see this is my part I see you also that that is a like question I've always had it's like that you were playing this huge part and then there's was there two other girls or three other girls yeah so I think Aaron was my understudy and then there was a swing who was the understudy for the other two girls like there's like a you know Lucy has her two best friends and they do a couple numbers together right I'm sure was there like animosity about you know you were like the star kid and then there's these two other kids that have barely anything to do I hope not first of all both of them are lovely humans I saw Lisa recently she came to my New York premiere of my movie and we got to reconnect so that was super cool I run into Aaron I don't think so you know those those girls were super nice like all those stories before I'm like this person was saying crazy that wasn't really them and it was kind of like the way it was that's the way it was from the beginning.

So I don't know how they felt inside of if maybe that was like a bummer but it just it certainly never felt like that but um yeah we so we were recording I didn't let my understudy go on so sorry I was uh I decided to behave like Marty Short did which was to not let my understudy go on. And they look, you know, when you're doing a show, this is before the Tonies, they really don't want you to do that because there's voters there. They really want people seeing that show. Um, you know, Bernadette's understudy, understudies, her second one went on for half of the show one night. That's a whole other story. But you know, um, she went on a lot. It was a hard show to sing, and there was a lot. So her understanding went on several times, but we got to this point where we couldn't record anymore.

We stopped, we waited for me to get better, and then I came in to record by myself. So, you know, the song I sang with Bernadette, don't follow in my footsteps, like she's not singing with me. And because she's so brilliant and present, she did some things like a little differently than and I'm like, she's doing slides and things and vocally that I'm like, that's and we're harmonizing, and they're like, you gotta find her matching. Yeah, find her timing, and she's not in the room. So I really remember that. And I remember being so upset when I couldn't hit that note. And I remember like it was like tears, and I was they were like so kind. It's okay, don't worry. This is gonna cost everybody a lot of money, but we're gonna let you come back and record it.

We're gonna run forever. So now the show opens, which you know, it's obviously that special that Pat Collins special follows through opening. What do you remember? Obviously, the opening night party must have been thrilling for you. Epic. Yes. And the next day, how how aware are you of these reviews, which I reread today? They were mostly not unkind to me. And I um like, I think my neck, how do I remember this? And then it's like funny years later. Someone was like, Don't read reviews. If you read the bad ones, you'll believe the good ones, and you shouldn't believe either, which is kind of true. Um, but I think my review in the New York Times, Frank Rich said I was tall enough to be Bernadette's sister.

That was the criticism of me, which is such a most ridiculous review ever. It's like the stupidest thing ever. I'm like, she's small, I'm small too. Also, what? Um, so that was the only negative remote review I remember. So they but people weren't unkind to me. And I felt protective and defensive and thought this music, which by the way, this music, like it's a great score. Are we ready for a revival? We are. I do think it should be a I think it should be like a six-person show. Yeah, yeah, yeah. It should be smaller, no ensemble. Yeah, yeah. It's funny. A friend of mine approached me about doing like a cat, you know, I why don't I even know what it's called? That's how out of musical theater I am.

Like a night where you sing. You don't do the whole show. Like a concert. A concert. Cool. I learned the word concert today. So thank you. Um yeah, we approached me and was like, we should do that. That would be fun. Obviously, I wouldn't I wouldn't be singing Lucy, and I'd need to, I need some serious voice less. I don't think I could do it justice, but yeah, anyway, it's beautiful music. And so I felt really protective and felt like how could they say this about our show, you know? Yeah. How could this like go wrong? You know, it just felt like, and I always think that because the score's so good, because the star power is huge. Right. Because you know, the creative team that's attached to it is the expectations were so.

How did this not work? Um yeah, yeah. I mean, I think it had book problems. If I'm sorry, Neil. Sorry, Neil, that's okay. I love you, and you're the most talent one of the most talented people ever. But I think it had book problems, and that's really and it probably was being so you know, creating the movie. Yes. Often it it often does help to have someone who's not the creator of the movie create the stage show. It's just yeah, and I think you hit it on the head. I think it probably got too big, like it probably would have been uh cool as a smaller, more intimate, you know, show. Now, did was there a sense that like, oh, we're we're going down like the Titanic, or did you feel like, oh, I'm you know, most shows get a good year in before that happens anyway, even if Yeah, I was having a blast, and like again, I'd done Will Rogers, that didn't happen.

So I think probably when I was like, oh, was maybe like around the Tony Awards when we realized that wasn't going that didn't go so well, and I boycotted the Tonies. I could have gone. That was a mistake. Were you annoyed that you didn't get a nomination? And you should have because that year was actually there was a lot of space for you. Thank you. I was not annoyed about myself. I was more annoyed that the creative team was not recognized. I thought, and I don't remember what was nominated for the music, but for music that year, but I feel like there was a play that got a nomination that wasn't even a musical. Like I don't remember all the things, and there were a lot of good shows that year, but I was just like, whoa, really?

Like, come on, you know, you might not love the show, you might not love everything, but the music is just fantastic. So I didn't go to the Tony Awards. That was dumb. That was a cool choice. Yeah, yeah, obviously. And then when when no one won anything, was there like was there a like you know, a sense of like we're just gonna do this job until we can't do it anymore? Or yeah, it was a bummer, but you also have to remember so, and I kind of said this like Marty Short is one of the funniest people I've ever met and will ever meet, and you'll ever meet, and so on and so forth. And so there was a real like I think because and I don't know again this is just my assessment now like it was sort of like everybody let you know the campers loose and we just all were like fuck it and we're doing funny things like at some point I mean I I could tell those stories of all the stupid things we used to get in trouble for but there were a lot of pranks on that show.

There was a lot of trying to like get people to break on stage you know it it happened almost every night um that burn it out would break like Marty would like do something improv something and audiences love that because it's like really a lot you know and he's really funny I um I fell asleep during one of the performances and missed my cue because they staged they have this fight and they staged me where I like laid on a couch in the back why didn't I just exit? I don't know but it was on the stage I would read books. It was so boring it took forever and one day I did fall asleep that's a true story. Um I also freaked him out because I pulled the tooth out as I like walked down made an exit came back around to the rowboat when we got in the rowboat and I sat in this rowboat apparently there was I had like blood everywhere and I couldn't warn him because it happened so quickly.

Um and he was like oh my god we have to sing a big song to you in a round and I'm like fleeting from the mouth and it was like a little warning, maybe next time. What a what an what a dynamic experience to have as a young person. Oh, yeah, like dogs ended up on stage. People who were not in the show, including my brother, ended up on stage. Like, oh, we used to they used to do crazy shit. And it was like, this is funny and fun. And you know, I love it. It's great. When um, how hard was it to close that chapter? I'm sure it's pretty difficult. Well, you know, it was really kind of the end of an era for me.

[51:16] Tammy Minoff: Um, I was 13, that was August, and I a month later, I got my period and started high school. So that's what everybody says. It's like that's it. That's it. And then your agent goes, you know, like maybe we should lay off a little bit, and like da-da-da. And there was part of me that was so excited to have a normal high school experience until I got that after a year and was like, get me the fuck out of here. And then I graduated early. A little bit. I mean, I did so I did only you, which was my first movie, like right during all. Yes, I love that movie. And I got that job, thanks. So Larry Bresner, who's also no longer with us, was Marty Short's manager. He came to see the show, and he took me to my first film set.

And so I saw actors um not performing and acting, and I was like, this is what they this is why I'm not getting any movie jobs. I'm like, oh, they're just like talking really quietly. You're just being normal humans. So my next uh audition for a movie I I got, and and uh so I I always like that story, and I and I fell in love with making movies on that set and doing all of that, and so I kind of knew that's what I wanted to do. And I also just was, you know, a little bitchy little 14-year-old who said, I don't want to take voice lessons anymore and leave me alone, and I'm gonna go talk on the phone on my giant chordless phone in my room with my waterbed and my pet rabbit. That's all real. Oh my god. Wow, you were you were you were rebelling from being a Broadway kid. Cool party. Having to be cute. Now, did you decide you wanted to go to college for film? Like at what was gonna be next for you?

[53:05] Tammy Minoff: I probably wanted to, so I auditioned for a pilot in LA when I was about 15 and like got pretty close to it. And I was like, oh, I should be here auditioning. But that was sort of not an option and where I was from and how I was raised. It was sort of like you had to go to college. That was the next thing. So I auditioned for NYU. I got into the musical theater program, because like kind of like duh. Um, but it was also sort of like duh, what am I doing here? A little bit, you know. Did anyone weird write your college recommendation letters of like Tommy Tune write your recommendation letters? I don't think so. I don't know if you did. I wish that would be cool. We can say yes. Um, so I I was in college and I had like I was sort of just like not into it because I was like, I didn't really want to be doing that anymore.

And there's all this pressure and expectation when you've worked and done that, and people would be like, Don't do that thing that makes you Tammy. And I'm like, but that's what got me jobs. What do you mean, don't do that thing? You know, I was like, I I got really picked on in college for my voice, actually, because uh a whole class of kids decided to do an impression of me as Fran Dresher in Lananny. Like that was me because I was too nasal or something like this. But you know, college is different, is like a totally different experience and environment than the real world. And so I eventually was like, okay, I think I'm done with the musical business. I kind of kept dancing because I loved it.

I took other classes. I took some like film acting classes and got my BFA in acting. And then right after 9 11, I moved to LA and I was like, okay, I think, you know, yeah, I'll do some theater or whatever. But I didn't really do too many musicals after that. I did like one show here in LA where I was forced to sing and dance, sort of. And that's that's the last time. It's not what you want to be doing.

[55:04] Tammy Minoff: But in recent years, you've been doing a lot of things you want to be doing. Yes. Um, including writing, directing, and producing a film that you can watch on Amazon Prime tonight. Yes. Listeners, which is called Limerence. Tell us about that movie. Um, and sort of what we can expect by watching it. And it just, I'm like watching it tonight. I watched like all this preview footage, and you're it looks like the greatest, sweetest romantic comedy in the way that I love a good romantic comedy. So tell us about this movie.

[55:31] Tammy Minoff: Yeah, I hope I don't disappoint. So I um I it is a romantic comedy, but it's about relationships, uh, which you know, I spent a long time doing and being in, and I was a pretty boy crazy kid and young adult. And yeah, same, same means, still am kind of. Um, even though I'm married, he knows my husband knows it's okay. It's okay. Everybody knows, everyone's okay. Um, but I was in a an improv class kind of a thing with an actor named Chris Messina who from the Mindy Project, yeah. Yes, yes, he's incredible and also incredible. Very nice to look at. Continue. Yeah, he's cute. He um he was like, we were doing this thing, and I ended up writing a scene, and he was like, Did you write this scene? And I was like, Yeah, and he goes, Oh, you should keep writing.

And eventually I wrote a play, because that's what I knew how to sort of do-ish. And we did a reading, and Chris was there and he was like, This is really good. You should do it. You go, you should go do this. So I um we did this play, I didn't direct it, I was in it, I wrote it, and we had a sold-out run in a very small theater in LA, which is pretty unheard of. It's impossible to get anyone to see theater in LA. And it was a very intimate show. It was like tiny, and so it kind of had that uh had a film sort of vibe to it in that you were right there. It wasn't like you were in a big proscenium theater. And uh at the second performance, Brad Zion, who produced Kissing Jessica Stein and Iron Abbey.

One of the best movies ever, go ahead. Obviously, right, was in my audience because he knew the other actress in the play, and he said, I like this, I like this writing, I want to meet Tammy. And we met, we found out we're from like a town apart, like which was so weird growing up, and Kissing Jessica Stein also started as a play, which I didn't know. And so he was like, I think we should turn this into a movie. And so that was how that started. I wrote, we developed it, I wrote drafts. I'd never written a screenplay before, and uh I was like, okay, and then we got into a like fundraising and pre-production, and we were meeting with directors, and at some point he was like, I think you should direct this.

Uh, I spoke to Chris Messina, who like kind of, you know, they had worked together before, and he was like, You should direct this. My husband was like, You should direct this. Everyone was like, You should direct this. And I was like, Okay, guys, I don't know how to direct, I've never directed anything. They were like, I think you do. And you know, I uh taught for many years and and taught actors and certainly directed scenes in that respect. Um, but I guess just everything by Osmosis. I don't know, people were like, How did you know how to direct? I was like, I don't know. I watched a lot of times you just know, yeah. I watched a lot of shit, I figured it out, I hired good people and I was nice to them.

I don't know. Like that was it. And so we shot this little movie, and eventually we got distribution after we did some film festivals, and it's uh a relationship movie and it's a love letter to LA because I love L. I'm a New Yorker who loves LA. Sorry if that's a thing.

[58:48] Tammy Minoff: It must be so proud to have like that. Is a huge feat to write, direct, produce, and star in something. Um must feel so good to be like, I like like climb the biggest mountain you could possibly climb. It's a pretty big mountain, yeah. Yeah. Do you want to do more of that? Would you rather be acting that someone else is directing? Like, what's next for you do you feel on this long journey in this business?

[59:11] Tammy Minoff: So I I loved writing and directing, and so I'm developing a TV show with my producing partner, which is really cool, which we're just starting to like get ready to go out with, which is a comedy, and is uh pretty autobiographical. Um so that will be kind of is it like about a child star? It is not, it is not about that point of my life, it is about single Tammy and um all of my gay boyfriends, so it's really uh love that pretty out there. Um, I don't know if my children will ever be able to see this. Would you let your son ever do like be part of this business? I mean, sure, but I'm certainly not gonna suggest it, you know. Like I think if if it were coming from the place that it came from in me, which it was like I have to do this, I want to do this, and this is then sure.

And he's uh a little bit like me in that he's pretty um he doesn't have trouble advocating for himself. And so I I think yeah, I mean, again, I I hope that he finds what he loves, whatever that is, and I hope it's not acting because it's so fucked up, terrible business.

[1:00:27] Tammy Minoff: But you but you're here and you're still doing it and you're wearing your goodbye girl t shirt. Yes, and sweatshirt, which is collector's item, collector's item, just unearthed. But yeah, you know, I I so yeah, so that's what I'm doing. I'm and I'm uh working on uh another two other features, so that I'll hopefully direct and not be in. But yeah, you've done a lot of that. I mean, your IMDB is so many, you've directed so much, you've you've you've been working. You're you're in. I'm doing my thing. Yeah, I'm doing my thing. I I just directed a short film that finished um it's like festival run that was cool. I didn't write it, and so that was fun. And yeah, I mean, look, I'll do anything. Like if someone wants me to show up and act, sure.

If someone wants me to show up and direct, great. Like all of it's fun. It's like who are the people that are involved? What's the project? For me, that's it. And even if it's like bad, if you're gonna make some money, sure, okay. Why not? Could we get you back on Broadway at some point? I hope so. Oh good. I don't think I'm famous enough anymore. No, no, but you know, it'd be so fun if you're in a Broadway musical. I'd be so excited. You'd have to you have to dust out those vocal cords. Do you sing like around the house? Like, are you do you find yourself singing in the shower when no one's home? I'm sure you never have a moment alone, but you I don't have a lot of moments alone, but I do sing now a lot since becoming a mom because that just happened.

So my husband is introducing uh him to all the cool music. I'm introducing him to all the cooler music, right? Yes. Um, and so he's you know, a toddler, very into frozen and all the things that kids are into. Um, I was shamed for not knowing all the lyrics to life on Mars by David Bowie. And I'm often told mommy, don't sing. Mommy, you have to sing. So I do some singing.

[1:02:20] Tammy Minoff: Um, we have to wrap up. I have to let you go back to writing and and directing and and all of the things. Tell the people where they can follow you and find out what's next and all the things, Tammy Minoff.

[1:02:31] Tammy Minoff: Sure, I'm at Tamzers Min on Instagram. And if you want to watch my movie, it's Limerence. It's on Amazon Prime now and most other platforms everywhere, I think. Yeah, it is everywhere. I look today.

[1:02:44] Tammy Minoff: Um, Tammy, I'm so glad you took this time with me. I am forever a fan. And I'm glad that you are a really cool, nice, awesome, smart human. And uh, you know, a lot of theater kids, you had a really big impact on a lot of us because you were doing exactly what we wanted to do, and it's it's was a really special time. So I'm so grateful to have this moment to touch down with you.

[1:03:08] Tammy Minoff: Aw, ditto, and I mean that how Patrick Swayze meant it in Ghost. So, you know, I just loved it. It's fun to talk about the good old days. And I didn't know, you know. So you're great. You're you're amazing. Thank you so much. And thank you, everybody, for listening. If you love Little Me, remember to follow us on Instagram and also, you know, rate, subscribe, tell your friends all the things. Tammy Minoff, thank you so much for joining me today.

[1:03:33] Tammy Minoff: Yay, thank you. Yay.

[1:03:35] Tammy Minoff: Bye bye.

[1:03:37] Tammy Minoff: Thank you, listeners. This podcast is produced by Alan Seals, Dory Berenstein, and the Broadway Podcast Network, and edited by Derek Gunther. For more information on the Little Me podcast, go to bpn.fm slash little me. And follow me on Instagram at Marc Tumminelli or on Twitter at that Tumanelli. And for more information on workshops, classes, and everything Broadway Workshop, go to BroadwayWorkshop.com. Thank you for listening.