This transcript was automatically generated and might contain errors.

[0:01] Jayke Workman: And just like that, Big died.

[0:03] Jayke Workman: Oh my God, did you hear? Did you hear? Did you hear? Oh my God, guys. Oh my God, guys.

[0:26] Jayke Workman: What's up, everybody? My name is Jayke Workman, and this is Oh My Pod U Guys, a musical theatre and pop culture podcast. You guys, I am wearing a wig while I'm recording this. I'm feeling the fantasy. And no, I will not explain further. I look incredible. And you should be so sad and jealous that you're not here to see it. You guys, what's up? Hi, welcome back to the pod. It was just announced that Sex and the City, the spinoff, And Just Like That has been canceled. Or I guess, okay, I shouldn't say canceled. They chose to end it. They said no more. We did not want to tell anyone that we have ended this show. We just wanted the focus to be on the show. And then they have confirmed that they are not going to be making any more.

Have you ever watched it? Have you ever watched And Just Like That? Lovingly referred to by Miss Katya Zamo as And Just Like Crap. It is one of the most bizarre, bizarre TV shows I've ever seen. Literally, And Just Like That, Big died. What? What the hell is that writing? You guys, SJP, my queen, if you know me, you know that in the pandemic, I had a Sex and the City TikTok that went viral. And it was very exciting for about 24 hours. And then by the time I was literally featured on the Today Show on their website, I was like, okay, this is getting a little out of hand. Because I had never seen Sex and the City. I was watching it for the first time in the pandemic, and then decided to make a TikTok and do impressions.

And then people were like, where's part two? Where is it? Make more. And I was like, I don't like this, you guys. Anyway, this is a tangent about Sex and the City. But basically, we are getting no more. And I think that that's okay. I think we can lay these sweet, sweet characters to rest. Unfortunately, we never got the return of the icon herself, Kim Cattrall. And honestly, good for you, Diva. You put your foot down and you said absolutely the f*** not. I'm not doing that. Um, but yeah, you guys, we should talk about theater now. In the Broadway World recap, of course, brought to you by my amazing pals at BroadwayWorld.com. You guys, I'm just obsessed with this wig. I'm just obsessed. I look like a mermaid.

Okay, Broadway. First, you guys, Broadway World shared the casting announcement or replacement announcement that John Stamos has replaced Josh Gad in the role of King Herod in Jesus Christ Superstar at the Hollywood Bowl opposite, you know, Cynthia Erivo and one delicious Adam Lambert. But this is just kind of crazy kooky. I mean, first of all, Josh Gad tested positive for COVID and had to be like recast, which is crazy that it's even like such a short run at the Hollywood Bowl that they were like, well, sorry, you have COVID and so you won't get better in time so we have to replace you. And the fact that COVID is still a thing, what the hell. But then also, John Stamos, of all people, like I just, if you had asked me who I would assume to replace Josh Gad, I would not tell you that John Stamos is on my short list.

But hey, congratulations, Mr. Stamos. That's, that's exciting for you and love the role of King Herod. So I hope you're all having fun. I wish I could see it. But I live in New York, so I'm not coming. Oh, and speaking of Jesus Christ Superstar and Daddy Queen Adam Lambert, Broadway World shared that his recording, his version of Heaven on Their Minds from Superstar is now streaming on all platforms. So you guys check it out. Adam Lambert's voice is like none other, truly. The video of, I've said it on the pod before, the video of Cher watching him sing Believe at the Kennedy Center, RIP Kennedy Center. That lives rent free in my brain. But yeah, listen to Heaven on Their Minds. I love Jesus Christ Superstar.

It's such a good score. Next, you guys, we got first look photos of the Broadway revival of Mamma Mia. You guys, this is crazy. This like kind of never happens, but they brought the entire company of the national tour of Mamma Mia to Broadway for this. It is allegedly a limited engagement. But if we know anything about Mamma Mia and what happened last time, I think we're going to see her stick around. But these photos look gorgeous. I have a couple of friends in the show. So congratulations to Nico and to Andy and everybody involved in the Broadway revival of Mamma Mia. I actually really cannot wait to see it. I love the Winter Garden and I love this damn dumb show. So yay. And you got to check out those photos.

And lastly, you guys, we got the very exciting casting announcement that my queen Kelly O'Hara is going to join Tom Hanks in This World of Tomorrow at The Shed, this world premiere musicale. Performances begin October 30th of 2025. I love The Shed. I've only been there once and I saw Here We Are There and it was a fabulous facility. It's gorgeous. So I am so excited that not only do I get to see Tom Hanks on stage, but my queen Kelly O'Hara. Come on the pod, Kelly. I love you. I met her at a Starbucks once and I almost pooped my pants. So This World of Tomorrow features Tom Hanks in the lead role of Burt Allenberry alongside Kelly O'Hara. And Carrie Bechet is going to be in it. Kaylee Carter, Paul Murphy, Jamie Ann Romero, Lee Aaron Rosen, J.O. Saunders, Ruben Santiago-Hudson, Donald Webber Jr. and Michelle Wilson.

This is going to be a gorgina cast. It is the story of Burt Allenberry, a forlorn scientist from the future who embarks on a time traveling quest for true love, returning again and again and again to one special day at the 1939 World's Fair in Queens, New York, which sounds just so cool and like really different. And I love that it's a story about mature people, not just like, you know, copy and paste like the next young whatever ingenue and hot young strapping man. It's a story about like age and time. And I'm excited. I can't wait to see it. And I love you, Kelly O'Hara. And that's what you missed on Glee. Just kidding. This has been the Broadway World Recap.

[7:19] Jayke Workman: Oh, my pod, you guys. I am so excited to welcome my next guest to the show. He is a bona fide Broadway diva currently starring in Death Becomes Her on Broadway. Please welcome Christopher Sieber.

[7:34] Christopher Sieber: Wow. Oh, my God. The crowd. Oh, my God. The crowd in the studio. You guys, the crowd. There's so many people here. It's a lot. Hey, guys. Hi.

[7:47] Christopher Sieber: Hi, Jayke. Hi. Thank you so much for being here.

[7:54] Jayke Workman: My pleasure. Would you tell the listeners where are you calling in from on this fine day?

[7:57] Christopher Sieber: Well, I am actually at the Lunt-Fontanne Theatre right now where Death Becomes Her is playing. And I'm in my dressing room. And I usually get here early anyway, just because. And then just this spot, you had said, hey, let's meet at five. And I said, perfect, because I'll be there by then. But yeah, here I am at the Lunt-Fontanne Theatre where Death Becomes Her is playing. And get your tickets now because we're selling like crazy. So get them now.

[8:23] Jayke Workman: Yes. I cannot wait to talk about all things Death Becomes Her. But we have to talk. You have a long history at the Lunt, don't you?

[8:29] Christopher Sieber: I do. I do. Which other shows? Is it plural? Other shows?

[8:37] Christopher Sieber: Two. Two. Now it's just two. And I've been doing this so long that there are several theatres where I've worked in twice, sometimes three times. And this one, this is where I met my husband, actually. I was doing Beauty and the Beast here at the Lunt-Fontanne Theatre with Andrew McCardle, who is Belle. And Sarah Litzinger was replacement. And then let's see, we had Steve Blanchard as the Beast. And I was Gaston. And Kevin was the fork. And everyone, he was on vacation the first couple of weeks I was here. And everyone said, oh, when Kevin gets here, when Kevin gets here, when Kevin gets here. And when Kevin finally showed up, I was like, that's Kevin. He's like that aloof dude at the gym who always is sneering at me.

And before you knew it, then all of a sudden, I'm kind of like, well, hey, hi. Hi. How are you? And he was like, why are you following me? And like, leave me alone. I didn't give you my phone number. Why are you at my door? So I, yeah, we kind of, the good news is we were, we became friends because there's about 40 minutes in Beauty and the Beast right at the end of the number Gaston, where you don't hit stage for another 40, 45 minutes. So you're just kind of hanging out. But we would go into Maurice and LeFou's room, which was downstairs. And I had the room upstairs at the very top of the, they call it the penthouse. And they were like, you're so lucky you did the penthouse. No, it's six flights up.

It's terrible. But, um, so, but we used to hang out and just chat and gossip and giggle, uh, for 40, 45 minutes before we even got to get back into costume to go back on stage and, and do that. And so that's where we became friends. So we became really close friends. And, um, so the whole idea of, uh, dating or just finding each other attractive was never part of the thing. It was, it just kind of just happened. And, um, and before you know it, yeah. And then, and then, and then we, then we, we started, we started dating.

[10:51] Jayke Workman: I was going to say, is it safe to say that you started forking?

[10:55] Christopher Sieber: Well, yeah, well, I was going to say that, but yeah, yeah, it was like, yeah, we started forking. Yeah. Um, yeah. So Kevin, no, it's so funny. Cause, uh, well it started with, um, he, he had come and it was my birthday and you know how friends just like kiss each other, you know, we just get like, Hey baby. Yeah. Theater people hug. We hug. We kiss. We do. That's what we do.

[11:17] Christopher Sieber: And that was the thing. So he came into my dressing room. It was after the show. And it was like, hey, happy birthday. And he gave me a kiss, but it lasted one split second longer. I know. I know. And it was truly like, it was truly like a Marsha Brady for you old people. Yes. Marsha Brady when Davy Jones kisses her. I'll never wash my face again. That was it was it was and I and I don't say this lightly. It was one of those moments truly where you I was shook. Yes. I was shook. And and so and I didn't know what to do with that. So yeah, I know. I know. And now it's been 25 years. I think 2520 Yeah, coming on 25 years. Well, I'm so it's over. Is it over now? Yeah. Oh, my God. We've been together. I don't even know a quarter of a century.

[12:11] Jayke Workman: I'm so glad that you brought him up so naturally, because something that I was excited to ask you about was, you know, your journey as an openly queer person in this industry and how you have played leading men and you know, that's that's something I think, now, maybe not as much, but there was a time, you know, in college programs where there was the the keep it to yourself. And let's tone it down. And let's butch up and let's do all of that. And I'd love to know how you or if you had to navigate that, you know, coming up in this industry.

[12:49] Christopher Sieber: I don't know if I ever did. It was just I think there was one moment when I did the my first sitcom, which was Two of a Kind with the Olsen twins. There was a moment there was a moment when someone asked me about my wife, and they said, Hey, can we fly your wife out here? And I was with somebody else at the time. And I said, ah, because I, you know, Broadway and theater does like whatever, but film, television, Los Angeles, Hollywood, all that other stuff. So I didn't know how that was to deal with that. And I asked my producer, Bob Boyette, and Tom Miller, who were the executive producers of my show. And I said, I don't know how to handle this. So my wife is, is where my I have a I have a boyfriend.

And they're like, Oh, okay. And Bob Boyette was the one that gave me and Tom, but they both gave me great advice. They just said, if you make a big deal out of it, it'll be a big deal. If you don't, no one cares. And yeah, and, and it was never a problem. And, and then there was a moment that my second sitcom, John Benjamin Hickey, and I were two openly gay people playing openly gay people on television on national television, that was kind of like this, like, wow, look at that. And, but to me, it was also, and what, you know, it was just like, Oh, he came out and was like, No, I never was. Okay, I was never in. So that was that was, and in theater, it's never, it's never been a problem. But I just, I guess, you know, to, I guess, to each his own in a way, because, you know, everyone is different.

And I just, I mean, I can, I don't know, I don't know, I just, what I wanted to do is, is what I do. Yeah. And other people, it depends on, I guess, it's just my personality, or the way I'm built, or the way I come across or whatnot. And that's just the way it is. And, you know, of course, I've had to adapt. Every actor adapts. That's what that's what we do. And, you know, sometimes, you know, you get to play the the crazy over the top, campy thing. And sometimes you you have, well, it's weird. It's very strange, because, well, this show, this show, I'm not, I am over the top. Okay. However, however, I'm the most grounded character in the show. Straight laced character. I'm totally literally the straight guy, I set up all the jokes, and they get all the punchlines.

And and we we know this. But yeah, it is. Actually, I was just talking to Alex Timbers today about about about because we're gonna we're gonna be doing something soon together. And I call this a show is like a wet paper towel, you know, the commercials, where they had the grapes and they Yeah, oh, look at how strong our paper towel is. That's kind of why I look at a lot of things like if you put too much on that, it's gonna break. So you want to keep it you want to keep the balance you want to keep the tension you want to keep the paper towel intact. And that's I look at that paper towels like a script page was like, Yep, you if you put too much on it, it's gonna bust. So the fact and the fact that sometimes that I'm able to and allowed to How about that I am allowed to go as far as humanly possible sometimes and they will let me but for some reason they were they're able to bring me back into reality.

I mean, this is a fine line between being crazy over the top crazy nutty, really truly. This can't be real, but it is. Yeah, I mean, and that's, that's, that's, that's the biggest challenge of doing doing something like a crate like Farquaad like Farquaad is crazy. And Miss Agatha Trunchbull crazy, crazy over the top. But they are based in reality, right? Even though it's absolutely absurd, you know, and so, oh my god, we went off all we were talking about gay stuff. And now I'm talking about character. Anyway, anyway, gay stuff and character. Yeah, we can talk about anything. Anyway, all intertwined.

[16:53] Jayke Workman: Well, you again, you're making my job easy because you just brought them up. But roles like Farquaad and the Trunchbull juxtaposed to roles like Billy Flynn in Chicago the Musical. How do you find approaching those things? You know, in terms of like rehearsals and preparing for a role? Do you do you do different things? Is it the same for you?

[17:27] Christopher Sieber: You you I know, I actually approach everything kind of the same way I read through it and find out where it's it's so actory and I do get actory even though that, you know, some a lot of these characters that I've played are just ridiculous. And but but you still have to find a basis for each of each of these characters like Agatha Trunchbull is an incredibly hurt woman. And you don't see that because you she is so mean and so cruel. But there are so many things that happened I'm going to cry. Why am I crying? But to Agatha, there were so many things that wronged her. And that's why she turned out the way she did. Her high point, her high point. This is this is my actory and that analysis of Agatha.

But it was that she her peak was the Olympics. That was it. That was that was it was the equivalent of like somebody peaking in high school. Yeah. And then it's all downhill and she can't get anything anymore. She can't do anything anymore. And she's let herself go. But the only one that she can show that she's good enough is children and and just take it out on them. Farquaad is in a way weirdly similar. Farquaad was always put down as well because he's always been down, you know, because he was so small. But he was never he was never a little person to me. And, you know, he was, you know, saying that you were playing a little person or why why why didn't we get a little person to play this?

And that's that's that was never the intention. The idea it was it was like, oh, my God, here we go after again. But the whole idea was a metaphorically, seriously, a little small man. Yeah, that's that's the metaphor of the whole idea of it. Yes. He's he's like this crazy, over the top, crazy, you know, authoritarian who's so sad and who's so sad and so small. But he does everything and everyone's afraid of him. And no one knows why, because he's pathetic. He's so sad. But he really enjoys being evil. He really does. He really does enjoy being evil. But and then like Billy Flynn is like, yeah, you're you're you're the the driver of the bus in that. And so you can control everything. You are a puppet master, truly.

Billy Flynn doing doing things like that. And you're so good at Billy. Billy is so good at it. The people he's manipulating don't know they're being manipulated. And so that is that is the that's actually the fun part to find those little things in there that how you're going to manipulate someone, even though it's in the script. But there's still it's a puzzle that you have to figure out for yourself to get into that part.

[20:00] Jayke Workman: Yeah. And I'm always in awe of the Billy's because that role is so wordy. He talks it's so much.

[20:09] Christopher Sieber: Yeah, it's not it's not the talking, actually. And you know what? Honestly, the hardest part about it is the trial. Oh, the courtroom. The hardest part is an actor. The courtroom trial is the hardest part because there's just like and then what happened and what happened next? Then what happened? And those those little interjections and you are driving this this play that he is already choreographed ahead of time and manipulating the jury. All of it. That's my favorite. So that is about it is terrifying. It is terrifying.

[20:39] Jayke Workman: When I am on for Mary, I love to to buy into that. Did we do it together? No. No. I wish. Oh, I know. Maybe someday. But I love that that level of of buying into it of you know, I worked I did the tour a long time ago and our director, Tanya, was very clear about like this. Mary and Billy are in on something together. And, you know, whether or not Mary knows that she's being manipulated. I love all of my little tiny interactions with Billy Flynn. They're so fucking fun. But I'm, you know, always in awe of anybody who can jump into that role, specifically Billy, because he like you said, if if you are not in control of it, it will consume you.

[21:29] Christopher Sieber: Yeah, it consumes you because there it is. So, I mean, there's so many amazing parts and performances going on around you. And you really just have to I'm I'm in charge now and you've got to do that. You got to grab it. I've gratefully that's so funny because I've done it six times. That's crazy. At the Ambassador six times. And the last time, last two times, Barry Weissler, the amazing producer and who's actually a friend of mine, and I've worked with him on other shows, too. And I think I guess the best best one was the last time that he he called me on a Friday night around eight thirty p.m. and said, hey, I'm like, hey, what's up? He says, what are you doing tomorrow? Like, I don't know.

I don't know nothing. He said, you want to play Billy? I'm like, sure. Really? Well, OK. OK. And I said, you know, I haven't done it in like five years. And he said, yeah, you'll be fine. You'll know it. And I was and I wasn't. And Jake also probably when you do go, but you go back into it, too. It's a weird show that was especially with something.

[22:34] Christopher Sieber: You've come and gone, gone and back, coming back, coming. It is still the same, but truly you, I don't, I could not tell you a word of what I'm supposed to say right now. I could not tell you a lyric. I could not tell you a note, but damn it. You get on that stage, you put that tuxedo on, you put that costume on, the spotlight hits you, you're with the band, you're right there. Your body takes over. My body just, I felt so weird the first time it happened. Yes. Because you're like, zhoo, zhoo, zhoo, and you're like, okay, I'll just let the body do it. Oh yeah. And you're afraid of words not coming out. They just pop out of your face. They just do. I know, it's crazy. Yeah, people have asked like, oh my gosh, you don't have a rehearsal?

Because I've been called the day of. That's how I made my Broadway debut, was literally they called me at nine in the morning and they were like, can you be here by 6 p.m.? And I was like, okay, hadn't done it in two years. I'm in Spain, but I'll be there. Exactly, but it's that. It literally just flies out of you and you just sort of have to trust that the work that you did sometime, somewhere, will kick in and it'll pay off. It'll be there. I mean, that's the thing too, is now that I'm getting older and I've been doing this for so long and just the trust that, there's a reason you've been doing it so long and there's a reason that people keep on asking you to do the things that you get to do because they don't have to ask you to do much because you already have it.

And the thing is, I still have. And I always will. And I hope I don't lose it, even though I call it somewhat of a disability. I have the worst, what would you call it? Imposter syndrome. Like you would not believe. And I think it's a blessing and a curse all at the same time, because I think the good thing about having it is it means I care a lot. But it's also, it's terrifying because it never ends. It never, and no matter what I'm doing, no matter what I'm doing, even the most confident thing that I know, like my name, I will be terrified. I still am. And I've been doing this. I know, isn't that crazy? Well, but how, humbling is not the right word, but how lovely and refreshing to hear that someone as vetted as you can still have all of those feelings on top of two Tony nominations.

Those things don't necessarily exclude, they're not mutually exclusive. But the good thing, I think that what came out of that is, number one, like I said, I care a lot. And number two, that it keeps you so grounded because I do not think I'm talented. I just think that I've been doing this long. I think I've been doing this such a long time that I was like, okay, I slipped into another one. I slipped into another show. But it is, I was talking to somebody about this. And when I first moved to New York City in 1988, and I would go to 890 Broadway. And that's where you would audition for every show. And I would go down there and you would see Chita Rivera walk by and you would see Tommy Toon walk by and you would see Karen Ziemba and Harry Groner and all these people that were already on Broadway and their names were in lights and everything and legends and stuff like that.

And I'd be like, oh my God, oh my God, oh my God. And now it's me. Yes. I'm that guy. And they're like, oh my God, oh my God. I do not take that for granted. But it's so weird to me because I still feel like I'm that 18 year old kid that came to New York. I still feel like that. And it's still, it's great, of course, when people say, hey, hey, hi. It's great when they know my name too. That's a cool thing. That's a cool thing. But I don't feel like, I don't really ever look back. So I'm always looking forward. And I kind of, you know, great, you know, I'm still me. I'm still me. Do you ever have moments where you look around and you're like, how did I end up in this same room as these people?

Always. Oh, I can't, no. And you ask those people that are in the room with you, they will probably say the same thing I'm about to say. It was like, I don't even know what I'm doing. Yeah. I really, really don't. But that's good. But I think that's a great thing when you think, oh boy, oof, they got the wrong guy. They got the wrong guy. Because it leads you to, like you said, to care and to pull up the bootstraps and continue to do the work because it never gets easier, I would say. No, no. And hard work, you know, hard work is worth it, you know. And anything worth amazing to be amazing is worth all the work to do. And I look at everything, even if it's, I have a phrase that I've adopted in the last five years and it's like, it's gonna be great.

And I say that a lot. And I say that when we're about to run a scene or a number or something like that. And I'm like, come on, everybody, it's gonna be great. Come on, it's gonna be great. I used to say it to my head, in my head alone, you know, because imposter syndrome. And, but now I say it out loud and people started giggling at me because I say it almost every single time we start something. And even at the top of the show now, I like, come on, everybody, it's gonna be great. It's gonna be great. And it just happens, I just say it. But it's true because even if it's gonna be terrible, the worst things that could possibly happen, like if you're just doing something and you said yes to it and you're there and the script's not great and the score's not great and it's just, it's a mess and it's not going well, it's still gonna be great.

That's why everyone is there because yeah, the music ain't right yet and the script ain't right yet and the cast ain't right yet. So that's why we're here. We're here and they trusted you to come in to do something with it that might inspire them and that's fine and it's vice versa. And it's gonna be great. But also if they were like, yeah, fuck it, it's not gonna work. They can, just think of the stories that you're gonna have. That's great. Think of the people that you've met. That's great. Even if they're the composer or lyricist or whomever is not, you never hear from them again or there's always great things that come out of this and it's just like, yeah, great. So it's gonna be great. I love that.

So in a similar vein, talking about projects that you may say yes to or that may come across your desk, I'd love to know specifically about Death Becomes Her and how this show came across your desk and what drew you to the project? Like, what are there? I mean, I guess I would just imagine that when you are Broadway's Christopher Sieber, things kind of just, yeah. All the listeners just turn it off. Yeah. You know, opportunities more frequently pop up and you are thought of and you're talked about in different rooms and so your name gets put into the hat for things that you might not even be aware of or have considered doing. So I'd love to know specifically with this show that you have now been doing for a long time on Broadway, how did it come to be for you?

Well, my friend Marco Panette, who wrote our book to this show, had always wanted to write a Broadway show. I have known Marco Panette for, well, gosh, almost 30 years now. And we met in Los Angeles when I was doing my sitcom with the Olsen twins. And he was a big Broadway fan. He actually grew up on the East Coast here in Connecticut. He used to come see Broadway shows as a kid all the time. But he's a very funny sitcom writer and he's created many, many sitcoms for NBC and CBS. And we met because he has an annual Christmas cookie party. And a friend of mine said, hey, come to this cookie party. And Marco recognized me. And I'm like this, I was 27, I think at the time. And he said, hey, hey, oh my God, oh my God.

We became friends immediately. And he had written sitcoms and I've been doing theater and then I got another sitcom and we'd always just see each other. And he would always say, hey, I'm gonna put you in my sitcom. And I'm like, yeah, yeah, whatever, we'll see. And he never did, by the way. And so, but he had said that I wrote this thing called Death Becomes Her. And originally it was Norbert Leo Butz and Kristen Chenoweth. And then Kristen got, there was something, she had, there was a vocal thing that she couldn't do the original, I think one of the readings or something like that. But, and it was even a different director. I think Gary Griffin was the director that I wasn't involved yet. But Jennifer Simard stepped in just as a film.

And we were doing, I believe Company at the time. And Jennifer said, hey, I'm doing this really funny thing and I think you'd be right for it. And I said, oh, is that Marco Panett's thing? She said, Marco is the book writer. I said, yeah, yeah, he's a good friend of mine. So Norbert dropped out. And this was, they were about to do a second reading in like a couple of months or something like that. And I said, Marco, are you looking for a guy? And he said, I was just about to call you. I said, would you be interested in doing this? And I said, yeah, I would. We would finally work together after 30 years. Yeah, fine. You owe me this one, Marco. Yeah, but even so, no, if it doesn't work out, you know, that's fine.

But I would love to do something with you. And at that reading, it was Nicole Scherzinger was the original Viola Van Horn. I've heard of her. What? Yes. And then it was, and then Megan was around and Megan came from Los Angeles and she was just around. So they asked her to do it, Jennifer and myself. And it was magic. Wow. And it was one of those readings that, I'd never experienced a reading like that. And I've done a lot of readings, a lot of workshops of things that, you know, either went or formed into something else or just never made anything. But this one, we stopped the show about four or five times. Like they stopped the show. That never happens at a reading. And after the reading was over, I ran over to Marco.

I said, okay, okay, this doesn't happen. This never happens. Just so you know, this never happens. And he was like, what? I was like, people don't stand during a reading. And so we just developed. And then, oh, and that reading, that particular Triscatelli was brought on. A director and choreographer. And kind of literally, we were all in the same boat because Gatelli was just asked like a week or two ago. So he didn't even know what he was getting into. Yeah. So, but he said yes. And that's what happened. And we were never not the people that were doing it. And we did work.

[33:52] Jayke Workman: Welcome back, U Guys! We're diving into the latest Broadway news, and I can't wait to share it with you.

[34:22] Jayke Workman: First up, we have some exciting updates from the world of Broadway.

[34:46] Jayke Workman: There's a lot happening, so let's get right into it!

[34:48] Jayke Workman: In case you missed it, the Tony Awards are just around the corner, and the nominations are creating quite the buzz.

[34:49] Jayke Workman: It's always thrilling to see which shows and performances get recognized.

[34:51] Jayke Workman: And speaking of thrilling, I have a fantastic guest today!

[34:53] Jayke Workman: He is a Broadway star and a two-time Tony nominee, Christopher Sieber!

[34:55] Jayke Workman: Christopher has an incredible career, from his role in "Two of a Kind" to his Tony-nominated performance as Lord Farquaad in "Shrek The Musical."

[34:57] Jayke Workman: He’s currently starring in "Death Becomes Her," and I can't wait to hear all about it.

[34:59] Jayke Workman: So, without further ado, let's welcome Christopher Sieber to the show!

[35:01] Christopher Sieber: Thank you so much for having me, Jayke! I'm excited to be here.

[35:03] Jayke Workman: It's such a pleasure to have you! Let's start with your journey. How did you get into musical theater?

[35:05] Christopher Sieber: Well, I grew up in a small town in Minnesota, and I always loved performing. I started in community theater and just fell in love with it.

[35:07] Jayke Workman: That's amazing! What was your first big break?

[35:09] Christopher Sieber: My first big break was when I got cast in "Les Misérables" on Broadway. It was a dream come true!

[35:11] Jayke Workman: Wow, that's iconic! And you've had such a diverse career since then.

[35:13] Christopher Sieber: Yes, I've been fortunate to work on a variety of projects, from Broadway to television.

[35:15] Jayke Workman: Speaking of television, you played the father of the Olsen twins on "Two of a Kind." What was that experience like?

[35:17] Christopher Sieber: It was a lot of fun! Working with the twins was a unique experience, and I loved being part of that show.

[35:19] Jayke Workman: And now you're back on Broadway in "Death Becomes Her." How has that experience been for you?

[35:21] Christopher Sieber: It's been incredible! The show has such a unique energy, and the cast is phenomenal.

[35:23] Jayke Workman: I can only imagine! What do you think sets this show apart from others you've done?

[35:25] Christopher Sieber: The humor and the music are so fresh and exciting. It's a different kind of storytelling that really resonates with audiences.

[35:27] Jayke Workman: That's fantastic! And you've also tackled some long-running roles, like Billy Flynn in "Chicago." How does that compare?

[35:29] Christopher Sieber: Each role has its own challenges and rewards. With long-running shows, you get to really explore the character over time.

[35:31] Jayke Workman: I love that! And you've worked with some legendary composers like Stephen Sondheim. What was that like?

[35:33] Christopher Sieber: Working with Sondheim was a dream. His music is so intricate and beautiful, and it really pushes you as a performer.

[35:35] Jayke Workman: That's incredible! You've had such a rich career. What advice would you give to aspiring performers?

[35:37] Christopher Sieber: I would say to stay true to yourself and keep pushing through the tough times. Imposter syndrome is real, but you have to believe in your talent.

[35:39] Jayke Workman: That's such valuable advice! Thank you for sharing that.

[35:41] Christopher Sieber: Of course! It's important to support each other in this industry.

[35:43] Jayke Workman: Absolutely! So, what's next for you after "Death Becomes Her"?

[35:45] Christopher Sieber: I'm not sure yet, but I'm always looking for new opportunities. I love exploring different roles and projects.

[35:47] Jayke Workman: I can't wait to see what you do next! Thank you so much for joining me today, Christopher.

[35:49] Christopher Sieber: Thank you for having me, Jayke! It's been a pleasure.

[35:51] Jayke Workman: And thank you, U Guys, for tuning in! Be sure to follow us on Instagram @ohmypoduguys for more updates.

[35:53] Jayke Workman: Until next time, keep celebrating the arts!