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[0:01] Jayke Workman: What's up everybody? My name is Jayke Workman and this is Oh My Pod U Guys, a musical theater and pop culture podcast. You guys, I just saw the opening day of the Renaissance film by Beyoncé Giselle Knowles-Carter at the AMC Theater and darling diva girl, get your ass to the movies. It is, it's unbelievable. I mean, we knew, we knew it was going to be unbelievable, but my God, it's not just the concert. I mean, the concert in itself is enough for it to be a wow. But she, it's a documentary. She's like showing us her real self for like the first time ever. She's like goofy and charming and we see her with her sweet babies. Like you guys, I mean, anyone who knows me knows that I am a Beyoncé for life girl diva, but man alive, I cannot wait to see this movie again.

And I can't wait for it to come out on streaming so that I can freeze frame every possible crowd shot to see if I am in it. I need to be in the movie, okay? But truly, it's so stunning. It's such a beautiful representation of queer culture. I mean, you know, Beyoncé herself goes into detail about how her fabulous, amazing, beautiful uncle Johnny used to make all of her costumes. And she has a whole section about her sweet uncle Johnny and how he was like the inspiration behind her work ethic and everything. Oh my God. She loves the gays and the gays love her. So you guys run, run to the theater and see this movie and get yourself a souvenir cup. It's just so good. It's just so good. Beyoncé.

Beyoncé is the best living entertainer. Sorry, there's no arguing. There's no question. She is the best. The plastic off vocals? The plastic off the sofa vocals? Say, say you won't change. Like what? Ma'am? Ma'am? I got to stop because I will just talk about Miss B forever. Let's dive right into this week's Broadway World Recap brought to you by my amazing friends at BroadwayWorld.com. Oh, okay. First of all, you guys, I have to tell you the tea. I saw the final Stephen Sondheim musical off Broadway at the Shed called Here We Are. Let me tell you, it was so, so clearly written by Stephen Sondheim that it like all of the emotions came like flooding in. I was like, I can't believe that we're like witnessing new material from Stephen Sondheim.

But it was also wackadoodle, I couldn't tell you what was going on. I mean, all of the individual performances, incredible. Rachel Bay Jones absolutely slayed this show. Her acting is unbelievable. Everyone is flawless. I mean, like everyone is so brilliant in their own characters and in their own ways. Stephen Pasquale is amazing. Amber Gray, like everyone. Bobby Cannavale, it was so beautiful. And I still wish I knew what was going on in the show. Half of it is like a typical Stephen Sondheim musical, whatever that means. And then the second half without giving anything away is just, I was so intrigued. I was so confused. I was impressed. It was beautiful and scary and just weird. So you guys, write me your thoughts.

I really want to hear what other people who have seen this show have to say about it because it's amazing and wackadoodle. Unfortunately, you guys, this week we got the sad announcement of the passing of two-time Tony Award winner Francis Sternhagen at the age of 93. And what a life and career this woman had. Francis was nominated for seven Tony Awards and won two of them. Her first win was for her performance in The Good Doctor in 1973, and her second was for The Heiress in 1995. And you probably also know her from TV and film because she did countless movies and TV shows. And I most loved her for playing Bunny on Sex in the City. Francis was just such a brilliant character actress. So may she rest in peace, sending all of the love and light to those who knew her well.

Oh my gosh, next you guys, in another little kooky piece of Stephen Sondheim news, it was just announced by Broadway World that his Manhattan townhouse was just sold to a fan of his for seven million dollars. Imagine living in the home where Stephen Sondheim wrote masterpieces. Just wild. And imagine having seven million dollars. Sorry. Anyway, next you guys, Tom Holland just confirmed that scripts are being written for a Fred Astaire biopic. And you guys, if Tom Holland plays Fred Astaire, I will lose my mind. In a good way. I love Tom Holland, and he's like a secret amazing dancer. He was freaking Billy Elliot. We need this, okay? The gays need this. And lastly, you guys, it was just announced that Jersey Boys, you know, as a brand, is teasing a 20th anniversary tour.

And girl, if I don't get to play Bob Crew, there will be hell to pay. You heard it here on the pod. You heard it first on On My Pod, you guys. I want to be in that show. I love that show, and I love Bob Crew. I played the role at Theatre Aspen, and it was one of my favorite shows I've ever done. So hey, producers, if you're listening, On My Pod, I want to do your show. And you guys, this has been a crazy kooky Broadway World recap. On My Pod, you guys. You guys, I cannot believe that I get to welcome my next guest to the show. They are an international superstar of the drag artistry, and they are now a star of the stage and screen. Please welcome Willam. Are you kidding me? Hi. Thank you so much for being here.

[6:58] Willam: Of course, yeah. I say yes to any opportunities. Of course, she knows the tea. She knows the drill. Oh my god, it's so, I'm so excited to chat with you. I've been a fan of yours for quite some time, but obviously now I am, I keep joking to people because I'm just like making my way through the cast of Titanic, but I was like, I have to get Willam On The Pod because I'm obsessed.

[7:20] Jayke Workman: Yeah. I asked Brandon Contreras, who I get ready next to at Titanic, I was like, who is this guy? Should I do this? And then I listened to like a clip and I was like, oh, I'll do this. Yeah. I was like, I believe in saying yes to faggotry and gay opportunities and putting more into the world for people to listen, maybe who can't get to New York and who want to like, you know, cause we've all been like boys in our bedroom obsessed with Broadway or kids in general at one point. And now like we're here and we get to talk to these people. And so let's share it with others. It's so insane. I'm so, yeah, I'm so grateful that you said yes. Cause I just am such a fan and I want to hear about your, your like background in, in like your love of theater, because all through like anything that I have followed, like your obviously like your YouTube, your podcasts, everything, you always have these like hilarious and like very niche musical theater references that like only a true theater bitch would know. So I'm like, where did that even come from? Like, did you, was that like your childhood was theater?

[8:20] Willam: My love of theater was kind of ingrained in me because I had grandparents that would go to like the local community theater and my grandpa would just go, he would say, I'm going just so I have something to complain about. Cause he hated it. And my grandmother would drag him and the community theaters have a lot of reckoning to do with what went on in the, in the everything's and girl, bitch, one of my first shows I was in the Mikado, they covered me in Texas dirt powder. And I had eyeliner out to my temples. No girl. The next show was gypsy. And they're like, you can stop wearing the eyeliner. Now. I was like, what eyeliner fully in a fake lash. I tried it. I fully tried it. So I was, my main goal when I started theater was to be a costumer.

I wanted to make, like, I would always be drawing dresses and people would be like, Oh, you want to be a fashion designer? And in my head, I'd be like, no, these are for me. Um, but then no, bitch, I'm wearing hello. And, but then I figured I should learn like sewing and construction and like, I want to do attention. So I was like, let me go to a theater where there's other fags. Um, because the gay bar was like, listen, you're 13. We know you're not 21. You can't come in here. So I was like, okay. So, and they asked me to stop loitering outside. So the theater was a couple blocks away. So I was like, I'll just go down there. So I went down there. I started volunteering with a lady named Shelly, who was like my costumer intro.

And she saw that I had a lot of, um, she, I remember her saying like something like gay and she's like, that's okay. Right. And I was like, girl, yes, I feel like I found my people, all these gay people, you know, and she helped me with, with learning about sewing and like costuming and running tracks for different costumes and all these things, how to clean stuff with vodka and Febreze. Um, and then from there I, we were doing Jesus Christ superstar. That was the first show. I helped costuming on it over a summer when I was 12 and 13, literally. And then I, after the first bows, I was like, well, do the costumers come out? Do we get a round of applause? Because these outfits like for the King Herod number with all these girls and the don't, don't get me wrong.

And the white and the feathers and all these things, I was like, we should really get a bow because these outfits are great. And they're like, that's not how that works. And I was like, um, somebody needs to clap for me. So at that point I realized I was going to have to like get on stage if I wanted people to clap for me. So I started theater stuff and being chorus boys and like gypsy. And like, I think I did, I was the young collector in a streetcar named desire. And honey, I don't know what she was collecting, but she tried on Blanche's wig a couple of times. I will tell you that desire. There was fully, uh, the guy that played Frank was his name, Frank, whoever the upstairs guy that beats up the one girl was, I was like, you could beat it up Stella.

Oh, he could beat it up. Um, so that was like my introduction to theater. And then from there, I think when I was like 13, I was my marching band did Phantom of the Opera as our like halftime show. So I was, I was like, Oh, who's this Christine bitch. Yeah. And she's fucking a zombie. I was like, what's going on here. So then I, I watched the movie and I was like, this is not the music that we played on the field mom. And she's like, Oh yeah, it's a Broadway musical. I was like, Oh, cool. Christmas morning. She surprised me and my sister with tickets. My sister played flute. I played sax. So we were both in band and we drove up I 95 Christmas morning. The next day we saw Phantom on Broadway.

I saw the chandelier. I was like, see up there. Um, it was, it was amazing. I was gagged and I was like, this is great. So I think that that's when the theater bug bit me. And then from there I've always been inspired by, um, uh, by acts of prostitution. I've always identified with it and like from fancy with Reba and pretty woman. And then I discovered the life by Cy Coleman. And I think I, I got a lot of my theater inklings and like things to investigate from to go to the library, to Google on the computer there from Rosie O'Donnell, because Rosie O'Donnell always had great Broadway guests. She had Billy Porter. She had the cast of the life. I remember seeing a Christian Chenoweth there for the first time with your good man, Charlie Brown.

And that's how I discovered a lot of stuff was through Rosie O'Donnell. And, um, when I saw the life, I was like, what is this? My body number? I instantly got on the floor and I was like, yes, this is me. This is me. And then I went up to New York and saw, I think Chicago, the life. And then one other show, I was like 15 and I saw three shows in a row. And I remember BB Neuwirth was like, no pictures. And I was like, I'm 15. I spent all my money to come see this show. Please take a picture with me, BB. And she, she's like, okay. And I was like, ah, and that's, that's when I learned it's always just easier to say yes. When someone asks for a picture, like, cause no matter what, if you slap on a smile, it can't be all that bad.

And then you find your lighting, you do a 360 turn because there will be better lighting at some point. If you turn in 360, you'll find light somewhere. So that that's my theater run on sentence about how I dip my toe in and then my whole fucking leg and then drowned in it.

[13:38] Jayke Workman: Yeah, exactly. Well, and we are so grateful that you did because now we get to see you on stage in Titanic. And before we even talk about Titanic, I have to say, I was so excited to hear that you were coming to New York to do another amazing show that was going to be off Broadway before it finally, they just said that it wasn't going to happen anymore. And I was so.

[14:59] Jayke Workman: Welcome back to Oh My Pod U Guys! I’m your host, Jayke Workman, and today we have a fabulous episode lined up for you.

[15:13] Jayke Workman: We’re diving into the latest Broadway updates in this week’s BroadwayWorld Recap, so stay tuned for that.

[15:25] Jayke Workman: But first, I’m thrilled to introduce our guest today, the incredible Willam!

[15:45] Jayke Workman: Willam is a multi-talented drag artist known for his appearances on RuPaul's Drag Race and his current role as Victor Garber in the off-Broadway production of Titanique.

[16:05] Jayke Workman: He’s also made waves in film and television, including a standout role in A Star Is Born alongside Bradley Cooper and Lady Gaga.

[16:25] Jayke Workman: And let’s not forget his time in the West End with the hilarious Dragatha Christie murder-mystery, Death Drop.

[16:45] Jayke Workman: Willam is not only brilliantly talented but also one of the funniest people I’ve ever met.

[17:05] Jayke Workman: You do not want to miss this episode!

[17:25] Jayke Workman: So, without further ado, let’s welcome Willam to the show!

[17:45] Willam: Hey, Jayke! Thanks for having me.

[18:05] Jayke Workman: It’s such a pleasure to have you here!

[18:25] Willam: I’m excited to be here.

[18:35] Jayke Workman: So, let’s jump right in. You’ve had such an incredible career, from reality TV to Broadway.

[18:45] Willam: It’s been a wild ride, for sure!

[19:05] Jayke Workman: What’s been one of your favorite experiences so far?

[19:25] Willam: Honestly, every project has its own unique charm, but I think working on Titanique has been a highlight.

[19:45] Jayke Workman: That’s amazing! What do you love most about your character in Titanique?

[20:05] Willam: Victor Garber is such a fun role to play. He’s got this blend of humor and drama that really allows me to showcase my range.

[20:25] Jayke Workman: I can only imagine!

[20:35] Willam: Plus, the show itself is just a blast.

[20:45] Jayke Workman: I’ve heard nothing but great things about it!

[21:05] Willam: It’s a parody, so we get to have a lot of fun with the material.

[21:25] Jayke Workman: That sounds like a perfect fit for you!

[21:35] Willam: Absolutely!

[21:45] Jayke Workman: Now, shifting gears a bit, you’ve also had quite the journey in the world of drag.

[22:05] Willam: Yes, drag has opened so many doors for me.

[22:25] Jayke Workman: What do you think has been the biggest change in the drag scene since you started?

[22:45] Willam: The visibility has skyrocketed, which is fantastic.

[22:55] Jayke Workman: It really has!

[23:05] Willam: And with shows like Drag Race, it’s become a mainstream phenomenon.

[23:25] Jayke Workman: It’s incredible to see that evolution.

[23:35] Willam: For sure!

[23:45] Jayke Workman: So, what’s next for you after Titanique?

[24:05] Willam: I have a few projects in the works that I can’t quite talk about yet, but I’m excited for what’s to come!

[24:15] Jayke Workman: I can’t wait to see what you do next!

[24:25] Willam: Thank you!

[24:35] Jayke Workman: And for our listeners, make sure to follow Willam on Instagram at @willam for all the latest updates.

[24:45] Willam: Yes, please do!

[24:55] Jayke Workman: Alright, let’s take a quick break and we’ll be right back with more from Willam!

[25:05] Willam: Sounds good!

[25:15] Jayke Workman: Stay tuned, everyone!

[25:25] Jayke Workman: We’ll be back shortly.

[25:35] Willam: Can’t wait!

[25:45] Jayke Workman: And we’re back!

[25:55] Willam: Hi again!

[26:05] Jayke Workman: So, Willam, let’s dive deeper into your creative process.

[26:25] Willam: Sure!

[26:45] Jayke Workman: What inspires you when you’re preparing for a role?

[27:05] Willam: I draw inspiration from a variety of sources, including my own experiences and the world around me.

[27:25] Jayke Workman: That’s a great approach!

[27:45] Willam: It helps me connect with the character on a deeper level.

[28:27] Willam: That person, those drag queens, for another kid who's listening or watching to all this stuff now and saying, "Oh, you can do this. You just have to try and be good and be fucking funny." Yeah, I think that TV and film is my preferred medium just because it lasts forever. Theater is great, and it's good for the immediate, and you get the immediate applause and the recognition like that, but like theater and film and YouTube and podcasts, more people have access to, and I'm happy to be a voice for people to listen to and cheer and jeer for. But Gaga said something when we did A Star Is Born. Someone was rubbing my shoulders at one point, and I turn around, and it's Gaga. I was like, "Girl, watch my wig!"

And she was like, "Oh!" Like she was so fun on set. It was like being in a dressing room with one of the girls, literally, because she's one of the girls. Uh-huh. And every time I've been in a dressing room with her from 2013 on, because I was in the Applause music video as an accident because I was going to Mickey's where they were filming it to pick up a wig from Morgan, and randomly it was really busy, and I was like, "Oh, is this 'cause Jinkx is here?" I thought Jinkx was there. And they were like, "No." And I go upstairs, and I was like, "God, Judas Joe Mason looks great!" And he's a Gaga impersonator, and then I was like, "Wait, that's Gaga!" And then, mother, it was a room with just me and Morgan and Gaga, and she was sitting there talking, and she's like, "Y'all want a picture?"

I was like, "Uh, yeah! I wasn't gonna bug you, girl!" And she's like, "I'm happy to!" Right? She's like, "I always look for the queens," and she says she looks for the biggest hair. But anyway, on set, after she was rubbing my shoulders, she said to me, I was like, "You ever gonna do Broadway?" She's like, "I don't want to do the same thing over and over." And I was like, "I get that because I'm the same way. I'd rather have, like, Titanic. I'm locked in. I don't get to improv. A lot of the other characters do, so that for me is difficult." There was a joke in it where I say something, or there's a line in it because it's not funny, but I say, "I've seen better lighting in jail," and it never gets a laugh.

So I changed it. I went, "I've seen better lighting at the Eagle!" Crowd went up! I got to do it for three days before I got the note that you have to change that back. And I was like, "Okay, I understand you want your show how you want your show. It is not my monkey, not my circus. I get it. Thank you for allowing me to be part of your show." But in my head, I'm like, "You know it gets a laugh! Why won't you let me be great? Help your show even greater! Like, let me participate! Why did you hire me?" You know, I'm funny, and I took my note, and I moved on, and they were like, "Are you okay?" And I'm like, "Yeah, I just feel like you're making me do someone else's show!" Like, which is fine.

It's not my show. I get it. And when you hire Willam, that's kind of like the thing that I would expect. It's like, that's the brilliance of Willam. It's like your ability to improv. It shows, obviously, in A Star Is Born. But, like, you just have that natural wit, and like you said, like once you had the audience and like when you are in front of people, it just like clicks on for you. It's so obvious. So, like, I'm surprised that they wouldn't just be like, "Yeah, change it!" Thank you! But I understand from a professional standpoint that they want to probably license this show all over the world, and I hope I get to be in other casts later if anything I've said on here hasn't inflamed the producers so much.

But, um, I think that, oh please, they're listening. I'm sure you have listeners, honey. I'm here, and I'm gonna listen to this later. So at least you have the one that you're looking at. But I get that they want the same show every night, and stage managers have a job to keep that running like a well-oiled machine, and I'm fine with being a well-oiled machine. But I also want to leave room for circumstance and happy accidents, and like, you know, it's hard not to improv sometimes. I'm not trying to fuck up anybody else's show, and I realize that that's part of it. They want the same thing every night so everybody's prepared, and it could be a well-oiled machine because, you know, they're on performance 500-something, 60-something, and I'm, yeah, I'm grateful to be a part of it.

It's been such a learning experience, and I hope I get to do it again because it's such a fun role, and I love singing these Celine Dion songs. Like, in the whole cast, it's like I don't even go downstairs during the show. I just sit in the back and listen to the women sing because it's like heaven opens up every time that Shawnee and Naya and Jackie and Tess and Kaylee and Kaylee Kapala—oh my god, Kaylee—and this girl named Christina who was a Celine cover too did the full Top Model Tiffany speech in the improv once, not just the beginning with the "when I yelled at you." She talked about the grandma and the bikini and the lights being turned off, and like all of these girls and Frazier Thomas, they're all so fucking talented that I just can't live.

I can't breathe backstage when they do tell him. And all, and Lindsay Heather Pierce—oh my god, when she—my, I think my favorite part in the show is "The Prayer" because there's no music, and you just hear Lindsay's voice ring out, and it's so beautiful. And like, it's like a crystal bell ringing. It's so clear. And I saw her do Wicked with Alexander Billings as Marvle because I'm friends with Alex, and she was so good. I saw Jackie do Elphaba, you know, I mean, Wicked. I saw the second night it was open on Broadway in 2002 because I was dating a guy, and I was like, "I was testing him," and I was like, "That's the most expensive ticket on the ticket board. That's the one I want to see!" And he bought the ticket.

And then I've seen it a lot after. My friend Josh Layman was Bach one on tour. He was the tallest Bach they've ever had, but he was great, and Shoshanna was Elphie there. And hearing Shoshanna do those riffs live at the end of "Defying Gravity," hearing the one that she, like, I was gagged. But even Shoshanna, she would get notes not to do that. It's like, how are you trying to hide these people's light under a bushel just for the sake of having the same show at the same time, the same show? And Shoshanna and I got to do the Playbill—remember the ribbon benefit, which airs December 1st on Playbill.com? And we got to talking, and I realized that we've known each other like 20 years. We started doing—I met her doing a musical on the CBS backlot, which they were filming for a sizzle reel because they were trying to make it of a Meatloaf Bonnie Tyler musical, and it was so unique.

I was gagged. That means me and Shoshanna Bean were playing prostitutes who sang "We Need a Hero." There were three of us. I forget who the other one was, but it was very cool. And I remember the writer was talking to me about the part. I was like, "Great! Who's playing the Meatloaf role?" And he's like, "Oh, I am." And I was like, "You're wearing Sketcher dress shoes, and you're supposed to be a biker? You're really playing the Meatloaf role?" And this was when we were on set already. He's like, "Yeah." And I was like, "Oh God, here we—this is gonna go anywhere." But me and Shoshanna had the best time on set, and we became friends ever since then. I traveled to Boston to see her do Funny Girl, or outside maybe Providence somewhere, to see her do Funny Girl, and I was so gagged.

And then we get to the end of the show, and she sings "Don't Rain on My Parade" again, and I was—I was so mad. I went backstage after, and sorry, I was like, "Girl, why didn't you do 'Oh My Man'? I love him!" So he'll never know. She's like, "That's not in the musical." And I was like, "It's in the movie!" She's like, "That's not how it works, bitch!" And I was like, "Shoshanna, come on! You know I wanted to hear a song!" And she's like, "That's not how it works." But I got to hear her sing so many other times that I wasn't that mad, but like I follow that woman around the country, and I will go hear her sing anywhere. Miss Shoshanna, when she opens her mouth, rainbows and gold pours out to me.

It's sickening. It's her and Lillias White. I think are my two favorite, like musical—oh my god, the very first night I ever did Chicago the musical, Lillias was my Mama Morton, and I was absolutely gobsmacked. Like, I just couldn't even—I hadn't seen the show in so long, and then I got the call the day of the morning that I was gonna go and be standing by at Chicago. And just sitting backstage being like, "I'm about to go on stage with Lillias White as Mama Morton? What the hell?" And she stopped the show. I mean, Lillias, that number was, I think, maybe eight minutes long, like good ovations, insanity. Jinkx is the same. Like, it's just a great number. I would love to do Chicago. Were you a Mary Sunshine?

Yeah, that's what I want to do. I did it in LA with Katrina Link from Company. She was Velma, and it was so great. They lowered it a step because it did not sound good when I did it in the original key, and I was—I literally told them, "I will pay for this to get this transposed," because they're like, "No, if you can't do it, you can't do it." I was like, "I'll pay for it! I want to do this role so bad!" You're like, "Bitch, I'm gonna do it!" I think I paid the music director to lower all the charts for everything, and I was like, "I would love to do it, but I don't know if they'd let me." Oh my god, I would fucking gag for that! Let's do it! Let's do it together! I'll tell them so we can just try it off.

Yeah, I'm done! I love Miss Katrina. We just did a workshop of a new musical this summer, a new version of A Wrinkle in Time, and I was in awe of her. She is sickening. I mean, I of course saw her in Company three times, but Miss Katrina Link, she's a singer for sure, but that acting, mama, yeah, it's sickening. She's wonderful. So tell me about your road to YouTube stardom because you were kind of like the OG, like queer drag YouTube sensation. Well, 12 years ago, before my Shadow Man, I was just the idiot that pressed record. I wasn't the best at anything, but I was documenting it because I was like, "One day the children will want to see and know what happened." So I started making song parodies, and then I ended up on Drag Race, and then I realized that this was my chance to really use this plot.

This show is a springboard, and with the publicity from my disqualification and all the people wondering and searching for me, I was like, "They're gonna be on the internet. They're gonna be searching, so let me start writing out videos and making stuff that I want to do." So I started, and all during this time, I was pitching ideas to TV shows and TV stations, and one of the companies was called Magical Elves. They produced Project Runway, and they did, like, I think—not The Voice, one of the singing shows, X Factor or something. They do a lot of great stuff, Magical Elves. And they had an offshoot where YouTube, when it was starting, gave all these production companies in Hollywood and New York money to say, "Hey, do a YouTube channel, and we'll pay you."

So they had all this capital, and they started making shows, and one of them was—I guessed it on a makeover show called Transformations, where Johnny Makeup, this Moschino guy who worked at Moschino or Jeremy Scott or somewhere, he was also on the Casual track. "I've seen Beyoncé at Burger King!" Remember that song? And she was eating, she was eating, she was eating! She was on that track. And so I knew him from there and from clubs and stuff, and he had a show where he made over people, and Courtney and I guest-starred on it, and then they saw me on that, and they liked me. So the idea for Willam's Beatdown came up, where it was Mystery Science Theater 3000, basically before Tosh.0, before I had seen it, where I was just commenting on things, and it worked.

And then they lost all their money from YouTube. YouTube was like, "Okay, we're established. We don't need to pay people to make content anymore. They're gonna do it on their own." Right? So I took my idea back and started doing it on my own channel, and then sometimes all it takes is one, and Chow Down came out, and that became a viral hit. And Vicky Detox and I toured all over the country with it. And then when Detox got on the next season, I was like, "I'm gonna replicate this!" And everybody was like, "Good luck! That was a hit! Like, we've seen your other videos. They get 40 views." I was like, "Right, okay, watch me!" And then I wrote "Boys a Bottom" after a really terrible three-way, and I wrote it in like less than 15 minutes.

And then I started humming it to my husband. He's like, "This is a hit!" And I was like, "It's stupid!" He's like, "No, it's a hit!" And after that, Detox, Vicky, and I were the first drag queens from Drag Race really in 31 countries because we performed that song all over the world, and it became my biggest hit, and I get to sing it every night to a crowd full of bottoms and people who fuck the bottoms. And I feel like it was our anthem and the respect that we deserved, and I was like, "This is our marching song, you guys!" So reclaim the whole!

[41:55] Willam: Yeah, with all that YouTube stuff came more success and people gave me more opportunities because of what they saw on there. And I'm still doing it. A lot of people come up to me and tell me. They say that they saw me in a Todrick video or a Pentatonix video or a video like that. And then they watched my channel and then they discovered Drag Race. A lot of people tell me they discovered that through me. And I was like, because not everybody had Logo.

[42:21] Jayke Workman: Right. Oh, no. I mean, when I started watching Drag Race, it was clips pulled from Logo on the internet. I couldn't get the full episodes and everything, but that's how I obviously found you and found Miss Alaska and everybody. I mean, I just love it.

[42:38] Willam: Miles Jai. There are so many internet drag queens that are now doing the thing. T.S. Madison, she started 22 Inches, Big Dick Bitch.

[42:49] Jayke Workman: Come on.

[42:49] Willam: Yeah. All that good stuff. And then, oh, my God. And then, of course, the iconic American Apparel ad girls. What the fuck? I was obsessed. It's just still funny that I even get to talk to you because, of course, when I was 17, I was like, these are the bitches. These are the queens. These are the stars of RuPaul's Drag Race.

[43:11] Willam: Well, funny thing is, you know how I said in the beginning, I always say yes to opportunities. That trans-fashionable show that led me to doing the beat down was hosted by that guy, Johnny Makeup. Johnny Makeup, after that, ended up working at American Apparel in their marketing division. And he's had the idea to shoot me in Alaska or me and Courtney. And we were like, great, let's do it. So we start talking on the phone and FaceTiming about what the shoot's going to be. And he's like, I really want a third girl. And me and Courtney were like, no, you said it was us. And then the next call, he says, don't be mad. I added Alaska. And we were like, oh, we love her. That's great. So they added Alaska to the shoot.

And then at the shoot, we were playing a song by, I forget the name of the band. It's something cities, Gotham cities or something. But there's one line in the song where they're like, American Apparel ad girls or something or wearing American Apparel underwear. And my best friend and assistant at the time had the idea. He's like, y'all should do a song. And I was like, we should just do this song where we say nonsense. And I wrote the chorus real quick, and it became a thing. And the AAA girls were born. Girl, and it was so fucking good. It's so iconic.

[44:26] Willam: It's a great video. I'm glad that like, the videos that I made inspired a whole generation of kids who are now on Drag Race and coming to me for advice, like, how do I do this? How do I do this and that? And I was like, I'm happy to help. And I'm happy that people think that I'm some sort of template for success after Drag Race or leading up to even like, I feel like my, when I go into somebody's house and I see my book on their table or their shelf, I'm like, oh my God, you I'm flattered anytime anybody cares about me or shows me the littlest bit of attention, I'm a cancer. So I, I'm just like waiting for the other shoe to drop in for, for, you know, because I figure this all the success can't continue forever. I hope it does. And I hope I keep climbing. But like, I've had all my dreams come true. So I think it's fair game that I help others along that path now.

[45:17] Jayke Workman: I love that. And I mean, to that point, I was even just going to ask like, with all of the success and you know, the awards and accolades and everything like, is there, is there something that you haven't been able to do that you're like, that would be the thing?

[45:33] Willam: Um, I'd like to win something gold.

[45:38] Jayke Workman: Not silver, no, no platinum.

[45:42] Willam: I would like gold. I would like, and probably I, I, I've been nominated for two Emmys and I lost, but, um, one of my family members is a director and she has two Emmys. And I was like, Ooh, can I take a picture with it? And she said, sure. When you get one and then when she got her second one, she sent a picture to the family that had her books that she wrote because she's a director and a writer and a wonderful all around entertainer in between the two Emmys and the subject said bookends. And I was like, Aunt Mary Lou, you are so cunty and fabulous. She is, she is everything. And, um, so I would love some Emmys to go with her Emmys, uh, or, or a Tony or an Oscar or something.

[46:28] Jayke Workman: Matching. Love it.

[46:30] Willam: Yeah. So that's the only thing I really want just cause I like gold stuff.

[46:33] Jayke Workman: Yeah. Shiny.

[46:35] Willam: Something shiny. Exactly. Um, but I don't know if there's anything else I really want to do, um, that I haven't done yet other than like just more of what I'm doing. I think it's being in the entertainment industry is kind of like being in the service industry where it's a privilege. And as long as you keep being good and keep entertaining people, you're allowed to be in it. Um, so I'm just happy that I can, uh, draw enough of a crowd to make a buck.

[47:00] Jayke Workman: Period. Well, before I let you go, I have a series of musical theater, rapid fire questions that I ask all of my guests. Are you ready?

[47:11] Willam: I am ready.

[47:13] Jayke Workman: Sondheim or Andrew Lloyd Webber?

[47:17] Willam: Lloyd Webber. Other than Bad Cinderella, which I don't know about, but everybody who's been ragging on it in the show in Titanic. So I don't know, but I, you know, I, I like Phantom.

[47:31] Jayke Workman: Of course it was my first Broadway show too. Um, sweatpants or jeans?

[47:36] Willam: Uh, jeans.

[47:41] Jayke Workman: All right. Do you have a favorite musical?

[47:44] Willam: I do. Titanic.

[47:47] Jayke Workman: Period. Do you have a least favorite musical?

[47:51] Willam: Um, I have a least favorite musical.

[47:58] Willam: I'm trying to think, have I ever hated a musical? Um, yeah, I was, um, I have to go see it cause my friend Milana's in it from, um, Drag Race, but I'm not a Sweeney Todd fan. I had to listen to it cause somebody wanted me in it once and I was like, I'm good.

[48:18] Jayke Workman: I'm good. I'm okay. Um, would you ever like to do a Broadway play?

[48:25] Willam: Yeah. Yes.

[48:27] Jayke Workman: Are you a morning person or a night owl?

[48:30] Willam: Um, I, I pretty much wake up when the sun rises. So I'd say morning and night out cause I work in clubs and usually I'm up when it's still rises usually on my way to the airport.

[48:41] Jayke Workman: She's just always awake. Um, are you a golden age or contemporary girly?

[48:50] Willam: I like old musicals re-imagined like how Billy Porter did with the life.

[48:54] Jayke Workman: Ah, yes. Um, what's your favorite role that you've ever played?

[49:00] Willam: My favorite role that I've ever played is Shazza in Death Drop because like she got to sing, she got to dance, she got to do everything a leading lady does on the West End. And like, I never would have thought that would have happened in my life.

[49:17] Jayke Workman: I know. And I so hope you get to do it in New York. Mainly cause I want to see it and I don't want to have to pay for a ticket to London.

[49:23] Willam: Um, what is the hardest show that you've ever done?

[49:28] Willam: The hardest show that I've ever done is I did a production of Hedwig in LA that, um, the three, the three background singers were re-imagined as Hedwig's mother, Luther, and then young Hedwig. And they all, one was this big black guy. One was a older blonde lady and one was like a younger twink. So they kind of played out the scenes and then I was Tommy Gnosis. And I would like burst through this door where thunderous applause and lights would come out of like, I was at the Hollywood bowl and this was like at a little Hollywood theater on the street. So like they made it seem like Tommy Gnosis was the character and I, it was, it was a well-intended show, but I fucking hated doing it. And then I got fired and then they realized that I was the one helping Yitzhak with their quick change and getting them into drag at the end.

And so after being fired for one day, they're like, you can come back, but we need to talk about your attitude. And I was like, I'll come back. And we're not having that talk because I know you need me because my understudy couldn't do it. Yeah. So that was a hard show because it was another show where I felt like I had to hide my light under a bushel a little bit. And I'm not good at that. I'm a showboat. There's a reason I'm in shows and I love boats. Hello. My boat is pretty.

[50:46] Jayke Workman: Would you call it a Titanic?

[50:52] Willam: I'd say my boat is a winner.

[50:52] Jayke Workman: Um, this is always a hard question to ask anyone who does drag, but do you have a favorite costume that you have ever worn?

[51:00] Willam: Um, yes. Uh, the one on drag race with the blue Dolce and Gabbana coat when I was in a boat.

[51:09] Jayke Workman: Oh, and the little, uh, Jean Paul Gaultier Levi's Rihanna collaboration, denim bikini.

[51:16] Willam: And just like eating, like I knew I won, I won the mini challenge. It was wet t-shirt contest that day. Like I just, I have really great success around water and aquatic things. And I think it's because I'm a cancer. No, it's just what we do. Creatures of the sea.

[51:34] Jayke Workman: Who is the silliest cast member in Titanic?

[51:44] Willam: Um, I would say the silliest cast member in Titanic is Marcus Antonio. He's called, he's referred to as off Broadway's biggest bully. Um, and she cuts up. She is at the opposite end of the dressing room as me, but we look in the mirror and we can have conversations with each other without even saying a word. And we're on the same wavelength. They're, they're one of the most talented individuals I've ever met in my life. And I've been around for a long time and I can't wait to see what they do after Titanic or what, what's I'm all these people in this show. I feel like I'm going to be following around the rest of my life to go see their shows, be like, Oh my God, you're in this town. I am too. Can I come see your show? Because this, the show, you know how you are in a show and there's usually one asshole or one person people roll their eyes at that. We don't have a cast member like that. None. We're all, we're all good apples.

[52:28] Jayke Workman: Yeah. Oh, that's so cool. Um, do you have a dream role?

[52:42] Willam: Do I have a dream role? Um, I'm trying to, I'm trying to think I have a dream. I, I, I don't know. Maybe, maybe I have to write it. Maybe it hasn't been written yet, but, um, I, I would love to tackle Hedwig someday. I'd love to do Angel and Ren if I'm not too old.

[53:04] Jayke Workman: Oh my God. You would be amazing as Hedwig.

[53:04] Willam: Oh my God. Yeah. Um, I'd love to do Mary Sunshine. I would love to, I don't, yeah. I, I honestly am Amneris and Aida. I think Amneris was a tea girl for sure. All those outfits, honey, all those outfits, right? Those reveals. I get Amneris. That's my whole life. My warmup is I do all three of the lead parts in Aida. I would just put that on the car and do all of them.

[53:38] Jayke Workman: And then in my podcast, every, every week we say, this is a moment.

[53:45] Willam: Girl, if you think I didn't know, I'm a big fag. And you're talking to one too.

[53:53] Jayke Workman: Well, my last question for you, which I ask all of my guests and I'm going to go full RuPaul is what is one thing that you would tell baby Willem?

[54:02] Willam: First of all, if I met baby Willem, he'd be like, A, he would try to blow me. And then he'd try to blackmail me. And then, then he'd be like, can I get some comps for your show? So I would tell baby Willem, I'd be like, girl, charge $10 more and do 10% less because sometimes you do too much. And yeah, I wouldn't tell him much because I'm happy with how I turned out. And I think that I don't want to fuck with the time-space continuum.

[54:35] Jayke Workman: That's a great way to look at it.

[54:37] Willam: Well, Willem, thank you so, so much for coming on the pod. Would you tell the listeners where they can find you on socials and keep up with your shenanigans?

[54:46] Willam: Sure. You can find me every week on mom podcast on race chaser and hot goss. And there's a bevy of other drag queen beauties like Delta work and Jinx Monsoon and Jade Essence Hall and Heidi and Closet also doing potting there. And then you can find me on Instagram at Willem, W-I-L-L-A-M, or my YouTube channel is, just search my name and you'll find, you'll find the trash sitting by the curb.

[55:11] Jayke Workman: No extra eye, honey.

[55:12] Willam: Yeah. That's me.

[55:15] Jayke Workman: Well, I just adore you. Thank you so much.

[55:18] Willam: Of course. Thanks for having me. I appreciate it.

[55:22] 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 Oh My Pod, you guys. Also, the Broadway podcast network now has an amazing new, beautiful streaming platform and website. You got to check it out. Bpn.fm slash Oh My Pod. Love you guys. Thanks for listening. Talk soon. Bye.