This transcript was automatically generated and might contain errors.

[0:00] Jayke Workman: Girl, all I will say is this. Goodbye, 2025. Get me the hell into 2026. Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys. Take that high. Oh my god, shut up here. Oh my god, oh my god, you guys. What's up, everybody? My name is Jayke Workman, and this is You Guessed It, Oh My Pod, you guys. A pop culture and musical theater podcast. Whoa, I said that out of order. You guys, it's been so many episodes, I don't even know what I'm doing anymore. You guys, happy frickin' new year. I don't even know where to begin. I think it's, you know, it goes without saying. 2025, I mean, every year, things ebb and flow, highs and lows. Of course, it's like the classic Instagram caption of like, this year I saw the highest highs and the lowest lows, and everything in between.

But there has to be some truth to it because it just, you know, things swing, the pendulum swings, and things are high, things are low. Um, I had an amazing 2025. I really did. I had a lot to go through in that year. Um, personally and career-wise, and I made new friends and I learned a lot about myself. Um, but all the while getting to speak to amazing people on this silly little podcast. Um, so if you're listening, hi, thank you for still being here. Um, I'm so excited for you to get introduced to my darling Keely Beirne in our interview. Um, but I just wanted to say, like, hey, and check in about the new year. I crazy little twist of events. Over the last few weeks and months, I have a herniated disc in my spine, which um I think honestly, all things considered, the timing of this has been kind of weirdly, you know, the universe being like you need to slow down and you have to pause and work on yourself, both physically and mentally.

And so I'm going to. But um, it's really painful. I've never had this much pain before. I have never even experienced, you know, like a herniation in my spine, but I went to the fabulous Mayo Clinic. Shout out to literally the best hospital in the world, and um got an MRI and spoke to some incredible doctors, and we're gonna we're gonna fix this little bad boy up. It is a really really bad herniation. Um I when I first saw the MRI, I actually kind of gasped. Um, because I didn't expect it to look quite as cuckoo as it does. Um, but you know, I guess I should have had some indication because the pain is crazy pants. I wouldn't wish it on the worst person in the world, except I would. Um, but yeah, so moving forward into 2026 is gonna be for me a lot of focus on healing and really bringing things back to myself and um focusing on what I need physically, which will then transfer, I'm sure, to my mental state as well.

And now I'm just rambling, blah blah blah. But I hope that um if you're listening and you know, you're feeling any type of way about going into the new year, that you also can feel a sense of hope for healing in any way. It's um a really weird chunk of time to exist in, and you know, cosmically speaking, there's a lot going on. Apparently, we're now in the year of the fire horse girl. I don't know. I love horses, though, I'm a horse girl, so I'm hoping that this, you know, is something to to bring alignment to me. Um, but anyway, all of that aside, we of course have to talk Broadway because so much has happened in the last weeks and months. Um, I know I've been in and out. It truly has been because of this injury, but also just because of timing and holidays and everything. Time has truly gotten away from me. But I'm very excited to dive into this week's Broadway World recap, brought to you by my amazing, amazing pals at Broadwayworld.com. You guys, they're the best.

[4:08] Jayke Workman: Okay, first, you guys, because this is not only a musical theater podcast, but also a pop culture podcast. We have to talk about the absolute insane chokehold that this series, heated rivalry has on not only the gays, but apparently the straight girlies, too. This show is glorified a gay horn. It's cuckoo crazy, and it is literally everyone's obsession. Everyone on Twitter, everyone on Instagram cannot stop sharing memes and talking about heated rivalry. It is based on a series. And the author has hinted that she would love for there to be a heated rivalry musical. Girl, let's not get ahead of ourselves. Let's let's calm down. I, of course, am no stranger to, you know, gay fantasy romance. Love all of that.

Love you guys. Um, we'll support you. Don't necessarily know that we need a musical about closeted gay hockey players, but hey, who who's to say? What if I accidentally fall into writing it? I don't know. Um, I love the show. I think it is um less than uh Shakespearean level writing. I'll just say that. Um, but the men are hot, and there's gay butts. And who doesn't love gay butts? I'm just saying. So um, yeah, shout out to to heated rivalry work.

[5:35] Jayke Workman: Okay, next you guys, Broadway World shared a really fierce um headline that just says the Kennedy Center honors, hosted by Trump, drew the lowest ratings ever for the CBS broadcast. And that just brings me joy. Um, I think it's really honestly brave and bold of people to fully stand their ground and say, no, we're not participating in this because you people are garbage and treat us like garbage, and we will not do that anymore. So just love that little little tidbit for ya.

[6:07] Jayke Workman: Next, you guys, Broadway World shared the very exciting casting announcement that Peyton List is set to join Heathers, the musical off Broadway as Heather Chandler. Um Peyton List is actually fierce. I it's so crazy. I met her years and years ago um when she was still working on Disney Channel through my darling angel, friend of the pod, Miss Kat McNamara, when she was also on a show um with Peyton on the Disney Channel Network. Um she is fierce, and I'm so excited that she gets to make her sort of like New York City foray into the theater. Um and she's gonna be fabulous as as Heather Chandler. I actually have not seen this production yet, so I really need to get my uh shit together and see it. Um, but perhaps this will motivate me too.

[6:50] Jayke Workman: Next, you guys, Broadway World also shared that the Book of Mormon has just become the tenth longest running Broadway show in history. Um, which I just love. Anytime a show gets to reach a milestone like this, it's just so cool, and especially when I get to have a teeny tiny part. I'm not even, you know, associated with the show at all, but I have friends in the show and friends who've worked on the show, you know, on Broadway and the national tour and in international companies, and so it's just so cool to know people who have been part of a show that is now in the history books. So congratulations to Book of Mormon. Shout out to my darling angel Thomas Dolger, who is the current Elder Price Under Study and is in the ensemble.

Um love them and they are a friend of the pod. Um, but yeah, just amazing that a show, it's kind of the little show that could, you know, like these people took a big swing and clearly it paid off. It's been running for I think 15 years now, which is crazy. Um, so yeah, congratulations.

[7:46] Jayke Workman: And lastly, you guys, we gotta talk about Titanic coming to Broadway. It has been long overdue. You know that if you've listened to this podcast, I am a slut for Titanic. It is going to be director Ty Blue's Broadway directorial debut, which I'm so excited about because I had the immense pleasure of getting to work with Ty on the off-Broadway run of Foul Play, and he is just not only a brilliant uh director, but also just a wonderful human. And so to see him get his flowers and get to be on Broadway is so exciting. Also, you know that I can't get enough of the show. I saw it 16 times off Broadway. Uh yeah, I have a problem, and I know it. And I will be seeing it on Broadway, okay? But the fact that Miss Marla Mendel and Constantine Rosoli are coming back to reprise their roles as Celine Dion and Jack, you know, as co-creators of the show, also, it's just thrilling.

I cannot wait. I'm so so glad that they will finally get to have the opportunity to, you know, hopefully be nominated for Tony Awards. Um, you know, if not for their performances, at least for co-creating such a just brilliant piece of gay Fantasia theater. So Titanic coming to Broadway. I am thrilled. And you guys, this has been the BroadwayWorld Recap.

[9:13] Jayke Workman: Oh my pod. You guys. You guys, uh, I have to tell you, just starting off this interview uh hard, okay. This is one of my favorite bitches. My favorite divas. I am so glad we finally get to do this because I have wanted to have Miss Keely Beirne on the pod. Please welcome into your ears. Keely Beirne. Gorgeous. Welcome to the pod.

[9:41] Keely Beirne: Thank you for having me.

[9:43] Jayke Workman: Thank you so much for being here. I have been so excited to have you on the pod for so long because you crack me up. The audio listeners, she's she's maniacally. Yeah. My nails. I don't have enough nails. Although I have a bunch of um press-ons, and I just put press ons on Taylor for funsies, you know. I was like, you're hosting this event, you need some claws. Um, but I know they damage your nails, and I my nails just got to the place where they're like healthy again. Right. So I think the circle begins now, and I have to get tips. I have to get tips. You guys, Keely Beirne is here. Okay, where do I even begin? Friend of the pod because we had your darling diva dear Miss Taylor Iman Jones on the pod, who I had the pleasure of doing a Regalin time with.

You and I have never worked together, but as soon as I met you, I was instant that part. I was instantly like, oh, this is my diva. Absolutely, yes. I I admire your relationship with Taylor so much. And I am so excited to chat about everything. But I think first we should talk about your amazing achievement of putting a stamp on your three-year. I just quit my job. Quit my job. Three years of Aladdin on Broadway. Yes. Workedy. Tell me about it. I want to know everything from the beginning to the end. Like, you were you doing things in between? Did you take breaks? Were you there the entire time? Like, what was your path to the show? What was your track in the show?

[11:17] Keely Beirne: Okay. Well, let's start with. It was my Broadway debut. So I did it for six months as a vacation swing in 2018. Love. And then I left Moulin Rouge after a year, and the dance captain was like, would you want to come back to Aladdin? And I was like, Yeah. I'm not, I'm not a swing. One track. And like, it was such a cute track. It was crafted very well. Thank you, Amber Owens. Um. And then I just I took two. After two years, you can take two leave of absences. That's the rule that they've decided to make up, like years into this 11-year-long musical. Um, so after two years, I took two leaves left last year. I took them both. And I'm leaving again because I cannot take another leave of absence. So I said, I must leave and I will be absent.

[12:16] Jayke Workman: Yeah. And your your presence will truly be missed in that building because you are just such a ray of light to everyone I know. Anyone who I have like crossed paths with who knows you has been like, oh, that crazy bitch. Wow. Yeah, I needed this pat on the back today. Thanks.

[12:33] Keely Beirne: Of course. I'm just a little hungover, so like my mind's a little different, you know. It's a little altered. Yeah. Right. So when you were in okay, you said you started as vacation swing. Yes. Workedy. And then I didn't have any more dates. Like they didn't give me any more, like, you're gonna cover this and that. And I was like, well, I need to pay my bills. Right. So I auditioned, and they needed an again, it's like immediate replacement for Frozen. And I was auditioning for the tour, I think, at the time, and then they were like, actually, can you come back here and actually can you partner with Charlie Williams really fast while like they're holding a phone with the soundtrack? What of the cast recording of Frozen?

It's like a casting assistant. Me and Charlie Williams, and then they called me later. They're like, okay, so you're like, this is the most random. But also it was snowing. I will never forget this. It was snowing that day. I fell to my knees in the snow. I was like, thank God.

[13:35] Keely Beirne: I need a job.

[13:37] Keely Beirne: Booked Frozen in the frozen tundra.

[13:39] Keely Beirne: Truly.

[13:40] Keely Beirne: Of New York City.

[13:41] Keely Beirne: Yeah.

[13:41] Keely Beirne: Wow.

[13:42] Keely Beirne: That's so cool.

[13:43] Keely Beirne: Wait.

[13:44] Keely Beirne: Okay.

[13:44] Keely Beirne: Oh my god, where do I?

[13:46] Keely Beirne: This is the most scattered interview I've ever done because I have ADHD and I did not take my medication.

[13:50] Keely Beirne: So it's on me.

[13:52] Keely Beirne: I'm like, I just want to giggle gaggle.

[13:54] Keely Beirne: Yeah.

[13:54] Keely Beirne: Um, okay, so I love the element of your career that is Broadway bears.

[14:03] Keely Beirne: And I know that that is where you and Taylor found love in a hopeless legs.

[14:03] Keely Beirne: Found love in a hopeless place.

[14:10] Keely Beirne: I'm doing the scissoring thingies right now for those who can't see.

[14:15] Keely Beirne: Lesbonins.

[14:16] Keely Beirne: Yeah.

[14:16] Keely Beirne: Okay, so tell me how many times have you done bears before you oh my god.

[14:22] Keely Beirne: Okay.

[14:22] Keely Beirne: Sorry, I didn't let you finish the question, but it's just because I was supposed to do it the first year that I did it.

[14:30] Keely Beirne: I was like really aggressive about it.

[14:33] Keely Beirne: I raised $6,000.

[14:34] Keely Beirne: I was making like bracelets and shit in my dressing room and selling them.

[14:38] Keely Beirne: It was good, whatever.

[14:39] Keely Beirne: For like donations.

[14:42] Keely Beirne: Um they were like custom.

[14:44] Keely Beirne: It was ridiculous.

[14:45] Keely Beirne: Anyways, I get COVID the day of the performance.

[14:49] Keely Beirne: Couldn't do it.

[14:50] Keely Beirne: But also it's like Pride Week.

[14:53] Keely Beirne: So like I did this to myself.

[14:55] Keely Beirne: I did all eight shows Move on Rouge.

[14:57] Keely Beirne: I'm beating until ad hours.

[15:00] Keely Beirne: I'm going out because it's pride.

[15:04] Keely Beirne: Duh.

[15:05] Keely Beirne: Truthfully, I felt though, because I went to like a heterosexual seeming function on the Friday of that weekend.

[15:13] Keely Beirne: I feel like that's where I got sick.

[15:16] Keely Beirne: Of course it is.

[15:17] Keely Beirne: You caught it.

[15:18] Keely Beirne: And I took like six COVID tests that morning because I was like, it can't be, it can't be.

[15:21] Keely Beirne: And we were like really hardcore testing at that point.

[15:24] Keely Beirne: Like I would have had to test on site as well before entering, and I was just like crying, snotting into like the FaceTime of I'm like, I'm so sorry.

[15:32] Keely Beirne: And they're like, what can you do?

[15:34] Keely Beirne: But so then cut to you are the lead strip.

[15:38] Keely Beirne: Yeah, I felt like it was like a pity thing, but also I'm gonna say that's not really it because I spoke it into existence.

[15:45] Keely Beirne: I was like, I don't even want to do this unless I'm the lead.

[15:49] Keely Beirne: And I wasn't the lead when I got COVID.

[15:52] Keely Beirne: But then I was like, oh, they felt really bad for me.

[15:54] Keely Beirne: I raised a lot of money.

[15:56] Keely Beirne: Like they gave it to me.

[15:58] Keely Beirne: And that's literally where you met your partner.

[16:02] Keely Beirne: Taylor Iman Jones.

[16:04] Keely Beirne: Um literally you and Taylor were the lead strip together.

[16:09] Keely Beirne: Yes.

[16:09] Keely Beirne: And my friend Kajay, who I saw in Wick, you met Kaj.

[16:13] Keely Beirne: Yeah.

[16:13] Keely Beirne: That too was leaving Wicked.

[16:15] Keely Beirne: Why we were seeing Wicked last night.

[16:17] Keely Beirne: Um she was in the piece too, and I remember being in New 42, leaning on those fucking ballet bars, being like, is this a setup?

[16:24] Keely Beirne: And she was like, Keely, can you just learn the fucking dance?

[16:28] Keely Beirne: Like, and I was like, no, but like, don't you think this is like like this is a setup.

[16:35] Keely Beirne: Right.

[16:35] Keely Beirne: I and I was right.

[16:37] Keely Beirne: And I was right.

[16:39] Keely Beirne: Well, also, how could it not be a setup when you were quite literally like writhing on the floor in like pasties in a thong on top of each other?

[16:46] Keely Beirne: Fair, but to be fair, um, like even like the rehearsal, but to be fair, I do that often anyway.

[16:52] Keely Beirne: No, no, no, yeah.

[16:53] Keely Beirne: Oh, no.

[16:54] Keely Beirne: Um, she like wasn't there because Taylor stays fucking busy and booked and uh bouncing around and moving and grooving.

[17:00] Keely Beirne: So she was like not there.

[17:02] Keely Beirne: There's like Broadway cares, the Bakifa Instagram page.

[17:11] Keely Beirne: It's the choreographer, like she's not even in the thing.

[17:15] Keely Beirne: So people thought it wasn't her, whatever.

[17:18] Keely Beirne: She was always not there.

[17:20] Keely Beirne: Hilarious.

[17:21] Keely Beirne: Or she's really, I could come for like 30 minutes.

[17:22] Keely Beirne: I'm like, where where are you?

[17:25] Keely Beirne: We have shit to learn.

[17:26] Keely Beirne: Like, learn the dance.

[17:28] Keely Beirne: Um, okay, so I feel like that is the perfect segue.

[17:32] Keely Beirne: Learn to dance because you are dancer diva down, and you've been in three Broadway shows in ensemble tracks, covering people and you know, doing moving and grooving.

[17:44] Keely Beirne: And I would love to know your experience with navigating the ins and outs of you know an eight-show week lifestyle while also doing things on top of it.

[17:56] Keely Beirne: You I just so admire your like grind and the way that you are able to um like separate it from yourself.

[18:06] Keely Beirne: Like we can talk about you know uh work, but we also don't have to, and uh you are just such a great example, I think, of like a working ensembleist and also a grounded human outside of that being your entire identity.

[18:21] Keely Beirne: Oh my god, yes.

[18:22] Keely Beirne: How do you navigate that?

[18:24] Keely Beirne: I hate theater, but I don't.

[18:25] Keely Beirne: I'm like a huge theater nerd.

[18:28] Keely Beirne: It's so annoying, but I hate it, you know.

[18:30] Keely Beirne: I hate that.

[18:31] Keely Beirne: I'm like, oh, I gotta be a f whatever.

[18:33] Keely Beirne: Like they drilled this into me.

[18:34] Keely Beirne: I had to study it.

[18:35] Keely Beirne: Of course.

[18:36] Keely Beirne: But I also like that's kind of why I went to college at Penn State, because I was like, I need it to be like not a conservatory, like I need to be around people who do not do theater.

[18:48] Keely Beirne: Yeah.

[18:49] Keely Beirne: Because it's a lot to just like be in that world all the time.

[18:49] Keely Beirne: All the time.

[18:56] Keely Beirne: I'm like, that's what I and I teach Pilates at 4 and 50.

[18:59] Keely Beirne: Like, that's a whole other audience, and they don't give a fuck.

[19:02] Keely Beirne: Right.

[19:03] Keely Beirne: If I'm on Broadway at or what that is, they're like, what do you play in the show in the play?

[19:03] Keely Beirne: What do you play?

[19:03] Keely Beirne: In the play.

[19:10] Keely Beirne: Yeah, who are you?

[19:11] Keely Beirne: And I'm like, I'm in the ensemble.

[19:13] Keely Beirne: I don't know.

[19:13] Keely Beirne: I was like, I'm the hot one.

[19:19] Keely Beirne: What am I supposed to say?

[19:21] Keely Beirne: I'm what?

[19:22] Keely Beirne: Like it's a lie, female ensemble track number four, heels track four, heel four ensemble they don't even know what track means when I'm saying that they're like what are you talking about track you ready we're running track yeah they don't and that's I'm like I need to talk to normal people at all times yes so how did you go about like learning how to um create the stamina for yourself and keeping it fresh doing uh not only you know a show like Aladdin for that many times but like doing um eight shows a week of frozen in those giant gowns oh my gods week of fucking moulin rouge my god 44 kicks or something like that right I still I've I got each individual porn on my toe is from Moulin Rouge called exclamation point um oh my god eight shows are so hard I didn't even realize when I was in frozen actually that was Cush even though those dresses were actually made of wool sure I was like this that I have to you're like it's August but okay yeah wool you couldn't find a fabric that resembled wool like why would you it's heavy and those white coats too oh my god whatever yeah however that show particularly I was like not on stage a lot the ensemble was like on and then huge breaks love a huge break in a show um I read like 25 books that year just like reading backstage I the last the last book I read was a wrinkle in time, and I haven't read that many books in that short amount of time since then.

[21:06] Keely Beirne: Crazy.

[21:08] Keely Beirne: I was just off stage so often, you know so but then we're just like shooting the shit backstage.

[21:13] Keely Beirne: It's like coffee clutch.

[21:15] Keely Beirne: Um I love the pace of Aladdin, but then you have to like I have to be in cardio shape for that show.

[21:21] Keely Beirne: Cause they were in like a two piece, it sucks.

[21:23] Keely Beirne: Like I was like, God, I can't eat Moulin Rouge either.

[21:27] Keely Beirne: It's like none of us ate until after the show and we like gorgeous because it's like in a corset.

[21:34] Keely Beirne: Like nothing feels good if you're bloated.

[21:37] Keely Beirne: I can hardly do that show on my period.

[21:39] Keely Beirne: How do you dance in a corset?

[21:41] Keely Beirne: How do you dance in a corset?

[21:43] Keely Beirne: Playing Nene when you haven't done it in three months, and you just started your period that day and they told you at 10 a.m.

[21:50] Keely Beirne: Well, you call out for the next show at intermission of that show.

[21:54] Keely Beirne: I said, Yes, Jess is back, right?

[21:57] Keely Beirne: Cause I will be out.

[21:59] Keely Beirne: Cause I'm out.

[22:00] Keely Beirne: Wait, I did not know you covered Nene.

[22:03] Keely Beirne: Oh, it's the Robin Herder.

[22:05] Keely Beirne: I fucking love you crazy bitch.

[22:07] Keely Beirne: Because that think talk about hot and cold tracks.

[22:10] Keely Beirne: It's like pussy out straight out the gate.

[22:12] Keely Beirne: And then there's like a 45 minute break in Moulin Rouge.

[22:17] Keely Beirne: Right.

[22:17] Keely Beirne: It's just like the four of them.

[22:19] Keely Beirne: Right.

[22:20] Keely Beirne: Yeah.

[22:20] Keely Beirne: So exciting.

[22:20] Keely Beirne: That goes on forever.

[22:21] Keely Beirne: We would be sitting backstage in our compression boots.

[22:24] Keely Beirne: Like I had time.

[22:26] Keely Beirne: I had time.

[22:27] Keely Beirne: That's when I was beating those dumb bracelets.

[22:30] Keely Beirne: Um but then like as Nini, s you have to rev it all the way back up to 150 in the first in the beginning of act two again.

[22:40] Keely Beirne: I was like, I was just laying down.

[22:42] Keely Beirne: Then there's another break, and then you have to go balls to the wall again and have six men partner you.

[22:47] Keely Beirne: And I'm like taller than these girls.

[22:50] Keely Beirne: So it's always like it's too much.

[22:54] Keely Beirne: I pulled my abdomen doing that.

[22:58] Keely Beirne: Uh doing Roxanne Yes what do they call it I don't even know what it's called anymore I mean that dance is matches but it's when they're like two men are just dragging you on your heels yes and you have to wear like have velvet on the tip of those Laducas specifically because it was burning feet I was like I'm not wearing the right shoes in Carly bless Carly Donardo was like borrow mine and I was like okay great L O L you're like thank you Robin Herder for creating the most absurd piece of dance theater it's like bucketless checked it off but fuck that was hard and every time after Roxana is over you go upstairs and you take a shot and it's awesome oh I will be needing the bootleg of your Nini in immediately I had somebody take a video of the monitor for my mom because they were supposed to come and then the show got cancelled because like COVID and blah blah that's why I went on like super randomly it was a two show Sunday and thank God we had it for some reason we had a Monday because it was like the holidays of course and it was cancelled and I was like thank god I felt like I got hit by a Mac truck.

[24:13] Keely Beirne: Yeah and I drank so much whiskey that night because I was like I did it I did it she was also saying she was also singing the soprano line like and doing that on to like the high the extreme extreme.

[24:32] Keely Beirne: That's that's wild.

[24:33] Keely Beirne: So did you do that show for a year?

[24:35] Keely Beirne: Yes.

[24:35] Keely Beirne: And they were like, Do you want to extend?

[24:37] Keely Beirne: And they said, No.

[24:38] Keely Beirne: Because I know when I must go.

[24:41] Keely Beirne: Okay, well, that in in all honesty is something that I have talked about on the pod before with other people.

[24:48] Keely Beirne: And I think that uh normies kind of don't get it.

[24:52] Keely Beirne: But I have such respect for knowing your limits, knowing when you are at the end of your time with a show and parting ways with it in a really graceful way, because for whatever reason you need to be done.

[25:10] Keely Beirne: I think it's really it's something that we don't talk about a lot, and people are like, Oh my god, like she left.

[25:16] Keely Beirne: Can you like I know I know?

[25:18] Keely Beirne: Like, did she get fired?

[25:19] Keely Beirne: Are th oh I better that better drama?

[25:21] Keely Beirne: And it's like, girl, my body's tired.

[25:24] Keely Beirne: What did you book?

[25:24] Keely Beirne: Yeah.

[25:25] Keely Beirne: Oh, very well.

[25:26] Keely Beirne: I hate that one.

[25:27] Keely Beirne: I hate that one.

[25:28] Keely Beirne: I'm like, leave me alone.

[25:29] Keely Beirne: Yes.

[25:30] Keely Beirne: Nowhere.

[25:31] Keely Beirne: First of all, it's none of your business.

[25:32] Keely Beirne: But second of all, I can I maybe I got a job at the meatball shop.

[25:36] Keely Beirne: Like why why you need to know?

[25:38] Keely Beirne: Uh that one used to p I mean, used to.

[25:41] Keely Beirne: That one will forever piss me off, I think.

[25:45] Keely Beirne: Of course.

[25:46] Keely Beirne: I never asked that.

[25:47] Keely Beirne: I just say congratulations like a normal person and move on.

[25:50] Keely Beirne: Right.

[25:51] Keely Beirne: Nosy.

[25:52] Keely Beirne: And I'm really nosy, but I don't care.

[25:55] Keely Beirne: Congrats.

[25:56] Keely Beirne: Could can you even like maybe walk me and people who don't quite know what it's like through actually the process of of not renewing?

[26:07] Keely Beirne: Like when they come to you and ask you if you want to renew, like what is do you go through your agent?

[26:11] Keely Beirne: Is it quite literally you being like, no thank you, period, send?

[26:14] Keely Beirne: Like what is how do you even go about that?

[26:17] Keely Beirne: No, thank you.

[26:18] Keely Beirne: Bye.

[26:19] Keely Beirne: Um period.

[26:21] Keely Beirne: Um Mulan Rouge, they asked everybody, and there was like an incentive.

[26:25] Keely Beirne: If you give 12 weeks out, you get five thousand dollars.

[26:28] Keely Beirne: And I was like, perfect, that's enough time to tie me over for my next gig.

[26:31] Keely Beirne: Like, sure.

[26:34] Keely Beirne: Um, and then I just told my agent that I didn't want to work there anymore.

[26:38] Keely Beirne: And then I found out about Aladdin.

[26:40] Keely Beirne: But I always think like a door needs to close for the next to open and like close the chapter.

[26:45] Keely Beirne: Like, I can't, I'm not gonna move on from Aladdin if I don't move on from Aladdin.

[26:49] Keely Beirne: That is such a good way of looking at it, truly.

[26:52] Keely Beirne: And I was dying, girl.

[26:55] Keely Beirne: Dying.

[26:55] Keely Beirne: I mean, you I'm obsessed with the lore of you having to stand in those fucking melting columns or whatever.

[27:04] Keely Beirne: Ten minutes.

[27:06] Keely Beirne: Do you have to literally stand there with your arms like that?

[27:08] Keely Beirne: No, thank god.

[27:09] Keely Beirne: But you can't like move in there.

[27:12] Keely Beirne: Right. I found out a way to kneel in my heels because my heels are already lifted since I'm in a heel, so I can squat, but I have to be like so compact, and the way that I have to stand up, I'm like squeezing my glutes inner thighs for dear Jesus. Because if you tip, it'll come right. And it's come down on me once before, and my eyes were closed because it was a matinee. And I was like, this why is there and I was like, why is there a light on me? And it's Aladdin's spotlight, and I was like, just scampered away. I had to hide behind the other because the other girls are hiding behind the columns. Like four girls in columns, two behind, two behind is the best. You can stretch, you can warm up, you can move, you can sit.

Easy breathy. I had to, but then we had to share it. So we're snuggle bugged behind this, and we're trying not to laugh the whole time, and like men are coming through, like, you know, the choreography that friend can do like this, that, that, all the props. They're like weaving, and then they're like, what the fuck are you there? I'm like, just keep going. And I was like, and then I'm like, what do I do? My friend Katie's like, just hop on. I was like, should I jump on to the thing? What if I trip? It's like, yeah. I've never practiced this before. Don't you kind of live for those moments though? Literally the second show of Chicago I ever did. I fell down the stairs. And it wasn't like the Chicago stairs.

Right. But it wasn't even like a real fall. I just like tripped and I was like, um, floating this entangled with. Like I was like, it probably lasted maybe two seconds in real life, but it felt like I had literally just like fallen into a trapdoor. I live in front of it. I live for a fall. I live for my except it hurt. I mean, the first time I fell, I face planted because my heel got in what show? In fucking Aladdin. Like me. Um, that was when I was fortunately not inside of a column. I came out, my heel got caught on my harem pants, but they're all snaps. Everything is quick rigged because we have to fucking quick change constantly in this musical. So my heel got caught, and I'm trying to like kick it out, and then I open the flaps of these harem pants.

So they're like swooshing around, and I do the first thing, slip face pants hard. The wig, you see those wigs, bundles, inches. I couldn't, I was people are dancing around me, like, are you good, girl? And I'm like, even like, where am I? Under your hair. Yes. I finally got it up, and I was like, fuck. Damn. And it's like, Jasmine. Hell no. That's like fuck no. We can curse on this, right? I think we're a little past that. I'm just realizing because now I'm getting upset. I'm gonna put like a duck quack sound over every you're gonna be like, oh mother. That's good. That's good. Um, no, I went, oh my god, this is the annoying thing too. They made me go in. Like I was in the show currently, like, had a show that night.

Go to um Pearl 500 to audition for the team that I could have just done it in like the music director's office, in my opinion. Um that song sucks. It's like in every woman's break because Alan's walls or whatever. T. He hates women for that. That's cruel, unusual. Yeah, it's in a terrible place. And I just am like, I'm so tall. Like at the time, it was Telly as Aladdin, and I was like, I think so. This height dynamic is not gonna be working for me. And like, I just don't have that princess Disney princess dream. Like some girls are gagging to be in that costume, and I don't care. I'm like, oh, the bump would be cute if I could sing that song well. Like the pay bump. The bump. Like, I'm not thinking I don't do those anywhere, girl.

That bump would be cute. Yeah. Okay, wait, okay. So switching gears entirely, because I think that is a good um point that you make is like the type of person that you are and type of performer you are. I would love to know, and I had the pleasure of talking to Taylor about this. Um, but you are such like an out and proud queer woman. And I'd love to know, like, in the realm of theater in auditioning and performance, how has your queer identity informed um what projects you go in for, what projects you see yourself for? Like, are there is there a Venn diagram of like your queer identity and what you strive to do in your work?

[32:01] Keely Beirne: Hmm. I only really notice um my queerness or my queer perspective when it comes to like who's in the room with me auditioning. Uh-huh. You know what I mean? Like, I'm always scoping that out, anyways. Just yeah. Well, there's an interesting thing, an element, and perhaps I'm speaking out of turn because I am not you, but um, you are very passably uh feminine, straight presenting presenting as fuck. So it doesn't like you know, when you walk into an audition room, you're not necessarily being looked at as oh, well, that's definitely a lesbian. Yeah, but yeah, but like in terms of like for your own experience, like do you feel that way? Do I feel what way? Do you limit yourself in terms of projects?

Oh, sure. Yes and no. I limit myself more on my the color of my skin, I think, than my queerness. That was another added element that I wanted to talk about too. Yeah, that's I like I didn't even know I could do white Christmas until like last year when someone was like, you can do this, and I was like, but I'm black. Like, why am I limiting myself as someone who's like super inclusive? I'm like, okay, that made no sense. That made no sense. See, literally, now you're about to do it. Yeah, she literally didn't not to be that that girl who's like, wait, so what's next? But you are going to do like Christmas. Yeah. At Sacramento. Yes. Where you've worked before. Yes. Very full circle. Yeah, that's amazing.

But yeah, talk more or tell me more about like that in terms of um you know, auditioning and and putting yourself in for things that you might otherwise not have previously. I mean, my most recent audition experience for Wenavista Social Club was more of a test to myself because I was like, I don't speak Spanish, even though I am Latina. My mom was born in Panama. My mom is black, super dark. And my dad is white. Again, I don't speak Spanish. So I was like, I don't really feel like I identify with this community, but I am a member of this community. And also you can speak Spanish. Learn the fucking song. Just learn the song. Did I do amazing? Um, not really. I mean, it was I felt proud that I did it.

And then I showed up and I s I felt better about speaking Spanish and I called my mom. I was like, I just sing a three and a half minutes song all in Spanish today that I'm español. Okay. Wow, like it was amazing. Like, I don't know. Those spaces I live in myself. I was like, I can't do this, even though my agents like read the packet, it's like, you don't do not need to speak Spanish. Yeah. Yeah. Any type of representation for the culture on stage, which I'm here for. Um, but I don't know, like, and like paper mills doing uh West Side, and I feel weird about that. I was like, I've played Anita, but like I'm not Puerto Rican. Mm-hmm. And I don't see expand it. I just I'm like, it's not my opportunity there.

Well that and it's an interesting thing, um to talk about. Obviously, I am a white person. Um, but from my perspective, it's interesting to hear, you know, there are people who uh uh are Latinx and don't care, um, both for themselves or for other people. They're like, I am Puerto Rican, but you could play Anita even though you're not Puerto Rican. And then some people are like, absolutely not. If you are not Puerto Rican, you should not play it. Yeah, but uh it's so nuanced and complicated now because it once was so so binary, it was quite literally black and white. It was like, okay, well, if you're a shark, you're over here, if you're a shark, you're over here, and now it's completely skewed.

But I would imagine that like having those inner conversations with yourself can be complicated and hard when you're like, okay, I bottom line, I need a job, Zach. So where are we where like who am I to count myself out? Uh not me, I'm speaking, you know, from your perspective, but like where is there a line that you have to draw for yourself of like that's not the project for me, I'm gonna not audit for it?

[36:22] Keely Beirne: Yeah, I have no problem saying no to something that I don't feel like I need if if the place I need to be in, like someone else could have this I don't need to be there, right? That's someone else's opportunity, not mine. So I don't care about that. But my like Anita thing, I've also it's like I've checked that off the list. I did it, but I was realizing as I was I was touring internationally and it was Trump 2016, and like the girl playing Maria was white with blonde hair and blue eyes that she dyed and tinted her lashes and her hair and I was like watching this happen and then they had to not talk about race with her specifically and it was her and Tony would talk about love and I would get dumped everything that was like a person of color, a minority, uh racism, Trump's America.

I was like, fuck you, fuck you, this sucks. Um, and after like doing all that press of it and then being like, are you Puerto Rican? I'm like, no. Like, that was so fucking weird. I was like, no, but I'm la let's see now, I'm not surprised, and I have to say that over and over again. It got old saying, and I was like, this is stupid. I should be someone justify it. Yeah, some girls shouldn't just be saying I'm Puerto Rican. That's why when Ariana De Boza did it, I was like, wait a second. Wait a second. We basically have the same genetic makeup, but okay. But no one was honest about that. Why you did learn to speak Spanish? Okay. Okay. Okay. But I was like the Spielberg movie too. I was like, I'm not gonna go in for that, I'm not Puerto Rican.

Work. Meanwhile, half of Broadway's in that fucking ensemble. Fucking hell! Wait, okay, so in talking about your mother and your uh heritage and everything, I would also love to know just about your upbringing as like a child. Did you do theater and art like as a child or like in your household was there like art and music, or like what led you to being a performer?

[38:29] Keely Beirne: Oh, okay. My sisters did the high school musicals. Like older than you? Yes, ten years older and eight years older. The one eight years older did Kiss Me, Kate with Natalie Weiss. Okay. Famously, don't do that. Neptilate Weiss. Um so I grew up watching them do it. Like I saw my sister play Anita in high school, and I was like five, and I'm like, I want to do that. Yes. Um, but I was doing everything like soccer, softball, lesbian, um, sneaker hockey, lesbian. Um what the hell is that? Oh, like running around in sneakers? Tell me why my gay ass pictured you like whacking a sneaker with a hockey puck or with a hockey stick. Might as well be. Who knows? I was the only girl. My dad was the coach.

I don't know. Gymnastics, and then they I got bullied, so I quit that. Um then and then dance, and I stuck with dance. I was like very soccer dance, soccer dance, soccer dance, and then that then I had to choose. You had to make that big, big choice. And it was competition dance. Hell yeah. And did you like were your parents um the type to understand that like you can make a career out of art and dance? Like, did they know that you wanted to do this full on? Well, I'm the baby, so they gave up. You know what I mean? My eldest, my eldest sister, 10 years older than me, is like, I'm gonna be in the New York City ballet. My dad's like, okay, let's drive you to the New York City. Can you do that?

Do you think you're that good? And she was like, not really. And he's like, Alright, great. Like school's dreams. And meanwhile, I'm like, no, I'm going to the performing arts high school. I didn't even like ask permission. I was just like, can you sign this? Like I'm going. Because I'm going. I need to dance. I must dance. I'm not gonna do gym. I like had no electives. Yeah, social studies. What? Oh, no. Gym. That's hilarious. I went to arts high school too. Wait, where are you? Minnesota. Minnesota. Don Channel. But mine was only two years. It was junior and senior year of high school. And it was incredible. I literally, it changed my life. Yeah. I mean, not only as a queer person, but like as an artist, I was like, oh, this is absolutely, you know, what this is correct.

[40:50] Keely Beirne: I needed to do that.

[40:51] Jayke Workman: Yeah.

[40:51] Keely Beirne: Mine was called F Pac for Freehold Performing Arts Center in Freehold, New Jersey. And we did a medley in our musical theater class that me and my best friend, who I went to high school with, who I saw Wicked with last night, like stimmed very hard because we said one short day in the F Pac hallway. And we changed all the lyrics to be about our height. We sang it out loud during the show, and we're like in the F Pac hallway. Like that doesn't even fit. That doesn't even scan.

[41:30] Jayke Workman: No, oh god, it's so funny.

[41:32] Keely Beirne: But yeah. High school idiots. But also then I was like, oh wait, okay, I can go to school for like college. Okay, great.

[41:40] Jayke Workman: Did you audition for a lot of programs?

[41:43] Keely Beirne: Um, ish. I did like three musical theater schools and three dance. Because I was like, dance is my backup. Period. Because I can dance. I need to sing and act if I want to go to Broadway.

[41:56] Jayke Workman: Right.

[41:56] Keely Beirne: Okay. I'm like, I gotta learn those other trades. Um, I didn't for Penn State, Michigan, Miami.

[42:05] Jayke Workman: You, Miami.

[42:07] Keely Beirne: Because I wanted to go to like a big 10 school.

[42:09] Jayke Workman: Yeah.

[42:10] Keely Beirne: And you surely did.

[42:12] Jayke Workman: Yeah, I did. Oof.

[42:14] Keely Beirne: You and it wasn't Natalie Weiss also there.

[42:16] Jayke Workman: Yes.

[42:17] Keely Beirne: That's hilarious. The pipeline, the pipeline. Um, and one of the girls that I lived with in college, I've known since I was eight years old. We went to the same dance studio. We went to the same high school, and then we went to Penn State. So another one of the people from my high school. I don't know why. But then you like realize everyone's birthday is the same week. You know, it's like a bunch of Aries.

[42:42] Jayke Workman: Oh god, don't I know it?

[42:44] Keely Beirne: I live for the Aries. Crazy. Um, wait, okay, so I also wanted to ask you, because I really do mean it when I say that I have such a friend crush on your relationship. You and Taylor are so just like dreamy to me. And I would love to ask too about being two working women in this industry who may or may not be running in the same circles and potentially up for the same gigs. How do you um like check in and make sure that things are still good there when you're like in the same field?

[43:26] Keely Beirne: Um, we're not up for the same gigs, bitch. Those pipes, these legs, those pipes, these legs, different set of skills here.

[43:38] Jayke Workman: Sure, sure, sure, sure, sure.

[43:40] Keely Beirne: Um, I don't know. We're always moon and grooving. I feel like this apartment is like a hotel sometimes, and like we just like get ready and we're not here.

[43:51] Jayke Workman: Right.

[43:51] Keely Beirne: Um, and doing like different contracts has been fun. I like it, because I like space. Taylor could cling on to me like all day long and be like quite content. And I love solace. So not all the time, but sometimes.

[44:07] Jayke Workman: Yeah.

[44:07] Keely Beirne: So like working the different contracts. I was in. I mean, I basically spent all that time commuting to New Jersey for Paper Mill. She was in DC. I worked in Rochester. I'm gonna go to California. Like, yeah. She was in the Bay Area too at some point last year. Like, I don't know. We're always hustling, honey.

[44:27] Jayke Workman: Hustling, truly, yeah. But it really is so fun to see you celebrate each other. Like any opportunity you guys have to be like, I'm gonna come see your show. I'm gonna promote it. That's so cool.

[44:39] Keely Beirne: Yeah, I love her. You're like, what? Like it's hard. I love her. Um, she believes in me and I believe in her, like everything. She believes in me more than I believe in me, probably.

[44:52] Jayke Workman: That is adorable.

[44:53] Keely Beirne: And I'm gonna go jump into a well. It's the truth. It is the truth. Cause I'm like, I can't do this. I'll like crash out before playing Reno Sweeney in a strip ball. Cut that out. Cut that part out. Cut that part out. Redacted, redacted. But I was like, this is the lowest stakes, but for me it was a high stakes. I haven't done like a principal role in so long. That's like legit. I was like, fuck, she has so many lines. No, but so many songs. I was like, oh my god, the lyrics. Why are there 17 verses?

[45:26] Keely Beirne: Um, I crashed out that entire week beforehand, and Taylor was just like there, there. Yes, rubbing the back. And I was just like, This is gonna be and then it was really fun and awesome. And I was like, Oh, I did do that, and she came, of course. Love to see it.

[45:46] Jayke Workman: Well with my friends, you know, same thing I did in DC.

[45:50] Keely Beirne: Hell yeah, that was so fun when you came to play in DC, and we were on that rooftop part. I missed that. We went to Beyoncé, like bring me back.

[46:01] Jayke Workman: T.

[46:02] Keely Beirne: Like, we went to Cowboy Carter twice. Oh, dreams, and that's where I met Kaj. Yes, everyone. I gotta have her on the pod.

[46:12] Jayke Workman: Yeah, she's awesome.

[46:14] Keely Beirne: Well, I freaking adore you. Before I let you go, I have a series of musical theater rapid fire questions. I haven't done this segment in a long while, but I'm bringing it back for you, baby. Are you ready?

[46:26] Jayke Workman: Yeah.

[46:32] Keely Beirne: Sondheim or Andrew Lloyd Webber?

[46:34] Jayke Workman: Sondheim.

[46:36] Keely Beirne: Sweatpants or jeans?

[46:38] Jayke Workman: Sweatpants.

[46:39] Keely Beirne: Do you have a favorite musical?

[46:41] Jayke Workman: Legally Blonde.

[46:43] Keely Beirne: Work! Do you have a least favorite musical?

[46:46] Jayke Workman: Oh, I don't know.

[46:50] Keely Beirne: What was that a cappella one?

[46:53] Jayke Workman: That was tough.

[46:54] Keely Beirne: In Transit?

[46:55] Jayke Workman: Yeah, and I only went to like go see Mary Ann.

[46:58] Keely Beirne: LOL. And I was so stoned. I was like bloodshot eyeballs. And I was like, what the hell? What is going on?

[47:04] Jayke Workman: Aren't they like running on treadmills or something?

[47:07] Keely Beirne: It was so weird. They're wearing Lululemon. I don't know. I don't like it. Um, would you ever like to do a Broadway play?

[47:14] Jayke Workman: Yeah.

[47:16] Keely Beirne: Is it just talking?

[47:18] Jayke Workman: Sounds great.

[47:19] Keely Beirne: You don't have to like warm up. Yeah, like you don't have to warm up. You just like show up and listen. It's great. Just talking. It's like this. Um, are you a morning person or a night owl?

[47:30] Jayke Workman: Both.

[47:31] Keely Beirne: Cursed.

[47:32] Jayke Workman: Love.

[47:33] Keely Beirne: Cursed. Three hours of sleep.

[47:35] Jayke Workman: Yeah.

[47:35] Keely Beirne: Can you think of the craziest thing a director has ever asked you to do?

[47:45] Jayke Workman: Heavy sigh.

[47:46] Keely Beirne: Which one? Which time?

[47:48] Jayke Workman: Yeah.

[47:52] Keely Beirne: I was kissed by a director.

[47:55] Jayke Workman: Uh what?

[47:57] Keely Beirne: Without consent.

[47:59] Jayke Workman: That's insane.

[48:00] Keely Beirne: And it's very 2016.

[48:03] Jayke Workman: Oh that part.

[48:05] Keely Beirne: I was like, but I was warned that that could happen. So I was ready.

[48:09] Jayke Workman: By who?

[48:10] Keely Beirne: Another girl who'd play the part.

[48:13] Jayke Workman: Oh, worked with this director.

[48:15] Keely Beirne: So I was like, fun. Jesus age.

[48:20] Jayke Workman: Yep.

[48:21] Keely Beirne: Um, golden age or contemporary?

[48:24] Jayke Workman: Oh I don't know.

[48:26] Keely Beirne: Both.

[48:27] Jayke Workman: Favorite role you've ever played?

[48:30] Keely Beirne: I don't know. It hasn't been created yet. Period. Um, coffee or tea?

[48:37] Jayke Workman: Tea.

[48:38] Keely Beirne: Tea. That's a tea. Um, what is the hardest show you've ever done?

[48:45] Jayke Workman: Moulin Rouge.

[48:47] Keely Beirne: Do you have a favorite costume you've ever worn?

[48:51] Jayke Workman: Oh, all of the Moulin Rouge are so hot.

[48:53] Keely Beirne: Thong, please. They are so hot. Do you ever feel like scared though?

[48:57] Jayke Workman: I literally well, I could never be in that show.

[48:59] Keely Beirne: That is not true. That is something I don't talk about my friend like that. But like, you know, those boys in their like tiny booty shorts and their giant ass squads. I'm like, okay.

[49:10] Jayke Workman: Yeah, the culture is like.

[49:10] Keely Beirne: Yeah, the culture is tough. Body, yeah. Um. Who is the silliest cast member you've ever worked with?

[49:24] Jayke Workman: Ooh.

[49:26] Keely Beirne: Is it Max Clayton?

[49:28] Jayke Workman: Oh, well, that's oh yeah, he's a nightmare in the best way. Like, I will he'll make me break. We'll make each other break. That's bad. Matt Lair, though, is mine.

[49:34] Keely Beirne: Matt Lair.

[49:38] Jayke Workman: Do you know Matt?

[49:40] Keely Beirne: I don't know him personally.

[49:43] Keely Beirne: Gem. Gem. So funny. So much fun.

[49:47] Jayke Workman: Yes.

[49:48] Keely Beirne: Um, have you ever missed an entrance?

[49:52] Jayke Workman: No, I'm just late for places.

[49:56] Keely Beirne: What are you doing?

[49:57] Jayke Workman: Running down the stairs.

[49:58] Keely Beirne: That's why I'm running down the stairs in my Instagram videos because literally at places, you can get the elevator. We're luxury building, okay, at the New Am. There's an elevator, but it's all timed. So like at five, that's the last elevator you can take. And then it's like cues for the show. So they are literally calling places that I'm at the girls all the way at the top. Seven flights. It's like nine, I guess, because it's the basement. We're going to like sub sub level. So I'm just running. I'm late, but I will get to my place on time. But I will be there for the last fucking second.

[50:30] Jayke Workman: Oh my god, curtain going up. You're like, what is in here?

[50:33] Keely Beirne: And I have to get rolled up in a carpet.

[50:35] Jayke Workman: It's too much.

[50:36] Keely Beirne: What? Yeah. That's the other ridiculous part about Aladdin. I'm getting rolled up in a carpet at the top of the show.

[50:44] Jayke Workman: I do not remember this.

[50:46] Keely Beirne: Of course, nobody does. My mom thought my mom saw it like seven times, and she was like, oh my god, I just saw that you. I was like, yeah. And then you get unrolled on stage?

[50:55] Keely Beirne: Yeah. The two men lifting with handles. There are four of us with two upstage are just preset already rolled up in a carpet before the curtain is even up like it's crazy. Yeah, we and then we get pushed out and then we have to come up like magic.

[50:58] Jayke Workman: Oh my god, I would every day I'm laying more.

[50:58] Keely Beirne: No, it's kind of like sometimes I loved it, you know, like it's my moment.

[50:58] Jayke Workman: That's your Glinda in the bubble.

[50:58] Keely Beirne: Yeah, your moment before. Yeah, it's like my peace. I can I'm just calm in there. I close my eyes and then it's like sensory overload.

[50:58] Jayke Workman: Of course, of course you're inside a carpet. It's like I count man at one point I knew like how many counts of eight it was that I was rolled up in a carpet. It's about like a minute and a half.

[51:41] Keely Beirne: That's why you I gotta see that show damn I've only seen it once years I'll go I would go back and would you see it with me hell yes yes let's go double cup double cup let's get our $55 red wine double cup.

[51:41] Jayke Workman: Well my last question for you this was not rapid fire at all whatever my last question for you is no it's I was living um what is one thing that you would tell baby Keely?

[51:41] Keely Beirne: Oh my god this is your RuPaul moment this is so bad like yeah you did it woohoo you're gonna be so proud or something like that but it's like girl don't drink like don't even start it's an addiction like just don't even because I was so straight edge for so like I was like, I'm never gonna drink. Then I turned 18. Then I turned 18. Then I went to a one house party. And I was like, this is fun.

[52:43] Jayke Workman: That's hilarious.

[52:45] Keely Beirne: Yeah, don't drink. That would I mean tea.

[52:48] Jayke Workman: Yeah.

[52:49] Keely Beirne: Drink tea.

[52:51] Jayke Workman: Exactly.

[52:53] Keely Beirne: Cannabis. A cannabis drink, even. That's fine.

[52:55] Jayke Workman: Cannabis, cannabis.

[52:56] Keely Beirne: Drink the cannabis.

[52:58] Jayke Workman: Keely, I just freaking adore you. Thank you so so much for coming on the pod. Would you tell the listeners where they can find you on the social and keep up?

[53:07] Keely Beirne: Yes, at Keel underscore B.

[53:11] Jayke Workman: Keely. I was joking with Keely before we started the pod because I was like, wait, I actually only know you as Keely. I didn't even know your last name was Beirne.

[53:19] Keely Beirne: Yeah.

[53:21] Jayke Workman: Because I've only ever met you in fun actual social time. So I'm not gonna be like, hi, what's your first and last name?

[53:28] Keely Beirne: It's Keely Beirne, if you wanted to know.

[53:30] Jayke Workman: Oh Danielle.

[53:32] Keely Beirne: Yes.

[53:33] Jayke Workman: Danielle.

[53:34] Keely Beirne: Yes. I was gonna be named Danielle. That's my stripper name.

[53:37] Jayke Workman: Danny B.

[53:38] Keely Beirne: Stripper D.

[53:39] Jayke Workman: Ooh.

[53:40] Keely Beirne: Danny B with like dollar signs.

[53:42] Jayke Workman: Yeah.

[53:43] Keely Beirne: Oh, that's good.

[53:44] Jayke Workman: Yeah.

[53:44] Keely Beirne: Okay, wait. That's a drag queen from the UK, but listen, I'm unemployed.

[53:48] Jayke Workman: You can have it.

[53:50] Keely Beirne: For like one more week.

[53:52] Jayke Workman: I know. I leave someday.

[53:54] Keely Beirne: Yay! Well, again, I just adore you. Thank you so so much. This was so fun.

[54:01] Jayke Workman: You guys, that's it for another episode of Oh My Pod, you guys. Don't forget to rate, review, and subscribe anywhere you listen to the pod. And you can follow the show on Instagram at ohmypod, you guys. Thank you so so so much for listening. Talk soon. Bye.

[54:15] Keely Beirne: Oh my god, oh my god, you guys.