This transcript was automatically generated and might contain errors.

[0:00] Jayke Workman: Actually, that's not true, Ellen. You were invited.

[0:08] Jayke Workman: Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys. Oh my god, that I got you guys. Oh my god, oh my god, you guys! What's up, everybody? My name is Jayke Workman, and this is Oh my pod, you guys, a musical theater and pop culture podcast.

[0:30] Jayke Workman: You guys, I feel like I have so much to talk about today. I feel like I've been like taking in so much art and culture, and I cannot wait to share it with you all. You guys, I just finished RuPaul's memoir called The House of Hidden Meanings. I cannot recommend this book enough. I finished it in two days. And I am a slow reader, but girl, I couldn't put it down. It's so beautiful. I mean, if you know me, you know I love Mama Rue, but the way that she speaks so beautifully and clearly about the duality of gender and just so much. She just is so brilliant, and she words things in such a concise, matter-of-fact way with like that little drag queen sparkle, that edge, and you know, the sense of just irreverence. It's just brilliant. I loved the book. It's called The House of Hidden Meanings, and you must read it. It is a must read.

[1:31] Jayke Workman: I'm starting a book club. There, I said it. The Oh My Pod You Guys Book Club. Wait. Oh my god. Did I just have a stroke of genius? Should I start a book club on the pod? This I'm like, okay, everyone, stop listening. No, don't stop listening. Keep listening and also read books. Because also, my second recommendation this week is a book by Jeanette McCurdy, known for her roles on the Nickelodeon shows Sam and Cat and iCarly. She wrote this book, and it is called I'm Glad My Mom Died, and it runs the risk of striking a reader as dark and disingenuous, but this book is so brilliant. The way that Jeanette talks about her relationship with her mother and growing up as a child actor in Hollywood is just fascinating, and it is poignant and heartfelt, and also you hate these people that she's writing about, but you know why she loved them. It's just really, really beautifully written. I'm only halfway through, but add that to the list of the Oh My Pod book club, because mama, this book is amazing.

[2:51] Jayke Workman: And you guys, okay, next we have to talk about so I talked about it last week on the pod, but I had the immense pleasure of seeing The Notebook on Broadway, and you guys, I okay, shamefully. I have to admit, I know, I know it's blasphemy. I have never seen the movie The Notebook, and I have never read the book. But going in blind for this musical was the perfect way to do it because I was just floored. My breath was taken away. And I know I talked a little bit about like the differences in people's opinions in the actual critics' reviews and everything, but I have nothing but positives to say about this show. The cast, stunning, the acting, stunning, the design was beautiful. I mean, there's no spoiler when I say that it pours rain on stage on these two actors, and it is breathtaking.

The singing is incredible. The score is it's clear that it's not written by someone who has had a long history in the theater, but it is like a wall of sound that just smacks you. And I mean, my god, I cried multiple times in the first act, let alone the second, which is arguably a tearjerker. I loved the show. I'm so in awe of everybody who takes part in this production, both on stage and off. And special shout out. I've shouted her out on the pod before, but Miss Joy Woods, my god. Her performance is just stellar. I'm like, get on the pod, get on the pod, Joy! Maybe we'll have Joy on the pod, but you guys run to see The Notebook on Broadway.

[4:37] Jayke Workman: And with that, you guys, we gotta dive right into this week's Broadway World recap, brought to you by my beautiful friends at Broadwayworld.com. First, you guys, we have to talk about the incredible first look at the new musical Lempica on Broadway that was shared by Broadway World. You guys, they shared this video that's like basically a montage of like the most beautiful moments in the show. Oh my god, I cannot wait to see this show. This highly anticipated and gripping true story of renowned artist Tamara DeLampica stars one Eden Espinoza and girl, we are just so happy to have you back on Broadway. Oh my god, we've missed you, Miss Espinoza. This show looks absolutely breathtaking. I have a few beautiful friends in the ensemble, and everything that they have told me about this process and bringing this new musical to Broadway has been nothing short of amazing.

And the, I mean, just the poster alone is absolutely beautiful, but the choreography looks stunning, the lighting design. I mean, it's about an artist, so it has to be, you know, shown through an artist's lens, and I think that they are succeeding. I cannot wait to see it. And you guys should absolutely check out this first look on Broadwayworld.com.

[5:59] Jayke Workman: Next, you guys, Broadway World shared the very exciting announcement that Olivier Award winner Katie Braben and Olivier nominee Andrew Rannels will reprise their roles from the West End in Tammy Faye on Broadway. I'm so freaking excited about this one, you guys. The show features music by legendary songwriter Elton John, lyrics by Scissor Sisters Jake Shears, a book by Olivier Award-winning writer James Graham, choreography by Lynn Page, and direction by Olivier Award winner Rupert Gould. And you guys, I mean, it's amazing that Andrew and Katie got to do these roles of Tammy Faye and Jim Baker on the West End, but they get to bring this amazing new show to Broadway. So I'm really excited about this. And of course, I will keep you updated on all of the secondary casting as it comes out.

[7:08] Jayke Workman: Lastly, you guys, I want to extend a very big congratulations to the entire cast and crew of Water for Elephants on Broadway for opening last night at the Imperial Theater to very interesting reviews. You guys, a lot of people are saying that this is like the first time that we've seen a successful circus to Broadway musical pipeline. And I cannot wait to see it. All of the promos look absolutely stunning. You know, the circus acts and the acrobatics and silkwork and flexibility. I mean, they all come into play in this on top of beautiful storytelling and singing. I cannot wait to see this show. And you guys, we got the extra special announcement that the cast recording is going to be done this week by Ghost Light Records. So very exciting. I wish everyone a beautiful and healthy run of Water for Elephants at the Imperial Theater on Broadway. And you guys, this has been the BroadwayWorld Recap.

[8:09] Jayke Workman: Oh my pod, you guys, I am so excited to welcome my next guest to the show. He is a director, a producer, a podcaster, and the creator of a really exciting new show called Broadway Bound: The Musicals That Didn't Make It To Broadway. Please welcome Mr. Robert Schneider.

[8:28] Robert Schneider: Thank you, friend. Thank you for having me. I'm so honored to be on your show. I love your show so much.

[8:34] Jayke Workman: Oh, thank you so much, Rob. How are you?

[8:37] Robert Schneider: I am wonderful. I just got back into New York from sunny Los Angeles. So it's so nice to see like snow on the ground and seasons changing. So I'm ecstatic.

[8:46] Jayke Workman: Wait, where are you, by the way? Are you in the city proper?

[8:49] Robert Schneider: I am. Manhattan, Upper West Side, baby.

[8:52] Jayke Workman: Me too. Whereabouts are you?

[8:53] Robert Schneider: I'm over in like the neighbors.

[8:55] Jayke Workman: Hey neighbor.

[8:56] Robert Schneider: Oh, gorgeous, gorgeous. I'm a little further down, but we love to see it.

[9:00] Jayke Workman: Good for you. You have money in an elevator, I'm assuming.

[9:02] Robert Schneider: Yes.

[9:04] Robert Schneider: Absolutely not. This is a COVID deal.

[9:07] Jayke Workman: But wait, do you have an elevator?

[9:09] Robert Schneider: We do have an elevator. However, I'm on the first floor. So I don't even need the elevator.

[9:16] Robert Schneider: I am on a fifth floor walk-up. So I need the elevator if you're willing to share it.

[9:22] Jayke Workman: You just want the true, true New York experience.

[9:25] Robert Schneider: I really do. I do wait. Do you have a dishwasher?

[9:29] Jayke Workman: Of course.

[9:30] Robert Schneider: Oh fuck. Okay, great, good. I'm very happy for you, Jake.

[9:34] Robert Schneider: I'm happy for you. That's the end of the interview. Thank you so much for having me.

[9:37] Jayke Workman: That's it. Thanks so much. Thanks so much for just rubbing it in my face. Great. Wonderful. Well, congratulations. If anyone deserves it, it's you. So congrats.

[9:47] Robert Schneider: Well, my dishes over at the end of the yeah, of course. You can bring them over anytime.

[9:53] Jayke Workman: Thank you. I'm so excited to have you. I can't wait to talk about your shows. But first, I also just have to tell you, I have had the pleasure of getting to work with one, Kevin David Thomas, at the Goodspeed Opera House Festival of New Musicals, and you guys have an amazing podcast together Behind the Curtain.

[10:14] Robert Schneider: My work husband?

[10:16] Jayke Workman: You're with my work husband? Tell me everything. When did you guys start this podcast? And like what led you to that?

[10:24] Robert Schneider: Oh my gosh, I love Kevin. So the yeah, so we started this podcast. It was called Behind the Curtain: Broadway's Living Legends. We started in 2016. Our first guest was Randy Graf. But so it's so bizarre. Kevin and I did not know each other at all. Like, literally, never really talked to the guy. And I know, right? And we were teaching together, and it was random. They threw us together. He was the accompanist and I was the teacher of the class. And a girl came up to sing a song, and she sang Adelaide's Lament. And we were like, you should find something maybe a little less, you know, done. And at the same time, he and I both said he had refinement from A Tree Grows in Brooklyn. And I'm like, what other queen knows this besides me?

And so I looked at him and was like I was like, I like you. And I don't know what made me do this. I went up to him and I said, Hey, listen, I'm thinking about starting a podcast that interviews people who have been in the business 30 plus years. I think you'd be really wonderful on it. I didn't know the man at all. And we did that, and 600 episodes later, we created Behind the Curtain.

[11:33] Jayke Workman: It's incredible. I mean, I am in awe of anyone who can stick to it and continue the growth of the world. It's hard. A podcast requires. She's a hefty one.

[11:41] Robert Schneider: She's a hefty one. She's, you know, she's a little tricky, and we were doing it right when podcasting hadn't really taken off yet. So we used to like lug this massive soundboard around, like you would see like a DJ have, like a huge mixer. Didn't realize you just needed like this, like a little microphone. But we used to lug it everywhere. But the big thing that we wanted to do on the podcast is because we were teachers, was like, we want to hear all the interesting stories about like what led you to where you are now. Like, I like we interviewed Nathan Lane, and I'm like, that's awesome. You were in The Producers, and that's awesome. You have three Tony Awards, but like, what was this like for you? Like, what was it like in college? What was it like starting out for the first time? Because I also think it's important for students to know like there's not one right way of doing this, you know.

[12:33] Jayke Workman: Absolutely. Oh my god, we talk about it all the time on the podcast of how everyone's journey is entirely their own. And I think that needs to be celebrated. You know, because I mean I, you know, like I teach and stuff, and I'll have kids go. I really love Corey Cott. And so I'm gonna find out where Corey went to school and what theaters Corey worked at. And I'm like, that's awesome. He's himself. Who are you? Right. Like forge your own path. I don't think he was looking at anybody being like, where did this person go? And where did No, who are you? Who are you?

[13:07] Robert Schneider: Well, and in the world of sort of collegiate theater, I feel like it's so saturated now, oversaturated with all of the different types of programs and the hoops you have to jump through and pre-screens and it's horrible. Paying to apply. It's horrible. And so I absolutely agree that like you gotta just I've said it before on the podcast, but I'm like, the program that I ended up at I was a last minute on a whim audition that changed my life. Like it just you just never know. It has to be about what you need.

[13:38] Robert Schneider: Yes, and where was school for you?

[13:41] Jayke Workman: I went to the Hart School, um, at the University of the U.S.

[13:44] Robert Schneider: It's amazing.

[13:45] Jayke Workman: Yeah.

[13:45] Robert Schneider: Yes, I loved it so, so much. Their music program is brilliant.

[13:49] Jayke Workman: I mean, everyone comes out of Hart.

[13:51] Robert Schneider: Yeah.

[13:52] Jayke Workman: Yes, absolutely. And what a big part of what I loved about it was that it was so interdisciplinary. So I got to work alongside all of the music students. It wasn't just like that tiny little musical theater bubble, you know. We I got to like experience things outside of it. I think that's so important because I have a lot of students, you know, or I see a lot of college students where I'm like, you can tell me every single person who played Evan Hansen, but you can't tell me like who's on the Supreme Court.

[14:17] Robert Schneider: Oh, yeah, like you have like you have to know about the world that you're creating in.

[14:23] Jayke Workman: Right. You know, you have you have to know about that. And so I'm a big advocate of like what you were saying, which is like interdisciplinary is good, getting a lot. You want to know about the world that you're creating in, you know? And but you're right, totally it's tough because it's expensive. So it cuts a lot of people out that really deserve or really need a boost to get their talent shown.

[14:46] Robert Schneider: Absolutely. Well, and I sort of love the fact that your podcast, um, Behind the Curtain, obviously we'll talk about your other shows, but um, this show specifically does sort of like dive back into the world and the history of how people got where they are. Um, and I have loved getting to have such a broad um range and like spectrum of people on my podcast because I love to not only hear about the history but also how people are navigating the current world of musical theater. But um, in terms of talking about like the history, I actually just interviewed um, Jack Viertel, who was the um, director of Encores for 20 years. Um, and hit you know, he has his entire book about the history of making a musical. Um, so I'd love to know like what are there people or or have there been specific things that you've talked about on the podcast that um surprised you about sort of like the history of these people's careers?

[15:49] Robert Schneider: Yeah, I mean, there's some positive.

[15:53] Jayke Workman: Oh, please.

[15:54] Robert Schneider: Um, there have been some positives that I've found and some negatives. Like, like I find that what m one of the things that makes me sad, I'll go with the sad stuff first, and I'll end with the positive. Like some of the sad stuff to me is that like when talking to somebody like Andre DeShields and he's talking about what his how his skin color impacted his theatrical and college experience. Uh-huh. And to know that that conversation is still happening today in 2024, that makes me a little sad because I go, how how why is this still a problem that we're still having to deal with, you know? Or like I'll interview female identifying people that are in their 70s and 80s, and I'll be like, Well, you know, how what was your audition?

And uh, as naturally as the way I'm talking to you now, they'll say something along the lines of, well, I went over to his apartment to audition, and he tried to sleep with me, and you know, he chased me around the piano, and I told him, you know, you couldn't do that. So thank God, like progress has been made in uh it still happens, but there's more protections in place now.

[16:51] Jayke Workman: Absolutely, you know, and I think to me that history does need to be preserved, and that history does need to be recorded because my feeling is I think you need to have a reminder and hearing from first-person hand accounts of what it was like and to make sure we never go back to that sort of toxic work environment again.

[17:08] Robert Schneider: Uh-huh. So like because that stuff I think is important. And there were some people who would get on the show and they go, Well, I don't want to say anything about this person because you know they're past or they're still alive, but you know, he did X, Y, and Z to me. And I'm like, I said, you know, this is your story to tell in your journey. I will not edit it. Like you say your story in your words, and if you later on go, I don't want to go down that route, I can always take it out. But I think it's important for future generations to know what that history was.

[17:36] Jayke Workman: I positive agree.

[17:39] Robert Schneider: Positives though are, and this is something that I'm like, oh, I wish this like the industry could return to this a little bit. It seems like back then there was more rawness and there was more ability for people to just like walk into an open call and not have to have like a million Instagram followers and not have to be, you know, at the gym 247 trying to like, you know, post thirst trap photos that hopefully will get a casting director interested in you. Like that that and to and and I also feel like back then there was a little bit more celebration in terms of different vocal types. And I don't think we have that so much, you know. And so for me, I'm like, this is important because I hope future generations go, well, how did we change? You know, how did we go from like, uh, you know, actor A, who really wasn't a singer but a great actor, to actor B who's really a great singer but not really an actor. You know what I mean?

[18:33] Jayke Workman: Oh my god. I mean, like Glynis Johns, we wouldn't have send in the clowns.

[18:38] Robert Schneider: Yeah.

[18:38] Jayke Workman: If we didn't have Glynis Johns, and she was not a singer, but she was an actor, she was a storyteller. So like she was captivating, she was captivating. And then I think you can have both. I think like look at Audra, you know, where it's like they can act circles around anybody, and they've also got these amazing voices. But I also think there's room for the character people, you know? And I think that's needed.

[18:59] Jayke Workman: Yeah, and hearkening back to what you said about sort of being transparent, either on a podcast or just in the real world, I feel like there was a time when musical theater actors could say what they felt and what they thought, and there wasn't this like repercussion or like, you know, we can talk about cancel culture forever. But like expressing your opinion and and talking about things and sharing the truth. I've I've had I've been lucky enough to have people on the podcast who genuinely do want to share their true stories. And that's why I started this was because I wanted to talk about the real things and not just you know the fluff. I want to hear people's I mean obviously some of it's gonna be just hilarious and and quality, but I want to talk about things that actually matter and I want to help create change if I can.

[19:47] Robert Schneider: Yes, and I think it's really wonderful because I don't think you know, if you're asking someone to come on and share their story, it's their story. You know what I mean? It's you know, uh and if they want to talk about X, Y, and Z, I think our jobs as hosts is to let them talk about it. Um, I think a really great example of this is a couple of years ago there was an event at um some dancers organization, and they were doing a reunion concert of dancing, you know, the the the not the revival but the original. And there were all these panelists on the panel, and they were like, How did you get the job? And so everyone went down the line and was like, oh, you know, I want to work with Bob Fosse and Bob Fosse this, and he was great and he was wonderful, and da-da-da-da.

And it got to some woman at the end, and she said, um, it was horrible. He stalked me, and he did this to me, and he did that to me, and he did this to me. And everyone in the room got so angry, like, how they're like, like, this is not the time for this. And she said, You asked me a question.

[20:47] Jayke Workman: Yeah.

[20:47] Robert Schneider: She said, And this is it was the truth. And it was the truth. She goes, I'm sorry, I'm not gonna sit up here and be like, he was, you know, he was kind of flirty, and but he was great. She goes, This is my story. And I think that needs to be recorded. And I think you're right with like with cancel culture and stuff, people get nervous and they don't want to say things. And I'm like, I life's too short. Life's too short.

[21:09] Jayke Workman: A hundred percent. I think, I think.

[21:11] Robert Schneider: Yeah.

[21:12] Jayke Workman: Okay, well, we'll switching gears a little bit, I have to know about your new series slash 54 Below extravaganza, Broadway Bound, because tell me, like, how did you first even get connected with uh 54 Below as like a a venue for you to to use as like a platform?

[21:31] Robert Schneider: So I knew Jen Tepper a little bit, um, Jennifer Ashley Tepper, who runs the programming at 54 Below, and she said, We're looking for an original programming producer. Would you be interested in this? And I was like, I never produced a thing a day in my life. Like, I don't, and I knew nothing, and I knew nothing about like the cabaret world. Like, it was just something that I'm like, I don't know anything about this shit. Not sorry. I don't I don't know what the language is like here, Jake. I apologize.

[21:54] Jayke Workman: But I was like, you can say anything you want, baby.

[21:58] Robert Schneider: Okay, because I was like, I don't fucking know. And I'm like, and because I'm like, isn't cabaret like some 80-year-old woman getting up there being like, and then I was in Show Boat, and you know, and everyone is supposed to applaud. And I'm like, this I was like, this isn't my world. And I she said, Well, let's do a trial run. She goes, We'll do one show together, and if you like it, great, and if you don't like it, fine. And my first show was on Valentine's Day, uh, 2016, and we did an all-star concert of I Do I Do, and I was so happy because I convinced the authors to include same-sex couples in it, which is something that had never happened in the show before. So that made me very happy.

[22:34] Jayke Workman: I know, right?

[22:38] Robert Schneider: And I was like, they were like, Yeah, absolutely. They're like, we should be doing this, and I'm like, Thank you. Um, and that was February 14th, 2016. We're recording this on February 16th, 2024, and I just celebrated my 205th show there. So so so it went so it went incredible. So it went from I don't know about this to uh 205 shows later. So you could say it's I mean it's like it's going okay. I'm liking it. She seems happy. I'm happy. And you know, like I get to work with my heroes. You know what I mean?

[23:09] Jayke Workman: Where did you grow up? Where did you grow up? Talk about it.

[23:11] Robert Schneider: I grew up in the Midwest. Can first, and then I moved to Minnesota.

[23:16] Jayke Workman: Okay, amazing.

[23:17] Robert Schneider: So I grew up in LA. So we didn't, I mean, I don't know about you, but we I didn't have a lot of access to Broadway. I don't know.

[23:23] Jayke Workman: Uh so I don't know about if like you got to go to New York. I mean, I certainly chose that.

[23:27] Robert Schneider: No, no. So like it's like through cast recordings and stuff, right? And like, you know.

[23:31] Jayke Workman: 100%.

[23:33] Robert Schneider: And like whatever theater books you could like buy at Barnes and Noble or Borders and stuff like that. I mean, I don't know how old you are, but that was that was that was my generation.

[23:41] Jayke Workman: Oh, thank god, me too. They had the best roast beef sandwiches in their cafe, and I was like the saddest thing about Borders closing for me was like when they got rid of the I was like, uh we'll get books other places, but that roast beef sandwich, where am I gonna get that?

[23:53] Robert Schneider: And Arby's helps a little bit, but not enough. Um so like you would grab anything you can, and so like you would memorize these names and you'd memorize like people from Playbill and people from like theater world books, and and so then the fact that I get to work with these people is like still amazing to me. Like while while we were talking, and I'm this is not like a name drop, I just want to illustrate something. Like while we were talking, I just got an email from Jerry Zaks about something. And I'm like, if you told Ridiculous uh and I'm like, I can't answer right now because I'm talking to you. I'm like, you know, so just just Jerry has to wait.

[24:29] Jayke Workman: Uh button. Hold on, Jerry. Come on, Jay-Z.

[24:33] Robert Schneider: But the thing that I'm like that that excites me is like if you told like 12-year-old me, who was like, I want to just shake this man's hand and say how good I think his work is, to know that I can now communicate with him is like still one of those like I'll never get tired of this. I'll never get tired of this.

[24:48] Jayke Workman: It's it's so wild. And I obviously it's not to the same extent as your show has has grown to be, but that is how I feel about this podcast is that like I I started this as one thing just for fun, and now I've gotten to speak to people who if I told 13-year-old me that I was gonna be just kikiing with Jackie Burns or Laura Bell Bundy, like what the what?

[25:12] Robert Schneider: Right, and here we are.

[25:15] Jayke Workman: And I never I'll never I'll never forget that. And one of the things that like I love doing at 54 is like you get to put all of these people in the same room at the same time. And so a couple of shows ago, I was doing something and I had somebody who had just graduated from college there, and they were staring at Janine Lamanna and Kevin Chamberlain, who were in the concert. And I'm like, what's what's going on? And I'm like, they were like, if you had told like 12-year-old me that I would be sitting in a room with Gertrude McFuzz, I wouldn't have believed it. And then I went over to Janine and I saw her staring at Len Carreyou, because he was also in the concert. And I'm like, what's going on?

And if she goes, had you told 13-year-old me that I'd be in the same room with Sweeney Todd, you know what I mean? It's like it's to me, those the those my favorite things about 54 are the green room experiences because for one moment everyone is equalized. You know, there's no hierarchy. Everyone is here, whether you're still in college or you've got 20 Tony awards, everyone in this one moment is working together at the same goal. And I to me, I find that really special.

[26:20] Jayke Workman: A hundred percent. I I am about to do a 54 Below show for a dear friend of mine named Kanan, um, all of his original works, and he was like, Oh, uh, would you also mind singing a duet with Teal Wicks? And I was like, Kanan.

[26:33] Robert Schneider: Canon, what do you think? Do I mind?

[26:36] Jayke Workman: Do I mind? I was like, Oh, I guess I could try.

[26:42] Robert Schneider: Oh, bitch, yeah, yeah.

[26:44] Jayke Workman: Yeah, you know, like, yeah, you're that's so wait a minute. When you when you were growing up, like, what were your go-to musicals that you found yourself listening to all the time?

[26:53] Robert Schneider: Oh gosh. Well, I like what were like the influential ones, yeah.

[26:57] Jayke Workman: Well, as like a baby tiny gay, it was all the Disney stuff. My mom and I would listen, we would drive around in our our Ruby Red car and um listen to the Disney princess CDs. So it was all of like those those Disney gals. I watched Mary Poppins all the time.

[27:13] Robert Schneider: Um, but then once I started getting more exposed to musicals, my first show I ever did was Sucicle. Uh so of course, like I would also have been gagged to meet Miss Gertrude McFuzz. Um, but yeah, it was it was cast recordings, it was Wicked, it was Phantom, it was all of that. But then um, I've actually talked a little bit about this on the pod too. Uh it was bootlegs, and and that's something that like people don't often people have like issues with filming. Um I don't I don't either because I'm like, I would not have had nearly as much exposure to musicals if I didn't have recordings, even like that the recording, the final performance of Rent or Um that amazing recording of Cats that they did, which I absolutely wore out to the VHS of specifically because I would rewind and watch, you know, the Rum Tum Tugger.

But we all yeah, it was that for me. It was those that like video exposure that really was what connected me, you know, a little tiny Midwestern gay to the world of New York theater. That that to me is the most important, and it makes me so happy, honestly, because look, I can't afford to go see a Broadway show. I can't. No one can. And I'm an adult with a job. So I can't even imagine how a 20-year-old who's like struggling to pay like college and stuff, or or to even like keep a roof over their head, how are you gonna spend a hundred, two hundred bucks on something? No, and even when they're like do your research. How are you supposed to do your research? Like, how are you supposed to? It's almost like, hey, you're gonna be like you're gonna work for Apple, but for four years we're gonna hide computers from you.

Yeah, exactly. Like good luck. Good luck trying to figure this out. Um You're gonna work for Apple, but here's a Dell. Yeah, exactly. Exactly. And so my feeling is like, you know, you if you found your love of Broadway because you watched a slime tutorial of SpongeBob, go go for it. Go for it. Serious, I'm like, you can't keep you want you don't want to have bootlegging happening? Great. Lower your prices. Lower. Make it accessible and affordable. And I'm sorry, I know student discounts are amazing and student rush is amazing. It's still money. It and it's still a healthy chunk of money you're asking for. Absolutely. And also not to mention the fact that like the people who can even afford those student rush tickets are often only people who live in or near Manhattan and who are also probably from a predominantly white how did they how did they that's that all brings up a whole other point, which is like how did you even get to the city in the first place?

You can't exactly you know and like you're saying it's it's it prices out a generation it prices out individuals from lower incomes. I mean you what you're doing is is you're taking away an entire world of our artistic voices because they don't have access to it. And that includes like I said I'm 40 and I still don't feel like I can afford to go see a show. You know when you look at Sweeney Todd tickets and they're $900 I'm like well I guess I'll just stand outside and press my ear against the wall. Yeah. No, you know what I did? I waited for somebody to post a bootleg. Exactly and I'm sorry I don't know what else to say. Now I am and I will say I don't think like that's like I don't think people should sell them.

Like I don't I don't think somebody should go and like tape one of these things and then make money off it. No, I agree. I agree. But but I'm like you know what who does it harm that like you know somebody in Nebraska who can't afford it is listening to it this way. And I know people I'll be honest with you. There are a lot of Broadway actors and I'm sure you know them that are like I think bootlegging is horrible. Then they find out there's a bootleg of something and they'll message the person being like hey could you send it yeah can you send it to don't do that don't do that don't do that. Yes. But I think but I may it makes me I mean I'll be honest with you I think it's wonderful like when I teach and I'm like how did y'all fall in love with musical theater and nine times out of ten they'll be like I saw this on YouTube.

Mm-hmm. I'm like great and when when YouTube had like just become a thing. When it was like we were still watching like shorts, like teeny tiny little like two minute videos, and we were like, This is Broadway. And so you see, I'm uh because YouTube I think came out when I was in college. So the way I used to do it was you have to connect with a bunch of like people in New York and get VHSs sent to you. I used to have like all these, oh yes, oh yes, I have all these VHS bootlegs of shows still, because that was how you did it. Wait, that's fucking iconic. Where you have to digitize these. Oh, oh yes. Oh, I'm I'm already done a whole bunch of them, but I was like, that's how we did it. You had to like find and of course it was like a VHS copy of a VHS copy of a VHS copy of a really bad, like, you know, of a bootleg.

Like, I think that's Sweeney Todd. I think that's Angela Lansbury. You can barely hear you. Yeah, that's like, I think that's her. It's her if somebody has a cold, but I think that's her. I think that's her. Yes. Okay, so tell me about your your process for creating Broadway Bound, because it it's an extremely well researched, sort of like dramaturgical experience. You are you are shedding light on shows that basically nobody knows about, or if they do, it's extremely niche. How did you even go about doing that research?

[32:50] Robert Schneider: So what I the way I started was the reason like I started the podcast to begin with was because I overheard somebody at a diner uh near 54 Below, and they and they didn't know who I was, and I I was sitting behind them, and I heard them say, like, are you gonna go see that show at 54 Below tonight? It's gonna be songs from musicals that never came in. And the guy said to the other guy, he goes, Why would I want to spend money on seeing bad stuff? And I was like, fuck you, it's not bad stuff. And he was like, Well, the shows never came in. I'm like, but that doesn't mean that it's bad. In fact, excuse me, in fact, quite the opposite. I've got a lot of good stuff here. So anyway, I was so at 54 you have a time limit, so you can like only do 70 minutes.

And I'm like, well, you can't really like tell these amazing stories about these shows. So I was like, I'll write a book. So I started to write a book, and then I was like, but the fun is the music. So I was like, how do I get the story out and people get to hear the music at the same time? And I was like, I'll do a podcast. And everybody laughed at me because I have like 12 podcasts. And I was like, yeah, but I think this one's really important because uh it otherwise nobody knows this stuff. There are no like commercial recordings of a lot of these things. Um most people and I think because if something doesn't come in, I think people just sort of automatically assume that it's bad. And I'm like, no, it's not.

There's lots of different ways for shows not to come to Broadway, and most importantly, even if it doesn't go on Broadway, it doesn't mean that it's it's listen, we've all seen shows that somehow got to Broadway, and we're like, how the fuck did this happen? Exactly. And then there's also shows that we've seen like at community theaters or churches, and you were like, This is better than anything I've seen on Broadway. So also just to illustrate, like, Times Square is not the end all and be all. Just isn't. Oh my god. In fact, it's the worst place in the world, if I do say so myself. It's a it's a tough little tough area. Little tough tough area. But so anyway, so that's that's my dream for so long, and now I'm here and it's um disgusting.

But anyway, continue. But no, no, no, but I was gonna say, so the research was I simply was like I I went to the new uh first of all, if you're living in New York City, the New York Library for the Public Arts, sorry, New York, is that right? The New York Library for the Public Arts. Did I say that right? Anyway, Lincoln Center Library. Public Library for the arts. Performing arts Library. Anyway, I was there every day. So I I I loved it. It has the best research abilities there because most every big Broadway person has left all their papers to this library. So what I would do is I would be like, okay, I'm gonna look up uh Carolyn Lee today, a famous you know, lyricist from the golden age, right?

And I was like, so they would bring out her folders of work, and you're like looking and you're like, okay, yeah, little me and like other Peter Pan and stuff like that, and then you're like, unproduced musical feminism, and you're like, what the fuck is this? So you start like looking through the material and you're like, wait a minute, like what the fuck was this show she was working on? And like, so she was working on this amazing show called Enter Juliet, which was supposed to come out in the late 70s, starring Angela Lansbury, but the whole script and score is about like female identifying individuals in the 70s saying, I don't belong to any man, and like I need to pleasure myself first, mentally, emotionally, and sexually, before I can like have a healthy relationship with someone else.

And I'm like, this I'm reading it, and I'm like, this could be today. Like, why like why like this? So then you're like, well, so then Juliet. Yes, and so you're like, why did this not come to fruition? And so like you start reading it, and you're like, they couldn't get a name. They couldn't get a name to be a part of the show. And she was also, I this is what people were saying. They were like, Well, she's kind of difficult to work with. And I'm like, if she had a penis, I don't think you'd be saying the same thing, but okay. Exactly. You know what I mean? So, anyway, so but like when you look at this folder, there's a full script, there's a full score. This show was done. This show was like done.

So I'm like, I think she should be applauded and appreciated because she's trying to like get a new female identifying point of view out there. And people were like, no, no, no, no, no. Not now. Thank you. Yeah. So anyway, so that's the stuff that excites me. But it's literally like pulling stuff off the shelf, and you're like reading through it. Then, of course, I asked people, I was like, Do you remember anything that you saw from out of town that was you know, like really good or really bad, whatever? And so then, like, that also helped guide the discussion a little bit. But for me, it's the fun of like going down there, grab bag, picking, and you're looking and you're looking, and then you discover this show you fall in love with, because you're like, she was trying to do so much, and nobody was listening.

Totally. And and I I think it points to just so many levels of privilege of you know, obviously, like finances and securing a star or whatever, but also just being listened to. I that is something um it's my next episode actually that comes out after hours, um, where I speak with Jack, but um that's oh yeah a huge element of why he helped create Encourse at City Center, was because I want to expose musicals that didn't get the turn that they had on Broadway. I want to reintroduce them in a new way and hopefully bring more exposure to them because like you said, I mean, there is no Broadway does not equal good, and good does not equal Broadway. So like we always have to remember that it's a business, it's about uh a commercial success.

And I had the pleasure of speaking to composer Ryan Scott Oliver, and he was like, Yeah, I mean, I've written countless things that have fallen through or you know, were set to go to Broadway or whatever, and didn't, and that doesn't make them any less valid or incredible, and you know, the people attached, like Lindsay Mendez and all these freaking incredible talents who like obviously if they could have gone to Broadway with those casts, they would have, but for whatever reason, they weren't able to. It's just it's fascinating. So I'm so excited that you are are doing this and shedding light on musicals that we we might really need. Thank you. No, I think I appreciate that. And one of the things that also excites me is like I think thank God now we're having a discussion.

It took a while about representation, diversity, and inclusion in musical theater. But what I really love finding are musicals that were doing that and that I think deserve to be revisited, but because of the climate that the shows are originally emerged in, they didn't get the chance to. Like, for example, there's two that I really love. One of them we're talking about on this season, and one we're gonna talk about on another season. The first one is a show called The Mambo Kings, which was supposed to come out in 2005, and it was a musical that was celebrating the Latinx experience. Because any Latinx musical up until 2005 was West Side Story where it's about gangsters, or it was the Cape Man, which was about a murderer.

So, or so it was really about like always putting the Latinx community in a negative spotlight. Right. This show was like, no, we want to celebrate the Latinx experience, we want to celebrate immigration, and we want to talk about assimilation into a different culture. And it didn't come to Broadway, but I'm like, that show should be acknowledged. Because then only a few years later, In the Heights came out, and In the Heights was like, hey, we're doing a lot of the same things. And that, and that's great that it's there, but I just want people to remember it wasn't a huge jump. It wasn't like we went from West Side Story to In the Heights. There was another show that was trying to do it as well.

So like that, so that to me is important. And there's another show which we'll cover in another season called Daddy Goodness, which is about um the black experience, and it was really wonderful, amazing music, positive black characterizations, and also didn't go anywhere.

[41:02] Robert Schneider: And so like I hope people discover these things and either do another production of it or start to sing these songs again because I think like there were people along the way that were trying to do these things, and I think they need to be acknowledged and celebrated as well.

[41:17] Robert Schneider: So that's another reason for keeping these things out there or trying to.

[41:21] Jayke Workman: So where did your love and and sort of like expertise in the world of theater and and Broadway come from? Have you always been a theater person?

[41:35] Robert Schneider: A lonely child, is that what you were gonna say, Jake? Have you always been lonely hard?

[41:41] Jayke Workman: Single is that the word you're looking for, Jake. Have you always been single? Is that what you're trying to do?

[41:47] Robert Schneider: Now that hits a little too close to home, Rob. That that hurts. Uh no, I I was I was very lucky. Ever since I was a kid, I loved theater. My parents were really supportive of it. Um, and so I just I don't know. There was something something about musicals I just love. I don't know. Mel I think Mel Brooks said like they blow the dust off your soul. And I'm like, yeah, they do. I don't know. So to me, because I'm hello, right? And I'm like, it's just always been a part of me. But I've always been really fascinated. I love I love things that are unobtainable. So like I could easily, I can easily get the album of Dear Evan Hansen, but I can't easily get the album of the Baker's wife. And then I'm like, why can't I easily get the album of the Baker's wife?

And then so like then you start to like research and dig and dig and I don't know. My I think it comes from my family, because my dad is a private investigator, and my mom was a psychiatrist. So like the digging and the like why like emotionally things don't pan out, I don't know. I put those two things to use, and I'm like, what can I find out?

[42:56] Jayke Workman: Oh my god, that's fascinating. So they they kind of had no like contribution to your exposure to musical theater.

[43:03] Robert Schneider: No, they like God bless them, like for Christmas and stuff, they would buy me theater books and CDs, and they were always taking me to shows, but not but neither one of them were involved in the arts. Neither one of them were involved in the world. So did you feel like your your proximity, I mean, like growing up in in Los Angeles, um, your proximity to like the world of Hollywood and and art in that way, did that um help influence you in any way? Or were you just like I'm a New York girl?

[43:25] Robert Schneider: No. I was I was like, I'm a New York girl. I'm a New York girl. And I remember when I first came to New York, I was like, this is home. You know what I mean? Like, you know when you're like this is where I belong? Totally. Even if it's like not in the arts, I'm like, I belong here. So New York always felt like home. LA never felt like home to me. And I did like I did movies and TV and stuff out in LA as an actor, and I was like, this just doesn't feel right to me. This doesn't feel right to me.

[43:54] Robert Schneider: Yeah. So, but oh, you know, listening to the baker's wife, that feels right to me. You know, while while walking down the street and being like, oh my god, there goes Michaela Diamond. Like that feels right to me. That feels right. That feels right.

[44:07] Jayke Workman: There goes the baker with his...

[44:10] Robert Schneider: Yes. Um God, Rob, I could just freaking chat with you forever. We I cannot believe that our paths have not crossed sooner, but I'm so I know that makes me so sad.

[44:18] Robert Schneider: Yes, same. Same. I and and you're you're at 54, right? Coming up soon.

[44:22] Jayke Workman: Uh coming up for your friend's show. Uh what I also do, I I have high hopes to uh to do a live pod episode at some point. Um at 55 there, having actually like a live audience for a podcast would be so fun, I think.

[44:40] Robert Schneider: And um, that'd be great. It's just a matter of finding the right guest in the right timing. You know, it's always hard to do that.

[44:46] Jayke Workman: I know that feeling. I know that.

[44:47] Robert Schneider: Who's your ideal guest? Like who's who's the one you really want?

[44:51] Jayke Workman: Well, I really wanted to have the Gutenberg boys, Andrew and Josh on to get.

[44:57] Robert Schneider: Yeah, obviously the show's closed now. I think I would I mean I would still, of course, love to have them um to talk about Gutenberg, but also their uh history with Book of Mormon and then you know their individual endeavors and everything, but uh I think my dream guest is Kelly O'Hara. She she's my vocal idol. She is just a a love, and she has been so kind. She's reached out to me on multiple occasions, and she's like, I I'm a little busy with this thing called Days of Wine and Roses. I don't know if you've heard about it. I'm like, oh darling. Have I heard about it? You don't need you don't need to preface with anything. I know what you're up to.

[45:32] Jayke Workman: Yes. I know what you had for breakfast.

[45:34] Robert Schneider: So yes, I yes, I am fully aware. Oh, I hope you get her.

[45:39] Jayke Workman: I'm keeping my fingers clearly.

[45:40] Robert Schneider: Oh, thanks. I would love it. Well, before I let you go, I have a series of musical theater rapid fire questions that I asked.

[45:47] Jayke Workman: Oh shit.

[45:48] Robert Schneider: Yes, I know. I know.

[45:50] Jayke Workman: This is not trivia. This is just for you.

[45:53] Robert Schneider: I know. Oh shit. Okay, okay. Are you ready?

[45:57] Jayke Workman: I'm ready. Yes.

[45:58] Robert Schneider: I'm nervous, but I'm ready, yes.

[46:00] Jayke Workman: Sondheim or Andrew Lloyd Webber?

[46:03] Robert Schneider: Sondheim.

[46:04] Jayke Workman: Sweatpants or jeans.

[46:07] Robert Schneider: Jeans, but love to see a guy in sweatpants.

[46:10] Jayke Workman: Oh, who doesn't? Does that count?

[46:12] Robert Schneider: Of course. Do you have a favorite musical?

[46:16] Robert Schneider: Yes. Gypsy.

[46:18] Jayke Workman: Can you say it?

[46:19] Robert Schneider: Gypsy.

[46:20] Jayke Workman: Oh, Gypsy. Incredible.

[46:22] Robert Schneider: I was answering like a lawyer question. I was like, did I see the revival with Patty? How many times did I see the revival with Patty? I'm sorry. Yeah, I saw it, I think first or second preview.

[46:35] Jayke Workman: Oh my god.

[46:36] Robert Schneider: Jake. Jake. It was literally a religious experience. I don't know how to describe it. I can't believe that I didn't get to experience it. I was so young and I was so far away. But then Leanne Larkin, our very own dainty June, was my Maria in The Sound of Music.

[46:55] Jayke Workman: Oh, I love Full Circle. I love it.

[46:57] Robert Schneider: So I felt like some sort of weird like connection to that revival of Gypsy, even though I was thousands of miles away in a tiny town in Kansas. Jake, Jake. It was I can't. I can't. I can't. I know people give her a lot of shit. And I'm like, she is so. And I'm like, oh, they're like, oh, you know, her diction and blah, blah, blah. And I'm like, shut the fuck up. Like, oh my God. Let me see you do what she does.

[47:22] Jayke Workman: Exactly. Let me see you do what she does. No one is like Patty. It was, it was, I can't. It was literally one of the top ten theater experiences of my time. And it was my favorite musical before that. So it wasn't like I discovered it. Um you've seen the Bet Midler version, right?

[47:38] Robert Schneider: Of course. Oh, also epic. Also epic. But Gypsy is my favorite. And I my idea. I'm so excited for you to hear this interview with Jack because Jack talks about working on this revival with Arthur Lawrence. It's wild. I can't wait. And I want to just say very quickly, because people always go, like, oh, like who's your f like uh the ideal Mama Rose? Viola Davis. I don't give a shit if she can sing. Oh my god. I don't know if she can sing or not, and I don't give a shit. I want to see Viola Davis's Mama Rose. I'm putting it out. I feel like she would be scary in the back.

[48:07] Jayke Workman: Yes, I want yes, I want to see that. Okay, yes, I'm sorry. Continue with your questioning. I apologize.

[48:12] Robert Schneider: I'm sorry. Do you have a least favorite musical?

[48:18] Jayke Workman: Oh boy. Yeah, you know, and it's it's to each their own. Not a big fan of Oliver.

[48:24] Robert Schneider: Oh, yes. That is that is a uh a controversial one. There are many who love it and many who do not.

[48:32] Robert Schneider: Just doesn't do it for me. Just doesn't do it for me. Uh, but most I mean, honestly, look, I can go see a musical, and I'm just so happy to be at a musical. I can find something to love, even amongst the like, what the fuck is happening? Wait, do you wait, what's your favorite musical?

[48:48] Jayke Workman: A little night music.

[48:49] Robert Schneider: Great choice. Do you have a least favorite?

[48:52] Jayke Workman: Footloose.

[48:54] Robert Schneider: You don't want to cut foot loose?

[48:56] Jayke Workman: Okay, I get it.

[48:57] Robert Schneider: I want to cut foot loose from from the ether. I want to cut it out of here. That's what I want to do.

[49:04] Robert Schneider: Look, I saw Footloose once at a community theater and I was obsessed because it wasn't very good, but whoever was playing playing Betty Blast, who is like the waitress on roller skates, I was living for her. Because I was like, I think it was a drag queen. I was like, I think this is a drag queen, but I don't know. That's what I need to be seeing in order to enjoy it. And I was like, I'm following Betty Blast's story. But yes, Footloose, I get. Footloose, I get. But that I mean, there's some we've seen it. I'm like, oh yeah, go ahead.

[49:30] Robert Schneider: Yeah. Oh, yeah. Are you a morning person or a night owl?

[49:33] Jayke Workman: Night owl.

[49:38] Robert Schneider: Golden Age or contemporary.

[49:41] Jayke Workman: Golden Age.

[49:42] Robert Schneider: Sorry, contempt. Although there's many contempt shows I'm obsessed with, but I find myself going to Golden Age. Uh coffee or tea.

[49:52] Robert Schneider: Oh uh what's a oh god. Actually, none. I drink soda. Can I can I give a third option?

[49:58] Jayke Workman: Sure.

[50:00] Robert Schneider: Phone a friend. So can I phone a friend? I would say soda, but if I had to pick, coffee.

[50:06] Jayke Workman: I love it. Uh who is the silliest person that you have had on behind the curtain?

[50:14] Robert Schneider: Leroy Reims.

[50:15] Jayke Workman: Queen Leroy Reims.

[50:17] Robert Schneider: Leroy Reims, if you don't know him, I just want I want to celebrate this icon really quickly. Leroy Reims has been out and proud ever since he entered this business in 1968. No, earlier than that. Earlier than that. I'm sorry. Because he was in the original, in the original company of Sweet Charity. He and his husband, who sadly passed away recently, were together. Getting ready for this. 52 years.

[50:43] Jayke Workman: Wow.

[50:45] Robert Schneider: 52 years. And this queen, he is Queen is con I love him. I love him. I love him. But he worked with everybody. He directed Carol Channing in the Hello Dolly revival. He was he was the original Billy in 42nd Street. He was the first openly gay character in a musical when he did applause. So he's 80 something now. He's still performing. But this queen has no filter. And the stories that I need to cut out, because I'm like, I know we were talking about like tell your story, but I'm like, I can't. I can't put this. I can't put this out there. We used to do this thing with him. It was called an in memorium, and we were looking at all the people who passed away during a year. Somebody passed away, and they were known for having like a really like goody two-shoes personality.

And I said to him, I said, Oh, did you ever work with them? And he goes, This is his voice. He doesn't sound like this, he just sounds like this in my head. He goes, Oh yeah. He goes, one day I was walking to rehearsal with her, and she pointed across the street and she goes, I used to blow a man underneath that staircase. And I'm like I was like, I don't think I want to put I she just died. And I'm like, I don't know if I want to put that. I don't want her husband necessarily to hear the story of how like Oh yeah. And she said, when he swallowed, and I'm like, okay, okay, okay. Cut, cut, cut, we're fine. We're fine. But he's he's he's my wildest. He's my wildest. Yeah. Love that. And I love him. So funny. Yeah. And then celebrity wise, like, yes, sorry.

[52:17] Robert Schneider: Oh yes, please. No, just I love Nathan Lane. And everyone was like, be careful, be careful, be careful. And I found him to be one of the funniest, charming, nicest men ever. So there you go.

[52:25] Jayke Workman: Of course. Are you kidding? Ugh, what a dream, Nathan Lane. Well, uh, my last question for you, which uh is a question that I ask every guest is what is one thing that you would tell baby Rob?

[52:40] Robert Schneider: If opportunity isn't knocking, build a door. That's number one. So, like, if if something isn't happening, make your own opportunities and don't wait. I think I waited a long time for someone like to give me permission, and there's no such thing as that. Like there's no there's like no switch that goes off in you being like, I'm ready now. Like, just do it. Just do it. Stop waiting. Just do it. Just do it. Life's too short. Love.

[53:08] Jayke Workman: How's that? Well, Rob, you are such a delight. Thank you so so much for being on the podcast. Can you tell the listeners where they can find you on socials and also where they can find all of your amazing podcasts?

[53:19] Robert Schneider: Oh my gosh, yes. On social, I'm Instagram at Rob W Schneider, and then all my podcasts are anywhere you listen to podcasts, plus of course the wonderful Broadway Podcast Network, which we are all affiliated with. And especially if you listen to I love it, BPN. And I also, if you listen uh to Broadway bound, if you could do me a favor and rate and review it just so that helps us a little bit, I would greatly appreciate that. But Jake, I am so honored that you had me on today. I can't tell you how much I love your podcast. And I'm so I've been wanting to meet you for a long time, and I'm finally happy that it got to it come to fruition. So thank you.

[53:53] Jayke Workman: I know. I can't wait to meet you in person so soon.

[53:56] Robert Schneider: Yeah. Thank you, Jake. Thanks, everybody. Thank you.

[54:00] Jayke Workman: Ah, you guys, sadly, we've come to the end. That is it for another wonderful episode of Oh My Pod, you guys. Thank you so so much for listening. Please do not 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. Love you all. Talk soon. Bye.

[54:22] Jayke Workman: Oh my pod. Oh my pod, you guys.