This transcript was automatically generated and might contain errors.

[0:00] Jayke Workman: Okay, I've written a poem to start this episode. Here it is.

[0:05] Jayke Workman: The new evil queen in Snow White is Gal Gadot. Do I want to see that? Well, no.

[0:15] Jayke Workman: Oh My Pod U Guys.

[0:19] Jayke Workman: Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys.

[0:23] Jayke Workman: Jayke is a spy. I can't believe Jayke is a spy. Oh my god, Jayke is a spy. Oh my god, Jayke is a spy.

[0:31] Jayke Workman: Oh my pod, oh my pod u guys.

[0:34] Jayke Workman: What is up, everybody? My name is Jayke Workman, and this is Oh My Pod U Guys, a musical theater and pop culture podcast. As you can probably hear, yes, my voice is a little scratchy at the moment, okay? Read me. I get it. I have weird post-nasal drip, things are being crazy with the weather, and my voice is like so pissed at me. So, bear with me. I promise it's not going to be like this the whole damn time, okay? But hello, and welcome to another episode of Oh My Pod U Guys.

[1:10] Jayke Workman: You guys, I am so thrilled to be back. I missed doing the pod, and we have so, so many things to talk about. I feel like I haven't really seen a show in a long time, and I need to, but I am so poor, and the shows are so expensive that it's kind of, you know, it's a lost cause. I have to wait until I can afford to see a show, and then I have to sort of decide if it's a show that's worth paying however many freaking dollars for. You guys, Broadway is crazy. The paywall is nuts.

[1:49] Jayke Workman: Oh, okay, but I did have the absolute honor and pleasure of getting to participate in a very special show, which celebrated the work of the incredible director, Miss Rachel Chavkin. The show was conceived and produced fully by my sweet, sweet friend Tate McElhaney, who is also a performer and a brilliant vocalist, and he assembled this amazing ensemble of people, and we got to all sing songs from various shows that were directed by Rachel Chavkin, and I got to sing a song from Lempicka, which was so, so much fun, and you guys, in a crazy twist of events, Miss Eden Espinoza herself commented on the video that I shared, which is crazy, and so did Rachel Chavkin, which is just, like, insane. So, hi, if you're listening.

Shout out to both of you incredible women. Please come on the pod. I love both of you for a plethora of reasons, and also shout out to my sweet angel Tate McElhaney for having me on this amazing show. It was so much fun, and the talent in the show was cuckoo bananas.

[3:09] Jayke Workman: I'm gonna have to post, like, videos, obviously not just my video, but, like, the video links to other people's performances from the show, because it was crazy! But enough of me and my shenanigans, you guys, let's get to the main event. Meet sweet, sweet Noah Marlow. Oh, my pod, you guys, I am so excited to welcome my next guest to the show. I honestly was thinking about how we met, which is just so silly, and we'll get into it, but, yes, you guys, we have a bonafide Broadway darling on the pod, the current standby for Elder Cunningham in Book of Mormon on Broadway, Mr. Noah Marlow.

[3:54] Noah Marlow: Hello. Welcome to the pod!

[3:55] Jayke Workman: Hello, thank you for having me.

[3:57] Noah Marlow: Thank you for being here. Huge fan, so excited.

[4:02] Jayke Workman: That's hilarious. I am just, you have the most amazing energy, and, like, no, you do! No, seriously, like, I was just, like, I need to, like, I'm, yeah, I was just super excited to be on here, so thank you for having me.

[4:12] Jayke Workman: Oh, my god, I'm so excited to chat with you. I feel like we have so many things to talk about, but, yes, well, okay, so when I have people on the pod who are not recording in person, which we are, we're on the comfy couch, I always ask, where are you calling in from? But I know where you live, and you are on the pod in my home.

[4:28] Noah Marlow: Home, yes.

[4:29] Jayke Workman: But we should talk about how we met, because totally I feel like the theater world is so small that, like, you're sort of bound to cross paths with people in various, like, audition rooms or rehearsal rooms or whatever, but we just so organically met at the bar.

[4:45] Noah Marlow: Yep.

[4:46] Jayke Workman: At Craft & Carry.

[4:47] Noah Marlow: Yes.

[4:48] Jayke Workman: You guys, shout out to Hell's Kitchen, Craft & Carry.

[4:51] Noah Marlow: Absolutely.

[4:52] Jayke Workman: No, seriously, I am so, I just am always there and sitting, and sometimes I'm just not even drinking, and I'm just, shout out to Tate for letting me, like, for letting me sit there and, like, just gab his ear off while he's trying to do work.

[5:04] Noah Marlow: He's trying to do the very, very difficult task of serving four people at the bar.

[5:09] Jayke Workman: Maybe Max. Not you reading Craft & Carry already.

[5:13] Noah Marlow: Oh, I will always read Craft & Carry, because I love them so much.

[5:16] Jayke Workman: Yes, absolutely, as a ploy yourself.

[5:18] Noah Marlow: Yes, but, okay, so you are in Book of Mormon, which is literally, like, mere blocks from Craft & Carry.

[5:23] Jayke Workman: Yes. Is that part of why you ended up there, slash how we were eventually brought together?

[5:28] Noah Marlow: I was at Craft because of Tate.

[5:31] Jayke Workman: Okay.

[5:32] Noah Marlow: Like, Tate and I became fast friends, because we just.

[5:35] Jayke Workman: Our mutual friend, Tate McElhaney.

[5:37] Noah Marlow: Yes, I'm sorry, I'm like, shout out to Tate, sorry, but Tate is just a wonderful human being, and we met at the Barbra Streisand event that he put together at Green Room 42.

[5:46] Jayke Workman: Yes, which I sang in.

[5:48] Noah Marlow: Yes, and you were fabulous, as always.

[5:50] Jayke Workman: Well, thank you.

[5:51] Noah Marlow: And we went, and we kind of just connected, and then we had, like, a really nice talk. We were like, it's so weird making friends in New York City.

[5:57] Jayke Workman: Yes.

[5:58] Noah Marlow: And, like, real friends.

[6:00] Jayke Workman: Right.

[6:01] Noah Marlow: Because I feel like we all, especially in our business, have a million air quote friends, for those of you that can't see me doing the air quotes.

[6:07] Jayke Workman: Yeah.

[6:08] Noah Marlow: But, like, we were just, like, we really want, like, some real friends, and we just kind of connected over wanting to be real friends.

[6:14] Jayke Workman: Right.

[6:15] Noah Marlow: And so, he invited me to come to Craft, and I hung out at Craft a couple times, and that's where I met your lovely self, sitting over there, and then Tate obviously raved about you, and it was so amazing.

[6:24] Jayke Workman: That is so crazy.

[6:25] Noah Marlow: Yeah.

[6:26] Jayke Workman: So, how long have you been in the Book of Mormon?

[6:30] Noah Marlow: I joined right when the show came back from the pandemic. So, about three and a half years.

[6:35] Jayke Workman: Yeah. They, like, the only part, I think, that they were casting was the standby for Cunningham. Everyone else had, like, done some iteration of the show before.

[6:42] Noah Marlow: Love.

[6:43] Jayke Workman: Like, either was on Broadway with it, or was on tour when they closed down, or in Australia, or something, and yeah, just kind of, like, right place, right time. They needed a little standby.

[6:52] Noah Marlow: That is crazy.

[6:53] Jayke Workman: It's very crazy. You are, I mean, not to, like, you know, out the entire, like, experience, but, like, you are young.

[6:59] Noah Marlow: Yeah.

[7:00] Jayke Workman: Compared to some of the people who've been in that show for 10 years, 15 years. Like, and I have had so many friends, not just in the Broadway company, but go through the tours, and whatever, and it really does become a family, and it's funny how many, like, previously Mormon people are actually in the show.

[7:15] Noah Marlow: I live for that.

[7:16] Jayke Workman: Wait, really?

[7:17] Noah Marlow: Yes.

[7:18] Jayke Workman: Wait, I don't think I know that lore, because right now we don't have any, like, ex-Mormons in the show.

[7:23] Noah Marlow: Okay.

[7:24] Jayke Workman: Is that true?

[7:25] Noah Marlow: Yes. Well, my god, I love that. Certainly on the tour, I knew, like, multiple ex-Mormons who were, like, we survived, and now we get to make fun of it.

[7:34] Jayke Workman: That is fantastic.

[7:35] Noah Marlow: Well, because, like, in the show, all the information about the Mormons is accurate.

[7:39] Jayke Workman: Yes.

[7:40] Noah Marlow: Like, everything that's said. So, I think it's, like, a lot of people who are, like, also, like, they're making fun of Mormons, but it's also, like, slay, like, good publicity for all of our, like, you know what I mean? It's, like, word. Like, I mean, at least it's accurate.

[7:52] Jayke Workman: Yeah, it's, like, all of what we believe in, so it's, like.

[7:55] Noah Marlow: Even, like, the hyperbolic nature of, like, spooky Mormon hell dream.

[8:01] Jayke Workman: Yes, I've spoken to Mormons who have these hell dreams.

[8:05] Noah Marlow: Like, who have these, seriously, it's, like, and they have, like, we have, there's a scene where we have, like, all Mormons wear these, like, long underwear underneath their outfits.

[8:13] Jayke Workman: Yeah.

[8:14] Noah Marlow: And we have a scene with that, where we, like, take off our garb, and it's, like, this, like, white onesie that we wear.

[8:19] Jayke Workman: Yes.

[8:20] Noah Marlow: It's, like, it, yeah, it's unbelievable. So, we, I mean, okay, we have so much to talk about.

[8:25] Jayke Workman: Yes.

[8:26] Noah Marlow: Not just, you know, the shows that you've done, but, like, other life things, but we, I would love to talk about Mormon, because.

[8:32] Jayke Workman: Sure.

[8:33] Noah Marlow: It is something that, like, I don't think people understood, or, like, the people involved, the creators, I don't know that they knew that it was going to have the longevity that it has had, and the, like, world scope that it's had. I mean, you know, international tours, and Australia, and London, and everything, like, different languages, and, like, it's so controversial, but it's so timely still. It's so relevant.

[9:00] Jayke Workman: When were you first exposed to the show? Slash, how old were you? Do you remember?

[9:06] Noah Marlow: I do, I do. So, I went, it's actually kind of crazy. So, I have heard, I listened to the cast album when I was probably way too young to be listening to the cast album, and I actually dressed up as Elder Cunningham for 8th grade Halloween.

[9:22] Jayke Workman: Yes!

[9:23] Noah Marlow: And, because I was just such a big theater dork, and I wanted to be that part, and, you know, and I think I went around that time, ironically enough, saw both of the standbys for the leads in the show, and they were fantastic. And, yeah, I think I knew from that point, I was, like, I really want to make people laugh on a stage. It was, like, especially, like, both of the leads, and, like, I mean, all the leads in the show, and the entire cast, they just, like, I was just, like, hearing the audience, I was just, like, it's so beautiful to make people laugh for a living. So, I knew I wanted to do that for a while.

[10:00] Noah Marlow: So, I saw it once then, when I was 14, and then I saw it later on in high school, and then, yeah, I got the audition, and I have this amazing coach, like an acting coach, who I met when I was younger, and he still coaches me for auditions, and his big philosophy, which is really helpful for me when I audition, is, like, no matter what you're auditioning for, like, it's kind of, like, you're not gonna get it.

[10:26] Jayke Workman: T.

[10:27] Noah Marlow: Like, you come in with the confidence that you are gonna get it, you're gonna do your best work, obviously, but, like, he's always, like, the lowest expectations possible.

[10:36] Jayke Workman: Yes.

[10:37] Noah Marlow: Like, you will not get it, and I got the tape when I was, I technically got the show when I was 19. I'm now 23.

[10:44] Jayke Workman: Wow.

[10:45] Noah Marlow: And I got the tape, and I was just so excited to be working on it, and he was, like, doing great. He's, like, he's so nice, whatever, you know, the coach, and he was just, like, but you're not gonna get it. You're not gonna get it. And then I got it.

[10:55] Jayke Workman: So, just have fun with it.

[10:56] Noah Marlow: Yeah, seriously, and I was just, I was in my, like, childhood home basement, like, like, you know, and I, during the pandemic, during the pandemic, well, because I was in college at the time, yeah, and it was the summer before my junior year of college that this happened, and I just kept, you know, I got a couple more callbacks, and he's just, like, it's so good that they like you. You'll definitely, I'm sure, like, you'll definitely be back in the room, and, like, yeah, you'll be in the folder, like, he was just, like, you know, whatever, and by the time my final callback came around, the, in, I'm sure you have seen this in other auditions, like, in the notice, it said that the role would have already been cast by then.

[11:31] Jayke Workman: Sure.

[11:32] Noah Marlow: So, I was, like, oh, I didn't get it.

[11:34] Jayke Workman: Yeah, and then, like, a couple days after it already said they were starting rehearsals, they were, like, we would like Noah to come in for an in-person final callback, because I had four rounds that were totally virtual.

[11:45] Jayke Workman: Oh, my god.

[11:46] Noah Marlow: Yeah, like, a self-tape, a work session that was virtual, another self-tape, another self-tape, and then in-person for the final, and then I found out the next day, and, yeah, yeah, it was kind of crazy.

[11:56] Jayke Workman: That's wild. What was your journey like with Chicago?

[12:02] Noah Marlow: Shout out Chicago.

[12:03] Jayke Workman: Across the street.

[12:04] Noah Marlow: Across the street, which is so crazy. I was talking to PJ about it, because I was, like, we literally live half of our lives. When I'm there, I live, like, half my fucking life at the Ambassador Theater, which is across the street from Book of Mormon, and I've never seen it on Broadway.

[12:19] Jayke Workman: Never seen Book of Mormon on Broadway?

[12:21] Noah Marlow: No, I've only seen the national tour.

[12:23] Jayke Workman: Oh, my god, you have to come.

[12:25] Noah Marlow: I know, I have to come see you.

[12:27] Jayke Workman: You have to come by.

[12:28] Noah Marlow: I know so many people.

[12:29] Jayke Workman: PJ, PJ, shout out. Derek Jeter, I'm, like, I know everybody.

[12:34] Noah Marlow: Yes, yes, yes.

[12:35] Jayke Workman: Not Derek Jeter.

[12:36] Noah Marlow: Not Derek Jeter.

[12:37] Jayke Workman: Shout out baseball.

[12:38] Noah Marlow: That's fantastic.

[12:39] Jayke Workman: Ew, I hate that I know what that was.

[12:42] Noah Marlow: Oh, my gay card is snatched away from me, because I know who Derek Jeter is.

[12:47] Jayke Workman: No, those are separate people in the show. Derek Jeter.

[12:51] Noah Marlow: Yes. What was I saying? Oh, well, it was in person for me in Chicago.

[12:56] Jayke Workman: Okay.

[12:57] Noah Marlow: But I booked the tour first. I did the national tour.

[13:01] Jayke Workman: Oh, I did not know that.

[13:02] Noah Marlow: Pre-pandemic, and then when the pandemic happened, everything closed, obviously.

[13:06] Jayke Workman: Yep.

[13:07] Noah Marlow: And then when the show reopened, it had been, like, a month or something, or maybe, like, two or three months, and that's when Omicron hit.

[13:14] Noah Marlow: And so I had just done my very first union job. Well, my first being in the union, which was Chicago.

[13:20] Jayke Workman: Wee-woo.

[13:21] Noah Marlowe: At a regional theater in Aspen, Colorado.

[13:23] Jayke Workman: Oh, that's I love that.

[13:25] Noah Marlowe: Yes, they gave me a card and it was fabulous. But so I had just finished doing that show yet again as Mary Sunshine. And I got a call from my agent and he said, they need you to be in immediate standby. And I said, OK, sure. When? And he said, 6 p.m. today. Right now. Like you need to go and get a covid test. And then you are standing by this evening for the role. And then I went on two days later. I made my Broadway debut, which was in the fucking scene. But I never auditioned for the Broadway company. It was like I once you sort of auditioned for Chicago, they sure. Again, it's the folder. It's like, you know, you're in and you're a name on a list. But the Mary Sunshine list is so short that, you know, they were kind of that's an insane thing.

Well, it's just specific. It's like, you know, they're so impressive. I mean, it's like you never I don't know. There's like a handful of people who do it and, you know, keep it up. You know. Sure, sure. So, yeah, they Duncan Stewart called and was like, are you in the city and can you be here at 6 p.m.? Did you I mean, was the choreography the same as like the exact same? OK, OK. Yeah. And it was still like in your bones and stuff like. Yeah. I mean, I got to watch the show twice before I went on, which was that's not that's so different than rehearsing. I mean, that's like unbelievable. But luckily, I mean, I don't want to talk about me this whole time.

[14:54] Jayke Workman: No, come on. I were. Mary Sunshine is such a it's like I like to think of it as like an out of the way role, like I am not in the way. I am very like peripheral. So there isn't really risk of like bumping into people. All right. Sure. Right. Like my entire number, I'm the only person, you know, on the deck. Yeah. And in Gunn, I'm like always on the very, very far outside. And then I like have a little moment with Billy Flynn at the very center of the stage, and then I'm back to the other full far side of the stage. So I don't really like run the risk of like fucking it up for other people. OK, no, I got it for myself. Like the second time I did the show, I fully fell down the stairs. We all have those stories, but I kept on singing. And yeah, it's kind of iconic also. Yes. But yeah, I have done the virtual thing. I so I've talked about it on the pod. I should be interviewing you.

[15:48] Noah Marlowe: No, no, it's I talked about on the pod before, but I booked my second Broadway show fully virtually. It was for my my son's a queer that was going to come from the West End. Yes. I remember you. I remember hearing y'all talk about it. Yes. And that was that type, too, where it was all virtual. I never even had like a final that was in person because they're from they're all in the UK. Yeah, yeah. That's fantastic. So that was like a wild thing. Did you did you find it difficult to connect with with like casting and like your reader and stuff when you were auditioning over Zoom?

[16:30] Noah Marlowe: You know, it's so funny. I think I was just so not like probably. But it was also like right when self tapes were kind of starting to pick up like that, you know, because it was like right when they were casting back from the pandemic. Sure. So I think it was virtual. Everything was virtual. I don't know how many people actually submitted for the part. You know, I think honestly, I my like I said, my coach was so smart and that like it really never crossed my brain that I would get it. Literally, did I never thought I would get it? I was like, I'm just like, just ride along for the ride, fully planned on just like continuing through school. I was like, I'm just so. It's so fun doing these lines.

And, you know, I just was like, yeah, I don't I really like. I had such a different perspective on things back then, which like sometimes I like try to get back, you know what I mean? When I'm like like taping for other things and whatever. Yeah, just like that kind of like so lucky to be working on this material kind of thing. Right. But no, I was just like so. Excited, and then when I my final callback, which was in person, it was my first in-person audition. In, I mean, years. Yeah, because that that wasn't really happening. Like it was like I went to one of the I don't I don't remember the studio, but it was like a ghost town in there. It was like me and the two other guys that were called back for the final in-person.

Right. And I blacked out. Don't remember anything about it. Of course, it wasn't until the day when I was washing the blood off my hands. They were dead. But they were a really nice. I remember them being a nice room, but I was just like, breathe, say the words and then get out of there. You know, so totally. Yeah.

[18:11] Jayke Workman: So did you not end up finishing your degree?

[18:15] Noah Marlowe: So I didn't finish my degree in musical theater. OK, I came. Where were you studying musical theater? I went to the Boston Conservatory. OK. And then I left there and I came to New York and I wasn't really sure if I was going to finish my degree. Yeah. My parents were like, it would be awesome if you did. But like we believe in your career and like if you don't want to, you know, you don't have to. Right. But with the standby schedule, my entire life is like, you know, I have so much time backstage. Yeah. Yeah. And my mom is a college professor at Fordham. Oh, amazing. And so I could go there's like a tuition remission where I don't have to pay the tuition to go there. Right. And yeah, so I ended up finishing my degree at Fordham in political science.

Fabulous. Because, yeah, they were just like if I were to do theater at Fordham, they would have made me start over as a freshman. Right. And I was like, I don't want to do that. I was like, I'll still take class and try and improve, but maybe I'll like do something that I can just finish out my degree a little faster. Yeah. And yeah, always been interested in like activism and politics. And I was like, maybe this is a avenue to kind of explore that. Yeah.

[19:24] Jayke Workman: Well, especially, I mean, going from one major metropolis to another, it's kind of like, do I need to regress? Do I need to go back to the idea of being a freshman in college when you can like, I'm just going to get the credits, finish the degree, have the degree? I mean, totally. Honestly, I joke, but it's like so much of having a college degree in theater is literally just having the letters BFA on your resume or BA or whatever, you know. But it it's interesting. And, you know, we I want to talk more about Mormon. But in thinking of having a degree and what it means to be an actor who has, you know, quote unquote, studied or whatever, it's different for someone like you who started so young because you played Michael Banks in Mary Poppins on Broadway, obviously not having had collegiate acting training.

But there therein, you know, sort of lies the question of like, is it 100 percent necessary to go through a college program if you've literally already set foot on a Broadway stage at what age? Eleven. Yeah. Ten. Ten. You know, that's such a good. And I think it really is. It really depends on the person, I would say. Like, I think that through my I was so I had so many amazing experiences when I was a kid. I was super fortunate. And I learned so much from watching. Right. Because I just, you know, I was Poppins kind of happened. And I I don't know, I just hadn't taken a bunch of class. And I just and I when I was doing shows, I just learned so much from watching. But I also will say that, like, you know, as being a child, like I came I did a pre-college program when I was like 15.

And I this was when my my voice changed really late. And I had a voice teacher at the pre-college program who helped me navigate my voice change or kind of lack thereof because I have like a super high voice. Yeah. And I, you know, there's so many there are so many habits that I had when I was a kid that I also needed to break. So it's kind of like I think it depends on your individual journey and what what you find valuable. Because like even though I didn't finish out my musical theater degree, I had so many meaningful experiences there. Sure. At BoCo. And also so I learned so much about myself as a person through college as well.

[21:52] Jayke Workman: Yeah. Almost like more so. I mean, I do. But that also I feel like I mean, certainly being put into like the pressure cooker of like a bubble BFA program changes you as a person. But it's also just in one of the most transformative times in anyone's life, like being 18 to 22 is such a shift in like psyche and growth and everything. And I just I always just wonder, like how often people get wrapped up in the ideology of the BFA like brand, like where you go is important versus like you booked Broadway at age 10. You could literally have studied theater anywhere, and it wouldn't have mattered necessarily because you already have Broadway the word on your resume, you know, which just inherently levels up someone's idea of what you can do, you know, which is also an interesting thing to talk about.

But yes, you know, I don't. It's so interesting because it does matter. And I think it did make a difference in terms of like when I maybe was auditioning for Mormon. It might have been nice that I had, you know, a couple of Broadway credits on my resume. Right. But I was a kid. You know, it doesn't really mean anything. Well, I don't know if it means anything, but I think in my mind, I guess my mindset was like, just because I could do that at 10. I don't know that they know that I can do that at age 20. Right. You know what I mean? Because that I can squeak it. You know, that was what I when I was trying to unbreak those like old habits from singing, just because I could carry a tune and squeak out some notes when I was a kid.

Can he sing as an adult and be like an adult? Right. You know, I was so worried that was like such a those credits almost didn't even like register with me because I was so concerned. I was like, did I peak at age 10? I was like, am I ever going to be on Broadway again? Yeah. I was because a lot of people I worked with as a child aren't in theater anymore. Sure. And I was the one who kind of stuck with it. And, you know, there were several others from my generation, obviously, who also stuck with it. But a lot of them just didn't. And I was just so nervous about like, am I ever going to be on Broadway again and like get those opportunities again?

[24:11] Jayke Workman: So tell me about childhood in terms of like pre Poppins. What was your first sort of like foray or exposure into the world of like theater and the arts? Like, did you are your parents artistic or musical or like what? What drew you to this?

[24:28] Noah Marlowe: Parents are not musical. Dad is actually tone deaf. No joke. Love that. Like completely tone deaf. Mom can carry a tune, but like does not perform or do anything like that. Both teachers. So the basically my sister is also an actress. Shout out, Rebecca Marlowe. Yeah, she was who went to college with your roommate, Jonah. Yes. And Rebecca was in the national tour of Billy Elliot when she was a child as well. And it was really just because it kind of happened by accident. Like her friend happened to be in Les Mis at the time. Just coincidentally, he was living in our town and recommended my sister to a voice teacher who then recommended her to an agent. And that just kind of set her off. But my parents were like.

Not they had no expectations that either of their children would be on a Broadway stage ever. Yeah. They were just like amazing parents. And we're like, let's try it and you're going to like it. We're going to help you to get in the places that you need to go to love that. And I would visit her all the time. So probably Billy Elliot was my first exposure to it. I would visit her on tour all the time. I thought it was so cool. I pretended I didn't think it was cool. Because I didn't know anyone my age who did it besides on the Billy Elliot tour. Yeah. And I did a regional. This is such a crazy, embarrassing story. I did a regional production of Gypsy as an eight year old. Of course. And I was one of the newsboys.

Yes. And I it was in a hundred seat theater near my hometown. And part of where? Suffer, New York. OK. And this was like in a neighboring town. And part of the choreography as a newsboy was to like spin in a circle and put a newspaper in a satchel. Yes. Could not for the life of me get the newspaper in the satchel. And it dropped on the floor. Now, I thought that if you messed up in a show, it was like game over, you're done. You're fired. You're fired. Never going to work down again. So I in the middle of the show, I see my dad because it's a hundred seat theater. So you can see everyone sitting in the thing. Of course. I obviously the number still going on. I start crying eight years old and I go, Dad,

[26:41] Noah Marlowe: What do I do? Which actually kind of works with the plot of the show, if you think about it. So like maybe they thought I was kind of like giving bold character choices, which obsessed with it. The other kids are like, he's showing us up. He's showing us up. He's improvving. He's going off script. And my dad like kind of like half sat up and was like, just keep going. And literally cut to me after the show, like sitting in my dressing room, literally like being like, like talking the of the being like, literally being like, well, I guess that's it. Like, I guess I'm just not meant to be in theater. No, literally. And I, that's hilarious. And that was like one of the only, I also did like a production of the frog Prince, like, which was like a, through my voice teacher, but it was, those were two shows.

And then I, I don't know. I just never, I kind of fell into it. I auditioned, I got in, I got the same agent as my sister love. And do you remember who it was? Yes. It was a Shirley grant management. Unfortunately, Shirley is no longer alive, but I was with Shirley grant management and I went in for Poppins and I went in a couple times or just like come back in a year, come back in six months, just cause I was like young baby. Yeah. And I just, and I would visit my sister on tour. I wasn't really like doing too much theater. I was, you know, I would visit her and I would skateboard and I would like play sports and I would love to sing, but I just, you know, I think I was just being a kid as well.

You know what I mean? And then I auditioned for Mary Poppins for like the fifth time literally was, it was actually so funny. I was on tour and then I'll stop rambling. I was on tour. This is a podcast. I was visiting my sister on, in San Francisco. I had auditioned for Mary Poppins four times. My agent called me and was like, the Poppins people would like to see Noah. And literally my family and I, again, not knowing how this stuff works. We're like, no, no, no. They've seen him before. They're like, he's in San Francisco. They've seen him before. And then luckily my agent was like, get your ass to New York. And then we're like, okay. And so we got there and then they offered it to me. It was such a, they offered it to me in the room, which was like such an amazing way to get your fucking 10 years old.

Like I was 10 years old. I was like, sure. My heart literally stopped. And we went down and it was like one by one, basically five boys were there. We ended up reading with one of the Janes who was currently on Broadway. One by like one by one, they would go in and then they went down the elevator. Like they were done with the audition. Yes. I went in like third, maybe out of the five. And they were like, Noah, can you stay outside? And I was like, sure. And I stayed outside. And then the other boys just like kept going down the elevator. They called me in and they offered it. And then it was like so crazy. Cause I went down the elevator with one of the other boys and we're 10. Right. And so like the other boys like, and he got the tour.

So like, he's, he's amazing. He's still talented, but he's like, did you get it? And I was like, me, me and my dad were like, you're like, yeah. Oh my God. And he's like, congratulations. And I was like, thank you. Just overjoyed. So over, literally skipping down the street after that. Like so, like so freaking excited.

[29:54] Jayke Workman: I had a, uh, similar quote unquote. I'm like, I did not book Broadway when I was 11, but I remember I had a production of, uh, Charlotte's web and I went in, uh, it was at Kansas city lyric opera of Kansas city shout out. And, uh, they offered it to me in the room and I was, I think 10. And, um, I remember them saying like, actually, I think I was like one of the first kids to audition in the day. And I went in and I sang my song and I did my little whatever, whatever. And they were like, could you, do you have a parent with you here? And I was like, yeah. And they were like, could you bring them in? And so I was like, okay, yeah. So I, my stepdad, Michael was in the lobby and I was like, they want you to come in.

He was like, okay. And so they came, I brought him into the room and they were like, we would like you to play this role. And I was like, okay, awesome. And they said, and we can offer you a thousand dollars. Wow. To play the role. Yeah. Total. Of course. Sure. Yeah. It's like a regional gig. Whatever. That's awesome. I mean, yes. Awesome. But I remember thinking I've saved my family. I have taken my family out of poverty as if we were even poor, like, like needed, you know, I was like, oh my God, I am going to save my family. I am rich. I love, we have a thousand. Now we can start. I'm like, we're going to do it. But like as a kid, did it, did it sink in for you or like, did it register for you? Like what it meant to be in a Broadway show, like to book Broadway in the way that it feels now?

[31:43] Noah Marlowe: Nope. No, but you know what's so funny? It's like, I sometimes wish it did. I'm sometimes wish it didn't because it like, my parents gave me this gift where like everyone who I've ever, any adults who I worked with as a child always asked me how my parents are. And which is so sweet because my parents, they're like, are the least stage. They're like, how'd you turn out? And I'm like, I'm great. But they were the least, they were the only normal parents in any of those rooms. Totally. And it was literally like, you know, obviously it wouldn't be this easy, but if I woke up one day and I was like, I don't want to be on Broadway anymore. I want to play T-ball. They'd be like, great. Okay. Bye. Great.

They're like, well, you have to finish your contract. Cause we, uh, no, I mean, and of course that would have been like, well, you made a commitment, so you'll probably end up finishing it, but like you can take a break after it. No, but you're so right. But it was, they were so low stakes about it that I was so low stakes about it. Um, but then sometimes as an adult, I'm like, oh my God, like I really wish I had taken a second. No, cause I had no idea what do it as a career, like in my adult life. Right. I wish I had just taken a second to like, look around and be like, wow, this is like a really, really unique experience, which I did sometimes, but how much can you, when you're 10, 11, 12, do you know what I mean? Like you don't have that kind of world perspective of like, oh my God, I'm doing this right now. But yeah, I mean some of these experiences I'm like, oh my God, you know, it's so crazy.

[33:20] Noah Marlowe: So then like cut to, I'd love to know what it felt like if you remember, uh, what it felt like to be done with Poppins. Um, because did you, did you leave the show to do the next show or was it done? Did the show close? Um, so I did, I did not close the show. I was in the second to last group of kids before the, before the show closed. And was it like an age out situation? Kind of, it was a kind of a height out situation. Like we all grew at the same time. Right. And so were you heartbroken? No, I, well, I've been, I was, I've always been bad with change. I always get sad when I'm leaving a show. I was like sobbing at the end of my run or whatever. Um, but I understood, you know, I was like, we all got tall.

Like, I don't like, they're like, you're supposed to be young. And like, we still looked young obviously, but we were just all taller. So, and it all happened at the same time, which was kind of nice. Cause we all left around the same time. Like we all did six months and then normally it might be like a couple leave, but we all, so we like all were extended for about three months and then, yeah. And then we all left and it was so funny and it's so different than it is now. Cause it was like, I was really lucky that after Poppins happened, I just was able to keep doing shows.

[34:41] Jayke Workman: So I think I was just like, was Elf after that for you? I'm trying to think of the chronology of everything.

[34:49] Noah Marlowe: Elf was after, but I'm trying to think of if anything was before Elf. Yeah. I think Elf was next. I did a few regional shows as well in between. I know I did, I did a show called Elemental P, I think. And then I think I, I don't know if I, I did Fun Home. I don't know if I did Fun Home before or after Elf. Cause I'm sorry. I'm just like, I, I, it feels like literally ages ago, but yes, I did Elf after that. And that was my, I, that was on tour. I did the tour of Elf. Right. And that was really fun.

[35:22] Jayke Workman: Wow. Did you have a moment when, when was the moment that you'd, I always love these stories. Like when you knew you're like, Oh, I'm, I want to do this for a living. Like, this is what I'd like to be doing.

[35:31] Noah Marlowe: I think, I mean, my very first show I ever did was Seussical. Yes. Who were we? I was JoJo. Yes. And I, uh, it was this teeny tiny community theater in Lawrence, Kansas. Love the Lawrence community theater, uh, where it all began. Shout out Miss Mary Baker, who was like, you need to audition for the show. And I was like, I've never done that before. And she was like, we'll figure it out. Cause you need to do this. Oh, I love that. But I think I remember first knowing that it was actually a career when I met my now, like one of my longest friends, Kat McNamara, Catherine, um, because she was a very successful child actor, like regionally, and she had done film and stuff. And we met in line at the Starlight Theater in Kansas city, which is this enormous, it's like the Muny of Kansas city.

It's like this outdoor amphitheater and they do, they have national tours that come through. And then sometimes for, for either for tours or for like their regional shows, they'll hire local people and kids. And so we met in line for the music man and we both got it. And we became like fast friends after that. And my parents lived like an hour from the theater. So luckily Catherine and her dear mother, who now I call my CA mom slash MO mom, California, Missouri mom, Ursula, um, they let me stay with them. And so I, we, we spent days and nights together in rehearsals and then going to the theater and doing the show.

[37:15] Noah Marlowe: And that's so fun. She, Catherine, I credit to, uh, introducing me to just the word professionalism, just like knowing that this is more than just like something for fun. Like this is what we are going to do for the rest of our lives. And so, and then she, we did multiple shows together in Kansas city. And that's when I was like, oh, okay, like I'm doing it. I'm, I'm auditioning and I'm getting roles in regional shows all over the, the area. Um, and then I got asked to do the pre-Broadway, um, a Christmas story. Oh my gosh. They called me three times. Well, they called my parents and my mom was like, no, we're not doing that. We're moving to Minnesota. Oh my God. Like, you can't do that. You can't have our child because we're going to Minnesota.

Right. And so Kat did that show. And then after that immediately booked, um, a little night music on Broadway as Frederica. And I remember I was like, how dare you to my parents? I was like, you, I had a career here and you roll on. I was going to be a star. Now I'm like, thank God I didn't do that. But at the time I was like, you know, that was, I think that was my first idea of like, when I was really, it went from like, this is fun to like, I need the next thing. I was like hungry for it. Um, but it did give me a really nice, uh, perspective of like, okay, okay, okay. You, I'm a kid. Like I have so much to do and learn before I actually have to consider what it means to have a career in this.

So I was lucky in that way, but it was fun to have the exposure to, you know, people actually working in the industry. Like I had, um, when Kat and I did a production of the sound of music, she was Lisa. I want to say, yeah, she was Louisa and I was Kurt. And our friend Austin, who is now the Glinda on the tour was Liesel and Austin's father, Ron Bowmer, who was a huge fan of Ron Bowmer was our Captain Buntrap. That's fantastic. And Leanne Larkin was our Maria. And so it was like this crazy. And Georgia Osborne was Mother Abbott. It was crazy. Like we, yeah, that was where I was like, okay, I'm, I'm a kid and you know, I'm sort of, I know I'm still like being taken half seriously here as like an actor or whatever, but I'm in the room with some like really, really successful people just shooting the shit and doing the sound of music.

[40:02] Noah Marlowe: And so that I think was like my biggest, sorry, my long winded answer. Not long winded. I wanted to know. I was, I literally went on a 15 minute like ramble. Yeah. That's when I knew like, okay, this is what people do for their job. It's not just like for fun. Yeah. To completely. Yeah. And that, that kind of ties back to your question before about like what program you choose and like what, if you go to college for this, I think that like, you know, I, I forgot who I spoke to. It might've been this wonderful actor who was an OG in Mormon who was there. Um, when I joined Brian Sears, um, brother of Jeff Sears, brother of Jeff Sears, who was Ralph in that same production. Are you serious? Oh my God.

Yes. I met when Brian left the company, we, he took us out to dinner and I met Jeff and he's wonderful. And Brian is like exceptionally talented. Of course. And I, it might've been him, but I think when I joined the company, I was like, I don't know if I'm going to get my degree, like figuring it out, whatever. And he's like, I, I, him and some other people were like, get your degree, do it, like get your degree. Like if you can do it, get it. Because it's just like, you know, I think when I spoke to a lot of people, not just Brian, I was like, it's, you know, I'm not going into politics. I don't, why am I, you know, why would I, or I'm not going into anything besides theater that I know of.

And there's like, it's all about, I mean, world experience. Do you know what I mean? It's all about like, I, acting is just like, not like I'm some expert, but it's all about like bringing in lived experience and it's, and the more knowledge you can acquire about the world, the more it just translates into your, you, you are as a person, which obviously is who you are on stage. 100%. So switching gears a little bit. Yeah, totally. I mean, slash back to the Book of Mormon, um, uh, because now that you've been there for quite some time, uh, you know, relatively speaking, it's a long running show and you have had the experience of being there for multiple years. I'd love to know about the sort of day in, day out, uh, stamina slash openness that is required to be a standby for a principal in a Broadway show.

Because while I do have the shared experience of sometimes being the one, you know, going on sometimes, um, my experience is so different because I'm not there all the time. I'm, I drop in for a month at a time. Um, so what is it like to sort of operate on the day to day as a standby versus knowing for sure that you're going to go on every single night? Totally. So I think that, you know, Cunningham is, it's, it's, it's funny to describe it as this, but it's a very athletic role. He is really like, he is the source of like literally the most insane energy throughout the show. Of course. And so there's not any moments where I'm like, I can like smoke my cig at the stage left. You know what I mean?

It's like very much like when you're on, when you're on, like you are, your eyes are open. Like, do you know what I mean? So I think that something I always do is like I like to run or go to the gym or whatever sometimes. And I'll like wait until like midday to go to the gym just because I'm like, I, if I'm on, I don't like to work out. I like to save my energy for the show. Um, but day in day out is like my days are usually open. I'll, I have a wonder, the person that I cover is really wonderful and that he'll give me a lot of notice on the day. Like I usually, yeah, like, or like not, he'll tell the, um, PSM who will then text me or whatever. But like, I'll, I usually won't get a text after three o'clock.

I'll get it before you, like, if I find out I'm on, it'll be like morning to midday. Sure. He won't, he usually won't do like a last minute call out, which is really kind of nice. Yeah. So I have some notice. Um, but yeah, it's definitely like a, you have a lot of mental stamina because it's like, you're very much part of the company. But also sometimes it's like, well, I'm not on for a month and a half. So it's sometimes it's like, I am part of this company. You know, you're like, I am reminding myself, like I am very, I am a important part of this company. You know, that kind of thing. But you're at the first line of defense. Yes. But I mean, I just am also like, it's, it's just, it's also so funny cause I, it's been a dream of mine to play this part for ever.

So like sometimes I'm like, I literally can't believe I get to play this part. Do you get nervous before you go on stage? Like, do you have, yes. Yeah. Yeah. But not, not the type of nervous where I'm like, I hope I remember what I'm doing. Cause it's so in my bones. A hundred percent. As I'm sure it is for you that like, I never think like, Oh no, uh, what's my line. Or like, I hope I don't forget the words. It's just, here we go again. It's like, and it doesn't usually happen until I'm like maybe a minute before I first step on stage. Once I've been out on the stage, then I'm not nervous anymore. Totally. But it's the like, Oh my God, I haven't done this in six months. Yeah. Here we fucking go.

And everyone around me is so excited and lovely because you know, as they are, as they are, as they are getting ready to go on stage, they're like, Oh my God, I haven't done this in six months. Everyone around me is so excited and lovely because you know, as they are, they're supportive and they are like, Yay, someone new is on and whatever, whatever. But yeah, totally. Yeah. I do get nervous. Do you? Oh yes. Like so nervous, but it's the same. Once I'm on the stage, I'm not as nervous. Um, I also am not like, you are also, sorry to interrupt. You start your show almost immediately. Yes. And yeah. Cause I don't, Mary sunshine does not go on for 35 minutes. Okay. So I have six numbers to listen to in the dressing room before I go on.

That's a lot of like anticipation to build. Yeah. So it's like a lot of, I'm like doing like final touches on my makeup, whatever, but I'm like, Oh my God, Oh my God, Oh my God. We have so much, like there's so much built up adrenaline and you are kind of just shot out of a cannon. Totally. Right in the top. Cunningham comes on and literally like screams his first line to like the literally. Yeah. Um, but no, I mean, I, I'm always so nervous. It's never like, am I going to remember my stuff at this point? You know, like I said, it's in my body, whatever. But I think I just like, I don't, I don't know. I care so much about doing a good job as I know you do. Do you know what I mean? I think I just am like, so I don't know.

I've been, it's a lot of like personal work. Do you know what I mean? Like I, yeah, I think it more has a reflection to do with like just being confident what I bring to the table. Do you know what I mean? Like I, especially as someone not to belittle you, but like as someone who is so comparatively young to the rest of the company or to a lot of people in the company, I feel similarly because there are people who have literally been in Chicago, the musical for 20 years. So it is the same experience of like being part of a legacy show where it's like totally Lion King, Wicked, Chicago, and Book of Mormon are these legacy shows. And we have a teeny tiny little hand in it. And that's so crazy.

Like sometimes I step back and I'm like, Oh, what the fuck? How did I bamboozle my way into here? But no, but like you have such a large part in Chicago and an iconic part in Chicago. And it's like, you know, it's just about like maintain, like you want to be someone that people remember and do well for the show. And I think it's just like, that's what's so funny about, like I draw those parallels all the time from being an adult actor versus a child actor. When I was a child actor, I care, I had a, you know, always had a really good work ethic, like, you know, wanted to do the best that I could, but I just was so like, Oh, Hey, Andrea Martin, whatever. Yup. Kind of literally. Like I was just like, what's up?

I was like, and now I'm like, checking my pulse. I'm like, Oh my God, I care so much. You know what I mean? I'm like, yeah, I think whenever I try to, whenever I audition or do shows and stuff, I just try to like remember how my energy was as a child because I feel like I didn't, I'm trying, I want to preserve that. I liked how I was as a kid where it was just like, this is who I am. If you like me, then I love that. If you don't like me, then it's just not meant to, you know what I mean? I'll be over here. I'll be over here. You know what I mean? And now I'm like, Oh my God, I hope everyone likes me. And like, obviously, you know what I mean? I'm like, and I just miss that child, like kind of innocence where I was like, I really want you to like me.

Yeah, of course. But there's also the element too of like when you're an adult, it's so much more obvious that it's a job, not just for you, but for everyone. It's like everyone brings their day and their week and their life into the building. And sometimes it's not pretty. And you have to deal with that. And when you're a kid, it doesn't really register, but not at all. Yeah. Like the people who, you know, I mean, it's obvious it's not just for our shows, it's any show, but like there are people who are there for a week or there for 10 years and sometimes they fucking hate their lives and it's very apparent and they bring energy into the theater and you have to decide how to navigate that. Have you had a mid-show swing on?

I have had a mid-show swing. I've had two. Okay. So, because for me, I don't have to be at the theater when I'm standing by, which is crazy, but I usually go anyway, or at least I'm like 500 feet from the shore. But you know, there's kind of never such a thing as a mid-show merry swing on because of just the nature of the show. But for you, you are at the theater every night. Yep. At the theater for every show. Yeah. Okay. And the story of the first one, I mean, I literally, like I said, he's so consistent. It was, I had already been in the company for two years. The price covers had gone on several times mid-show. Okay. Not like the, yeah, our price is still also super consistent, but sometimes you think you got it and it just doesn't happen that night, you know, whatever.

But I had been in the company for two years without a mid-show swing on. I was completely convinced it was never going to happen. Right. We're on the sixth floor. So no one ever really comes up to the sixth floor because that's a lot of freaking stairs. Yeah. And you hear like the pattering of this, like the stage manager coming up. And I was eating food. I was eating like Greek food, Greek food, like literally like, and I was like, oh, okay. So like whoever, you know, he's going to be on for price, whatever. And they're like, no, I need you to emotionally get ready to go on for Cunningham right now. And literally like my, one of my stage managers still makes fun of it sometimes because like the blood literally went completely pale.

Right. I was like getting a costume and like, I could not warm up my voice because I truly was like not able to breathe. I was like, I started doing where I was and I was like, like I was like literally like, oh my God, I can't breathe. And all I was just like, get on the stage, say the lines, say like literally stand on the stage and say the lines. That's all you have to do. And then eventually, you know, it was like right before the end of act one. So like I finished out act one and then act two was fine because I was able to breathe a little bit, but it was, it was crazy. They didn't even have like an intercom. They couldn't be like paging Noah Marlowe to the deck level. I think I, well, because I think I had to like, I had to put on my costume and my mic and I think they were like trying to not stop the show either.

Yeah, yeah, yeah. They were. So I think there was like, I think they just, yeah, I don't know. But it was, they handled it like pros. I was like, so like freaking out literally panic central. That's crazy. I guess I just, I even like I've swung shows before, but there's never been a point where they fully said like, you have three minutes, get in costume and get your ass on the stage. They had costume people who like got me my mic and like helped me and whatever. But no, it's, it's also never happened to me before. Cause I've understudied before, but I, when I went on, I went on for like 10 shows in a row and I went on from beginning to end and you know what I mean? And this is like, we're diving in.

Yeah. Who knows where in the story. Yeah. It's also so funny as Cunningham cause I, I guess it is like this sometimes with other covers too, but I don't look anything like the person that I cover. Sure. So to like, for us, like if we went to see a show where there's a visual swing on, we're like, Oh my God, so fun. Like I create, like seeing a few people do this part. Like I totally, people who don't know Broadway are like, who is that? Even if they make an announcement, like the role of Elder Cunningham will not be played by Norm Marlow. They're like, okay. I'm confused. Yeah. Who are you? Whereas like Elphaba can go on mid show and she's green. So you can just be like, well, she's the green one. She's the green one. Yeah. Versus like Cunningham where it's like, who is this person? Cool. Great.

[53:23] Noah Marlowe: She's in Chicago. I don't think so. She's been in it for a long, long time.

[53:26] Noah Marlowe: But she, my favorite like mid-show swing on story is that she made her Elphaba debut as a mid-show. Because she was standing by for Teal Wicks and Teal needed to go out and so they ran off stage after like, come with me to the Emerald City, one short day. And then they run off stage and then Elphaba and Glinda both have a quick change. And luckily, by like the grace of the universe, Teal was able to communicate with like stage management that like she was done. She was like, I, you need to put Angel on. Yeah. So Angel had seven minutes and got fully painted green and put on the costume and Teal ran off and they did their little quick change. Glinda changed her costume and then they ran back on stage and it was Angel.

And she's like, there are buildings tall as clocks with cheese. Like that's her first line ever sung as Elphaba. Like that is insane. It's insane. But it is such a testament to like what it means to be a standby of like, that is your job and you never know. Yes. And you don't, you don't know that you are capable of it until it happens. And then you figure it out from there. But like, seriously, also, sorry to sidetrack, but can we talk about your Glinda video, please? You just reminded me my Glinda video.

[54:42] Jayke Workman: Yes.

[54:43] Noah Marlowe: Of you singing of Good News. And because literally shout out to me and Thomas Doldr were talking about this, that it's the best we've ever heard it sung ever. Like if you, you need to play Glinda yesterday. Unfortunately, I am too tall and have a beard, but no, but like, it's, you're fantastic.

[55:04] Jayke Workman: That is very kind.

[55:05] Noah Marlowe: I, I think it's just one of those shows that like, I will just absolutely adore forever. I've just, I've seen it like 25 times. And like, obviously then with the film coming out and everything, like my, my love for it was just like exploding, but I love that show and that score. And it's magic. I think I've talked about it on the pod, but one time I got an email and I was like, this has to be spam, but I opened it and I read it and then I read it again. And I was like, this is real. And it was this lovely message that was like, found your wizard and I video. I, you know, that you sound beautiful and thank you so much for honoring me and my work and whatever. And then it just said, all my love, Steven. And I was like, are you fucking kidding me? Steven Schwartz found my video and wrote me. And I was like, but that's how, that's a testament to how talented you are.

[56:15] Jayke Workman: Well, that is so kind about how there are a million wicked covers out there. I mean, I also just think it has to do with the fact that I look like a dude. So people are like, what's going on? A boy sings like a girl. No, literally. I literally, anyone with that voice is something that I will never forget of like, Oh my God, someone who I absolutely revered for my entire fucking life just was like, Hey, good job. I was like, Oh, what the fuck? That is, that is literally fantastic to you, Steven. I reached out to his, um, his PR people to have him on the pod.

[56:50] Noah Marlowe: Oh my God.

[56:51] Jayke Workman: And they were like, Steven, uh, is like, like a big fan of yours and, uh, would love to be on the podcast. Unfortunately, he's a little tied up doing, um, wicked part one and part two. And I said, you know what? I'm going to leave him to it. I'm not going to take any of his precious time. I guess he might have a little bit of value. I'm going to need those two movies. So ASAP actually needing number two right now.

[57:10] Noah Marlowe: Yes.

[57:11] Jayke Workman: Um, Noah, you are such a delight before I let you go. I have a series of musical theater rapid fire questions.

[57:23] Noah Marlowe: Okay. Yes.

[57:24] Jayke Workman: Every guest. And I, I guess I always say musical theater, but they're also just like lifestyle questions. So just buckle up.

[57:28] Noah Marlowe: I'm ready. Buckled.

[57:30] Jayke Workman: Okay. Sondheim or Andrew Lloyd Webber?

[57:35] Noah Marlowe: Oh, Sondheim. I'm pointing a gun at Noah. Sondheim. You can't see it. Sondheim.

[57:42] Jayke Workman: But I love it. I love Andrew Lloyd Webber musicals.

[57:47] Noah Marlowe: Me too. I'm a homosexual. Of course I do. But I must say Sondheim.

[57:51] Jayke Workman: Love. Sweatpants or jeans?

[57:55] Noah Marlowe: Sweatpants.

[57:56] Jayke Workman: Do you have a favorite musical?

[57:59] Noah Marlowe: Um, I have a few favorite musicals and it kind of changes. And they are?

[58:02] Noah Marlowe: Uh, they are the producers. Love. They are parade. Love. Um, they, uh, I had a really serious, the notebook obsession.

[58:11] Jayke Workman: Oh yes. Of course.

[58:12] Noah Marlowe: I saw that like four times. That was literally fantastic. It's stunning. Um, and there, and maybe like Phantom slash Les Mis are like, just, I love Phantom of the Opera so much.

[58:22] Jayke Workman: So do I. I was literally just listening to the 25th anniversary recording with Sierra. It's ridiculous.

[58:26] Noah Marlowe: It's unbelievable. It's just ridiculous. And of course, I mean, Ramin, my God. Like, are you kidding? Punch me in the face. He's so good. Like just one of those voices that it's like, I don't know how it works, but I want it.

[58:37] Jayke Workman: No, absolutely. And also he is so hot. I could literally die. Um, do you have a least favorite musical?

[58:45] Noah Marlowe: A least favorite musical? Um, wait, also I have a random question.

[58:49] Jayke Workman: Yes.

[58:50] Noah Marlowe: So you said you saw the notebook. I did. Like four times. Yeah. How do you see shows when you have a Broadway schedule? We don't have a Wednesday matinee. So you can see the Wednesday matinee? I can always see a Wednesday matinee of a show. Fabulous. Which is awesome. Or if they have like a Monday show, some shows have Monday shows. Yes. I'll see a Monday show. Yeah. Because Chicago has Monday shows. Wednesdays are night off. Yeah. So I will like sometimes see a Monday show. I think that's how I've seen Chicago a couple of times. Okay. Love. And then I saw, yeah, I saw a new book, like I think Wednesday afternoons. Love. Yeah. Okay. Sorry. Back to your least favorite musical.

[59:24] Noah Marlowe: Um, I'm such a, I'm such kind of. You have one. I know it. I don't know if I do. Yes you do.

[59:33] Noah Marlowe: I really don't know if I do. Mine is Footloose. It's the worst musical of all time.

[59:37] Jayke Workman: Really? Yeah.

[59:38] Noah Marlowe: It's horrible. I've, I don't think I've ever seen a production of Footloose.

[59:41] Jayke Workman: Good. You should keep it that way.

[59:43] Noah Marlowe: Oh my God. Um, I, oh, I don't know. Um, I maybe Gigi.

[59:54] Jayke Workman: Yes. That's a great answer.

[59:55] Noah Marlowe: I don't know that I cared for Gigi.

[59:57] Jayke Workman: Horrible.

[59:58] Noah Marlowe: Yeah. I would, I would characterize it as such. Very bad. Yeah. I saw it when it was, I visited my cousin in DC and we saw it at the Kennedy Center. I know it came to Broadway. I didn't see the Broadway production, but yeah.

[1:00:05] Jayke Workman: Oh yeah. No, literally. But yes, that might be my answer. Gigi. Um, do you have a favorite costume that you've ever worn?

[1:00:20] Noah Marlowe: A favorite costume that I've ever worn? I was in a show. I mean, Cunningham, just cause I've always wanted to wear the costume, but, um, but probably I was in a show called Wiki Musical. Um, and it was like this new show and it was all, it takes place. Like I was played like a million different characters in the internet. So like I literally dressed as like a cat at one point. And then I also dressed as Mario as in like super Mario. And I had so many ridiculous and amazing costumes in that show. Yeah. It was ridiculous. It was so ridiculous. Amazing.

[1:00:54] Jayke Workman: Can you think of the craziest thing a director has ever asked you to do either in a rehearsal room or in an audition?

[1:00:58] Noah Marlowe: Um, yes I can. I, this is unbelievable. This was in college. Well, there's two, there's actually two stories that come to mind. Also shut me up if we need to wrap her up. But I was in college. This was, we were doing virtual productions. I was in a virtual audition and the, one of my teachers who was casting the show was like, um, it doesn't say I, we forgot to write it, but this character does rap. Can you rap? And you're like presents? Like nobody's freaking business sandwich, a burrito. Absolutely. But I was, they're like, no. Okay. Um, but I was like, well, yes, obviously can. I was like, well, yes. And they're like, whenever you're ready. And I was like, excuse me? Sure. You mean freestyle?

Well, that's what I said. I said, well, would you like me to like freestyle or something? I know. And they're like, you can do something, you know? And the only rap that I know, am I allowed to curse on this podcast? Of course. Have you heard me speaking this last hour? Yes. The only rap that I know is fuck the police by NWA. Love. I loved that music. I loved straight out of the Compton when that came out as a movie. And that is the only rap that I knew just from watching the movie. And I was like, absolutely. I will say the only song that I, the only rap that I know is fuck the police by NWA. That's what I said in the audition. I was like, that is the only rap that I know. Is that okay? They said, absolutely.

Is that okay? And there are also like several, there was like, there's just like word in that rap that obviously I will never say in my life. So I was like, and I've also never rapped it out loud. So I was like, please give me one second. I'm going to like, think about the rap and make sure that I like am not censoring myself in this rap. Cause I'm going to say all the curse words except for that word. Right. And now I'm in my childhood bedroom rapping full out. Cause I'm like, I'm not going to give you a like awkward, like fuck the police. I'm like giving you everything. Fuck the police. Oh, we're acting darling. Yes. And I ended up getting that show in college cause I rapped fuck the police.

And then, oh my God. And then a director, they didn't say this to me, but I was in a show and I will not name the show or the director, but it was my favorite story. I, there were three kids in the show and we were learning harmonies, whatever we were, and this kid is like extremely talented. It was just very intricate harmonies and he wasn't picking it up like right away. This was literally like the second day of rehearsal, like learning brand new music. And you're like, keep up bitch. This music director goes, and this is why I don't work with kids. Oh no. And I was for, I was cause I was so intimidated and literally, and this kid is brilliant and has gone on to do like a million other shows, but she's like, this is why I don't work with kids. And his name is Ben Platt. Can you imagine? And speaking of Ramin Karimloo. Yes. But yes, those are probably my two favorite moments.

[1:04:02] Jayke Workman: Oh my God. That's amazing. Yes. Amazing. Well, my last question for you is a question I ask every guest, which is what is one thing that you would tell baby Noah?

[1:04:15] Noah Marlowe: Oh my gosh. Oh, that is such a tough question. I would tell baby Noah to just really look around probably. Look around. Yeah, probably. I think it was like, I just had no, like we talked about earlier, I had no idea what was going on. I just like, want to, and I would tell adult Noah that too, just like keep being present in the moment and like appreciating. Look around you. Literally look around you and like, just appreciate what is going on right now. And like, yeah, I think, and I remind myself that of all the time. Cause I'm like, Mormon is such a blessing in my life and I have so many blessings in my life and I never want, I like, life is so short and I, it takes effort to not take things for granted.

Do you know what I mean? Like you have to put in like real concert, like concerted effort to be like, I really appreciate where I'm at right now. Yes. And you can still dream and want other things, but you have, like you, I, I take it takes to real practice that one of this actor that I really admire told me like, really take like set aside time to just think about like all the blessings in your life. And it would be, I just would love to tell my childhood self to do that as well.

[1:05:30] Jayke Workman: I love that. That's so cute. Well Noah, thank you so, so much for coming on the pod. I am freaking, I had so much fun. I literally so much fun. I'm so glad. Will you tell the listeners where they can find you on socials and keep up with all of your Elder Cunningham standby dates?

[1:05:41] Noah Marlowe: Yes, absolutely. Find me on Instagram at Noah.Marlowe. TikTok. I do not, I'm trying to post more on there, even though I don't put, it's at NBM1189. Work. Just, you know, that's my middle, those are my initials and random numbers. And yes, I mean, that's where I like am most active probably on those two things. So find me on there and I love you, Jake. This was literally so much freaking fun. Thank you. I'm so glad.

[1:06:14] Jayke Workman: Thank you for having me on here. Isn't it so silly? You guys, that's it for another episode of Oh My Pod, you guys. Don't forget to rate, review, and subscribe anywhere you listen to the pod. And you can follow the show on Instagram at Oh My Pod, you guys. Thank you so, so much for listening. Talk soon. Bye. Oh, that sounded horrible.