This transcript was automatically generated and might contain errors.

[0:00] Jayke Workman: Have I watched the trailer for Wicked Part 2 12 times and cried every single time? Yes. Do I feel bad about it? I think we know the answer to that.

[0:18] Jayke Workman: Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys. Take that high. Hi, Jake in the podcast. Oh my god, goodness. Oh my god. Oh my god, you guys. What's up, everybody? My name is Jayke Workman, and this is Oh my Pod, U Guys, a musical theater and pop culture podcast.

[0:42] Jayke Workman: You guys, yes. I have watched the Wicked for Good trailer. Actually, I think probably more than 12 times. It is breathtaking. We got so many Easter eggs for this movie. You guys, I want to know your thoughts. I want to know your opinions, because I have a sneaking suspicion that the secret mysterious horseback rider in the first film is actually Glinda leaving Alphabah for the last time and not Alphaba as I previously thought.

[1:20] Jayke Workman: I think it might be Glinda. You guys, this trailer is dog barking? I'm trying to talk about Wicked here. I'm trying to talk about it, the important things. Dog. Anyway, um, this trailer is immaculate. And if this is what I feel watching just a three-minute condensed version of the movie, I am going to be unwell. And I'm gonna be changed for good, Mitch. It's just brilliant. I cannot wait.

[1:50] Jayke Workman: Also, Ariana and Cynthia are now back on the press tour. We know we are going to get more brilliant content. I can't wait. Also, you guys, this week I had the pleasure of seeing Cabaret at the Kit Kat Club one last time before it sadly closed. And I got to see Friend of the Pod, my pal Miss Marty Lauter. Uh, Marcia Marsha Marsha of Drag Race Fame. Um, I got to see them as the MC, and they were absolutely magnificent.

[2:19] Jayke Workman: I knew, of course, of their talent and their grace, but I was um really, really blown away by their portrayal of the MC. The show was fabulous. Marissa Wallace as Sally Bulls was stunning. The entire company was just so pulled up and so clearly locked in and having such an amazing time because you know, you get to revel in that this is fleeting and that things don't last forever. So congratulations to everybody in the cast. Um, you all were just superb.

[2:50] Jayke Workman: And special shout out to my friend Dea, who uh played in the orchestra and also sometimes in the prologue. She was fabulous. Um, yeah, and congrats to Marty. You, Marty, you killed it. You were stunning. And with that, you guys, we have to dive right into this week's Broadway World recap, brought to you by my amazing pals at Broadwayworld.com.

[3:14] Jayke Workman: First, you guys, Broadway World shared some very beautiful first look photos of Miss Mira Sorvino as Roxy Hart in Chicago on Broadway. You guys, I am so excited. I feel like, you know, selfish saying this, but I'm so excited that I get to go and be part of Mira's run um at the Ambassador for literally just 10 days. I'll be standing by. Um, but I cannot wait to meet Mira, and she looks absolutely gorgeous.

[3:42] Jayke Workman: This blonde wig, Miss Barry, you turned out that wig. Um, she looks incredible. I cannot wait to see her portrayal of Roxy. And I mean, she's a literal Oscar winner. Like, come on. The acting is going to be, I can't wait. Um, but yeah, special shout out to you, Miss Mira Sorvino. I cannot wait to meet you and to see you shine.

[4:05] Jayke Workman: Next, you guys, we got the very exciting casting announcement that joining the previously announced Jane Krakowski in Oh Mary are Cheyenne Jackson and my darling angel John Andrew Morrison. You guys, this could not be uh more thrilling. I mean, my god, Jane Krakowski alone, I was thrilled. But Cheyenne Jackson as Mary's teacher, and John Andrew as Mary's husband, a famous historical figure. I think we know who it is. You guys, this is going to be insane. Amazing.

[4:41] Jayke Workman: They are starting October 14th, and they're gonna run for eight weeks, which honestly is just so wild that they are able to continue to do this, like with these little limited engagements, because I feel like if I were in their position, I would want to stay and I would want to do it longer. But um congratulations to both of you. I cannot wait to see you all together and with Jane, my god.

[5:06] Jayke Workman: And lastly, you guys, we got the very exciting casting announcement that Meg Donnelly is set to make her Broadway debut as Satine in Moulin Rouge starting November 11th. Um, I am shamefully not super familiar with her work. I know that she is like a Disney girly, um, but I haven't listened to any of her original music, so I need to. Apparently, she's a singer-songwriter, dancer, and actress.

[5:30] Jayke Workman: She starred in the um Zombies film franchise for Disney and was also in American Housewife, but this is her Broadway debut. So very exciting. She's absolutely gorgeous. She will look incredible in those breathtaking Satine costumes. Um, so congratulations to you, Madame Meg Donnelly. Um, happy Broadway debut. I cannot wait to see you starting in November.

[5:55] Jayke Workman: And you guys, this has been the Broadway World recap. Oh sorry, I'm not drinking. Oh my pod, you guys. I am so excited to welcome my next guest to the show. He is one of the funniest people I know, which is so annoying to say to his face. Um, star of TV, film, Broadway, National Tours. Yes, there's film. There's that one for like oh, you don't know about it? I did it. We do it. Twitter.

[6:26] Jayke Workman: Welcome into your ears, Michael Di Liberto is up beach. It's been 72 weeks since I've seen your face. Because you are what? Booked and blessed.

[6:40] Michael Di Liberto: Oh, please. So the minute you close one show and you go frolicking up to the next.

[6:45] Jayke Workman: Well, you know, a girl needs insurance. What can I say? Broadway League, did you hear me? Broadway League. Insurance.

[6:51] Michael Di Liberto: Who is that? Is that Fran Drescher? Who's who's oh no, Brooke Shields. What? Who's in charge of what now? Oh, Equity. Actress Equity. What's the Broadway? Brooke Shields. Broadway League. Yeah. Those are like the big wigs. Those are the producers, general managers.

[7:06] Michael Di Liberto: Um, I think Do you like how I've had this podcast for over two years and I don't know what the fucking Broadway is?

[7:11] Jayke Workman: I mean, especially when there's a negotiation going on right now, Jake. I had the former president of the Broadway League on the pod.

[7:19] Michael Di Liberto: Sure. I don't know what I'm saying. I don't know. Please welcome Michael Di Liberto.

[7:24] Jayke Workman: I just got hot. I'm so glad you're here. And we're sitting on the little green couch. Thank God. It's so much more fun to talk in person.

[7:33] Michael Di Liberto: I can only imagine.

[7:34] Jayke Workman: Than over video. So we don't ever talk over video or on the phone.

[7:38] Michael Di Liberto: We don't talk anymore.

[7:40] Jayke Workman: No, we just send extended uh voice.

[7:44] Michael Di Liberto: Okay, great.

[7:45] Jayke Workman: Yeah, okay, we're keeping the PG version.

[7:46] Michael Di Liberto: Yes.

[7:47] Jayke Workman: We send those. Yes. Nothing else.

[7:50] Michael Di Liberto: We send hot, steamy nudes.

[7:53] Jayke Workman: No, it's literally just like eight-minute long voice memos that I'll be like, sorry, and another thing, Michael, one second.

[7:59] Michael Di Liberto: Well, I don't think I can do a voice memo that's less than eight. I feel like that's the minimum. We have too many things.

[8:03] Jayke Workman: This but what do you think? This is a podcast.

[8:06] Michael Di Liberto: This is my extended podcast.

[8:07] Jayke Workman: Well, Instagram, like Instagram, you couldn't even do like more than a minute when you left a voice.

[8:11] Michael Di Liberto: Oh, something's like, this is annoying.

[8:13] Jayke Workman: I don't know.

[8:14] Michael Di Liberto: That's changed.

[8:14] Jayke Workman: I don't like about that is that you um when you like hold down to record on Instagram, if you let go, it sends.

[8:20] Michael Di Liberto: You don't get to like listen to it.

[8:22] Jayke Workman: You can't delete.

[8:23] Michael Di Liberto: Well, I mean, I guess you could delete it once it's sent, but like it doesn't give you the like pause.

[8:28] Jayke Workman: You can listen back if you want to, and then you send.

[8:31] Michael Di Liberto: Like, if you hold it down and record it, it is getting sent to them.

[8:34] Jayke Workman: Well, then I'm never doing that.

[8:35] Michael Di Liberto: I know. That's too risky. What the hell? No.

[8:39] Jayke Workman: Anywho. Hi. Welcome to the pod.

[8:42] Michael Di Liberto: Got me on my shirt.

[8:44] Jayke Workman: The rev on your shirt.

[8:47] Michael Di Liberto: Peloton on my hat.

[8:48] Jayke Workman: Fresh off of your run at the Rev.

[8:52] Michael Di Liberto: But pro.

[8:52] Jayke Workman: That was Hello. I've only had grapes and tomato and mozzarella. Like what are you're talking about?

[9:02] Michael Di Liberto: Okay, so prior to being at the Rev most recently, yes, you and I met doing A Wrinkle in Time at Arena Stage, which is so wild because we have so many mutuals.

[9:15] Jayke Workman: We do. You have done so many shows that I have been obsessed with. Wicked, Tammy Faye, Titanique, just to name a few. And we never met until Arena Stage.

[9:27] Michael Di Liberto: But then it also felt like I had known you forever.

[9:29] Jayke Workman: Absolutely. I mean, there was an instant connection going, well, that's my personality.

[9:32] Michael Di Liberto: Well, that's I said thank you for Michael being on this contract.

[9:35] Jayke Workman: Yes, thank you. Amen. God. Yes. Thank you, Tosi. To quote Jinx. I have just watched an interview with her, and she says, thank gods.

[9:43] Michael Di Liberto: Um tell me what was your road to Wrinkle?

[9:50] Jayke Workman: Before we dive into, you know, the illustrious uh resume and career that you've had. I mean, Helen Hayes nominated.

[9:55] Michael Di Liberto: I lost to Anthony Warlow. You know who that is?

[10:02] Jayke Workman: No.

[10:02] Michael Di Liberto: He's an Australian baritone, I think.

[10:05] Jayke Workman: A baritone?

[10:06] Michael Di Liberto: Baritone. I can't even attempt it. I'll just embarrass myself.

[10:11] Jayke Workman: Ew, why did you lose? You deserved to do it.

[10:15] Michael Di Liberto: Or Man of the Mantra. He didn't play. He played Don Quixote.

[10:18] Jayke Workman: And what did I play?

[10:19] Michael Di Liberto: Leo Bloom.

[10:20] Jayke Workman: Leo Bloom. Of course. I'm not sure. I'm gonna lose. I wish I could have seen you do that.

[10:26] Michael Di Liberto: Okay, wait, sorry. Anyway, Wrinkle in Time.

[10:29] Jayke Workman: Yeah. You auditioned for the show.

[10:31] Michael Di Liberto: I did. Well, I was asked to audition. Like I didn't know anything about it.

[10:34] Jayke Workman: Yeah.

[10:36] Michael Di Liberto: Rachel of the Hoffman's.

[10:38] Jayke Workman: Yes.

[10:38] Michael Di Liberto: I had put my name out there. So I'm like, okay, well, why the hell not? Like, yeah. I hadn't read the book. Don't tell anyone. But I hadn't read it.

[10:46] Jayke Workman: Um, and listening to Heather Christian's music, I was like, am I really right for this?

[10:50] Michael Di Liberto: Yeah.

[10:51] Jayke Workman: Because that should ask you. Is anyone right for that? I'm like, who did that?

[10:54] Michael Di Liberto: Yeah. Who can do that? Right.

[10:56] Jayke Workman: So yeah, I went in and it was just kind of like uh for Lee and for Heather.

[11:01] Michael Di Liberto: Yes, Queens. I mean, talk about an intimidating room. And not because they're intimidating themselves. It's just the brilliance and the smarts of those women.

[11:11] Jayke Workman: The brains.

[11:11] Michael Di Liberto: Are just unmatched. I know. I remember listening to Lee speak every day in rehearsal and just being like, I think her vocabulary grows with every moment that passes. I'm like, what word did you just say?

[11:24] Jayke Workman: Yeah.

[11:26] Michael Di Liberto: Well, then anytime Heather would talk, I'd be like, what world am I in? Because it was so words.

[11:32] Jayke Workman: Exactly.

[11:33] Michael Di Liberto: And I'm like, I totally get it.

[11:35] Jayke Workman: Right.

[11:36] Michael Di Liberto: Can I execute it? I don't know. But how you talk about it is it's on a level that I don't understand.

[11:43] Jayke Workman: Like, there's like terminology I don't get, even though the words that I've used.

[11:46] Michael Di Liberto: Do you mean like it's just it's this magical voice out of this petite genius?

[11:53] Jayke Workman: Oh yeah. A little nymph, a little wood nymph. I gotta go see Oratorio.

[11:56] Michael Di Liberto: I know, we need to.

[11:58] Jayke Workman: So this is the cherry all.

[12:02] Michael Di Liberto: This is the chair.

[12:03] Jayke Workman: This is the couch.

[12:05] Michael Di Liberto: I'm just gonna insert part sounds.

[12:07] Jayke Workman: Yeah.

[12:09] Michael Di Liberto: So this was not your first time though doing a sort of like out of town, uh, like developmental like iteration of a show.

[12:20] Michael Di Liberto: It was not.

[12:21] Jayke Workman: So how did it compare to doing other projects like because you didn't you do Tammy Faye before Broadway?

[12:28] Michael Di Liberto: Or did you only do Tammy Faye Broadway?

[12:29] Jayke Workman: Oh, Tammy Faye was only Broadway, unless I mean they did London.

[12:32] Michael Di Liberto: Okay, okay. I did not go to London. No, Element OP, this show that was Paul Lysel and Scott Burkel.

[12:41] Jayke Workman: Scott?

[12:41] Michael Di Liberto: Yeah. Um was based on a book again. Um that we did at Goodspeed.

[12:47] Jayke Workman: But we did like we did a workshop in town and we did it at Goodspeed.

[12:50] Michael Di Liberto: That was equally as challenging because you just don't know. You don't know with the new show what what it's supposed to be.

[12:54] Jayke Workman: Like you don't you don't know what uh uh when I read a book, I've still never seen the Harry Potter movies, right? Because in my head I still have those people in my head.

[13:07] Michael Di Liberto: Yeah.

[13:08] Jayke Workman: But seeing the play, I'm like, oh wow, I totally get it. But now I still think if I go back to the movies, the people that I have in the image from the book will still be the people that I want to see in the movie. Like it's crazy for sure.

[13:17] Michael Di Liberto: So I think with the book stuff, it's just harder to figure out where you want to go because tone is different. All of that is completely catered. You can't cater towards one person because it your what you read is different than what I read. Just like your color orange might be a darker orange than my orange, like whatever that shit is.

[13:37] Michael Di Liberto: Absolutely. So I think Wrinkle was crazy because of the material. I mean, it, and just like the baseline physical limitations of what you can put on stage and how imaginative the score is, how imaginative the book is, and so figuring out how to translate that was crazy.

[13:57] Jayke Workman: Well, and I mean you had done it before, but to know that people hadn't ever staged or done it on like on their feet other than what you guys do like a turntable workshop or something.

[14:07] Michael Di Liberto: Yeah. Like what a, it's cool to witness how everyone's seeing it in the room, but then how we had three months, and it still felt like we should have had at least six more to try to get a version that was what they really wanted. You know, because it is sustainable.

[14:21] Jayke Workman: Exactly, yeah, for sure. I know it, it's such an interesting thing. I don't really know how it works in like scheduling, you know, like thinking of like, okay, this is gonna be how much time we need, or whatever. Because I feel like it's different with like a movie or something where they're like, oh yeah, we had to extend. Yeah, we went over budget, we had to, you know, extend the shooting process by another month or something because we hadn't finished yet. But there isn't that with theater. You have like a certain number of days to rehearse, and if you're not ready by the time you've said it's opening, it's still happening. So you just have to do it.

[15:00] Michael Di Liberto: Exactly. Luckily, I thought with Wrinkle, of course, with you know, everything that was changing all the time, it still like baseline had an architecture that we could hold on to.

[15:12] Jayke Workman: Absolutely, absolutely. And I think with, I mean, that's the brilliance of Heather.

[15:17] Michael Di Liberto: Right. What was it? 508 page score? I mean, like music. It is just music.

[15:20] Jayke Workman: Just music.

[15:22] Michael Di Liberto: And you go, well, it's all right there. There's your blueprint, there's your show. Like, hello, you got it. But the extra elements of just having 20 people try to physicalize it or do it on this little circular spot is challenging in ways that no one can even if you could use little clothespins and try to figure it out and block it on until you actually do it on a model.

[15:43] Jayke Workman: Totally. As we can tell by flashlights.

[15:46] Michael Di Liberto: Gorgeous.

[15:48] Jayke Workman: Flashlights was crazy.

[15:50] Michael Di Liberto: Flashlights. I will say that element was the most like tedious and frustrating, yeah, but I think it had the most payoff. Like I wish audiences were like, I know. People, all my friends were like, that was so cool.

[16:02] Jayke Workman: Well, we could see it in their face.

[16:03] Michael Di Liberto: Yeah. Or when they were trying to block their face. But like, what did it actually look like? What I want to know.

[16:07] Jayke Workman: I know. Are we like breaking an NDA or something by talking about this?

[16:12] Michael Di Liberto: Someone's got a bootleg. Hello? Knock, not anyone? You know Miss Anitaj has a bootleg somewhere.

[16:20] Jayke Workman: Oh my god, shout out to Ani Tosh, she just got married.

[16:23] Michael Di Liberto: She did?

[16:24] Jayke Workman: Yes. Like last week.

[16:25] Michael Di Liberto: Ani.

[16:26] Jayke Workman: You're not listening. Hi Annie. Queen.

[16:29] Michael Di Liberto: Or what was her actual name?

[16:31] Jayke Workman: No, what was the name that they, who did?

[16:33] Michael Di Liberto: Ani Taylor, but then they called her a different name.

[16:36] Jayke Workman: Oh, in the playbook.

[16:39] Michael Di Liberto: Oh no. We're diving, we're diving into the lore. We're spilling the secrets up.

[16:47] Jayke Workman: Okay, so switching gears, because we of course could speak ad nauseum about our time in DC and doing Wrinkle and Timed.

[16:53] Michael Di Liberto: What'd you say?

[16:55] Jayke Workman: We have to talk about other things. Because there are so many shows that you have been a part of that are kind of like, I don't know, I feel like there's like special lore. Like I want to talk about Tammy Faye because never heard of it.

[17:11] Michael Di Liberto: Wait a minute. Um, because it is kind of a singular experience that you had, you guys as a group.

[17:18] Jayke Workman: Yeah. And you know, we can talk as openly or not as you want to about your experience with it, but I want to, I've had other people on the pod who have been in shows that have either closed very suddenly or been deemed a flop or something like that. And while I understand literally from like a wording perspective, I hate that. I don't like the idea of like something that so many people have poured their like love and work into to just be wiped away because it might not have been your taste. So I'd love to know not only about the experience of you know doing it on Broadway and having it close sooner than anyone anticipated, but also just your experience getting to work on something that was completely new like that.

[18:07] Michael Di Liberto: Yeah. Well, it was my first and only OBC. Like that was the big thing. I'd be like, oh wow, I mean that was in Broadway. T originally like I got it, yes I got it when I started rehearsals for Titanique. I was doing final callbacks for Tammy Faye that same week. So I'd be like, hey guys, uh, it's 10 o'clock, I'm gonna do rehearsal for two hours and then I gotta head uptown and do this callback and then come back down. Like it was a crazy, crazy and blessed queen.

[18:37] Jayke Workman: Oh my god.

[18:38] Michael Di Liberto: But it like six weeks later I was told like, hey, they're going in a different direction. I was like, okay great and then June, mid-June was like, hey lies, do you want to be in the OBC and cover blah blah? I was like, I mean Elton John musical, right? What, opening the new palace, where is the, where, what is the negative? Yeah, where do I sign? Um, so of course I jumped at the, I mean come on it, what else was I gonna do? Like please, I can eat iconic. No, it literally wasn't like every, there was such buzz around this show of course which also then I think added to the layer of like we can make a news story out of how it didn't go over well, which again I hate because it's so like you said, like what's, why would I say no to this?

[19:27] Jayke Workman: Right.

[19:28] Michael Di Liberto: You, nobody can ever anticipate the level at which a show is going to perform. Like it, you could have been in that original Broadway company and still doing it right now if it had run. Like it just, it's all logistics that are out of your hands as the performer.

[19:44] Jayke Workman: Well, and one of the things that I witnessed and I won't speak for anybody else, was that first preview. You're like, well, that you already know going in, you don't have, you know going in that you don't know what the response will be. And you also know that the audience going to a first preview knows that they're witnessing a first preview.

[20:01] Michael Di Liberto: Yes.

[20:02] Jayke Workman: So you're seeing the show at its fullest. You know that in three weeks when previews are over, it's not going to be that same show.

[20:07] Michael Di Liberto: Yeah.

[20:08] Jayke Workman: It's not gonna be the same show the next day.

[20:09] Michael Di Liberto: At all.

[20:10] Jayke Workman: But you know what you're getting yourself into. And for some reason it felt like we were pinpointed and being like, wow, the first preview, they had to hold for 20 minutes. I'm like, of course we did. It's the first preview. And it felt like not that people were out to hate it, because people can be out to hate it or love it. I don't care.

[20:28] Michael Di Liberto: Right.

[20:28] Jayke Workman: But what was on that stage was so much heart and so much passion. Behind, I mean, combining the UK version into this version, combining the star, I mean, she is unbelievable Olivier award winner. Yeah. And she, it was her Broadway debut. I mean, like she'd never played a house that large. Like there were so many great things about it. But for some reason, that preview, that one preview was like, there are so many problems. I'm like, well, then you're the wrong crowd. I don't know where, where we, you're coming to a brand new Broadway show in the brand new palace, which is stunning.

[21:03] Michael Di Liberto: Right.

[21:03] Jayke Workman: I mean, it is glorious. Wild. It's stunning. But they were ready to tear it down. I'm like, okay, well then what, what how do we, how do we get back from that? But anyway.

[21:14] Michael Di Liberto: Yeah, I mean, how do you, how do you navigate that as a performer? And you, you know, regardless of whether or not you love the material, you're, uh, you're originating a role in a Broadway show. And then when you were told, like, okay, actually, never mind, it's, we're closing.

[21:34] Jayke Workman: Was it the Tuesday after we opened on Thursday?

[21:36] Michael Di Liberto: You mean that day? Was it literally that?

[21:38] Jayke Workman: Yeah.

[21:39] Michael Di Liberto: So why, I just, that is so mind blowing to me because it must be, I mean, I've spoken about this on the pod a little bit, but I think in a similar way, I, I booked my second Broadway show.

[21:53] Jayke Workman: Yeah.

[21:53] Michael Di Liberto: And then it got canceled before we opened.

[21:57] Jayke Workman: It did?

[21:58] Michael Di Liberto: Yeah.

[21:58] Jayke Workman: Um, my son's a queer.

[22:00] Michael Di Liberto: Oh, right, duh.

[22:01] Jayke Workman: I was like, yes, yes, yes, yes, yes. And so I remember that feeling of just like, we almost did it. I almost had it.

[22:07] Michael Di Liberto: Uh-huh.

[22:08] Jayke Workman: But you even probably had that to a higher level because you were doing it.

[22:13] Michael Di Liberto: Yep.

[22:13] Jayke Workman: So how did you, were you able to navigate that like post-closing? Or like was it really fucking shitty?

[22:19] Michael Di Liberto: Like, well, I, it was my first time OBCing, and then my first time getting a closing notice like that. Like in, in terms of closing notices are rare when you pop into long running shows or you're already on a limited contract. So to, oh, we're gonna, they're gonna call a meeting, or gonna have to go downstairs, like all the things that you hear. I'm like, well, we opened on Thursday. It was a crazy party up at, you know, Tabin on the Green, and then we had a five show weekend, and we have a day off. And I'm at home on my computer getting a phone call saying, hey Michael, it's blah, blah, blah. I'm just letting you know we're gonna post that we're closing on December 8th or whatever it was. I'm like, huh?

Like it, it was so atypical from what, oh, I an email saying let's go to the stage. Oh gosh, are we closing? So that I'm like, what do I do? Like I called my reps right away, even though I wasn't supposed to, sorry. I was like, uh guys. What the fuck? What do I do with this?

[23:15] Jayke Workman: Yeah.

[23:15] Michael Di Liberto: So then you spend the next three weeks. They gave us three weeks. Supposedly, I don't know if this is true, to be in contention because you have to run for a certain amount of performances to be in contention for Tonys. I guess that's true. Sure. Um, but so I spent those three weeks being like, well, will I ever go on?

[23:33] Jayke Workman: Right.

[23:33] Michael Di Liberto: Because I was covering five of the what ended up being principal men. Yeah. Well, are people gonna miss now? We only have three weeks. So it was just a matter of how do you love what you're doing, but also understand the fact that I may never actually set foot on that stage to do the show that we've been working on since September 3rd. And that pill was not one that was easy to swallow.

[23:58] Jayke Workman: I like how do you, there's so much joy and so much excitement, and then you with the beast that is commercial theater, yeah, that shit is gonna happen, and you hope it's not you, and it was. And it was happening at a time where like Swept Away was going through something similar. And maybe Happy Ending was getting raves, being like, What is this new show? And then Death becomes a, like it was a lot of energy around new musicals and several of them original that were not getting the attention that they needed.

[24:31] Michael Di Liberto: Yeah.

[24:31] Jayke Workman: I didn't see Swept Away, and people were like, it was the best thing. I'm like, I wish I could have seen it.

[24:34] Michael Di Liberto: Yeah.

[24:35] Jayke Workman: Another original beast. But I, to balance out joy and anger, I mean, the depression set in, not to go downhill, but like, how do you not feel depressed right before the holiday season? I'm like, Well, I was there. Here's my key card. I guess I'm not coming in the palace.

[24:55] Michael Di Liberto: No, not handing back the key card. Fuck.

[24:58] Jayke Workman: I know. That sucks. Whatever. God. Well, I mean, all of that is to say, too, that while, of course, we have to recognize that that is so shitty, and I want to talk about it as openly as we can on the pod because I want more people to know like the actual logistics of it and the ins and outs of it. You still did it. And it's still amazing. And the fact that, like, I don't know, with anything that closes, I'm, I'm always just sad to see announcements of closings because of how much work I know goes into it for everybody. Not even just the performers, every department, you know.

[25:31] Michael Di Liberto: So like, yeah.

[25:33] Jayke Workman: Well, that's the thing and it wasn't, it was not a small show. It's not a small theater. And not a cheap show.

[25:39] Michael Di Liberto: Not a cheap show.

[25:40] Jayke Workman: Twenty plus or something. Like I forget how many millions. But to watch again, I mean it's the first musical in the palace. No offense, Ben Platt, but like it was like a full musical. It was the first full musical back in the palace. So you have a crew coming back to their, to Ben Platt, by the way. You can say that. Um, but like you have the crew coming back to their home, you have orchestra, you have all of this stuff in this brand new space, and then you're watching the set being built. And our set was so fucking cool. I mean, the little screens, the lights, the light up wall, the moving wall. I mean, just so incredible. Just the top of shows grim. Which they changed several times too in previews.

Like there it is to me, the magic of what doing, I was gonna say Broadway is because you get all of the extra coin in there because you're able to do all of this. I mean you have five plinths rising up from the basement. I mean, it's insane to watch that. So then to be like, well, there it all goes.

[26:39] Michael Di Liberto: Yeah, that's, I will never comprehend how that happens and how it can happen so quickly.

[26:46] Jayke Workman: Me neither. But honestly, now that you've lived it, it kind of is like, okay. Yep. Add it, put it in your pocket and keep on trucking. I mean, you have had, you know, kind of the opposite experience from what I could tell with working on a long-running show like Wicked.

[27:02] Michael Di Liberto: Yeah.

[27:03] Jayke Workman: Both on the national tour and on Broadway, where it is that, where it is because it is this juggernaut, it just happens to be so beloved and continue to run.

[27:12] Michael Di Liberto: You don't have to worry about that. And so the like, tell me about being plugged into a show. Did you do the tour first or did you do Broadway first?

[27:22] Michael Di Liberto: I joined the tour first in September of 2015.

[27:25] Jayke Workman: Nice. In what capacity?

[27:27] Michael Di Liberto: I was the what do they call it? The singer swing.

[27:31] Jayke Workman: Okay.

[27:32] Michael Di Liberto: So there's like three off stage three male identifying and three female identifying swings.

[27:39] Jayke Workman: Cool.

[27:40] Michael Di Liberto: I was the male swing. There's like a dancer swing, singer swing, and then like a crossover swing, I think that's what they called it.

[27:47] Jayke Workman: So like spacer swing.

[27:49] Michael Di Liberto: That's yes, exactly. Although in Wicked, you could do whatever you want.

[27:53] Jayke Workman: Exactly. That's perfect.

[27:54] Michael Di Liberto: Um yeah, so mine was considered singer because I did the singer tracks, the ensemble tracks, and then the wizard and Dylan.

[28:01] Jayke Workman: Dylan.

[28:02] Michael Di Liberto: Cool. And the father track, which is its own track, but whatever.

[28:05] Jayke Workman: So did you Oh, you went on for the father?

[28:07] Michael Di Liberto: All the time.

[28:08] Jayke Workman: I love him.

[28:09] Michael Di Liberto: All the time. I love him.

[28:11] Jayke Workman: All the time.

[28:13] Michael Di Liberto: Elpha Bum.

[28:15] Jayke Workman: Oh my god. Stop making a spectacle of yourself.

[28:17] Michael Di Liberto: No bump on the big bum.

[28:19] Jayke Workman: No, not that.

[28:21] Michael Di Liberto: Out them, out them. Broadway league.

[28:23] Jayke Workman: Okay, so yeah, at Broadway League. So when you got like the you know, word that you had booked Wicked, was it was there a level of like, holy shit, I booked Wicked?

[28:33] Michael Di Liberto: Yes. Well, the story uh uh uh well, my story is similar to many, where they're like, I've been in so many times and I never got it. I'm like, yes, I had been in before it never got it.

[28:44] Jayke Workman: You're in the file.

[28:45] Michael Di Liberto: Yes, exactly. And I do believe that the only reason I got it, this is gonna sound douchey, but I had just played Pirelli.

[28:53] Jayke Workman: T.

[28:53] Michael Di Liberto: So up at the well at the Rev. Yes, but it was like finger legs, like they've gone through so many game changes, but whatever it was.

[29:00] Jayke Workman: Yes.

[29:00] Michael Di Liberto: So I had just done that. So I was already like in the high tenorish point of like of my voice.

[29:06] Jayke Workman: Yeah.

[29:06] Michael Di Liberto: And I think I got back on Sunday or Monday, and then I was going in for this on Thursday. So it's already there. So like hit the B again, hit the B again. Like, oh my god, I can't, I can't, I can't, but I could.

[29:14] Jayke Workman: I can't.

[29:18] Michael Di Liberto: So I think I don't make me think. I don't know if I can't.

[29:20] Jayke Workman: Oh, which one?

[29:21] Michael Di Liberto: Ooh, that was too high.

[29:23] Jayke Workman: So sorry.

[29:24] Michael Di Liberto: You're like, down the octave?

[29:27] Jayke Workman: Oh, sure.

[29:28] Michael Di Liberto: I think this was a Glinda cover?

[29:29] Jayke Workman: No.

[29:30] Michael Di Liberto: The best Glinda would be Jayke Workman anyway. I'm just saying.

[29:33] Jayke Workman: Just saying, someone do it.

[29:36] Michael Di Liberto: Oh god, at Dan Mitchik, front of the pod. Come on, Schwartz.

[29:41] Jayke Workman: Come on, make a story.

[29:42] Michael Di Liberto: Steven Schwartz wrote me.

[29:45] Jayke Workman: What?

[29:45] Michael Di Liberto: Did I ever tell you that?

[29:46] Jayke Workman: No.

[29:47] Michael Di Liberto: Did I ever tell you did I ever tell you guys this? This is happening right now.

[29:50] Jayke Workman: You're telling us.

[29:50] Michael Di Liberto: Steven Schwartz found my video of The Wizard and I and sent me an email and just said, found your video. You have a huge fan in me. XOXO Steve.

[30:03] Jayke Workman: And I didn't even believe that.

[30:08] Michael Di Liberto: Because it was a it was a website submission. Like he went to my website because he couldn't figure out how to like contact me otherwise. So he went to my website, sent me like one of those like submission requests, and I got an email and I was like, XXOC. What? And it was literally just like the sender thing was like Steven Schwartz. And I was like, this is fake. And then I reached back out to his team and they were like, because I was like, please come on the podcast. I'm obsessed with you. And they were like, thank you so much. He really, really is such like a fan of your work, but unfortunately, he's very busy doing this little thing called the Wicked movie. So we have to postpone that. Anyway, sorry, completely derailed that conversation, but obsessed.

[30:48] Jayke Workman: Steven put me into the gameplay that he had to like do all that legwork to contact you.

[30:53] Michael Di Liberto: I could not believe it. I'm still like halfway convinced that it was um a scam or something.

[30:58] Jayke Workman: But why I met him after Titanic.

[31:01] Michael Di Liberto: You did?

[31:01] Jayke Workman: Yes, because he was seeing, I don't know, one of his friends was in it. I don't know.

[31:05] Michael Di Liberto: Oh, yeah.

[31:05] Jayke Workman: And he came and he was like, Michael, I remember you. I'm like, you don't remember me, but I feel like he might. I don't know.

[31:11] Michael Di Liberto: Oh my god!

[31:12] Jayke Workman: Like it was crazy.

[31:13] Michael Di Liberto: Yes.

[31:13] Jayke Workman: Oh, what is sweet man? So, like, are people like that? Um, like attached to Wicked. Do they come often to the show?

[31:21] Michael Di Liberto: Uh he came or like Steven Aramis twice. I want to say he came twice while I was on tour. One time I didn't see him. I had hurt myself. I think you know that story.

[31:35] Jayke Workman: Oh where I kind of oopsie does. Anyway, but yes, he came twice. Uh Arimas came a bunch. He came a bunch. In fact, I had I was on for the father one time when he came, and I shot myself. Because you never know, I'm like, it's Steven Arima. It's like a Yeah. A range of things like I'm this is everything. Everything. And again, one of those people that's so smart that you're like, I want to do it right because you wrote it and you'll know if I'm wrong.

[32:02] Michael Di Liberto: Exactly. Yes. And I remember one point I was doing we had to rehearse, because you always have to rehearse when they come. Mm-hmm. And we were doing the Wizard We'll see you now, right? Because the father track is that guy.

[32:13] Jayke Workman: Yes.

[32:14] Michael Di Liberto: The tall guy, whatever. So I'm like, okay. So I come out and do the wizard will see you now. And I do it in rehearsal. Mm-hmm. Turn, watch out for the alphabet's hat. You gotta lift an arm. Yeah, anyway. So I do it. And he's like, Michael, Michael, Michael, can you do it again? He's like, how you're saying it? He's like, You're saying the wizard will see you now. I was like, okay. He's like, I need it. The wizard will see you now. Do you hear the difference? And I, flop sweater, was like, no. I was like, oh god, I'm about to sell five minutes. I don't know the difference. I was like, oh shit. Because it's like the difference of like an 80 and a one.

[32:50] Jayke Workman: Exactly.

[32:51] Michael Di Liberto: Exactly. Spell it out. And he chuckled, thank God. I'm like, everyone laughed, so it was fine. But I did it again, and I guess it was different. But I'll never know. Like I don't I still don't know how I did it that was incorrect.

[33:04] Jayke Workman: Okay, do you know too? There are so many moments. There are not so many. I'm gonna get so in trouble for saying this, but have you ever been in a position where they're you're doing something, and either like a director or choreographer is like, I really need you to do it like this. And then you don't change anything, and they're like, Yes, exactly. Uh-huh. And you're like, I did it the exact same.

[33:27] Michael Di Liberto: We may have done that together in the same show that we worked on. But that level of like, I don't know the difference. What yeah? I'm just doing what I can.

[33:36] Jayke Workman: Yes.

[33:37] Michael Di Liberto: That's hilarious. But also in those moments where I'm like, I'm just a cover. I say just a cover because I'm like, I don't really know. And some of those times where Oh, sure. Like if he's there to give notes, it's like, well, I'm the cover, I'm not the one who's gonna be a couple of things.

[33:49] Jayke Workman: Exactly.

[33:50] Michael Di Liberto: And I don't remember if I was on the night before or if I was on just because the rehearsal. It's like it's you never know. Right. So uh I can do it that way, but chances are the note is really intended for the person who was who did it the night before. And it also has to go through stage management, passing it down, passing it down, word of mouth. So by the time it gets to the actual person, you're like, well, I hope that the note got delivered correctly.

[34:13] Michael Di Liberto: That was T. We um Walter Bobby has come a couple of times to brush up Chicago, and it's always like wild. I remember watching Uda Lember and Ruthie Handschall. Oh making of Chicago is so cunt. It is the thing listening ever. If you haven't watched The Making of Chicago on the West End, it is wild.

[34:37] Jayke Workman: I may go watch it when I get home tonight.

[34:39] Michael Di Liberto: Because it is Uda being like, I can't do this. Eight shows a week. Well, the classic moment of like post-first preview or something, and they go like Anne and Walter go up to Ruthie's room. They're like no cameras, and they shut the door because she had changed her interpretation of box or something. I was like, oh my god, it was it is they're recording outside the dressing room door, and you can just hear them talking. Yeah, wild. Talk about like reality TV. Give us that.

[35:04] Jayke Workman: Uh huh. We need Broadway on reality.

[35:08] Michael Di Liberto: Of course. Also, any search for anyone, search for El Woods, search for Sandy.

[35:12] Jayke Workman: My God. I know it's a little different. I don't think I watched Search for Sandy, I have to admit.

[35:17] Michael Di Liberto: Well, we all know how that ended.

[35:22] Jayke Workman: Wait, okay, so can you tell me? Okay, okay, okay. Back to it. I know. It's like, I don't know, where were we? Wayne Salento.

[35:28] Michael Di Liberto: What do you want to know?

[35:29] Jayke Workman: Daddy Wayne Salento.

[35:31] Michael Di Liberto: Wait, there was one rehearsal that he came. No way. We and we were at Alvin Ailey's studios. Choreography. Choreographer. And I was like, there was a track that I had to be on for because someone's on vacation or something. I was like, guys, I don't. It's like the dancer.

[35:46] Jayke Workman: Okay, so it's uh ten tracks on Broadway I covered on Jesus. Tour is eight.

[35:53] Michael Di Liberto: Well, one of the additional tracks in New York is like one of those uh dancer boys that does like the three that come out where they're like da-da-da-da-da. And it's like the three against the three, like the three women and the three guys while they're doing like the hat for you, that whole bit.

[36:10] Jayke Workman: Yes, yes.

[36:11] Michael Di Liberto: I had to do that. I was like, guys, that is not like what for Wayne? In front of Wayne. For Wayne? So I put up such a stink. I was like, I can't, I can't, I can't, I can't do it, I can't do it. I'm like having a panic attack. That Corinne, I remember when they were like, Michael, you can do it. And Wayne was like, I see you in the back, I see you, you can do it. Because they basically said, Well, this guy doesn't normally do it. Like they apologize for me. Yeah. And then I was like, well, now I'll pull up a little bit.

[36:34] Jayke Workman: You slam into the splits.

[36:36] Michael Di Liberto: Like, what? Well, that's not the choreo, but sorry. Well, there was enough time for a triple.

[36:40] Jayke Workman: What is that? In center stage.

[36:42] Michael Di Liberto: Well, there's more time for it. I knew it when I was in the front. That's here is home. Donna Murphy at the ballet bar.

[36:50] Jayke Workman: Wait.

[36:51] Michael Di Liberto: Oh my god, Donna Murphy. Okay, so sorry, we've tangented so many times. And what? And they can deal. Keep up.

[36:57] Jayke Workman: So can you tell me were there a lot of differences for you in the experience of being on the road versus being on Broadway?

[37:07] Michael Di Liberto: Yes. Either like the physical show itself or just like the mental, like how you're able to navigate doing the wicked for eight shows a week.

[37:17] Michael Di Liberto: Okay. Tour life, as we know. Yeah. Tour bubble, tour, all of that stuff is an insane way of living. It's it's tough, it's exciting, it's challenging. I ended up driving most of the tour just to give myself some sanity.

[37:31] Jayke Workman: Um, two and a half years.

[37:34] Michael Di Liberto: Wow, and you drove a lot.

[37:35] Jayke Workman: I drove a lot. I got a car in 2016, and then I drove all the way 16 and 17.

[37:40] Michael Di Liberto: Nice. Which was just nice. I'm like, you'd spend your wicked being it wicked, you get two days off between cities, which is so rare. You had such a big show.

[37:47] Jayke Workman: Well, because also then once you're there, you're there for three or four weeks next time.

[37:52] Michael Di Liberto: Exactly. But I feel like I forget ten trucks or twelve trucks. Like, there's like a ton of trucks that have to make it, and there's a fleet that go in front of the other cities, so there's always a two dragons, like one's ahead of the other one, like whatever that story is. But so I would drive just for sanity purposes because your tour life is you're basically just doing the show from me.

[38:10] Jayke Workman: Or n yes.

[38:11] Michael Di Liberto: And rehearsals are non stop for a show like that. There at the time there was a lot of they they didn't do like the UK version of like a group cast change. They would be like, these two witches are coming in this week, and then a month or two later would be like, here's a new wizard. Oh, and a month after that, here's a new morable. Like there was just like a lot of that's a lot of rehearsal for covers, which is all I did.

[38:34] Jayke Workman: Totally.

[38:35] Michael Di Liberto: So that that was draining, but man, the the people, the the crew, I mean, the the TD has been out there since the beginning. Like it's just like such a great group of people. Like stage management team was great, the company manager, like that is lovely. And being in Wicked on Tour, like you can really get anything. Because like you can be like, I need to go to the ER. They're like, okay, well, why are you here? I'm like wicked. They're like, okay, great. You can go in right now. And I'm like, how do you get a friend of the line? Wicked.

[39:02] Jayke Workman: Physically, physically, New York is worse.

[39:05] Michael Di Liberto: It's hard because of the rake. The highest rake on Broadway, that is supposedly, don't quote me on this. No longer it's too high. Like it it's grandfathered in, like, no rake can ever be as high as Wicked currently is.

[39:18] Jayke Workman: Wow, that's wild.

[39:19] Michael Di Liberto: I've walked on that stage a couple of times. Obviously, I've never danced on it, but I always am so surprised at how tiny it feels when you're up there. When from the house, it looks absolutely enormous.

[39:31] Jayke Workman: Yes, it does.

[39:32] Michael Di Liberto: But once that the final back curtain is out, like after the show, when they're like breaking things down and everything, that little drop off at the end of the stage comes out of nowhere. Like it is so short.

[39:44] Jayke Workman: Yeah.

[39:44] Michael Di Liberto: Also, the elevator that she comes up on at zero for no case. Yeah, yeah, yeah, yeah. It is a postage stamp. That's well, it's just like what she stands on. I mean, like, that is not to give it away. But like a photography. They're teeny teeny teeny teeny things. But that's the thing with the rake. On tour, the cherry picker is just like rolled out, but on tour, it's underneath the stage. So, like, or on Broadway, it's on underneath the stage. So, all of that, the rake is not only for depth and for uh what is the perception of being bigger? Yeah, it hides all of the elements underneath there.

[40:18] Michael Di Liberto: Wow. Smoke and fans and all of those. But physically, that's the hardest one. Plus, the stage, you know, the Gershwin, you enter the stage door, and you have to go all the time. And you have to go up like 17 flights to go up to the actual stage level. And then go up further.

[40:32] Jayke Workman: Yes.

[40:33] Michael Di Liberto: To go to the dressing room. Uh-huh. Yeah. And there are no windows in that theater.

[40:36] Jayke Workman: No.

[40:37] Michael Di Liberto: That's crazy. Wicked, I've had so many people on the pod who have been in Wicked, and I just, I think it is like. I don't know if I'll ever do Wicked. I of course would die to do it. I would be in the ensemble or cover anybody or literally play a violin.

[40:53] Michael Di Liberto: But I don't know. It just feels like the elusive Chanteuse. Like I'm like, I the only track I've ever been in for was to cover Dylament. And went in for once. That track. The track that I did. Yeah. Wild. Wicked is clear. Well, and there are still, I mean, there's not a lot of changeover. Yeah. Not a ton. No, exactly. I left in December of 2019. Who'd a knew? Who'd have known? Who'd a knew? Title of episode. Who knew with Michael Dillon? It was like, I'm gonna leave, guys. I'm gonna go do other things. December 15th, 2019. Oh my god. To the world shutting down in March. Yeah. But and there are still people there that are friends of mine. Yeah. Still. Yeah, tell me, can you tell me about your witches?

Either on the tour or Broadway? Let's see. I started on tour with Alyssa Fox and Carrie St. Louis. T-I fucking love Carrie St. Louis. MK, I think was standing by. Nice. Because there's only a standby for Alpha Bond tour. Not a good one. No standby for Glenda. Understudy. Yeah. Two understudies. Yeah. Um, and then it was Emily Cook and Amanda Jane Cooper. And then it was oh gosh, Jessica. Vosk, and I think a managing Cooper stayed. Vosk, get your ass on the pod. Text her. Yeah, text her. We also um we have to talk about Vosk in the city. Do you watch her videos? She's absolutely unhinged. Yes. Well, this is the same thing. In the best side, of course. This is the side of her that I every knows.

Yes, exactly. Like those who know her, you're like, well, that is who she is. My favorite is when she a guy walks by her and she tries to talk to him, and he keeps walking and she goes, look at that button. Look at that button. That butt is nice. I think I might have swayed her into checking out men in sweatpants. But anyway. Period. You know, I have a thing. And now she's engaged. I know. Oh my god. Wait to see. I say this if I know her. She's gonna listen to this and be like, who the hell are you? No, uh please. Anyway, anyway, more wicked. More more witches. Oh wait, I don't remember. Oh. Um Jenna Claire Mason, I think was one of the uh um Glinda's. Uh who else was there? MKA then came back to replace?

I think that was it. On Broadway? No. Broadway was oh, Jackie Burns. Oh, Icon Diva of the Star. You talk about a wackadoodle woman. Fucking love. Jackie Burns. Icon. Love her. Love her. Talking about Kookie Crazy. Like Koops. Wait a second. What? Is this the is this the um Venn diagram of Wicked and Titanic? Don't do that, Jester, one more time. What just happened? Did you guys do Titanic together too? No. You and Jackie? No. I did I did Titanic with D, who I never did Wicked with. Oh my god. And with Lindsay Heather Pierce, who I never did Wicked with. Every alphabet was in Titanic. Wait, okay. We of course have to. I'm sorry, this podcast episode is literally all over the place, and I don't know how I'm gonna find out breaking.

It's my fault. Whatever. Who's blame it on me? No, and mine. Um, okay, we have to talk about Titanic. But in talking about Titanic, I wanna know, because what? Uh I'm being serious. This is a very serious podcast. I know it is. Um you are genuinely one of the funniest people that I know, both as like a person but also as an actor. You are very, very good at mining. Thank you. The anvil is gonna fall on your head soon. So just be prepared for that. Um, and I want to know, like, in tandem with doing Titanic and being Ruth and getting to be such a fucking clown. Did you always know that you were funny? Like growing up and and like in theater, what were your like comedic influences? Or like where did that stem from for you?

I grew up in a very sarcastic household. And I mean I know, right? Shocking. I'm like, it is R very quick. My father's side of the family, very quick, rapid fire. Uh I I don't know how I survived. I had to keep up. I'm like, how do I how do I do this? I'm getting it from all sides. Um you famously don't like that. Famously, I do like that. What are you talking? Um, I'm trying to think of like uh I grew up around a lot of music, so I'm like, comedy wise, I feel like it was mostly just ingrained from family. Like I don't I wasn't like a comedy buff, like uh I would always well, this is crazy. I would watch the Whoopi Goldberg, um Robin Williams, and what's the other one? Oh gosh. They would always do like the comedy specials.

Oh for the homeless, I think, to raise money for work. I forget what it's called. They're doing comedy specials for the homeless. The homeless is the audience. They're doing it for the thing. Yeah. No, I'm laughing. Anyway, cut it. But I don't comedy wise, like even on stage, like what I grew up watching like Nathan Lane like do his stuff. Like those are the people that sit in my head. Honestly, I never thought I would do Titanic to be real. Really? Yes. I that is, it is such. I saw with Russell Daniels. Now how talk about iconic. That man has a a heart of gold. The sweet, sweet man. Yes. But how do you how do you do it after him? How do you do it? Well. How do you take that role that he completely made a the this the sketch that he made or what he offered is so intimidating.

Like I think about it with Alphabuzz. You're like, oh my gosh, the vocals, or the like, there's always something where you have to replace, and you're like, but that person has to be patient has to top. Exactly. Yeah. Yes. And or in your case, bottom. Um, but like verse. Yes. Oh, sorry, sorry. Yes, forget. It's September. So now we're talking. Okay, is it still recording? Um, is this on? Uh, but I don't, I don't consider myself funny. I know that sounds weird. That's the end of the episode. Thank you guys so much for listening. Like, I know that people like when I'm funny. Yeah, but I don't think that I'm funny, and I don't like being in a position where they're like, okay, now do what you do and be funny.

Well, now I'm gonna shit myself because I have no idea what that is. So was was uh you had already seen it when then you went into audition for it? I pandemic time sent in a video when they were moving to from Christities and they were moving to the Daryl Roth. I said, send in some tape. I was like, this is gonna sound crazy because hey, self-tape of Ruth? Like, how how is that? Who wants to watch that? Like, that would be yeah, insane. So I did it. I'm like, well, I'm not gonna get that. But then it was, of course, two years later, was like, hey, can you hear that? I don't know if they can hear that. Yeah, insert part time here. Um, okay, well, I'll I guess they liked it enough to see it again.

Yeah, and I had to send in another tape, I think, before I went in person. And in person was, you know, it was Connie who I did wicked with. Um, Billy Aikenty's my angel of everything. Hello, Queen of Queens. Yes. Ty Blue. My king of everything. And I think that was it. I think that was it. And uh I mean, I'm outside at a r with what's her face. There were some drag queens from RuPaul's there. I mean, from there, there were actors that I knew. Like, okay, what what is this going to be? Like, what do I do in the world? Because it can kind of be anybody. It can be anybody. Yeah. And your interpretation is really all they wanted. Like, there isn't a right or wrong way. No, like, here's the monologue.

Which makes it so hard. Well, that's the thing. I'm like, I like boundaries in terms of we were just talking about boundaries with people in our lives, but yes, I like boundaries on my page too. Um I don't like like hear, do whatever you want. I'm like, no, do you want something here? When you have that three-page monologue that they gave you, they're like, insert joke about Patty LePone or something. You're like, but there's also one written, but you're like, d which do you want? Do you want me to improv here? You want me to improv later or whatever. I mean, the Selines had pages at the end of the improvs that they could do, but they did their own anyway. Well, it becomes more fun now. Because it's improv.

But I don't know what the original question was. But um, I chose to be like, well, I'm gonna do my version of this, which I think is funny. Yeah, and maybe they'll find it funny. But do I, in terms of me thinking it's funny, I don't know. Like I don't know. It clearly worked. Exactly. I mean, it clearly worked. Uh then how long did you do the show? Um, well, I was popping in and out for over a year because I did it uh four months, four or five months, and then I did Tammy Faye. And then that was short-lived. Come in. Um then I popped in after for Nathan Lee Graham. Oh yes. And then I popped in again. They wanted me to close it, but I was doing regular time. Uh but it truly the best job ever.

I mean, it's the best job ever. It is the it was the craziest job. It was the most fun, it was the most challenging. It's exhausting. The it was my favorite show I have ever seen. I saw it 16 times. My God. You know, I was involved. I don't know. It it was the whole thing. I adore Billy, I ignore Luke. I 16 to some people is nothing. They were like two. I did that in two weeks. Oh, yeah, yeah, yeah, yeah. Very very that. I know people like the the Thai Stanique of it all. Yes, yeah. That wasn't me, but I did fucking love it. What's to hate about it? I mean, like it you never get the same show twice. The vocals. Literally ever. The vocals alone was worth it. Also, the sound mixing was incredible.

Hannah, my angel stage manager. Yep. I had the pleasure of working with Hannah and Ty on um foul playoff broadcast. Right, right, right. And I was like, you guys, I hope you know I'm gonna be annoying about Titanic because it is my favorite thing ever. And they were like, that's okay. You can it's not annoying. We like it too. I was like, I I was shocked that I could do it. Not that I doubted my abilities, but it is such an event. And it is such a I don't know how if you like to do shows where you can see people or not. Like I prefer when the lights are dark and I can't see you at all. Oh, you are and that is fully exposed, you're fully in it. Yes. You don't know where the audience is gonna go, you don't know what group you're gonna have, you don't know if it's gonna land this time.

I mean, like that type of it's training in the moment of comedic chops and understanding how an audience influences a show. Like all of that happens. Tempo pays like all of that, the oh, it's just a funny show. You're like, no, there's so much happening that like it can fail. Yeah, and it can fall off the rails if you allow it, or you can just ride that fucking thing. I mean, it is You can't even be here. This is a union gag! Oh well then you throw in politics because if politics were hot at that. I mean, like there are so many ways you can go with that show. I can't believe it's gone. I know the best job ever. I know the best job. Oh wow. With no backstage space whatsoever. Oh, yeah, you guys were literally like behind a curtain.

In a bank. Yeah. Oh my god. Okay, Michael, I just freaking adore you. Thank you so, so very much for being on the channel. Thank you for finally inviting me. Finally, please. You bitches, I asked this whore months ago, months ago. And you remember what you said? You said, I don't really think that's something I would do. Did I? Of course you were joking, but I was like, you fucking bitch. I thought it was like, no, we're just so busy with rehearsals. I don't want to do it. I'm too nervous. And then I had JP on the pod, and you said, well, so why can't I be on the podcast? And Taylor. And Vicky. And you had literally everybody else in the cast. And finally, you. Wait, can you tell the listeners where they can find you on social media?

Oh my gosh. My handle. Is that what we say? Yeah. I'm so 45. I didn't get my colonoscopy in two weeks. Anyway. T. 45. No polish. Anyway. No whammies, no whammies, no whammies. Big butts, big butts. Big butts, big butts. Um at Michael D I underscore L I. Michael Dilly. Dilly. Michael Dilly. Period. I love you. I love you so much. Thank you for being on. Come back. Should we do part two? Duh. They're gonna ask for it. They. All four of you are gonna say, hey guys. Read me. You guys, that's it for another episode of Oh My Pod, you guys. Don't forget to rate, review, and subscribe. Anyway, you listen to the pod, and you can follow the show on Instagram at oh mypod, you guys. Thank you so, so, so much for listening. Talk soon. Bye. Oh my god, oh my god, you guys.