This transcript was automatically generated and might contain errors.

[0:00] Jayke Workman: Did you ever think that you would be a grown person getting paid to pretend to be a cat?

[0:10] Jayke Workman: Oh my god, did you hear? Did you hear? Did you hear my god guys? Take that hot. Hi, Jake and I'm gonna be God!

[0:22] Jayke Workman: Oh my god, you guys! What's up, everybody? My name is Jayke Workman, and this is Oh My Pod, you guys, a musical theater and pop culture podcast.

[0:31] Jayke Workman: You guys, a lot has happened in the past week since I last spoke with you. We talked a lot about Miss Beyonce, Giselle Knowles Carter last week, and how she announced her world tour for Renaissance.

[0:41] Jayke Workman: And now we must discuss how she is the most Grammy-awarded artist in history with 32 Grammys.

[0:49] Jayke Workman: And girl, she deserves every one! Tragically, she did not win Album of the Year. We are not going to talk about that.

[0:56] Jayke Workman: However, I think it's truly incredible that she has achieved this milestone in her career. And not that she needs me to be proud of her, but I am.

[1:05] Jayke Workman: Another icon that I have newly become obsessed with is one Pamela Anderson. You guys, I just watched her documentary. It's called Pamela a Love Story, and it's on Netflix.

[1:16] Jayke Workman: It is so beautifully directed and produced. Her sons actually created the project, and she gave them full reign and full access to all of her archives, all of the photos, videos, audio files throughout her life, and her own personal journal entries, which she kept all through the years of her most infamous Hollywood experiences.

[1:39] Jayke Workman: This documentary is so poignant and beautiful, and it really gives her the opportunity to take back the narrative about her own life and her own experiences being in the spotlight.

[1:50] Jayke Workman: She opens up about trauma and abuse that she experienced as a young girl and what it was like to truly be demonized and written off as a complete and total sex object in Hollywood.

[2:01] Jayke Workman: She is funny and bright. She's obviously absolutely beautiful, and she just seems like such a wonderful person.

[2:08] Jayke Workman: And there's a super special little treat where some of my pals from the Chicago Broadway cast make an appearance when Pamela went in as Roxy.

[2:16] Jayke Workman: So I highly recommend. Again, it's on Netflix, and I couldn't get enough. Alright, we do also need to talk about two new shows that are on the horizon for Broadway.

[2:26] Jayke Workman: One of which is a musical adaptation of La La Land. Now, I was actually a fan of the movie.

[2:37] Jayke Workman: I thought it was very beautiful and cinematic. Wow, a movie cinematic. Shocking.

[2:43] Jayke Workman: But I really did think the production value was beautiful. I enjoyed the story, and I really liked the acting performances.

[2:49] Jayke Workman: I was less than thrilled by the singing, but I will say, maybe hiring actual Broadway performers and singers will only enhance the musical element of this great story.

[3:07] Jayke Workman: It's gonna be helmed by Bartlett Sher, who obviously has a track record of creating notoriously stunning productions at Lincoln Center.

[3:16] Jayke Workman: So maybe I need to be a little less skeptical and be open to the idea of a potentially gorgeous new musical.

[3:26] Jayke Workman: And then there is also the announcement of a new musical called Hell's Kitchen, which is supposedly going to tell the story of Miss Alicia Keys, who I absolutely adore.

[3:36] Jayke Workman: I'm not sure exactly how one would pull that off. I think you are really gonna need somebody to embody Alicia Keys in a way that we haven't really seen done in a Broadway show, other than maybe MJ and in the Cher show.

[3:56] Jayke Workman: But I do think it's interesting because Alicia Keys doesn't strike me as someone who is necessarily a huge personality or someone who you could really do a quintessential impression of, and you would say, wow, that's exactly Alicia Keys.

[4:11] Jayke Workman: I know exactly who you're doing. So I think it might rely more on the storytelling and the musical element of the show.

[4:16] Jayke Workman: So I'm interested to see what that's like. Oh, my Pod, you guys, I'm so thrilled to introduce our next guest.

[4:24] Jayke Workman: She is a mother. She is a world-renowned Broadway soprano. It is the incomparable Miss Sara Jean Ford. Welcome to the show.

[4:36] Sara Jean Ford: Thank you. Thank you, my Ponti guy.

[4:39] Jayke Workman: Where are you calling from?

[4:40] Sara Jean Ford: I'm here.

[4:42] Sara Jean Ford: Brooklyn.

[4:43] Jayke Workman: Brooklyn, New York. Great, great. How long have you been there?

[4:45] Sara Jean Ford: You can tell by my brick. Sorry, for the folks at home, I have a brick.

[4:50] Sara Jean Ford: Oh yeah. How long have I been here? Um, you know it's so funny. I always sort of fancied myself a Brooklynite, um, but I never moved here until two years ago.

[4:58] Jayke Workman: Oh, nice.

[4:58] Sara Jean Ford: Three years ago? Two years ago.

[4:59] Jayke Workman: Yeah.

[5:00] Sara Jean Ford: Have you been like in the old boroughs of the city?

[5:02] Sara Jean Ford: My boyfriend.

[5:04] Sara Jean Ford: Yes. I started in Long Island City.

[5:06] Jayke Workman: Great.

[5:06] Sara Jean Ford: And then I went to Harlem, and then I went to Astoria, and then I went back to Long Island City, and then I went to Washington Heights.

[5:13] Sara Jean Ford: I stayed in Washington Heights for a long time, and then I moved to Brooklyn.

[5:17] Jayke Workman: Gorge. Incredible.

[5:18] Jayke Workman: You've yeah, you've had the run of the mill, New York experience.

[5:22] Sara Jean Ford: That's 18 years for city folks.

[5:25] Sara Jean Ford: She says she puts out a cigarette.

[5:27] Jayke Workman: Um, so you and I met doing um a really fun uh like sort of cabaret show called Muse Match at Green Room 42. Was that your first time doing Muse Match?

[5:39] Sara Jean Ford: It was actually, yeah. Bill Coyne is a friend of mine, and we sort of just like I think we like I don't know how we met, to be honest, but then he finally asked me to be a part of the the really cool little moment that he's made.

[5:53] Jayke Workman: Yeah.

[5:53] Sara Jean Ford: And that was like the, I don't know, like the six how many that was like the 33rd Muse Match.

[5:58] Jayke Workman: I know something crazy. If you don't know, Muse Match is this really cool opportunity for um sort of like composer and lyricist teams, and and sometimes um just like composers and lyricists uh in one, and they team up with a sort of quote unquote muse and get to write and create a piece that's fully just you know based around them.

[6:19] Sara Jean Ford: Um and I got to work with some really exciting writers.

[6:22] Jayke Workman: You got to work with um a really fun writer, a friend of mine, Billy. Do you want to talk about how you sort of like formed your your piece for that show?

[6:33] Sara Jean Ford: Well, I'm sort of an open book, as maybe you'll find out as we dive further into this podcast.

[6:41] Sara Jean Ford: Um I'm really very open, sometimes maybe to the point where people are uncomfortable, but you know what? Um let it all hang out.

[6:50] Sara Jean Ford: So yeah, I met Billy and I just kind of went in and told him my life story.

[6:54] Sara Jean Ford: I mean, I just went in. And I think I just cat it's so funny. I gave him so much stuff to pull from.

[7:01] Sara Jean Ford: But then he like he like really just like grabbed on to this strange fact that I have become friends with someone, um, a dentist in Long Island, and he I don't know how he sort of got hooked up with like a bunch of the Broadway community, but it was sort of through Phantom, and then it's now he's knows everyone, it seems and um his name is Louis Panulo, and he has a beautiful um practice out in Long Island, and he has been a a gift to my poor old 41-year-old teeth, and he has he has uh made my smile amazing, and um also he is like I don't know, I I call him like a modern day patron of the arts because he like he really does take artists on and like wants to create shows around them and he he wants to be like a producer as well, and there's a lot of like going to Lou's house and like sitting around his gorgeous piano and singing and drinking and eating and I mean it's like a lovely it's a it's a lovely little thing.

[8:14] Sara Jean Ford: Um and he has during the pandemic I ran into some dental issues and I had to be like Lou, I don't know what to do. I don't have an insurance, like I'm I'm stuck, and he was like, I got you, and he like gave me like emergency dental work for free.

[8:31] Jayke Workman: Wow.

[8:31] Sara Jean Ford: Because he's like an angel. It's like it's like everything I've wanted.

[8:36] Jayke Workman: Yeah.

[8:37] Sara Jean Ford: I'm actually gonna go see Titanic with him this week.

[8:40] Jayke Workman: Oh, yay!

[8:41] Jayke Workman: A friend of the pod.

[8:42] Sara Jean Ford: Oh my gosh, my my dear friend Luke is now the associate choreographer for Titanic.

[8:46] Jayke Workman: I'm so excited to get to see it. I think I'm going on Saturday.

[8:48] Sara Jean Ford: Are you going?

[8:47] Jayke Workman: I'm going on Saturday.

[8:51] Sara Jean Ford: Oh my.

[8:54] Jayke Workman: Oh my God.

[8:55] Jayke Workman: This is breaking news on Oh My Pod, you guys.

[8:58] Jayke Workman: Sarah Jean Ford and I will both be at the same performance of Titanic.

[9:03] Sara Jean Ford: Oh my god.

[9:04] Sara Jean Ford: Oh, that's amazing.

[9:05] Jayke Workman: God, what a story.

[9:06] Jayke Workman: Well, that's amazing. You, I I must say, if I may, say you are so stunningly beautiful, and you just sort of uh outed out at your your age.

[9:16] Jayke Workman: Um and I want to talk about your series for Broadway World called The Aging Ingenue because it is so clever, so funny.

[9:25] Jayke Workman: The production value is so excellent, and it it seems really small scale, but so great, wonderfully produced.

[9:32] Jayke Workman: Um what brought you to to start that project? Was it in the pandemic?

[9:37] Sara Jean Ford: Uh yeah, thank you so much for watching and first of all, and um for talking about it.

[9:43] Sara Jean Ford: Oh my god, of course.

[9:44] Sara Jean Ford: It's um excellent.

[9:46] Sara Jean Ford: Thank you.

[9:46] Sara Jean Ford: Thank you.

[9:47] Sara Jean Ford: Yeah, uh so right before the pandemic, I fell in love.

[9:51] Sara Jean Ford: Um me and my boyfriend met on Okay Cupid, don't worry about it.

[9:56] Sara Jean Ford: And um right, and he is a film director, and so he's like kind of we you know, we skirt the same creative worlds, and sort of like right away we started writing together.

[10:07] Sara Jean Ford: I was working on an adaptation of Calamity Jane, and I wanted to like do another reading of it.

[10:13] Sara Jean Ford: So, like at the beginning of the pandemic, we kind of just like collaborated and we found that we were actually quite good collaborators as well as lovers.

[10:21] Sara Jean Ford: So uh yeah, maybe so then we were like trying to think of like things that we could like put like produce that would be like COVID friendly and like quick.

[10:33] Sara Jean Ford: And um, and I was like, I sort of had this idea that I want to like, I don't know.

[10:37] Sara Jean Ford: I mean, I'm I'm a voice teacher, I teach I teach voice, so I teach acting as well, but um, I so I listened to just these little girls singing, like, you know, Heart Don't Fail Me Now and I'm on and like I'll finish my lesson and close my computer and be like, Don't turn back, and I'll sing it with my best voice ever and be like, Oh man, those days are behind me.

[10:58] Sara Jean Ford: But like I so I had this like, I was like, I kind of just want to do like a series where I'm just like singing songs that I'm too old to sing, and call it the aging ingenue.

[11:06] Sara Jean Ford: I just like had that idea, and he was like, We'll do more than that. We'll give you a spotlight and some smoke, and it'll be a whole thing.

[11:12] Sara Jean Ford: And and so we started to just kind of create her, and at first she was like a clown, like she was an absolute clown.

[11:20] Sara Jean Ford: And we actually have footage of her being a clown.

[11:22] Sara Jean Ford: Like I like, I'm smoking a cigarette and I have huge hair and I'm carrying like a poodle, and I'm like walking out of an audition, and I'm like, I booked it.

[11:30] Sara Jean Ford: It's like clown. And then we were like, subtlety. No, this is not who she is.

[11:34] Sara Jean Ford: So then we just kind of re-configured her, and we wrote a couple scenes because we really just wanted it to be like almost like music video, but then we wrote some scenes and and we wrote to them together, and and and Cameron directed it and pulled all the favors and um and it it ended up being just such a special little project.

[11:55] Sara Jean Ford: And then Broadway World, we we reached out to Broadway World.

[11:57] Sara Jean Ford: Um, Ellen Marie Marsh. I don't know if you know who that is.

[12:01] Sara Jean Ford: She's like a fabulous human.

[12:03] Sara Jean Ford: She I met with her and I was like, what do I do with this?

[12:06] Sara Jean Ford: Like, we have this like fully formed piece, and we just don't know.

[12:09] Sara Jean Ford: We thought we were like, this is gonna be the most expensive Instagram post ever.

[12:13] Sara Jean Ford: Like, we didn't know what we were doing.

[12:14] Sara Jean Ford: And she was like, I think you should talk to Broadway World.

[12:17] Sara Jean Ford: Like, they love new content. Like they're really good supporters of like fresh new content.

[12:21] Sara Jean Ford: And I reached out to other publications like Playbill, and they ghosted me, so I was like, you know what? I'm gonna go with like I like Broadway World for that reason because they do like new they like to support, you know, new content. They like to support fresh and original stuff. So totally. Yeah, so we went to them and then we made it. And the rest is her story.

[12:43] Jayke Workman: Well, and I love that it's such a it's really, really well produced, but it is also still short form content. So it's not like you're diving into a twenty-five minute, you know, episode of something. It's like I'm gonna it's not a huge commitment.

[12:58] Sara Jean Ford: Yeah, yeah. And it's so funny. I just I love it. And I think my favorite is the episode um I think it's maybe the second or third, but the one um where you're waiting for the school bus. Is that your daughter?

[13:09] Jayke Workman: In the Yeah.

[13:11] Sara Jean Ford: Yeah. I thought so. And I just I love it. I think it's so clever and so great. So thank you. I applaud you.

[13:18] Jayke Workman: Yeah, we had a fun time. I don't think she has any intention of acting.

[13:21] Sara Jean Ford: Right. Well, I was gonna ask you. Did does your work um excite her or inspire her at all, or is she like, ah, it's old hat, my mom, you know, done Broadway, whatever? I mean, her dad does it too, you know, we're both Broadway actors. Um so she's sort of surrounded by it. And her dad's um fiance, Julia Madison is a beautiful, funny, stupid, funny writer. And then Cameron is also a writer and a director, so she's really surrounded by like all these artists, you know. Um I think there's a part of her that like I think there's a part of her that is over it, and then when she comes and sees me in something, she gets very proud. And she like wants everyone to know that I'm that she's my daughter. And you know, we she just saw me do Sound of Music. And it was like really small production in the round.

[14:17] Jayke Workman: Oh, you're so sick.

[14:19] Sara Jean Ford: Yeah. And she was front row. And there was like a Nazi right by her. And she was just like, oh like this. It was like she was on the edge of her seat. Like literally, like, are they gonna escape the Nazi? You know, like she really felt that. And um, yeah, it was I mean, it's pretty cool. It's pretty cool to like, but she also just like doesn't care. Like, you know, to see Phantom of the Opera next month. Um I was like, I gotta take her to see it before it closes. Oh my god. It's like a such a huge part of my life, and Cameron, my boyfriend hasn't seen it either, and so I got us like some sweet tickets, and I'm super excited to like get to introduce it to them.

[15:00] Jayke Workman: Work. Okay, well, let's talk about Phantom. The elephant in the room, the chandelier in the room. So I Phantom was the first show that I ever saw on Broadway when I was 12 years old.

[15:11] Sara Jean Ford: Oh no, not on Broadway, but it was the first show I the first professional show I ever saw.

[15:14] Jayke Workman: Okay, amazing. So what was your road to being first the mirror bride and then Christine?

[15:24] Sara Jean Ford: Well, it all started Fateful Night. Um I that was the first show I ever saw. I was eight. I don't really remember too much of it. I just remember sort of being like, whoa, this is big and huge and amazing. Um and then I um, you know, like I sang professionally as a kid. I was like a studio singer when I was like 10 to like age 14, and then I started I then I was like, oh, I really want to like learn how to sing sing. And then they were like, Oh, you're a soprano, and I was like, No, I'm not. Um, yeah, you are. So I started singing soprano. I was like, Oh, interesting. Um, but I always wanted to be on stage just to make people laugh. Like, that's like all I cared about. I just wanted to make people laugh and I wanted to sing pretty songs.

But I had this soprano voice, and I was like, Oh, interesting. When I was like 19, I went on a New York trip with my best friend, and I sort of just like casually was like, By the way, I think Christine is gonna be the first show I do on Broadway, the first role I do on Broadway. She was like, Oh, yeah, she was like, Oh yeah, what do you think that? And I was like, I don't know, because she's like kind of dumb, and maybe I'll like bring something to it. Literally, that's what I said. And then I had like no desire after that. I auditioned for the movie, so random story that I probably never told anybody. I auditioned for the movie in college because Patrick Wilson went to Carnegie Mellon, and so they were having a hard time finding a Christine, so he was like, Let me reach out to some of these girls at Carnegie Mellon.

Yes, and he had already been cast as Raoul. And he was already cast as Raoul. So like I got on the phone and talked to Patrick about it, and like he was like, just look hot, and like just sing hi and look hot. I was like, okay. And I had red. I had red, pinkish red, short, spiky hair, and my voice. And I was like, Oh, I'm not getting this. Like, there's they're not gonna I'm not getting this. Um, and that was like the first audition I ever had for it, and I was like, okay. And then um, yeah, I auditioned for it once while I was doing the Fantastics. I didn't get it because I was too busy trying to figure out what they wanted. And then um the next time I went in, I just like I had somebody sneak me in.

Her name is Marilyn Kaske. She was um playing Madame Jury at the time, and she's she had them sneak me in, and so I sat on the steps and I watched the show, and I just kind of was a I just studied the blocking, to be honest. That's all I did. I just did the blocking. And then when I went in for the audition, I I got it. And they were like, oh, we don't know where we want to put you. Should we gotta put you in Vegas on the tour, on Broadway? And the Broadway won out, but then the tour won out, so I did it on the tour. And yeah, like I worked my way from being the mere bride um to being then they offered me Christine on the tour and then I left. I left the tour and I was like, I'm but I'm gonna go by.

Did other things. I just I I don't know, like I then they were like, You are? And I'm like, yeah, like I mean, I'm not gonna be Christine on the road forever, like I can't do that. And then one day I was like in the equity office and I saw David Lye, who's a music uh director over there, he's conductor, and I was like, I'd love to come back into the show. Like and he was like, Oh, I don't think they know that. He was like, You should let them know that. So I reached out to some people and I was like, Hey, I would like to be Christine again on Broadway. And then they called me in for the next audition. I had to re-audition. Mm-hmm. And then I got to be Christine on Broadway.

[18:49] Jayke Workman: Wow, and you ran for great. How long did you do it on Broadway?

[18:52] Sara Jean Ford: Not very long, like a year and a half, about a year and a half. Great. Yeah. Wow. Yeah. And then I I did get to go back in after I had my daughter and I got to be the alternate for about three or four months. And I helped put Norm Lewis in to the show. And so it was like see it was like Sierra and me and Norm, which was really fun. Yeah. And that was also like a very weird job. Being an alternate is like I was like, what am I d I I would like come to the theater and be like, I swear I know the show. I haven't done it for five days, but like, I swear I do. But I guess I could if you if you wanted me to. It's very weird.

[19:30] Jayke Workman: So in that regard, is is being an alternate the same as being a standby? Are you are you like at the theater every night and ready to go on at a moment's notice, or is it like you have guaranteed shows, but otherwise you're not really there?

[19:44] Sara Jean Ford: Um kind of, yeah. Like um back in the day, the alternate Christine did not have to be in the building unless she was performing her two shows. And she does two shows a week, and that's it. Um and that was a weird thing because you are doing two shows, no matter what you're doing, your two shows. Right. And then if the Christine, the full-time six a week Christine calls out, you're the first person they call contractually. I guess that's it. Sure. So when I was the understudy, I was like, what's the point of being the understudy? Like you're never gonna call me. This is dumb. So like I didn't like that. Um but yeah, you so you kind of are considered the standby then is i as well. Right, you know, but if somebody goes out in the middle of the show, which happens kind of a lot, um, the understudy is right there to do it. But now I think the alternate might have to be in the building. I don't know how it works now. Yeah, I'm not sure.

[20:39] Jayke Workman: But that no. So um obviously Phantom of the Opera, one of I think probably the most iconic um Andrew Lloyd Webber show. But you also were in the revival of Cats, the musical as Jelly Lorum. Did you always know or or was dance always an element of musical theater for you that you felt confident in?

[21:03] Sara Jean Ford: Absolutely not, no. Um I I was like one of those girls that like I as I have like a weird body that like looks like a dancer. I'm not like graceful or anything, but I have like a body that looks like a dancer. So I think people assume it when they look at me, but no. Um I I dodged dance class throughout my entire childhood. You know, I should have gotten into dance class. I was too scared to get into it. I was too nervous. I mean scary. It's very scary. And then and my my fear was always that there was gonna be somebody way younger than me in the room with me who was better. Like, isn't that weird? Then when I got into college, I went to I went to Carnegie Mellon, and I actually I went to community college for two years, and they had a pretty strong dance program at my community college, which is Moore Park Community College in California.

Pretty strong dance. So I was doing a lot of dance in there. I just finally just shoved myself into those dance classes. But then when I went to Carnegie, I you know, there's only ten of us. We started with ten. We we ended with seven. There's a very small amount of people in per major, you know. Right. And they split us into like the good dances and the bad dances. And I was like in the bad dance class. I was the only girl in the bad dance class. And slowly but surely, it's just like people would leave the band dance class and get bumped up to the good dance class. Uh huh. And at the end, it was just me and Will Reynolds. I don't know if you know Will Reynolds is, he's an amazing composer. I sure do.

And and a great actor and a great singer. And just we called it just us dance, and it was just us tap, just us jazz, just us ballet, in like a huge, huge ballet room with a pianist, like playing like beautiful Ginopede, like, and we're just like by ourselves just doing bar work, like just us all the way till senior year it was just us and I mean no one would have ever thought that I would be the one that would be in Cats so yeah so then how did you make your way from how did I do it from yeah so from just us dance to uh uh Andy Blankenbueller, what is the trajectory? Like how was were you going in for the show knowing like I'm I'm in for like a particular vocal track and then they'll work me into the show, you know, otherwise, or like what was that like for you?

[23:27] Sara Jean Ford: Rehearsals, and and I guess the audition was like yeah, I was so scared of um having to dance, but for some I think at the time in my life that I auditioned for Cats, I was going this is the juicy part where I just get real. I was going through a divorce. [23:42] Yeah, I was going through divorce, and I was like, I was kind of in like I don't give any fucks kind of place. Totes part in my franchise. Um, and I I just I was back in Phantom. I had I had when I was at the beginning of my divorce, I reached out to Phantom and I said, Is there anything for me? Like I gotta get a job. And they were like, You can't be Christine, you're too old for Christine to mature. How dare you? Um I said, I don't effing care.

They said, guess what? Your mirror bride track is reopening for nine months. Do you want to come in? And I was like, oh my god, like literally, like the timing was beautiful. It was kissing. Yeah. So I went back into Phantom, and I then I like really just like I was safe and secure, and Phantom was so fun to be back in just the ensemble. I wasn't gunning for the role. It was just like an aggressive, I would loved it. I had such a fun time. And then I got the audition for Cats, and I was just like, okay, like whatever. And I that by this third callback, they were like, okay, well, they're gonna dance you next time.

[24:46] Sara Jean Ford: And I was like, okay. And I went and I bought myself some like, I was also like, you know, newly single, so I was like super snatched and just like, yes. So I like went and bought myself some like dance pants, and I was like, I'm gonna dance. And I my best friend uh is Tyler Haynes, and he's one of the best dancers ever. And I was like, That's I was like, you're gonna have to help me. Yes, right. I'm like, you're gonna have to help me. Also, Nathan Morgan, Nathan Morgan, who was in Phantom with me, and eventually cats with me, had done the tour of cats, and so he knew the choreography. So he taught me the jellic ball. He was just like, this is probably what it's gonna be. Yeah. And so he put a video on tape for me, and I watched it and put on my schnazzy dance pants, and I learned it.

And then the day of the final of that uh not final audition, but the audition I thought I had to dance in, I was running late. My babysitter was running late. Right before I walked out the door, my daughter peed on me because she was potty training. Sure. I was like newly single mom with a two-year-old, you know. It was like, what? And I ran out the door and I like get all the way down to the audition, and they sing me again, and I have like pee on me, right? They sing me again, and they're like, and they're like, okay, thank you. Thank you so much for coming in again, Sarah. And I'm like, are you gonna dance me? And they were like, no. And they're like looking at each other, like, no, well, we haven't no, we haven't danced anybody today.

And I'm like, I have P on my pants. And it's not even my P. I was like, you're dancing, and they were like, We're dancing you. We're doing it right now. They took me into a room and I learned it with um Eleanor Scott, who is like gone on to correct numerous things. Yes, everything. And I learned it with her, and um I kind of already knew it. And then because I'm good, like once I know something, then I can kind of start putting it in my body and fill shapes and things like that. I don't, but I don't have technique, like I don't have like the technique that you know most dancers do. And then Andy came in and he watched it and he was like, Great, let's run around the room like cats together. And we were like, okay, and just me and Andy ran around the room like cats.

[27:05] Jayke Workman: You and Broadway icon Andy Blankenbuehler pretending to be felines.

[27:10] Sara Jean Ford: Right, and that and then I got it. Like it was like and then I and then I went to rehearsal, Jake, and I cried every day. Fierce, fierce. Because I was like, not I did not feel like I belonged, and I was I knew that Andy didn't know what to do with me, and I would like put on really dark red lipstick, and I would like walk in, I'd be like, I'm ready.

[27:35] Jayke Workman: Okay, well. The final product was unbelievable. I mean, I have been obsessed with you for a long time. Um stalker much, but I saw the revival of Cats three times, and you were in it every single time.

[27:48] Sara Jean Ford: I sure did. I'm also a slut for Tyler Haynes, so I've just just all of it, you know. Like I was obsessed with that show, and so even just to get I I've already told Christine Corner Smith that I was a Korepozoid obsessed with her. But then to get to do she's the best. Oh, she's the best, but like then to get to do Chicago on Broadway with her and be like, Oh, you're just fun. We're just friends. Yeah, she's I was like, this is so stupid. Um have there been people, yeah. We're just like we're friends. Have there been people in your career who you have been like, holy crap, I'm in the same room with this person?

[28:30] Sara Jean Ford: Yes. Um, yeah, absolutely. And then they all end up sort of being my friends. Yeah, like it's like amazing. I mean, like, yeah, I think right before the pandemic, uh, right when the pandemic shut us all down. I was doing um a show called Love Life at City Center Encores and with Brian Stokes Mitchell, and I was just like, I literally creamed myself to your voice. A hundred percent as a teenager. Uh-huh. Um Stokes. Don't worry, I call him Stokes now. Stokes Styx, um, Sutton Foster. I worked with Sutton, and I I just worked with her brother, so it was like nice because I got to like just go up and be like, I know your brother. Um, and then since then, like we did an encore thing together for like you know, two weeks, and then suddenly we've been friends ever since, which has been so nice.

[29:19] Jayke Workman: What did you work on with Hunter?

[29:21] Sara Jean Ford: I did Into the Woods with Hunter at Pittsburgh CLO. He was the baker, and I was Cinderella.

[29:27] Jayke Workman: Oh, how fabulous.

[29:29] Sara Jean Ford: He um he was just my director in Jersey Boys this past summer, and he was an absolute delight. He was so so fun to work with.

[29:34] Jayke Workman: Yeah, I hear that he's a good director.

[29:40] Sara Jean Ford: Yes, he he was fantastic and and so smart, and just had clearly done all of his research, which was amazing. Um, so you obviously we've we've talked about it. You did Christine in Phantom. You also did Petra in my very favorite musical, A Little Night Music. Was that the revival, the most recent revival?

[30:01] Sara Jean Ford: Yes.

[30:06] Jayke Workman: Okay, so that was um Were you with Angela Lansbury?

[30:12] Sara Jean Ford: Okay. So there's this there's a whole story. Do you want to hear the whole story?

[30:15] Jayke Workman: I surely do because my very best friend in this world, Miss Kat McNamara, played Frederica.

[30:21] Sara Jean Ford: Oh yeah! And so I have like these like ins and outs, you know, that I've like heard obviously through her through our friendship. But um, tell me your story with that show.

[30:34] Sara Jean Ford: Okay, so um Angela and and Catherine Zeta Jones were leaving. Um I love that I'm like on a first name basis with Angela. Of course, of course. And she I didn't I met her, I met her in passing. Yeah. Um so anyway, so they were leaving the show and they left, and they did like sort of like a three-week hiatus while they put in Elaine and Bernadette and me. And me! And I sort of always joke, I'm like, the press release strangely didn't mention my name. Interesting. Calls up Robin Roll again. Right. So right. So I was um replacing uh Mrs. Anderson, which is one of the Leavis leaders. One of my friends, Marissa McGowan was leaving, and so I came in and took over for Mrs. Anderson. So I got to be in the rehearsal room for three weeks with Bernadette and Elaine.

Like just watching, just an actual fly on the wall. Like, literally. Um, it was so great. And they, in rehearsal process, they were like, so you're gonna understudy Petra and Anne. You know, focus on Petra. You're more like the first cover for Petra than anything else. And I'm like, okay. They're like, by the way, we will probably not get to rehearse you anytime soon. So just like know what you know until we get there. And I'm like, okay, great. So we opened the show, we're doing the show, and about I want to say like a month in, I have make that phone call to Phantom, and I'm like, I'd like to come back in. And then they're like, Great, you're coming back in. So I'm like, oh, okay, so I've got like one more month left of Lil Night Music.

So I did the show total like three months as Mrs. Anderson. And I left. And um then caught two four months later. I'm in my run as Phantom of the Opera, and I'm in jury duty. Um I was serving on a jury, don't worry about it. Um, and I was like a very active jury member, like nodding my head, like, yes, yes, mm, yes, like I was super into it. And the jury duty, actual jury duty, like went on for like two months. And it was like we met like I know, we met like twice, sometimes just once a week for two months. So I felt like I knew these people, they were like my co-workers, and of course. It was just a very funny experience. So, anyways, one day while I was in jury duty, I was getting a call from my agent on my like flip phone, because this is 2011.

Of course. Um, so I'm like, oh, why is Broadway calling me? Why is my agent calling me? Like, ooh. So I go out on my break, and he's like, hey, so they're having an emergency over A Little Night Music. Which part do you know? And I'm like, what? I um I know Henrik. Question mark, yeah, I know, right? Um, I'm like, I think I know Petra. He's like, okay, great. So call me on your next break because if Phantom will let you out tonight, you're going on tonight. Uh and I'm like, okay, okay, and they're like, the jurors are now being summoned back into the jury room. And I'm like, so I go back into the jury room and I'm like suddenly rocking back and forth, and I'm like going through words and dialogue and uh and then I'm like, that fucking song.

Oh my god. Oh my god, that's so it's a wink and a wiggle and then a giggle on the grass, and I'll trip the like Bendingo. And I'm like, So suddenly I'm not an active jury member. The like the like foreman is like staring at me, like, why is she not active anymore? Because I was just like shaking, you know, and I'm like, I could Google the words, but then they're gonna be like, Why are you on your phone? And it's like a whole thing. So then I go back out, I call him, he's like, Okay, after you get out, go straight to the theater. They're gonna be waiting for you. Phantom of the Opera has sent your shoes, your boots, and your your makeup thing. They've packed everything up, it's gonna all go down there.

Just go to the theater. I'm like, I don't know when I'm getting out. He's like, just go to the theater. Go to the theater, they're gonna be waiting for you. You're gonna have a waltz rehearsal, you're gonna meet with the whole cast, it's like the whole thing. I'm like, my God. Okay, so I get out at like 5:30. I'm in Queens. I get out and I like open my teeny tiny little flip phone, somehow go on Google and Google the words to the Miller Son. Like T982 bullshit, and I like have it, and I'm like, on, I'm going underneath the ground because it's like Queens, and I'm like, wink and a wiggle and the giggle on the grass. Okay, I can sure sure sure. I'm just saying yes, saying yes. I get there and they're all like waiting patiently.

Like Bernadette's in the middle of them, they're all like in a semicircle around her. That's how I remember it. I don't think that's how it was. And they're all like in their rehearsal room. Like she was just staring at me. Yes. And they're like, oh, you're ready to waltz? And I'm like, uh, I guess so. And then suddenly we're like, you know, waltz rehearsal, we do like a quick, quick, quick, like little space through, and I get shoved into Annalie Ashford's wig and her costumes. And I did three shows. I did that show that night, and then two, then Matinee the next day and that evening show. Holy cow. The next day went back into Phantom. It was crazy. Playbill was there, and they like wrote an article, and I was like famous for like one whole day.

[35:38] Sara Jean Ford: And you're like, it's a little night music, Your Honor.

[35:41] Jayke Workman: Yeah, I know, right.

[35:42] Sara Jean Ford: You're back in jury duty.

[35:44] Jayke Workman: There's one girl in the jury that was like, Did you like say Broadway last month?

[35:50] Sara Jean Ford: And I was like, yes.

[35:51] Jayke Workman: And she was like, I feel like I read about that, and then I was like, that's Sarah.

[35:56] Sara Jean Ford: Like she because she was like a Broadway fan. That was so random.

[35:59] Jayke Workman: Oh my god.

[36:00] Sara Jean Ford: So I did play Petra.

[36:02] Jayke Workman: I mean, I was contracted to play Petra, so I put it on my resume, fool.

[36:07] Sara Jean Ford: Hell yeah.

[36:10] Jayke Workman: But I didn't play.

[36:11] Sara Jean Ford: And you lived to tell the tale, which is the most important thing. I like through Elaine Stritch literally sitting in the wings in her wheelchair trying to get me out of character, quote unquote. And I'm like, Elaine, like don't get me out of my head. Like I need to be in my head. Like she was trying to like mess me up to try to like, you know, make me like classic. Make me like in the moment. And I was like, I'm literally like reading my script, hearing my line, and go.

[36:36] Jayke Workman: Yeah.

[36:36] Sara Jean Ford: Oh my god. I can't even imagine. That is absolutely but it's so it like truly points to the I mean Kathy Boydko actually was just talking about how it's a superpower. It's like you just you just trust your your brain and your body and you just do it because that's that's the job. Um you have done how to succeed yeah you did Finn's Rainbow Yeah I am also a big fat slut for Wicked the musical oh yeah I did that show too you surely did would you like to talk about that experience you were you were the standby for Glinda was it?

[37:22] Sara Jean Ford: Oh, it was the understudy, yeah, so I actually did have a part in the ensemble. I said, I hear some rebel animals are giving Harpoon a job. I hear so unclean work. Yes, yes. Was that fun? Um, yes. I mean, I have like a lot of opinions about Wicked. My time at Wicked was, um, well, do tell. This is gossip on Broadway.

[37:48] Jayke Workman: Right.

[37:49] Sara Jean Ford: Um, well, I graduated, I literally walked in my ceremony and I got on a plane the next day and I settled myself at Tyler Haynes' apartment on his floor in his bedroom. I lived with him for a month and I started rehearsals the next day, so it was like boom, boom, boom. And um, I'm such a funny person to get a job right out of college because like all my other friends didn't have jobs right out of college. So instead of like being happy for myself, I just was like sad for all of them. You know, I'm like one of those people that like don't shine too bright, everybody else will be dim. You know, something I'm working on, Jake. Something I'm working on. Still number one. So anyways, then I rehearsed for a month and then I um moved to Chicago and it was um kind of hard.

You know, I suddenly was like in this brand new city that I never even saw myself in. I always thought I was gonna move to New York right away and you know, um, there were two understudies on the role and um, they ended up putting the other understudy on like all the time um because our Glinda, who is Kate Reinders, who's a freaking wonderful human that I love. Oh yeah, first Glinda I ever saw. Yeah, um, in that Chicago company. Oh my gosh, wow. She um broke her foot and so um, it was such a, I don't want to, I guess I should be just gossipy, why not? Um, basically Lisa, uh, who's an associate director pulled me aside and she was like, listen, I think you, she's like, you're the first cover, right?

And I was like, well, no, you didn't assign me a first cover, you know, you don't do that. And she's like, well, you should be because you're the best. And I was like, oh, okay. And like the next week she broke her foot and like all of the um, uh, the other girls, you know, wigs were ready and her costumes were ready and mine weren't. And so they put her on and then they continued to put her on and put her on and put her on and put her on and then they would sort of like break up her weeks with a performance of mine at the end of the week.

[39:57] Jayke Workman: Gotcha.

[39:58] Sara Jean Ford: So they didn't have to offer her a contract. And it was, it was rough because like shady, I really wanted to play the role and I was like confused as to what was going on and I kept going to the stage manager and being like, what's happening? And he was like, it's not coming from me, I swear. But he was also a little shady with me and like he kind of fancied himself a director, and so he like, I was doing my put in for Glinda and he stopped me in the middle of my put in, which is like kind of unheard of, it's like not really. And I was literally in the middle of popular, like I was out of breath, making people gag with laughter, and he stopped me and said, I think we've gotten away from what we talked about for this character.

And I was like, okay, buddy. And then I also understood a Nessa, and I actually went on a lot more for Nessa, and he was like, this is your role, this is your role. And he kind of came off, like now looking back, like I did sort of feel some like hashtag me too vibes, you know.

[41:00] Jayke Workman: Yeah.

[41:01] Sara Jean Ford: Um, especially with like how he just was towards me. So, anyways, I left after six months. I was like, peace out. Like, I can't, this is unhappy, I don't like this. And come to find out he got fired a month later.

[41:18] Jayke Workman: Wow.

[41:19] Sara Jean Ford: And the girl who took over for me went on all the time. So I think that there was something going on with him.

[41:27] Jayke Workman: Certainly, it's unfortunate, it's super unfortunate because I never really got a chance to like be in that show in a way, yeah.

[41:34] Sara Jean Ford: You know, it is unfortunate, but it's also, it really is such an important reminder that, uh, I mean, sexism is alive and well in and out of the theater world. And I mean, obviously, on the most obvious sort of surface level, we talk all the time in this industry about how much harder it is for a woman than it is for a man to book jobs and keep jobs and whatever, but even when you have the job, it there, you know, you could, you could fully, and I'm obviously, I don't identify as a woman, but um, I have many, many female identifying friends who are like, this is fucked up. How are we still dealing with this shit now? In this, you know, little sliver of the world where we're supposed to feel like it's so equitable and it's so open and everyone's welcome here and whatever, but like there are just such inequities still that it's kind of mind blowing.

[42:32] Jayke Workman: But I'm sorry that you had to deal with that. That's fucked up.

[42:35] Sara Jean Ford: Yeah, thank you. I mean, uh, to be honest, I kind of really just recently processed it. And I'm like, huh, like he really didn't make me feel very comfortable.

[42:44] Jayke Workman: That's so interesting.

[42:45] Sara Jean Ford: And then like, I mean, when I was like, oh, when I found out that he got fired, I was like, oh, well, of course, you know, but then I really thought about it and I was like, oh.

[42:54] Jayke Workman: Yeah, you're like, oh shit.

[42:55] Sara Jean Ford: You really kind of effed me.

[42:57] Jayke Workman: Yeah.

[42:58] Sara Jean Ford: Damn. Yeah. So yeah, I mean, that was my time. It was, it was like I feel like I'd come to the theater every week and I would just sort of be sad because I didn't get to go on for the role that I was there for. You know, I was really there for that role. And then I would, and then I would, you know, get to go on at the end of the week and it would all be worth it because I was like, I had the best time ever.

[43:18] Jayke Workman: Of course.

[43:19] Sara Jean Ford: You know, so it was like, well, this sucks because like, because like, I don't know. It's really, it's really fun what I do, it turns out. Yeah, I really like it.

[43:29] Jayke Workman: Well, and I, and um, you know, that is, that is also how so many non-equity experiences get away with such crazy treatment because at the end of the day, when you're an artist and you love what you do, when you get that tiny little taste of, oh yes, that's it. That's what I love, you know. Like this is why I'm doing it. Everything kind of fades away, and then, you know, you step off stage and you get back to your hotel room or your house or whatever, and you're like, wow, fuck, like this sucks. A lot of this really sucks. I mean, not just the non-equity experience, but especially there, where you can fully be taken advantage of. There are no rules, and you know, you just have to want it more than anything else because that's it.

[44:21] Sara Jean Ford: It's crazy. It really is so insane.

[44:22] Jayke Workman: Yeah.

[44:23] Sara Jean Ford: So, one last question. Did you do you have a favorite project or role or theatrical experience that you've ever done?

[44:37] Sara Jean Ford: Um, yeah, let me think. Um, I mean, I get asked this question all the time, and sometimes it changes as I get older. Um, you know, I got to, I mean I've had to, I've got the chance to originate now twice. Um, and then you know, those shows didn't go any further from where they were at the time.

[45:00] Jayke Workman: Sure.

[45:00] Sara Jean Ford: Um, but one of them was um, not even a great show, but it was um, Little House on the Prairie the Musical, starring Cara Lindsay and um, Jen Gambitese. We did it at the Guthrie Theater, and then it went to, it went on tour after that, and I sort of turned down the tour because I was just like, this doesn't feel right. I had to trust my gut on that one, but um, but going out to the Guthrie to do it, it was a really long contract. Those Guthrie contracts are long in my home state of Minnesota, baby.

[45:33] Jayke Workman: Yes.

[45:33] Sara Jean Ford: Wow. Um, that's a great one. Were you there in the summer or were you there in the hell months?

[45:38] Jayke Workman: We were there um summer.

[45:42] Sara Jean Ford: I mean, I feel like it went into fall.

[45:44] Jayke Workman: Yeah.

[45:44] Sara Jean Ford: So it was like summer into fall. I think.

[45:47] Jayke Workman: Yeah.

[45:47] Sara Jean Ford: Okay, so you were not completely like swimming in snow.

[45:50] Jayke Workman: No, we weren't.

[45:51] Sara Jean Ford: Thank heaven. But I played Nellie Olson, who's like the little brat in town. And it was the first time I really got to like f really flex my comedic chops. Um, in a way that I really wanted to. And the director was Francesca Zambello, who directed Little Mermaid on Broadway, who didn't get great reviews for that, and I think she sort of was like, and I'm done with theater. Um, but she really like trusted me wholeheartedly and just let me go. She just let me be an idiot. And I had so much fun being the town brat. And um, I had so much fun. I mean, I was just, and also Kara Lindsay is a lovely friend of mine that I know from college and we were roommates at a time and I'm just, I love her. Um, and I just got to fuck with her and on stage and just make her so angry.

And I loved it. Um, it's really fun to be the villain and to be hated for being so bad, but also loved for being so bad. And I would love to be the villain again. And I would love to have that kind of trust from a director where they're just like, you do what you do. Go do in what you go do what you do.

[47:03] Jayke Workman: You know, it's interesting. I was, I was gonna say that um, you, you don't strike me as someone who someone could trust to have the comic chops, Sara.

[47:11] Sara Jean Ford: Right.

[47:19] Jayke Workman: I mean, I think for forever, you know, I got like again, I'll go back just like, uh, just to bookend this podcast. I, you know, I got into this business because I want to sing pretty and make people laugh. And um, and I've had to sort of make a living being an ingenue, which is cute, but it's like definitely never felt like a very true fit, um, as far as like roles go. And um, and uh I guess I was always like a thinker and like, you know, very willful and I have a dark quality to me, and you know, so I I'm looking forward as I get older, the aging ingenue. Looking forward to like really embracing some darker things, you know, as I get older. And so being able to be trusted for like that comedy and stuff, and it would be, would be the dream.

[48:08] Jayke Workman: Totally. Well, Sara, thank you so much for joining me on the pod. It was so good to chat with you. I've only gotten to ever meet you in person once, but I would like to be a good one.

[48:19] Sara Jean Ford: And I literally fangirled over you because you're so good.

[48:23] Jayke Workman: No, so amazing.

[48:25] Sara Jean Ford: You're a sweet star.

[48:27] Jayke Workman: You're a radiant star, Jake.

[48:29] Sara Jean Ford: Oh my god, you're too kind to me.

[48:30] Jayke Workman: Well, I mean, I heard that Christine was working with you. I just died. I just died.

[48:34] Sara Jean Ford: So I'm still raving about you. Sorry, sorry, sorry.

[48:38] Jayke Workman: I'm like, stop, stop.

[48:41] Sara Jean Ford: I'm like, oh my god.

[48:43] Jayke Workman: No, but truly, I any opportunity that I ever get to sing with you would be just an absolute joy. So we gotta make it happen.

[48:51] Sara Jean Ford: I would absolutely love it. Oh my god, I would love that. I would love it. I would love it.

[48:55] Jayke Workman: Thank you so much for being here.

[48:56] Sara Jean Ford: Thanks for having me. And good luck with this podcast. This is so fun.

[48:59] Jayke Workman: Thanks.

[49:03] Jayke Workman: You guys, that's it for this week's episode of Oh My Pod U Guys. Thank you so much for listening. And please don't forget to send your emails to ohmypodyouguys@gmail.com so that I can share your own personal stories on the pod. Talk to you soon. Bye.

[49:19] Sara Jean Ford: Oh my pod. Oh my pod, you guys!