This transcript was automatically generated and might contain errors.

[0:01] Jayke Workman: I have never felt more connected to Britney Spears. I mean, we're both pop icons. And I shaved my head bald. Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys. Jayke got hot. I can't believe Jayke got hot. Oh my god, guys. Oh my god, did you hear? Oh my god! Oh My Pod, Oh My Pod U Guys! What's up, everybody? I'm Jayke Workman, and this is Oh My Pod U Guys, a musical theater and pop culture podcast. And yes, the rumors are true. I shaved my head bald. Humpty Dumpty is in the building. I've actually been thinking about doing this for a while, and I never really was that insecure about my hair in the first place. I've always had just a giant forehead, but I kind of just grew to love it, and I was like, this is my look, whatever.

But then, I don't know, something just clicked in me, and I was like, I think I'm just going to do it. And now, girl, Baldy Locks is the tea. She is the moment. She is an icon. It's giving Lord Voldemort went to the Met Gala, honey. But enough about me being a hairless cat, because you guys, we have to talk about all of the amazing things that are going on in the world of theater right now. I had the absolute pleasure of seeing the Red Bucket Follies at the New Amsterdam Theater. And if you don't know, the Red Bucket Follies is the annual celebration at the end of the year for the incredible organization, Broadway Cares, Equity Fights AIDS. And it is so fun. It's jam-packed full of Broadway stars, performances from shows, and they announce the incredible earnings of every year, all of the profits that go to Broadway Cares, Equity Fights AIDS.

And this year, it was over 4 million doll hairs, American doll hairs, girl. Wild. I couldn't believe it. And I mean, all the performances were incredible. Everybody put so much time and effort and love into it. And it's always so fun to see everybody just come together for an amazing, amazing cause. But you guys, I was shook to my core. The record this year for the show that raised the most money for Broadway Cares was for Merrily We Roll Along, and they raised over $600,000! Can you even imagine? It's absolutely incredible. Bonkers. So thank you and congratulations to everyone who was able to donate and help raise money, because you guys knocked it out of the park. And I'm just so glad to have been able to see the Red Bucket Follies.

I mean, you guys, Len Carrieux, original Sweeney Todd, sang Send in the Clowns, and he shared a story about freaking Stephen Sondheim and how that song was originally supposed to be written for Len Carrieux, and then Stephen Sondheim said, No, no, it's Glynis Johns, darling. Also, you guys, then after the Red Bucket Follies, I had the immense pleasure of seeing Shucked on Broadway. Shout out to my lovely friend Jimmy Brewer, who was in the ensemble and covering every which way. You are amazing. The show was amazing. It was absolutely hilarious. I'm so sad it's going to close. And actually, this time around, Miss Alex Newell was not on, but her cover, you guys, the cover was incredible. Incredible.

I mean, Broadway standbys, you know, we love, we support all understudies, standbys, swings, covers. We love you. The show was phenomenal. I can't wait to see it again with Miss Alex Newell. And with that, you guys, we got to dive right into this week's Broadway World Recap, brought to you by my amazing friends at BroadwayWorld.com. First, you guys, we got the confirmation from Broadway World that Ali Lewis Borsgi, I hope I'm saying that right. I think I am. Moroccan-American actor is going to reprise his role as Tommy in the Who's Tommy after doing it in Chicago in the Broadway transfer. Previously, Ali was in the national tour of The Band's Visit and the national tour of Company as Paul, but now he is taking on the Broadway in the leading role of the Who's Tommy.

I heard incredible things about their out of town in Chicago and I cannot wait to see the show. So congrats to Ali and everyone in the show. I am so excited to see it in 2024. Okay, next you guys, we got the very exciting announcement that the revival of Merrily We Roll Along has extended its Broadway run to July of 2024. Thank goodness. I was afraid I wasn't going to get the chance to see it. Because they were originally I think scheduled to be done in January. And now we have until July. And I have a sneaking suspicion that they could extend further because their ticket sales are through the roof. They're selling for like $800 you guys. And I mean rightfully so this show. Well, I don't know if rightfully so because I think Broadway is behind too big of a paywall, but that's neither here nor there.

They are selling like hotcakes and I cannot wait to see this show. Daniel Radcliffe, Lindsay Mendez and Jonathan Groff all still starring in the show. I'm so excited for them. Congrats you guys. Next you guys, we got a very, very exciting casting announcement. It was announced that Joe Locke is going to make his Broadway debut in Sweeney Todd as Tobias after his incredible two season run on Heartstopper on Netflix. You guys, if you haven't watched this show, it melted my little gay heart into oblivion. The show is so, so sweet and Joe plays this incredible queer character and now he's going to make his Broadway debut in the iconic Sweeney Todd revival. I couldn't be more excited about this. I mean, it's kind of perfect.

Joe has this like darling youthful quality, but he's still so grounded. I just, I think it's perfect casting and I just love to see when the Brits come to the Broadway. So yay, yay. Congratulations, Joe Locke. I can't wait to see you in this show starting in January. And lastly, you guys, in a crazy kooky casting announcement, Jennifer Lopez is set to star in the big screen film adaptation of Kiss of the Spider Woman. What? Kiss of the Spider Woman, for those who do not know, is the 1993 Tony Award winner for best musical from the iconic creatives John Kander, Fred Ebb, and Terrence McNally. And it's one of those like hidden gems, like nobody really knows Kiss of the Spider Woman that well anymore.

But girl, Jennifer Lopez is about to kill this show. Well, I guess this movie, this movie. It's going to be written and directed by the amazing filmmaker and screenwriter Bill Condon. And according to their notice, rehearsals are slated to begin in February with filming planned for April in New Jersey. You guys, this show was the winner of seven Tony Awards in 1993. Based on the novel by Manuel Puig, it explores the complex relationship between two men caged together in a Latin prison for very different reasons. But yeah, I think this movie is going to be wild and a sleeper hit. And I'm just really over the moon excited about it. And you guys, this has been the Broadway World Recap. Oh, my pod, you guys.

I am so excited to welcome my next guest to the show. She is truly one of my favorite people on this earth. And she just so happens to be a co-worker of mine at Chicago of a musical on Broadway. Please welcome Miss Mary Claire King.

[8:01] Mary Claire King: Oh, my gosh. I am so honored and excited. I am a huge fan of the pod. This has been a long time coming, guys. I'm like, I'm so excited. We were like sitting on my couch. I'm like, this is like silly. It always feels like when I do it in person, it's so fun because it like, I just am with my friends. But then I'm also like, there are people listening. Which is so funny. But thank you so much for being here.

[8:27] Jayke Workman: Oh my gosh. Thank you for having me. I am truly so honored. I'm so glad. So, I mean, where do I even begin with you, Miss Mary Claire? We met doing Chicago on Broadway. But you had already been in the Broadway company of that show for I think maybe a year and a half or two years when I first arrived. I got there in December of 2021. When did you start with the show?

[8:49] Mary Claire King: I started with the show in June of 2019.

[8:53] Jayke Workman: Wow.

[8:54] Mary Claire King: So, yeah, but then we had that little, you know, thing, the panorama in between there.

[8:57] Jayke Workman: Panda Express.

[9:00] Mary Claire King: Yeah. So, yeah, I'm coming up on like three and a half years with the company over almost a five-year span.

[9:08] Jayke Workman: Right. Yeah. That's crazy. And is this probably, I would assume, the longest run of a show in one particular track that you've done?

[9:16] Mary Claire King: Oh my gosh, I've lapped myself many times.

[9:18] Jayke Workman: Wow.

[9:19] Mary Claire King: In terms of my longest contract before that. Crazy. The longest I had ever done anything before this was 10 months. So, ironically, I did 10 months before the shutdown. So, that was funny. I was like, oh, I made it to the longest I'd ever done anything again. And then now I have far surpassed that with almost two and a half years since we reopened.

[9:42] Jayke Workman: Wow. That is so cool. And not only do you play, you know, one ensemble track, but you also cover the leading lady, Miss Velma Kelly. And it's so fun. Any time I'm there and I get to be on with you as Velma, I'm like, this is what dreams are made of.

[9:57] Mary Claire King: Oh my gosh. The feeling could not be more mutual. You are such a bright light on and off stage.

[10:03] Jayke Workman: Oh my God. You sweet thing. Truly, I will never forget your first performance.

[10:08] Mary Claire King: Oh my God.

[10:09] Jayke Workman: And the entire company, like, had their jaws on the ground because we were so astounded by your glory and your kindness and just the entire person that you are.

[10:21] Mary Claire King: Well, I told Ryan and Ray. I'm so lucky when I got to record in, like, literally between shows in the dressing room with Ryan and Ray. Yeah, that was a funny one. I was like, the thing about this, it just, like, to make your Broadway debut is so special. But then to be welcomed so lovingly by a people who just, I mean, some people have been there for 15 years. You've been there for 20 years. And, like, it's still, everyone was so lovely to me when I came in. So I'm just, I'm so grateful to know you and to know everybody in that building. I miss so many people.

[10:53] Jayke Workman: Oh my gosh, honey. Oh my gosh. We miss you all the time.

[10:55] Mary Claire King: Oh.

[10:56] Jayke Workman: We want you with us all the time. Well, so I have to ask, was your journey with Chicago, did you know going in, like, starting the audition process that you were also going to be considered to cover Velma Kelly? Or was that, like, was that an addition later on?

[11:08] Mary Claire King: That was part of my audition process. So, yeah.

[11:14] Jayke Workman: There was, it was quite a journey for me, rather, I would say. It's one of the first auditions I would get as a young person in the city, like, for the tour or for Broadway or I'd just go to the ECC. And it was really hard for me to, like, build traction with it, I think because I just needed to age a little bit. And I, like, needed to, like, understand, like, sensuality, sexuality.

[11:39] Mary Claire King: Got a little gritty, honey. Yeah, I, like, needed to grow into this show. So, I finally started getting to the end, like, only the year before I booked it. And that was the year that Rachel booked it.

[11:53] Jayke Workman: Queen Rachel!

[11:54] Mary Claire King: Yeah, and I remember kind of being down to finals with her and I didn't know her at the time, I just, like, thought she was absolutely glorious in the room and so funny and so, like, stunningly beautiful in the dancing. And I remember getting the feedback from my agent that, like, I didn't get it, which I could feel in the room. I could tell that they really liked me and I could also tell I wasn't getting it. And the reason being, they saw me as a Velma cover from that audition and they needed a Roxy cover at the time. And so, I remembered, like, getting the call from my agent that I didn't get it and I said, who got it? And they said, Rachel, sure. And I said, great, because she was amazing. So, like, that gives me, that makes me feel wonderful about the world and about the industry.

[12:42] Jayke Workman: Yes.

[12:43] Mary Claire King: And then I just was extremely lucky the following year, the two Velma covers, rather, were both leaving at the same time. So, I had, like, two shots. I was so lucky. Crazy. Because a show like that, you don't really necessarily always have the luxury of more than one track being open. That window of opportunity is, like, so slim.

[13:03] Jayke Workman: Yeah, so the universe, like, was really generous in that moment. Because then I was, like, then I could go into the room being, like, super confident and chill because I knew they liked me already.

[13:18] Mary Claire King: Both of the tracks they needed. So I felt very blessed. And now I just feel like it's such a special thing. I mean, you know, I've talked about it on the pod so many times, but like to be a part of a show like this, that has this, you know, sort of iconography surrounding it and like the number of stars that have gone through that show and everything is amazing. But then you are literally on a fucking 30-foot billboard in Times Square. Like what the hell? It just like, it's kind of the gift that keeps on giving. I would imagine like it just like there are, there have been so many things that you have been able to do because of the show, including have your face on a billboard. It is the blessings are endless with this legacy.

And this show has always been more than just another show for me. It is the type of work that I was gravitating towards from the time I knew what it was. So like my first experience with Chicago was the movie and I was so obsessed with it and sort of started to delve into the world of Fosse, but I was still in high school, like playing soccer and doing all these things. And then I went to Syracuse and we had a residency with Dana Moore, which I kind of got to try on the movement every day for a few weeks. And I was like this, I had this incredible moment where I felt my soul like light on fire and be like, this is what I am meant to do. So it's Chicago has always had that sort of like weight and heart and soul attached to it.

And then I ended up booking the show on my 30th birthday, which I thought was a really cool universe wink. So I had been in the week prior and my birthday fell on a Sunday that year and I was doing My Fair Lady and I knew we were waiting, but I just figured we would hear on Monday because it was Sunday. And I'll never forget like being in my matinee and seeing my agent's name pop up on my phone and that theater, the dressing rooms are like, they're super, super spotty service there. So I remember like running to like the area I knew I could take a call and like crouching down and being like, hello, what's going on? And he was like, I just I'm calling to let you know we're getting the offer. Like you need to put in your notice today.

Oh my God. And you're like, happy birthday to me. And it was my birthday. And it was like, yeah, it was, that was a killer celebration. Wow. That is so fierce. Well, I can't wait to ask about My Fair Lady and also about War Paint. And I mean, you have, we have many things to talk about, but before I do, I want to, I want to ask about the way that you continue to study because I really admire that about you. Obviously you mentioned going to Syracuse. Um, and was that a BFA program? I imagine. So, you know, you already have like that rigorous training and everything, but, um, something that I just like, so like, look up to you for is the fact that you like, never stop taking class. Like I've run into you at dance class before, like you're in acting classes and everything.

And I just think that's so, um, admirable because I think some people reach a certain point or, you know, decide that like, well, I've done it. I did, I made it to the Broadway. So what else could I possibly need to learn? And it's like, we have so much more growth to do. And so I just wanted to say that I love and respect that about you because I think it's so brilliant and so necessary.

[17:07] Mary Claire King: Thank you so much. Yeah. I find that it really grounds me and it also like brings me back to the, my initial why of like, I wanted to be a storyteller and if I'm not like working on new things, I find myself forgetting, you know, like the first love moment of this art form at times, just because the schedule can be so grueling and there's so much of what we do that is like an athletic endeavor. Oh yeah. So I find that, and I like, thank you, like I have been blessed in the last year to have been like really re, um, like sort of like rediscovering like my artist self that has brought me back to class, but I have taken periods away from like pretty much all of the, the training elements. And sometimes those periods are necessary.

Sure. But I always find myself craving to come back at some point. And I find that I am much better for it, both in my, you know, onstage track that I'm doing eight times a week for years on end and just in my soul. Um, so it's been a huge, huge part of my artist journey is to like stay connected to those training grounds because they really do bring me back to myself and offer insight that I can use, you know, every night up there. I mean, you have to have some way to keep it, keep it new and alive. And that's, that's very true. And I do find that it helps me with that. So, and I would imagine too, just like the physical stamina of doing a show like Chicago. I mean, everybody in that show is, is working, but the ensemble in that show and in, of course, you guys are moving, honey.

We're working, baby. Sometimes twice a day. Yeah. Sometimes five shows in a row. Sometimes 14 shows in a row, which we just did. Oh my God. 14 shows back to back. And then how many days off? Um, one. Oh my God. I mean, that's insane. It really is. Like it points to the athleticism, like you mentioned, like if people don't, especially people who are not in the industry, don't realize what it takes to not only book a show, but then once you book the show, you actually have to fucking do it. It's like, damn, that is, I mean, even, even being there, you know, as a standby. And then I think the longest, the number of consecutive shows I've done is like 11 or something. And that was like a random, you know, like it was a happenstance that I did that many.

And even that I was like, damn, that's a lot. That's a lot. That's a lot. And you guys just do it for years. I'm like, holy shit. I just like have the most respect, but I think it must come from your ability to continue to learn and grow through the training that you do outside of it, because you have to keep your body and your voice. There. Yeah. Yeah. And, and again, those first 11, those are always the hardest because you're like finding that stamina, you're finding your muscle memory. And so like, we all know as performers, like that first month, you know, that's, that's where you're finding your way and you're finding where you can conserve and you're finding where, where you need to pop. And, um, so I commend you because that's, you know, that's, that's, uh, the beginning is always like the birthing of something.

[21:03] Mary Claire King: Well, I mean, I of course felt that I had things to prove too, just because I'm like, my first Broadway show, I have to do it right. And then of course the second night I'm there, I fall down the stairs during my song. And I was like, please. Rose colored. That's how you've made it, babe. The Broadway fall. And I was like, you know what important rite of passage. I got it out of the way, honey. You did. And now I don't have to worry about it anymore. You did. I fell twice on zero once during a war paint on zero. Yeah. Oh my God. Okay. Two times in the same show. Was that your Broadway debut? War paint was my Broadway debut. Wow. Yeah. A time. Okay. So the most incredible experience for a listener who may not be familiar with the show, could you give like a, a two sentence, like synopsis of what that is and maybe totally who you were doing the show with?

Yes, absolutely. Um, war paint was a fabulous, beautifully crafted show about Elizabeth Arden and Helena Rubinstein, who were played by Christine Ebersole and Patti LuPone respectively. It was written by Michael Corey and Scott Frankel, uh, and Doug Wright. And it was this gorgeously crafted, just classic Broadway musical. Um, yeah, it was an absolute dream to be a part of, uh, Michael Greif directed it. And, uh, Larry Uriman was the music director and Chris Gatelli choreographed. Wild. It was the most like insane Broadway debut. I could never have dreamt a better debut. Um, being on stage with Christine and Patti. Yeah. And I, I was just so blessed. I mean, I had sort of like moments with both of them. I had a couple of different featured characters and it was so fun to get to like slip into those little scenes. And I, I just felt so a part of it all.

[23:01] Mary Claire King: Yeah. Well, I mean, cause you also originated those roles. It wasn't like you were making your Broadway debut being put into a show that had already been running. You were a part of it from the very beginning, which is just so special. It's so cool. I bet it's like, and you will have that forever now. Like you have a cast recording. I'll have it forever. I mean, I've watched every single bootleg video possible. You look stunning. Thank you. That show just really felt so good to do. It was, um, I mean, Catherine Zuber did the costumes and girl, David, Brian Brown did the hair. What'd you say? They said, but they said budget. Oh, it was costumes. Glorious. Glorious. Did you feel like so sickening?

I felt stunning in the show. I felt powerful. I felt, I just, it just felt beautiful to do every night. It suited me. It suited my voice. It suited my strengths in dance. It's it's suited me, you know, um, it pushed me. I was terrified to be doing scenes with those women. Um, I'll never forget like opening night, just feeling so out of my league. You're like walking the carpet and just telling myself, like, don't even try to act. Just say the lines as long as they come out of your face. I was just like, so overwhelmed by the whole thing. Like, I'll never forget being on the deck with the show curtain in obviously, and warming up for the show and hearing the audience erupt into this applause for three and a half minutes straight.

And we were like, someone is here. We later find out that it's Hillary Clinton. And she like comes onto the, the deck, you know, at intermission to say hello to us and take photos. Yeah, it was a crazy experience. You know, it was, um, it was one of my most treasured theater memories and always will remain because it's, it was more than originating, you know, some small parts in a Broadway musical. It was my debut. And I got to do it with women who were in my theater textbooks when I was studying musical theater at Syracuse. So, and then the last thing I'll say, um, is that they were both so wonderful to me and treated me like I had Tony awards as well. And that whole company, I mean, it was stacked with people like Douglas Sills and John Dossett, and these were our leaders and they treated us and treated me like I was exactly where I needed to be.

And Patti, I'll never forget Patti, who is still, you know, I'm in touch with and is very kind to me. Um, I actually just saw her perform in Indiana. I went, went home for a couple of days and got to see her and chat with her. And she was just so gracious to me and my family. Um, but she, she signed something for me and she wrote, I'm it's so exciting that we both made our Broadway debuts in the same theater, which is so crazy. I guess she made her, I'm, I'm terrible. And I'm forgetting the fontine. Was that her debut? I think it was something sis three sisters. Is that a play? Oh God, this is a Broadway podcast and I should know. We're going to have to look this up. Sorry, pod people. Sorry, Broadway world.

But yeah. And it wasn't called the Nederlander at that time. I do remember her telling me it was called a different theater. We're going to look it up and we're going to find it. Wow. Yeah. That is so wild. I know. So that's like, what, you know, I'm, I was like so shy. I just had them sign like one thing.

[26:36] Mary Claire King: Yeah, at the Chicago tryout when we were doing it at the Goodman because I was like I want something but I was like so overwhelmed with like feelings of like just crazy imposter syndrome. I'm like, why am I here? Of course, well and but isn't it so amazing to I mean we could talk about it forever. But yeah, the way that anyone gets anywhere in this industry with the attitude of like I deserve more than you or I, you know, have these accolades so I don't need to treat you with respect. It's just like insane. Hate it frankly, and I that's something that I hope to shed light on with the podcast. It's just like we I want to highlight people who yeah are not that way who are lovely and respectful and like have all these amazing accolades and experiences but are also just genuine people who can separate themselves from the theater industry and yes be humans outside of it.

And so that's just so lovely to hear about people as you know, famous and iconic as like Patti LuPone. It's like even Patti is like hey, you're in the same show as me. So obviously I'm gonna treat you respectfully like we're scene partners. Why would I exactly not give you that, you know grace exactly crazy.

[27:51] Jayke Workman: So will you tell me a little bit about doing the out-of-town for that show before going to Broadway? Like what was that? You booked the show and then was it a workshop in New York first or did you go right to the Goodman?

[28:02] Mary Claire King: We went right to the Goodman. I think they had done some workshops. Sure, but the first audition I had received for it was for the Goodman production. Wow, in Chicago.

[28:15] Jayke Workman: So they gave you like a set just like chunk of time that they were like this is how long we're gonna do this out of town.

[28:18] Mary Claire King: Exactly. It was like for the summer. I think we started rehearsals in like early May and we concluded our run and we rehearsed in New York City and the set that they built for the Goodman was designed to fit perfectly in the Nederlander theater too. I'm sure there are plenty of things that I don't know about that those wonderful technical beautiful minds dealt with for the transition. But from what I understood everything was being built costumes, wig, set. Yeah, so we had the full team in place at that point. So iconic.

[28:57] Jayke Workman: Yeah, it was incredible. And that was a fun story too of getting the call story. This is one of my most favorite memories of all time. I am a proud member of a group called Range, formerly called Range Acapella, now called Range Music and these are like my family. These are my people and we for years were very active in creating and producing acapella videos and we've run the gamut. We've done, you know, from the gig in New Jersey to sing at someone's wedding to work for Nickelodeon to sing on Eat Network live. Oh my god, we've done some really cool stuff.

[29:40] Jayke Workman: I love that.

[29:41] Mary Claire King: But it happened to be the day that we were filming our Hamilton in seven minutes video, which is kind of the video that put us on. Yes, yes, as we were wrapping that I got a call from my agent and everyone knew I was waiting to hear about this because I had had my final callbacks. Yeah, and I saw that my agent was calling and I was like, oh my god. And we were kind of in that mode where we were like all gathering our stuff up and so we were all kind of in the same little holding room that we had put all of our things in and I answered it and I went hello. And she went I'm just calling to let you know that we're getting the offer for War Paint and my face just went and we all screamed at the same time and I just it was like literally like ten people screaming.

It was just like one of those most like absolutely pure moments where you're just like in this beautiful place with all of your best friends. You're just reveling in the excitement together and like one of Hannah Corneau who you know now is like the fancy Hannah Corneau.

[30:51] Jayke Workman: Yeah, miss Hannah. No, have you talked to her yet on the pod?

[30:56] Mary Claire King: No. Oh my god. Okay, you guys are gonna love each other.

[31:02] Jayke Workman: Love to.

[31:04] Mary Claire King: She goes girl your life just changed from Elphaba herself from Elphaba.

[31:09] Jayke Workman: I also getting the call story that's so special.

[31:14] Mary Claire King: Yeah, so how long was there in between closing War Paint and then you going into My Fair Lady? Because that was at Lincoln Center.

[31:22] Jayke Workman: That was at Lincoln Center.

[31:25] Mary Claire King: Yeah, so War Paint closed like in early November of 2017 and I was fortunate enough to book what I what we all thought was gonna be a nice contract at the Amundsen of Crazy for You with Susan Stroman and within a matter of weeks that became a workshop. So then I was sort of like, okay, I need to kind of like figure some stuff out and try to get some work and so I did the workshop and then I did a production called Halftime at Paper Mill with Jerry Mitchell and then I was doing Mamma Mia.

[32:14] Jayke Workman: I however do not, I'm so sorry if I need to see myself out now I can.

[32:20] Mary Claire King: Lol still was grateful for the job. I was doing Mamma Mia at North Shore Music Theater and I got a call to be an immediate replacement for Christine Cornish.

[32:30] Jayke Workman: Oh my gosh in My Fair Lady.

[32:33] Mary Claire King: Yeah. Wow.

[32:33] Jayke Workman: Wow, so went into some more Zuber costumes and beer had a beautiful time there. I think I did like nine months and how like how quickly did you go into the show?

[32:44] Mary Claire King: Oh, I had to leave the contract like they had to bring somebody in to finish the Mamma Mia run, which I felt so bad about girl. I'm probably calling honey. But yeah, Broadway called. Yeah, I think I started rehearsals like two weeks later or something.

[33:01] Jayke Workman: Oh my god.

[33:04] Mary Claire King: Yeah, and what did you have like 10 or 15 days of rehearsal?

[33:04] Jayke Workman: Yeah, I think I had two weeks and that was the first time I'd ever replaced on anything.

[33:08] Mary Claire King: Yeah, so that was definitely an interesting experience having come from like my Broadway debut, which was like originating a role. Yeah, so to try to like, you know, jump onto a moving train for the first time it was pretty hard.

[33:20] Jayke Workman: I bet quite literally a moving train.

[33:24] Mary Claire King: My best My Fair Lady story includes a fall. So I come into the show it's like my third or fourth performance. There is a giant waltz number at the end of or at the beginning of act one. At the beginning of act two. Wow, here we are. Sorry, it's like Monday for me. So at the beginning of act two there's this giant waltz number and I have noticed at the end of act one that I am 85% sure that my ex-boyfriend is in the house with his new girlfriend because he doesn't know that I'm in the show because I just joined. Oh my god, and I was like that we've been broken up for you know over a year at this point. Sure, wasn't like we were like in contact or anything but I'm like that house is very like the audience is in your face, right?

Because this stage I don't know all the technical terms sorry I'm not a theater nerd in that way. The stage is like down and it's a thrust so it's like they're kind of like eye level with you. Yes, you're not like above them so it's like a really weird like cool thing to have them right there and I'm like he's like in the fifth row and I'm asking about and I'm like, oh my gosh.

[34:46] Mary Claire King: Oh my god, so I'm like I think my ex is here. So we come up for the waltz number we get to the part where we're like waltzing and like three circles passing each other on a turntable moving and my foot gets stuck in Eliza's dress because I'm on that inner circle and my dance partner and I, sweet Matt Wall, we just go all the way down. Oh, we go all the way down right in front of him. Like you can't not make this stuff up it could have been on a different day right would have like been you know, he could have come two months into my run. I was like great at the waltz by that.

[35:27] Jayke Workman: Oh my gosh, it was mortifying.

[35:31] Mary Claire King: Oh, it's also what a great story. I mean, I survived and was Eliza just completely unscathed.

[35:36] Jayke Workman: Oh my god. It was so sweet.

[35:36] Mary Claire King: No, I like ripped a hole in her dress like because I was like stepping back so you're blind you like and like again, it was like my third or fourth show so I was just like turntables are scary.

[35:47] Jayke Workman: Turntables are scary hazard there. I said hazard baby, especially with exes in the house.

[35:58] Mary Claire King: Precisely but yeah, well switching gears a little bit. Yeah, obviously this is a Broadway podcast, so I love asking about theater but I also love that you do so many things outside of the show not only you know in terms of training and taking class but you just have like businesses and hobbies outside of it, which I think is so exciting and I'd love to hear about it. I mean, I that's something that I also really love talking to Rachel.

[36:28] Jayke Workman: Sure. Yes, you know she's brilliant at the jobs that she does outside.

[36:35] Mary Claire King: Yeah, and now she's a mom and I'm convinced there's nothing she can't do.

[36:38] Jayke Workman: No, of course.

[36:38] Mary Claire King: I mean convinced and she does it with like the best like dry sense of humor there is. It's just like how are you doing this? But um, she's wonderful. Tell me about your outside endeavors like what inspires you to get up in the morning outside of just doing the theater thing.

[37:01] Mary Claire King: Yes. Oh my gosh well, I did start this sort of like side hustle business that I have launched in the last like year or so officially I was already kind of doing it you know finally had dragged my feet long enough and making it a real thing that I just decided to start yes and it was very terrifying but my business is in content styling and I've named my company Ask Your Sister so essentially what I do is I support people in the wardrobe and art direction for photoshoots. I have also done a music video. So I'm like, oh, that's cool sort of like open to like motion as well, but like where I feel like I really shine is helping people come up with like very specific goals for capture and then finding that through the clothing and through like mood and vibe inspiration.

Sure. So yeah, so working with me on a shoot is essentially like having a consult either in person or over zoom defining those specific needs and goals whether it's headshot needs or editorial desires or if it's like for an artist like, you know, artwork like for their album cover or something. I've done that too or like just band photos, you know whatever the goals are getting really specific about you know, what you're hoping to achieve and then getting to know your own personal style and then finding clothes that like really tell that story. I also like really enjoy being on set and helping with like pose coaching.

[38:55] Mary Claire King: Yeah, that's like really fun for me. The photo shoot is truly one of my most favorite art forms like I love stills so much me too. I love being a part of it in almost any capacity so it's been a really fun Avenue for me to explore and I've learned a lot about my artist self. Yeah, and it's gonna be so helpful for the for, you know, not only the photographers but for the subject of the photo shoots or video shoots or whatever who may or may not have you know extensive experience with being in front of a camera totally just not knowing their body in the way that a person, you know like a dancer does and understanding yeah lines and angles and lighting and and also I would imagine just being a woman and being like I am being put in clothes that I may not normally wear totally for myself or you know, I feel beautiful this way, but I'm in front of a camera and now it's my turn. So it's been a lot of fun.

[39:55] Mary Claire King: It's different. So like, that is such a, it's not just the artistic thing. I think there is like an element that you so beautifully provide, which is like the, just the self-confidence and the, you know, grace to, to say, I need this, or this would make me feel safer or whatever, you know, like that's a huge element that I think people don't necessarily take into consideration when they become a photographer or, or whatever, you know, when they just like invite someone into their studio and they're like, okay, let's do it. So it's, it's cool that you can sort of provide that like as a, you know, third party during something that could be like really intimate. Absolutely. And I love it. Like I love offering support in that way and being there to do something as simple as like fix their hair or like ensure that all the clothing is properly steamed, but also to like make sure that they're like feeling like they have everything they need to do their best work.

And sometimes just having a little support. Yeah. That's the idea. It's like, just call me up, let's figure it out. And like, it doesn't need to be this huge stressor. I mean, you're already spending so much and investing like time and care and like you're making sure that you're getting your haircut at the right time. And you're like getting it colored and you're like getting the clothing you feel like you need. And like you're communicating with your agents on like what their goals are for the next couple of days that aren't like usually possible. Right. And lasting longer. Yeah. We're getting started. So that's absolutely beautiful, exactly. And I know that like trust is getting revived. And the like one of the big things.

Other things that others can do that were very supportive, were like, I know some people are like, they have like like important messages for families that they would like to share. And I hate to disappoint. But I have to say, it keeps upping the ante on like what we're used to consuming. Totally. So I find that people now are generally going in to do a headshot session, myself included. But then I'm also wanting to do all these fun editorial shots because I feel like that can help me grow, you know, in, in this way that our industry is moving. Totally. So that again, that's like twice the amount of wardrobe. Right. And people often forget like what's in their own closet. Like, that's what I find.

I always start with what they own first. I love that because they're a, like I want to be resourceful in that way and like build from what we already have and B it helps me get to know them and get to know like what they feel confident in. Totally. So yeah, it's been a really fascinating like experiment for me and I really do love it. It's just a little slow going cause I'm not quite a CEO yet. I'm working towards being better at being an entrepreneur. It's just not in my like general instinct. Well, we also certainly were not set up to be like CEOs after a BFA program where they're like taunt to close, taunt to close. And we're like, how do I pay a bill? Yeah. What is taxes darling? Like I still don't know.

No, couldn't tell you. I literally, my, I was like, I, um, I was the like wedding singer for one of my best friend's weddings. And then I gave a little like speech after at the reception. And I was like, I have learned so much from Zoe, including what a Roth IRA is. And then I was like, I'm just kidding. I don't know what a Roth IRA is. I wish I could even tell you like what the, no, I don't either. That's hard. But I just like commend you on, on just like taking the leap and being like, this is something I love and I'm good at. So why, why would I not like try to make it more of like a business? It's, it's brilliant. And it's so helpful. People need it. People will respond to that, you know, they have, yeah.

And it's like, it may be like slow going at times. And then other times I'll have like a lot of work and it'll be like super fun. And like, yeah, I'm very grateful that it's like on my own terms because I don't want it to feel like I am beholden to like any timeline or anything. So I'm trying to just like let it unfold as it is and enjoy the ride. Totally. Yeah. I mean, that's how I feel about the podcast. It's like, I, yes, I started this for one thing and it was just to have fun. And now I get to have fun and I get to talk to so many fun people. So like, regardless of like where it ends up in any sort of like monetary capacity, I'm just like, I love it. This is something I love to do. I'd love to talk to people and hear their ideas and perspectives.

And so it's so cool. I love it. Yeah. Well, that's what we're in the business and as artists period, just doing it for the love of the game, baby love. Yeah, exactly. Yeah. Well, would you tell me about your most recent theatrical endeavor? A little workshop of a new musical called Gun and Powder. I'm dying to hear because you were doing double duty. You were doing full eight shows a week in Chicago and working on this new show. I was, I feel so blessed. This piece is super, super special. It is, um, gosh, where do you even begin? It's set in 1893, Texas, and it follows the story of these two light skinned black women who decided to do the most dangerous thing they possibly could at that time.

And this reconstruction era, I think it's called, um, pass for white. And they did it with the highest of stakes, um, as they were in deep debt as sharecroppers. Um, and they needed it to like save their family. Essentially. Um, the score is absolutely breathtaking. Uh, written by Ross Bowne with book and lyrics by Angelica Sherry. Stevie Walker Webb is directing and Tiffany Ray Fisher is choreographing. It is an incredible team. I feel so lucky to be a small part of it and I'm really excited for people to see it. It's coming to paper mill, um, in the early spring. So it's, uh, and does that mean, or are you at liberty to tell us, or do you get to be a part of it at paper mill if you, if you decide to do that?

Yes. Wow. That would be incredible. Yeah. And so for a listener who may not know just about like the world of like a workshop or like a work session or whatever, when you do a show like that, yeah, there isn't a performance for the public. Correct. So what do you, what are you working toward necessarily? Like when you do the workshop and then you present it to, or I guess you do what they call a presentation. That's for like investors and people to basically throw their money at it and be like, we like your show. So we'll help produce it. Exactly. Yeah. So the producers generally, from what I understand as an actor, from my perspective, the producers are doing a workshop to do just that. They are trying to provide a, an environment where people who may be interested in sharing what's in their deep pockets to like bring this work to life.

And so therefore we're, we're doing either the whole show or parts of the show. In this case, we just did some numbers from the show. We did not do attempt to do the whole show in three weeks, which was really awesome. That was the first time I'd been a part of a workshop or a lab scenario where that wasn't the goal. And it was way less stressful. Sure. And I felt like we could really dive deeper into the material we were presenting. Another thing that these producers did, which I thought was really wonderful and just speaks to their character is that they stressed to our, our, our audience members that this was an open rehearsal. So this was in no means a finished product. They really tried to avoid using the word presentation because they didn't want anyone in the room to feel like this is the final stamp on this piece.

Right. It's like you have come into our kitchen. This is the metaphor they were using a lot to taste our food in progress. Cool. Like have a seat at like the chef's table and you're watching the chef like, like make the masterpiece. We're like in motion right now. So you're, it's even more special because you're seeing us like find, find this story. Yeah. But it's really, really special. I've seen enough new work and been involved in enough, been blessed enough to be involved in enough new work to know that this one is she's got very good. That's so fierce. I love that. I mean, I, I had the pleasure of working on a new version of a wrinkle in time in the summer. Yeah. It was very that too. We, we had a lovely team and they were very adamant that like this is, this needs to be looked at as a rehearsal.

Like we are not, this is not the show. And I mean, we weren't doing the show because in a similar way we were doing numbers and reading some of the, the dialogue and everything. But other than that, I mean like half of act two, we didn't have music written yet. So we would be reading lyrics and you know, it's very influx, but it like is so cool that that is a thing that we get to call a job to. It's like, it's not just the, the final product that we get to be a part of. It's like we get to like dig in and like find new shit. Like rehearsals, my favorite originate stuff. That is so cool. And then it will forever be the MCK track. I know it's like, it's so cool. And like, I, it's such an honor to, you know, have the opportunity to be the interpreter of, you know, a track.

It's so cool that like a writer and a director would like, you know, hand that to me and ask me to do what I will with it, you know, under their guidance of course. But it is a really special thing that's a part of our jobs that to be quite honest, I haven't done in a while. Cause I've, I, my last two credits have been to replace and I'm so grateful for those opportunities of course. But it is a really different part of like my appetite as an artist. So it's been really, really cool. And I just love rehearsal. Rehearsal is my favorite part. And you're just such a freaking dream. So I'm like, Oh God, you deserve it all. You deserve the world. I'm, I'm completely unbiased, obviously, as we're sitting on my couch and I'm obsessed with you.

Um, before I let you go, Miss Mary Claire, I do have a series of musical theater, rapid fire questions, which I ask every single guest. If you have listened to the pod, let me pull them. I love the pod. Oh my God. I'm so awesome. Well, and I also like love that. I can get Broadway news from it now too. Oh my God. Thank you. So fabulous. Listen up. If you skip the Broadway world recap, I'm pissed. No, I love the Broadway world recap. I'm so glad. Yeah. And we love Broadway world. We do love Broadway world. Are you ready? I'm ready. I'm a little nervous, but I like that. Here we go. Okay. Sondheim or Andrew Lloyd Webber? Sondheim. Sweatpants or jeans? Jeans. Oh my God. We were literally just talking about this when you came in.

Cause I was like, you look adorable and I look like crap. Do you have a favorite musical? Oh gosh. I have to go with cabaret. Oh, come on. I, yes. They're on the wall. It's just like, it's so, it was so intentionally written. God, it's genius. It's so strong. The book is so good. The story is so, I know I'm excited. I'm really excited. It's so good. Um, do you have a least favorite musical? Um, spill it on the podcast. I'm so addicted. That is one truly that like either like makes or breaks it for people. They're like, I love mama Mia or they're like, this is trash. I like how I call this rapid fire questions and then I just speak for five hours. So I love it. I honestly, I loved mama Mia growing up.

I saw it so many times on tour as a kid, but then I did it and I was just like, enough, of course. Enough. Well, especially cause were you in the ensemble or were you, okay. The offstage thinking kills me. Every single number kills me. And it's like the same like progression. You're just like, this is so boring. Sorry. Um, would you ever like to do a Broadway play? Oh, I would love to work. Yeah. I would love to do a.

[53:13] Mary Claire King: And you're such a good damn actor. Oh, you'll do it. Oh gosh.

[53:17] Jayke Workman: Are you a morning person or a night owl?

[53:22] Mary Claire King: I'm a night owl.

[53:22] Jayke Workman: Me as well.

[53:25] Mary Claire King: What is the craziest thing a director has ever asked you to do?

[53:31] Jayke Workman: Oh my gosh.

[53:35] Mary Claire King: Oh, I wonder if there's something. It can be in a rehearsal process in an audition room and not even a director. A director. Basically, this is an open-ended question. Sure. Well, the thing that's coming to mind is in Cabaret when we, I was in college when I did this. So it was so long ago. I'm trying to think of something from my more recent career because I'm getting older. But what's coming to mind is literally being in an enclosed like trunk for 20 minutes before popping out to do Two Ladies. Oh my God. It was so difficult and disorienting. Because we were basically like devoid of any like sensory. So like the first time we did it, it was so disorienting to pop out of complete black into like light.

Bright light. And like, we had to get out of the box in a choreographed manner, of course. Cause it was like, you know, and like I fell out of the box a couple of times because of that. Then they gave us a flashlight. So we at least had like a flashlight, but it was like two of us in this trunk. Just like, it was so uncomfortable. And like, I'm sure it looked really cool, but it was like, it felt crazy in the moment. This is a magic show. Yeah. It was so disorienting.

[55:00] Jayke Workman: Golden age or contemporary?

[55:04] Mary Claire King: Oh, golden age.

[55:06] Jayke Workman: Oh, I feel like I knew that about you. Yeah. Um, do you have a favorite role that you have ever played?

[55:10] Mary Claire King: Oh, I think it has to be Velma.

[55:13] Jayke Workman: Come on. I knew it. I was like, you better.

[55:16] Mary Claire King: I loved playing Penny Pingleton in Hairspray, but it's gotta be Velma.

[55:21] Jayke Workman: And your Velma is so sickening.

[55:25] Mary Claire King: Oh, thanks. Um, coffee or tea?

[55:28] Jayke Workman: Coffee.

[55:28] Mary Claire King: Me too. What about the hardest show that you have ever done?

[55:31] Jayke Workman: Uh, what's into that? Hardest show? Goodness.

[55:39] Mary Claire King: I think Chicago. Simply because of the cover. Yeah. Yeah. Wild. What's the, like how? And the schedule. The schedule is the hardest schedule I've ever done in my entire life. And Chicago's is crazy.

[55:55] Jayke Workman: It's crazier than most. Yeah. What is like the, um, the like least amount of time that you have had before going on as Velma?

[56:05] Mary Claire King: Like. Yeah, I've had it twice after seven o'clock before an eight o'clock. Yeah. One time I think it was like seven 15. Cause I had already done my hair for Liz. Oh my God. And high slip came up and was like, shout out. Love him. Can I talk to you for a second? Yeah. It was actually my first day back from a vacation and I had like crone flown cross country that morning from San Francisco and attended a wedding the night before. So I was pretty wrecked. Oh my God. And I remember he came in and instead of being like, Hey, welcome back. How was your vacation? He was like, uh, hi, can I talk to you for a second? My stomach just like fell out of my butt. This was also within like my first six months of being in the show. So I was still getting used to everything.

[56:51] Jayke Workman: And you had gone on before.

[56:54] Mary Claire King: I had definitely gone on before, but I'd probably been on like five or six times. Like nothing crazy. Maybe a little more than that. Maybe eight, but still within the first 10. And he was like, uh, Amara's stuck on the New Jersey transit. We need you on his Velma. And I was like, can you give me 30 seconds? And I went down to the Velma room and I was like, no, no, it's fine. And I sang the end. And then I was like, okay, I got it. I was like, I'm good.

[57:21] Jayke Workman: Oh my God. That's insane.

[57:25] Mary Claire King: They're like, get in the elevator. Took out my French twist and put in my pink rolls. I have to know too about, I literally just tossed my phone aside. Yeah. Toss it. I was like, I don't need this questions anywhere. What is the feeling of being in the elevator, like under the stage before you ride up? Like you're, you're, you're in there for all of overture. Like you have to get on the elevator platform and you lower down below the stage. Yeah. They cannot begin the show until you're down. Yes. It's like the final cue hide in there, in the little box you hide in the box. And then they raise you up that iconic entrance. It, the first 20 times you do it, it is literally the most nerve wracking thing in the entire world because everyone freezes on stage and you shoot out of the ground and then the audience watches you walk down stairs.

You're literally just like the first thing I have to do is walk down the stairs and they're like, don't look at the stairs. Could you not? Oh my God. Not look at your feet. Velma is like a lot directed to look down because she, they want you to look up on like the fifth vamp and like take in the audience. So you can, so it's like slinky slinky down, down, down. And then you like see them. So it's like, but it's like such an overwhelming way to begin a show because A you're singing like the 11 o'clock number that this character sings first and B you have to come up and be energetic, but like so restrained in your like energy like output.

[59:08] Jayke Workman: Yes.

[59:09] Mary Claire King: So it's like a very difficult marriage to find when you're like jittery. Cause if I could come out and be like, Hey guys, how's it going? It's like a totally different way that you can like put your energy into the movement, but to be like calm and sensual and like smoky, but still have energy. Like it's a, it's, it's one of the hardest things that I've like had to find for myself in that role and the sheer like nerve of it of just like popping out of the floor. That took a long time to like get a handle.

[59:44] Jayke Workman: Oh, I mean, I think that I truly speak for every homosexual who has ever lived when I say that I have pretended to do that. Um, rise up the elevator once a week for my entire life. So yeah, a hundred percent. It's so cool. It's so fun. And even just watching when I stand by, if I'm, if I'm on as Mary, I'm up in the dressing room until basically I come down. But if I am backstage watching, it's so fun to watch whoever is on as Velma like march up the little stairs and like get the cue that you're going to lower down. And then there's the monitor at the like stage manager's desk where you can see there's like the bird's eye view. So you can like peek, peek in and look at the bell. I know I'm always like pressing against the wall or like laughing or like, I'm like always.

Yeah. In that moment, I'm like imagining like the most whatever's activating me most in that moment of like this like seedy bar with just like a night out with my girls where we're like feeling hot. And we were like, you know, we were like pre-gaming and we're running late, but like we finally make it. And I'm like, the guys are all over us. And like, you know, I'm trying to imagine that when I'm down there, like trying not to pee my pants with nerves. At the very end of the show after bows, you have to go back down in the elevator and wait until I know buddy in the audience is gone. I know that is whack a doodle. I have no idea. They took it out for a while because of COVID cause they didn't want people that close to each other. Sure. So we just walked down the stairs. Yeah. It was out for like almost a year and a half, but they put it back in like six months ago. But I like it better because it's like such a bookend.

[1:01:26] Jayke Workman: Yeah. Yeah. Yeah.

[1:01:26] Mary Claire King: It's so cool. And like, you know, it's fun. Cause like, I'm always talking to like Charlotte, whoever's playing Roxy. And it's like, Oh, we did that one. And we're always like taking out our hair. It feels like a locker room moment, but it's like cool. Cause it's just the two of you. Didn't wasn't there now this is going so long. I don't give a fuck. Oh my God. Sorry. No. Are you kidding me? I'm like asking you a million questions. Wasn't there, didn't something happen recently with the elevator where, um, like a, a hairpin or something, something of Charlotte's or like a buckle, of her shoe came off when they did that. And they like, it went into the little crack between like the elevator and the wall or whatever. And so they had to like disassemble.

[1:02:10] Jayke Workman: Oh my God. I had no idea.

[1:02:10] Mary Claire King: They had to like disassemble the bandstand to get the buckle out.

[1:02:16] Jayke Workman: I had no clue. I could be totally wrong.

[1:02:20] Mary Claire King: No, I'm sure. I'm sure you're not. We'll also, if you're a standby, you're getting all the juice because you're sitting in the office and you're like, yeah, getting all the, no. Oh my gosh. That is so perfectly Charlotte. Okay. Back to the questions.

[1:02:32] Jayke Workman: Yeah, we're here. We're here. We're here. Questions. We, I mean, whenever we have like two more, um, who would you say is the silliest cast member of Chicago? The musical?

[1:02:41] Mary Claire King: Christine Cornish, miss corn herself, corn herself, whack a doodle lady, friend of the pod, friend of the pod. Love her the best. Friend of a friend to us all door friend to my Velma sister. I love her. Yes. Um, do you have any pre-show rituals?

[1:02:59] Mary Claire King: I have to put on my right shoe first or I can't do it.

[1:03:04] Jayke Workman: Oh my God. I love that. That's like the first like superstitious one that I've had on the pod.

[1:03:07] Mary Claire King: Oh, really? People are like, ah, they drink, drink tea, whatever. Like, no, I am that way too. I do it in the same order. I do my makeup in the same order. I also, I have a physical warmup that I do. I have a, I do usually do my vocal warmup at home just because of like, you know, you're not having privacy. Yeah. Yeah. And then, yeah, I do my physical warmup like on stage, right deck almost every day. Like sometimes I'll do it in the dressing room if we're like, if Sharon isn't on and there's like a little more space or something, but like, yeah, I'm kind of ritualistic about that. But like, I'm superstitious about the shoe thing. Love that. Like I truly can, I will not be okay. And when you're on for Velma too. Oh my God. For any role, tap shoes. Yeah. Love it. I'm not like that in my life. I'll put on my left shoe first to walk out the door, but like, I cannot handle it. It has to be right first.

[1:04:00] Jayke Workman: That is so funny. Right foot first title of the episode. Well, my last putting your right foot forward. Well, my last question for you is MCK is what is one thing that you would tell baby Mary Claire?

[1:04:16] Mary Claire King: Oh, baby girl. Oh, I think I would tell her you'll never know like what next beautiful thing is just around the corner. So just keep on going. There's always another train. There's always another bus. Somebody told me that once. I remember I was like having a tough day at an audition and she was like, honey, it's just like, there's always going to be another bus. Auditions are just like buses. Also to, um, yeah, to, to not eliminate myself before I've even begun. Period. You know, like don't eliminate this in your mind. Like give it a shot. You never know what they're looking for. Just do you and trust that what's yours is yours. What's yours is already yours. Love it. You just have to show up and be yourself. And it, it all sounds really trite, but as soon as you really start to wrap your head around that, I wish, I wish I had been a little more chill in my younger years.

[1:05:28] Jayke Workman: It's funny to even imagine you not chill because I like live for just like the, the easygoing vibe of Miss Mary Claire.

[1:05:36] Mary Claire King: LOL. Well, Mary Claire, thank you so, so much for coming on the pod. It's such an honor. Would you tell the listeners where they can find you on social media and keep up with your next endeavors?

[1:05:51] Mary Claire King: Absolutely. Um, you can find me at Mercler, M-U-R-C-L-U-R-R. You can also find me at askyoursister.nyc for all your content styling needs. Come on. So that's me.

[1:06:05] Jayke Workman: I just adore you.

[1:06:07] Mary Claire King: I love you. Thank you for having me.

[1:06:11] Jayke Workman: You guys, that's it for another episode of Oh My Pod, you guys, please, please, please rate, review and subscribe anywhere you listen to the pod. It's so helpful and you can follow the show on Instagram for more updates at Oh My Pod, you guys. Thanks so much for listening. Love you. Bye.