This transcript was automatically generated and might contain errors.

[0:01] Jayke Workman: Well, well, well. Guess who's back again!

[0:05] Dan Micciche: It's me.

[0:06] Jayke Workman: It's meeeeeeeee!

[0:10] Jayke Workman: Bum bum bum bum bum bum bum bum bum bum bum bum bum! Oh my god, did you hear?

[0:17] Jayke Workman: Did you hear? Did you hear? Oh my god, guys. Jaypeeocard, I can't believe Jaypeeocard got a podcast! I can't believe it!

[0:25] Jayke Workman: Oh my pod, oh my pod, 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.

[0:37] Jayke Workman: You guys, you guys, we have so much to talk about on the podcast today! You guys, I have an amazing interview for you with the incredible Dan Micciche.

[0:52] Jayke Workman: But before we dive into that, we, of course, have to talk about the Tony nominations! Yo! I am on one today, apparently.

[1:03] Jayke Workman: You guys, the Tony noms came out, and this, this season is kooky crazy! I mean, we knew going in that this season was so oversaturated, so crazy. But we, I mean, let's just get right into it.

[1:24] Jayke Workman: There were Tony snubs. There were Tony shockers. I mean, where do we even begin? I mean, okay, I guess let's just start, let's start at the very beginning, a very good place to start. The heavy hitters. Best play of 2024.

[1:40] Jayke Workman: Girl, you know, I squealed when I saw that Jaja's African Hair Braiding is nominated for Best Play by Jocelyn Bioh. Okay, I had Nakia Mathis, the incredible hair designer, who is receiving a special Tony award for this show for hair.

[1:58] Jayke Workman: There's a whole other argument about how there is not a Tony category for hair and makeup design, which we will get to. But Miss Nakia Mathis is receiving a special Tony award for her design of this show, and now it's nominated for Best Play.

[2:11] Jayke Workman: Okay, admittedly, this is the only one of the plays that I have seen in this category. However, it was so above and beyond. I cannot even tell you how excited I am for them, this entire cast and crew and designers and everyone. Congratulations.

[2:28] Jayke Workman: The other nominees for Best Play are Mary Jane, starring Rachel McAdams in her first Broadway show. She's nominated and the show is nominated. Good Lord. Then we have Mother Play, starring Jessica Lange, Jim Parsons, and Celia Keenan-Bolger.

[2:45] Jayke Workman: And Prayer for the French Republic, as well as the new play, Stereophonic. You guys, I'm so excited to see that one, but congratulations to all of the nominees for Best Play.

[2:59] Jayke Workman: Now, you guys, moving on to the nominees for Best Musical. We have Hell's Kitchen, written by little-known artist Alicia Keys. Illinois, which I am so excited to see. It's by Justin Peck, who is an incredible choreographer, director, creator.

[3:19] Jayke Workman: I mean, I've heard nothing but incredible things about this show. Then we have, moving on down to The Outsiders, starring one of my dear friends and friend of the podcast, Emma Pittman. This show is unbelievable. I truly would not be surprised if The Outsiders wins Best Musical.

[3:39] Jayke Workman: And we also have Suffs, starring some incredible heavy hitters like Jen Colella. Cannot wait to see this show. I've heard amazing things about the transition from being at The Public to being on Broadway.

[3:50] Jayke Workman: So I can't wait to see those changes implemented and see what they are cooking up at Suffs the musical. And lastly, we have Water for Elephants. I am so excited to see the show. I kind of can't believe that I haven't already, but it is expensive, mama.

[4:06] Jayke Workman: She's a pretty penny. But I'm so excited for all of these nominees. Water for Elephants looks absolutely stunning, and I cannot wait to see it. So congratulations, you guys, to all of these nominees.

[4:18] Jayke Workman: I mean, we could go through the entire list of them, but we would be here for four hours. Kelly O'Hara, Brian Darcy James, both nominated for their leading roles in Days of Wine and Roses, with a Best Original Score nominee written by Adam Guettel, you guys.

[4:38] Jayke Workman: This show, I hope they win. I hope, I mean, I just hope everybody wins. Come on. This season was absolutely stacked. Friend of the Pod, Mr. David Korins, received a nomination for his scenic design of Here Lies Love.

[4:55] Jayke Workman: Nominations for Best Revival of a Musical include Cabaret, Gutenberg, Merrily We Roll Along, and, of course, The Who's Tommy, also designed by David Korins. Iconic. Jessica Lange is nominated for Best Leading Actress in a Play for Mother Play.

[5:14] Jayke Workman: Rachel McAdams, like I said, nominated for Mary Jane, which is insane considering it's her Broadway debut. Sarah Paulson is nominated for her leading role in Appropriate, and Amy Ryan for Doubt.

[5:26] Jayke Workman: Ugh, you guys. The category for Best Performance by an Actor in a Leading Role in a Musical is crazy! Brody Grant for his role in The Outsiders, Jonathan Groff, of course, for Merrily, Dorian Harewood for The Notebook, which was an incredible performance.

[5:46] Jayke Workman: I'm so, so pleased that he was nominated. Like I said earlier, Brian Darcy James for Days of Wine and Roses, and Eddie Redmayne as the MC in Cabaret. And you guys, Best Performance by an Actress in a Leading Role in a Musical, Eden Espinoza for Limpica.

[5:59] Jayke Workman: This is a crazy one because she has never been nominated for a Tony, as far as I know. Oh God, am I speaking out of turn? No, I think this is her first nomination. Malia Joy Moon for Hell's Kitchen, Kelly O'Hara for Days of Wine and Roses, you guys, Marianne Plunkett for her role in The Notebook.

[6:20] Jayke Workman: I mean, just incredible. And Gail Rankin, also nominated for playing Sally Bowles in Cabaret, so we have the MC and Sally Bowles nominated for their leading roles. It's just amazing. This Tony's is going to be wild, you guys.

[6:36] Jayke Workman: We have some crazy, crazy nominations. Also, we have some crazy snubs. You guys, the only nomination for the new Great Gatsby was for Costumes, which, I mean, the costumes are incredible. They look so, so beautiful.

[6:52] Jayke Workman: But I kind of can't believe that none of the performances were nominated, none of the designers apart from Costumes. I was like, ooh, ooh. Oh my gosh, also Amber Iman nominated for Featured Actress in a Musical. She must win. She was incredible in Limpica.

[7:14] Jayke Workman: And, oh my god, another snub, Miss Joy Woods was not nominated for her role in The Notebook, which I was kind of floored by because they really took the time to make it seem like this was her story, you know, her chance at being nominated.

[7:31] Jayke Workman: So, very, very shocked by that, but also, I mean, an incredible performance regardless. I'm also really surprised that How to Dance in Ohio was not nominated for anything just because of how groundbreaking their casting was. But, yeah, things, kooky crazy, you guys.

[7:52] Jayke Workman: And with that, we really do have to dive into this week's Broadway World Recap. A very, a very short and sweet Broadway World Recap, but a recap nonetheless. You guys, Broadway World has reported the crazy news that Limpica is going to close on May 19th.

[8:11] Jayke Workman: I kind of can't believe it. I'm a little bit like, wow, was this really all just a ploy to get this show open in time for Tony Award nominations? And then they were just planning on being like, sorry, we don't have the money, can't do it any longer.

[8:28] Jayke Workman: It's just, it's so crazy to me that there could be so many investors, such hype and such promotion, and all of this, you know, energy and time put into the show, and then for it to close so, so quickly. It's just such a bummer.

[8:42] Jayke Workman: I'm sending all my love to the cast and to Eden, of course, but, you know, Ms. Cori Pattenaude, friend of the podcast who is coming on in a few weeks, it's just crazy. She is absolutely stunning in this ensemble, and I was so, so fortunate to get to see it.

[8:58] Jayke Workman: So, if you have time and are able to see the show before it closes on May 19th, run, run to see this show. It's very, very beautiful. Next, you guys, we got a really fun announcement that the leads of Little Shop of Horrors, currently being played by Ms. Jinkx Monsoon and Corbin Bleu, are going to be replaced by Andrew Barth Feldman and Sarah Hyland.

[9:23] Jayke Workman: Which is kind of a left-field casting choice, but I think it's going to be amazing. I mean, Andrew, I honestly don't think there is a smarter choice for the role of Seymour in Little Shop. It just, like, he is going to be so perfect, but I'm so intrigued by casting Sarah Hyland in the role of Audrey.

[9:42] Jayke Workman: I think it's really smart. I think she's a great actor, and I'm excited to hear what she brings to the role vocally, but I just wouldn't have thought of her at the top of the list. So I'm really excited for her, and I cannot wait to see them both in the show.

[10:00] Jayke Workman: And lastly, you guys, Broadway World just confirmed that none other than Hugh Jackman and Queen Jodie Comer have been cast in A New Imagining of Robin Hood, which, I mean, this is going to be wild. Like, you know, Jodie Comer literally won the Tony last year for her role in Prima Facie, which I kept calling, like, Prima Facey or something.

[10:25] Jayke Workman: I don't even...yeah, whatever. But she is amazing. Her acting is unreal. If you haven't seen the show Killing Eve, she plays this fierce woman named Villanelle, and just, I'm obsessed with her. Her accent work is incredible.

[10:41] Jayke Workman: And then, of course, Hugh Jackman, basically king of Broadway, and now, you know, TV and film. This is going to be amazing. Like, excuse me? Hugh Jackman as Robin Hood? Absolutely, yes. That is exactly what I want.

[10:55] Jayke Workman: So, congrats to both of these amazing actors. I will, of course, be keeping you updated on all things Robin Hood as it is announced. And, you guys, this has been the Broadway World Recap.

[11:10] Jayke Workman: Oh, my pod, you guys. I am so, so excited to welcome my next guest to the show. He is a seasoned Broadway performer, a music director, conductor, vocal coach, and he happens to currently be the music director and conductor for one smash hit Broadway musical, Wicked. Ever heard of it?

[11:31] Jayke Workman: Please welcome Mr. Dan Micciche. Welcome to the show.

[11:35] Dan Micciche: Hello.

[11:39] Jayke Workman: How are you? It's so good to see your beaming little face.

[11:44] Dan Micciche: It's good to see you.

[11:45] Jayke Workman: It's great to finally meet you.

[11:47] Dan Micciche: I know. This is crazy. I feel like our paths could have crossed in so many instances, but I'm glad it happened here first on the podcast.

[11:57] Dan Micciche: From one Mary to another.

[11:59] Jayke Workman: Yes. The sisterhood is strong. Well, oh my gosh. I'm so excited to chat with you. Before we dive in, I always ask my guests, where are you calling in from?

[12:10] Dan Micciche: Calling in from my house in Ridgefield, Connecticut.

[12:13] Jayke Workman: Ah, Miss Connecticut. I know her well. How long have you been there?

[12:18] Dan Micciche: We moved. Oh my gosh. We bought our house here 12 days after the world shut down in March 30th of 2020.

[12:30] Jayke Workman: Oh my.

[12:32] Dan Micciche: Yes.

[12:33] Jayke Workman: So it was an amazing time to be here, but terrifying because, you know, no Broadway.

[12:42] Dan Micciche: Yes. But, yeah, we were in the city for 15 years. We still have our place there. And I thought that I would stay there like on some nights because I commute in every day. And no, I commute happily every day.

[12:57] Dan Micciche: It is one of the biggest gifts of our lives. And we are very Ridgefield pride up here.

[13:04] Jayke Workman: We love to hear it. Well, I'm so excited to ask you about that, you know, your sort of commute in and out of the city every day. Because this little show that you do, this little skit called Wicked, is such a huge sort of all-encompassing project.

[13:20] Jayke Workman: And you obviously are there for every performance, but also, you know, during the day for rehearsals and all of that, and put-ins and then, you know, when it comes to casting and everything. But before we talk about all of the wonderful Wicked shenanigans, we have to talk about your turn as Mary Sunshine in Chicago on Broadway.

[13:41] Jayke Workman: Because you were the youngest person to ever play the role.

[13:44] Dan Micciche: Yeah, I was 22.

[13:46] Jayke Workman: That is crazy. So did you, I mean, I get asked this all the time of like, did you always know that you had this voice or like this ability to do that? Like what was your road to counter tenor-ing and the world of Mary Sunshine?

[14:03] Dan Micciche: Yeah, I had no idea. I had no idea I was a male soprano until senior year before college. So 10 months before I played the role. I had no idea. I mean, my teacher gave me the song and it was crazy. I mean, I was always just tap dancing like tenor and like,

[14:25] Dan Micciche: I realized my senior year in college at Boston Conservatory that I definitely always wanted to work on Broadway. But then I was like, okay, but I'm really going to music direct later on in my life, like when I'm 50. And my teacher gave me a little bit of good advice, and it just came out. And honestly, I live up there better. Well, not anymore. But I live up there more than my tenor. And yeah, I mean, the way that show happened was just crazy for me. Just the road of how that even happened. So did you, you started on the tour first?

[15:10] Jayke Workman: No, I started on Broadway.

[15:14] Dan Micciche: Oh, wow. And then went with like different companies around the country. When I first moved to New York City in June of 2007, my first show I got in New York was an off-Broadway show, which was called Gemini, which was a really big play on Broadway in the 80s. But it became a musical with Linda Hart and Joel Blum, Beth Lawson, and Kirsten Scott. And we closed quickly. And I went to the EPA as a non-equity member. When, you know, the non-equity hallway to the kids was literally a hallway, and you sat on the floor. There were no muffins to be had. And so I went in and I sang for Duncan Stewart. And he was like, you're going to, the next time we have an opening, you're going to play this role. And I was like, yeah, right.

And I ended up doing a TheaterWorks tour like two weeks later at Children's Theater. And a long, long story of how all this happened. They called me and they were like, Hey, look, we're looking for someone for the Broadway company for like six months. And then to do all these different companies, national, internationally, and then back and forth to Broadway. And so I ended up having three days of rehearsal, two hours each day with my put-in at 7 PM and then the show at eight. And then I stayed there for six years. I did the show 2000 times.

[16:58] Jayke Workman: Oh my word.

[17:00] Dan Micciche: And only missed three shows.

[17:02] Jayke Workman: That's incredible. Okay. So, so in sustaining that, I mean, you know, I wanted to ask you this question sort of about Wicked and also just, you know, with your experience as a vocal coach and a music director, but like as the performer, as the person singing B flat every day, 2000 times, what is, I mean, I have done it, but not consecutively that many fricking times. Like, how do you, how do you make sure that you are staying healthy and, and, you know, able to do it that many times?

[17:38] Dan Micciche: I think everyone, obviously everyone's anatomy is different. Again, like I could, I was young, very young. And also like I could just, those first nine months, I was like a mental case, you know, terrified, a child on Broadway and playing this principal role. And you know, but I, at the end of the day, once they started like, probably like 10 months in, they started flying me like to a city on Monday and do it there until Thursday, then fly Thursday morning and then do Broadway for, like, it was crazy. And I think once that started happening, I was like, just get up and do the gig. And it really kind of freed me up mentally and to lean on my technique. Obviously my technique was, I guess, strong.

And, um, I guess, but I remember a couple of the, uh, old vets of, excuse me, Chicago, like Greg Butler and Sean and Sean and they were like, Dan, you don't need to be warming up for a half hour up there. And, uh, it's true. It's like, I tell my Elphaba and everyone I work with now, it's like, you need five minutes and you just need to figure out what exercises get you into that pocket. And, um, so much of playing that role for that long was all about larynx work of just not dropping down the larynx when you get below like the B or the A on the staff. Um, and that really saved me. And then, oh my gosh, then those next five years, I just, I was a wild child. I was a wild, wild child. I did the Japanese companies, Thailand companies, the Alaskan company probably did about 125 cities. And then I think I went back to Broadway about nine times.

[19:46] Jayke Workman: Wow. Yeah. So when you first got the job, did you, had you ever put on a lash and a lip and strutted around in some heels? Like what was your road to, to becoming the lady?

[20:03] Dan Micciche: Yeah. I mean, I think, I mean, I did like two drag shows in college.

[20:10] Jayke Workman: Okay, great. So you were, yes, but it was so funny. Melissa Ray Mann helped me one day because I was like going through a tube of eyelash glue in like a month. And she's like, honey, you're going to glue your eyes shut. So, but then like, then like cut forward to like, I'm the person that will like keep the same lash for like two weeks. Cause I like the indentation. So absolutely. But I think there was, there was a time those last couple of years where, I mean, I started like beating my face around, I don't know, jazz, funny, honey. Like I just, at that point I was like, girl, just like throw on. That is kind of the fun of, of getting to do that show as Mary, because I mean, of course being shot out of a cannon at the top of Overture would be wild, but you get to sort of settle in.

You have the monitor on, you're hearing jazz, you get into that mindset of like, okay, it's happening. It's coming. Like my turn is soon. And like, that is, I love getting to like put the finishing touches on while I'm like alone in the dressing room. Like, okay, there she is. And I always say it's like, Chicago was such a perfect Broadway debut for me because I'm so old school and I just, I have such memories of seeing that show with my mom when I was young and I have such a respect for just some of the older huffers and stuff. And I just, some of the people that were still there when I did it were, you know, some of the old timers that have been there a while and just, that music is so iconic and that theater is so historic.

I remember hearing that, I think Danny Kaye and Fred Astaire dressed in that dressing room and just shit like that. It's just, it's, there's nothing specialer. It was my Broadway debut as well. And I, it is never lost on me that like, we're one degree of separation from the greatest people to have done it. I mean, the fact that like, you know, Rob Bowman obviously is conductor there and everything, but like the fact that like John Kander still comes to the show, like what that, what is that? It's so crazy to me. So I, I love to hear that it, it feels that way for you and that special.

[22:47] Jayke Workman: So switching gears a little bit, when you, like when you were done with Chicago, was there the desire to continue performing in other facets or were you like, that was a wonderful chapter. I had so much fun. Thank you very much. I'm going to go over here and do this now. Like, what was the transition for you from being on stage to being behind the table and conducting and sort of, you know, leading things?

[23:07] Dan Micciche: It was, thank you so much. Toodaloo. I'm going to the other side.

[23:25] Jayke Workman: Toodaloo. I love it. You know, it's, it's interesting. It's like, you know, I'm one of those, those people that since the day I was born, I dreamed of working on Broadway. I mean, even to my friends that have been working for years as well, it's, you know, I'm still that old queen that is like, you know, watching ridiculous YouTube videos of people and just the history of it and all. But yeah, you know, I would say about four years into doing Chicago, I started hanging out with the musicians more and I started writing like every music director in town to be like, Hey, can we have coffee? I'd love to pick your brain. Rob Bowman was a really big asset to me at that time as well, but not asset, just really good support and friend and still is.

And, um, you know, and then around 2011, Adam Gettle was looking for a pianist and hired me to be his pianist for classes he was doing. And he was the first person to be like, you should do this for the rest of your life. And I was like, well, if you think I have talent, then maybe I have a little bit. And, um, but he said, he's like, what you have with the understanding of the voice and eight shows a week, as well as, um, a lot of music directors always ask me or young aspiring music directors, what's the best piece of advice? And I was like, um, get your communication skills up because it's 90% managerial and so much like that really thrilled me. And, um, but it really was, it was a little challenging at times because everyone saw me as this Mary sunshine and, um, no one really took me seriously as a musician.

And so playing for Adam, um, I started music directing Patrick Page's shows at 54 Below and stuff. And I mean, a lot of it was like playing for anyone I could in New York City, any class, any cabaret, anything, anything. And I just, at the time I was really building my coaching clients as well. And I started coaching guys that were my type for material that I was going in for as well. And I was able to get them to a better place emotionally and acting vocally wise than I could do for myself. And I found that very rewarding. Um, and I just, the industry is interesting. It's like, you have a Broadway credit, you sung solo at Carnegie Hall and you still can't get an audition. So, you know, ridiculous, but insanity.

I just, my gut was just, you know, telling me like, go, go, go. And John O'Hurley told me one day, he said, when you take the risk, the net will catch. And I ended up turning down 11 contracts to go back to Chicago. Wow. To be like unemployed and yeah. And to truly like, have like people now don't even know that I had a career as an actor on Broadway and it's because I just threw myself in it. And, um, yeah, I mean, that was kind of really the road and then long, long story short, I wrote Steven Aremus and I was like, Hey, I'm doing Patrick Page's show at 54 Below. We'd love to invite you. I didn't hear back was walking down Ninth Avenue, went into Flaming Saddles, which used to be my haunt many moons ago.

And, um, and he was there and I went up to him and I said, Hey, Steven Aremus, I'm damaged. Okay. I'm that Mary Sunshine guy. But I know a couple of your music directors have told you about me and I'd love to play for you one day. And, uh, he was like, yeah, yeah, yeah. Okay. That sounds good. And he called me the next morning and I was practicing that PV for months. So much so that when Paige Davis and I were doing the tour together, she in the Airbnbs we stayed at, she would make sure there was a piano so I could rehearse Wicked, bless her just truly. And then, um, I came in and as I always say to all my students preparation meeting opportunity, I sat down, I played like eight songs from the show and, um, he was like, how much podium experience have you had? And I said, Oh, a bunch. And, um, the first time I conducted Wicked was like one of the first times.

[28:34] Jayke Workman: Oh my God. Yeah. That is amazing. But it goes to show that, you know, you have to trust in yourself and your ability and, and not, yes. Why would you count yourself out?

[29:49] Dan Micciche: When I got that tour, as our listeners are hearing, that's a bougie production tour contract. She sits in a city for two, three months. And so at that point in my life, I was like, I'm good. I'm here. I'm living. Yeah, I'm going to put my best foot forward every single day and be the person that helps out in every way. And we'll see what happens. I mean, Wicked has changed my life in many ways, many times over. And then was on the tour for four and a half years straight. And then David Stone brought me to Broadway and I became the music director and conductor over there in November of 2018.

[30:41] Jayke Workman: Fantastic. So was your major at BOKO a performance major?

[30:50] Dan Micciche: Music theater. Okay, great. So then when you, I guess like I'm so, I'm so like separate from the world of like being on the podium. Is there training that you had to like undergo outside of like an actual collegiate experience or is it just like this? You learn by doing it. You learn by.

[31:12] Dan Micciche: I mean, I took, I took some lessons with Gary Fagan, who's a very well-known conducting teacher in Manhattan. A lot of conducting is, you know, you're steering the ship. And as Kim Grigsby told me when I was very young, you're the communication between the orchestra and the cast. And you are steering that ship of the show that day. And you have to, there's times where you push, you pull, you let things breathe. And you can't micromanage something that big conducting it, but you have to have a pulse on everything about four beats before what you're doing. And I think a lot helped with me is that I'm so in my body, I'm so in touch with the music emotionally and musicality wise that, yeah, I needed to clean up my beat patterns.

And, you know, but a lot of it was like, I have this amazing opportunity to learn while I have the job. I mean, I'm still learning, you know? But before I became the music director, like, you know, taking all my notes, anyone that gets offended by notes, like you need to take a breath and reposition what you're doing in life. Like you need to just really, all the notes mean bad, good, that doesn't make sense. Like all the things can apply. And a lot of it was mirroring, watching other conductors, seeing what they're doing with their beat patterns, how that works better in certain styles of music. It was just a lot of like learning as I went as well. But I did a music direction minor senior year in college.

[33:13] Jayke Workman: Hmm. Love it. So you, I mean, obviously your musicianship has been there since you were a tiny baby. So I feel like, and correct me if I'm wrong, but I would imagine that like, since you do have such an actor's brain, there is like an ability to sort of emote and act the show from your position on the podium through the music and, you know, sort of like using this score and being the director of this one, like you said, like this ship for today, does it change for you? Are you, are there moments where you're like, Oh wow, this, that has hit me in a different way today? Or like.

[33:59] Dan Micciche: Absolutely. I mean, I mean, if you talk to any of my cast members and musicians, I am, I'm a three act play, honey. I am going for it up there, you know, and a lot of it has to do with, you know, the actor feeds off the energy of the conductor as well. Same thing with the musicians. And yeah, there are certain days that I find different things, but I think it's the actor in me also that it, you know, I've taken on more of a position in the last two years and some weeks I'm doing like 65, 70 hours a week. And cause I'm doing all the hiring for both the Broadway and the national company and all this stuff. And there's some days where I'm like, pull it out. Let's go. And, but I can't help myself. I hit that downbeat and we're off, you know, you also can't conduct wicked without being full out, you know? And, but a lot of it, the actors definitely, I mean, they feed off that energy. Sometimes like in Governor's Mansion and No Good Deed, I'm like in it, in it with her.

[35:13] Dan Micciche: Governor's Mansion is my favorite fucking scene in the show.

[35:18] Jayke Workman: It's good. It's good. When that pace is right, it's real good.

[35:22] Dan Micciche: Oh yeah. I want, I love a dirty Nessa. She better. I want anger bitch. Yeah.

[35:30] Jayke Workman: Okay. Well it's no secret to anyone listening to this podcast that I'm a, an absolute slut for wicked. I, I'm going to sound like a total nerd, but I have to like diving a little deeper. I'm like, I want to know if you could share like the difference between when you put an Elphaba into the show versus a Glinda because there's so much, there's just so much lore about the show and about what it means to take on one of those two iconic witches. Are there things that you tell both actors and are there things that you would only tell an Elphaba or only tell a Glinda? Like what is the process like of, of helping two women develop and take on these two very different characters?

[36:16] Dan Micciche: Well, first with any role in the show it's, it's what's on the page. I know everyone knows about the riffs and this and that, but it's like, you know, it's, you've been hired to do a service of the piece and to portray the piece that after almost 21 years now is a product. Yeah. And that's the reason why it's still running. And it's in such fabulous shape is because there are parameters. I always say with the witches, it's like I can, it's like clockwork how they come in the first day. What happens on the third week of rehearsal? What happens on opening night? Where they are at emotionally by the second month. Oh yeah. And it's literally like clockwork. And I think with both of the girls or anyone in the company I instill that this is a constant communicative relationship.

And I am not a music director where, you know, if you're having a hard night and if you need to get through that retard at the end of wizard and I are no good deed, text me, you know, let me know, let's have a conversation. It's like, there's no need to be pulling this person through the show. Like I'm there to be a service, but also to guide you. And we start out exactly what's on the page, exactly the rhythms and notes. And then as we move into rehearsal, we, we finesse things with the, with the associate director and the PSM and the dance captains and this and that. But I've been with the show going on 11 years and it's, it's the same trap falls. It's the same notes.

[38:26] Dan Micciche: Right. So there's a sort of built-in formula for the guidance. And so then when, when someone like Mr. Stephen Schwartz has things to say about it, you are sort of the, the conduit, the conveyor of information from the person who actually put those notes on the page to the people who have to then sing them. So what are there sort of like parameters for you as a music director of like, I have to maintain what this person has created. So regardless of, so what is that pressure like? I mean, you know, obviously it's not, it's not that Stephen Schwartz is in the audience every single night, but like that integrity of the show lies so personally with you, I would imagine that like, is there, do you feel a pressure to, to keep it at that standard and at that level?

[39:21] Dan Micciche: I always say when people are like, Oh my God, are you so nervous that this person's here tonight? Are you so nervous? What if this person comes to see the show? I always say, if I can look myself in the mirror and say, I am maintaining this show to my best knowledge, I'm fine. Love it. You know, it really is like, but it's like, I, I know how hard I work. I also know my colleagues know my reputation. Yes. That has taken years to achieve that. And that doesn't happen overnight, but, you know, also it's a living, breathing thing, you know, I mean, tempos have changed, different settings of different things in the show they've changed over the years. And you know, so much of it, of course, with what Schwartz has written, but, and also he's salt of the earth, that man, but also some of the vocal things that Aremus has put in since the day it started, you know, it's maintaining that it's constant maintaining my ensemble is just unbelievable people.

I love them so much. I'm so proud of them. Um, and, and the orchestra, I mean, we're 24 people in the orchestra and 17 of them are still original. Wow. And I always say, yes, people might say it's like, Oh God, Dan, here he comes with the notes. But there's a thing, there's a way to give notes. I always say, it's like, the way I give a note to an Elphaba is different than the way I give a note to a Glinda, depending on who they are, you know, how they work. It's different than how I give a note to a reed player. It's different than how I talk to Schwartz. You know, you, as a music director of something this magnitude, you have to change your dynamic on who you're talking to and what works best.

Sometimes someone needs you to sing it always for them. Sometimes people need you to just be like, this is it. It's falling under pitch period. And they're like, got it. You know? And I do pride myself on that. It's like, you know, it's a never ending, never ending of constantly cleaning the show. Cause it's so big.

[41:53] Dan Micciche: But some, one of the biggest things I learned was in a leadership position, my husband taught me this, actually, he's not in the business, but he said, when you take a penny out of the piggy bank and you give a note, you have to put a penny back in the piggy bank at some point. So it's so important that we also then say, yes, that's it. Fabulous. Affirm. Proud of you. Yes. Cause so much in this business, it's like, you don't ever hear, was that right? You know? It's just constant notes in a way of, and different people have different ways of giving notes. But I think that's the actor in me that comes out as well of just, instead of just being like, why are you falling flat on this pitch? It's like, oh, it's because, well, your tongue is like so far down in your throat and you're not using a vowel correctly.

And I know the actors appreciate that. Yes. I mean, I will never, it's a little different, but like, I'll never forget the level of affirmation that I felt when I got an email, a random email from Steven Schwartz that was literally just like, the subject line was,

[43:14] Dan Micciche: Wizard and I. And I was like, this is a joke. Someone is messing with me. And it was Mr. Schwartz just saying, hey, found your Wizard and I video. You have a new fan in me, Mr. Schwartz. I was like, are you kidding me? But I just, I love that. I love that this show has impacted so many people like this. And yet the people in these crazy positions, obviously, Stephen as the creator and you as this music director and conductor, you still get to affirm these people who at one point were the 12-year-old in the audience who was like, maybe one day I'll get to play Elphaba. Maybe one day I'll be Glinda in the bubble. That is just wild. Yeah, it is. And the magnitude of the show hits me constantly.

[44:01] Jayke Workman: You can't listen to that downbeat. You can't listen to that score without—

[44:08] Dan Micciche: Or the fact that every single night I might look to my left or my right and someone is holding hands closer or crying for good. I mean, it just, in the end of the first act, many a times, I was like, this shit's so good. It's so good. It's incredibly written, the pacing of it. And I'm very proud and grateful to work with this show. It's a lot, but it's wicked. I mean, it's wicked. It's crazy. It came out when I was a freshman in college, but life is crazy that way. Working with people that you've idolized, putting in some of these moreables that I've idolized since I was born. Ah! Ms. McKechnie!

[45:07] Jayke Workman: Don't even with me.

[45:12] Dan Micciche: That's insane. Wait. Okay. I have to ask about a no-fly Defying Gravity. How involved are you in the logistics of, she's not going up. She's not going up there, so we got to pull out all the stops, honey.

[45:20] Dan Micciche: That is one time where they don't have to flash my red light or something and let me know what's going on. It doesn't really affect us. And you can just see it happening.

[45:39] Jayke Workman: Oh yeah. It's so Broadway when it happens. I was like, oh, she's not flying. And she's coming down center stage on zero, Mama Rose. And it's just so fucking fierce. But everyone backstage, everyone's going, plan B, plan B.

[45:56] Dan Micciche: Uh-huh.

[45:57] Dan Micciche: And plan B is running on from the wings on your knees, reaching up at her.

[46:05] Dan Micciche: I live, I have never seen a no-fly in person. And now it's my goal because I've seen the show like 16 times. So now I'm like one day, one day the mechanics won't work and she will run down center and that will be the day.

[46:22] Dan Micciche: I mean, you can always see it in her face because the way the levitator works is she has to like throw herself in it to hit the safety button. So the cage comes around. Oh, I shouldn't be telling that. And so you can always see her kind of like struggling. And then I was like, oh, she's not going to fly. She's not going up. Oh my God. That is crazy.

[46:48] Dan Micciche: No matter when it happens, it's like this automatic switch on like all our 10-year-old Broadway selves come out. It's like, ah, that's why we do it.

[47:03] Jayke Workman: Wait, you were the conductor for the very first performance back from COVID, right?

[47:07] Dan Micciche: Oh yeah.

[47:09] Jayke Workman: Okay. Was that like being at a fucking football game?

[47:12] Dan Micciche: It was hands down one of the top three incredible moments in my life. I will never forget watching the video of Ginna Claire coming down in the bubble and it just being seven minutes of applause. What got me was, I mean, the whole show was just wild. I mean, the emotions of rehearsing that show for five weeks before and the emotions of those 18 months and the fear and the depression and the sadness and all the things. And then that first show, it was something literally, I don't know, in my performance career, I will be able to top. I mean, it just, and then after the show, after the bows, there was like five minutes of applause.

[48:12] Jayke Workman: Wow.

[48:13] Dan Micciche: It was unbelievable.

[48:15] Jayke Workman: That is wild. Well, and then you're in such a special position because the drop comes in, the cast is behind it, but you are still there in the center of everything. You get to turn around and see that house.

[48:28] Dan Micciche: It was wild. It was wild.

[48:30] Jayke Workman: That's, wow. So switching gears a little bit, I would love to hear about your sort of creative endeavor in creating events where you have brought performers into various, you know, types of events and parties and gatherings and everything, because I think it's such a brilliant way that you've created work for artists outside of being on stage. Would you tell me about what inspired you to start doing that?

[48:49] Dan Micciche: Thank you. Thank you so much for asking about that. That came out of COVID. That was, you know, we were living in Connecticut and we live in this magical little town and we're like, there's all these Broadway people that live here. I mean, Stephen Schwartz is like three blocks down from me. So, I mean, it's just this magical little place where like, but it's 99% of people that don't work on Broadway, but they all are obsessed with Broadway. And we started doing these backyard Broadway concerts for people. And it was a way that I could hire my friends and make music during like the middle of COVID and out in the backyard. And like, Kara Lindsay is belting her face in someone's backyard in Connecticut.

I mean, it just brought so much joy to people. And I was like, oh my God, is there a market in this? And it has just flourished. I mean, we're now doing major, major resorts and clubs down to private dinner parties. We just did like a private dinner party in Greenwich for like 10 people. And they were like, we want, I use John Riddle and Carrie St. Louis a lot, but I use a bunch of people. And they were like, we want only Alan Menken and Stephen Schwartz songs. I was like, okay. So what happens is I tailor the event to whatever the client wants. We just did something for someone's cocktail hour at a wedding. And she was like very, very insistent on these like nine songs. Or we'll do like, we do like a summer series up in the Cape and P-Town and all this stuff. It's great.

[51:00] Dan Micciche: Yes. So going back to the concerts and stuff. So really what was awesome about it was it was like a COVID thing that came out of that. But then with my husband's help, because he's like the marketing business guy behind it, we did this big outreach and there were some people that were like, this is brilliant. Some people were like, we never would have thought this was a thing. Can you help us guide us through that? And now it's turned into like, I think we did like 20 last year. So how it's really, it's really great. And I get to work with my friends and give them money and you know, when we're making people so happy, like these people are like, I never thought this could be a thing. And so it's really great.

And you can check it out on my website. And yes, damagekmusic.com and plug it, honey. And yeah, it's just, it's, it's been wonderful. It's been really, really wonderful. Magical people working with you, freaking Carrie St. Louis and John Riddle. I'm obsessed. I love Carrie. We have friend of the pod, Carrie St. Louis. I'm bringing in Morgan James to do some soon of Carrie Fuller, John Riddle, Kevin McAllister. Do you know Kevin McAllister? I do. He's amazing.

[52:35] Jayke Workman: Work.

[52:36] Dan Micciche: Tamara Green, Stephanie Umo, all these people. Amazing. Well, Dan, you are such a delight. Before I let you go, I have a series of musical theater rapid fire questions to ask every guest. Are you ready?

[52:49] Dan Micciche: Yes.

[52:50] Jayke Workman: Sondheim or Andrew Lloyd Webber?

[52:57] Dan Micciche: Oh, Sondheim. But I do love Sunset Boulevard.

[53:03] Jayke Workman: Spoken like a true homosexual. Sweatpants or jeans?

[53:08] Dan Micciche: Sweatpants. Do you have a favorite musical?

[53:13] Dan Micciche: F3. What are they? The original Sideshow, the original La Cage and Crazy for You.

[53:24] Jayke Workman: Oh my God. I love those. Do you have a least favorite musical?

[53:32] Dan Micciche: No.

[53:33] Jayke Workman: Spin it on the podcast. Are you a morning person or a night owl?

[53:43] Dan Micciche: Well, we're about to have a baby in like eight weeks. I have been becoming more of a morning person. It just really depends. I'm like, I just got to get my ass to bed at night. And that's been the hard part.

[54:00] Jayke Workman: Totally. I used to be an evening person, but I really do love my mornings.

[54:05] Dan Micciche: So I guess I'm becoming a morning person.

[54:08] Jayke Workman: And you're going to have a little baby with you in the morning.

[54:12] Dan Micciche: Yeah. Golden Age or Contemporary?

[54:16] Dan Micciche: Golden Age. Do you have a favorite show that you have ever worked on?

[54:23] Dan Micciche: I'm like a two-show Sally over the last 17 years, Chicago and Wicked.

[54:27] Jayke Workman: Oh, please. Two heavy hitters. Coffee or tea?

[54:34] Dan Micciche: Coffee.

[54:36] Jayke Workman: What is the hardest show that you've ever done?

[54:40] Dan Micciche: Wicked.

[54:43] Jayke Workman: Love. Who is the silliest Galinda you've ever put into the show?

[54:49] Dan Micciche: I have to say Kara. Kara is just fabulous.

[54:52] Jayke Workman: Kara Lindsay.

[54:54] Dan Micciche: She's so stupid.

[54:57] Jayke Workman: Oh, absolutely. Her Galinda is unhinged. Do you have any pets?

[55:02] Dan Micciche: Yes. My baby, Henry. He's a golden doodle.

[55:06] Jayke Workman: Henry, I love. Could you think of the biggest onstage slasher, the biggest onstage slash backstage mishap that has happened for you at Wicked?

[55:25] Dan Micciche: That I can share? Something recently happened and he'll hate me for shouting him out if he hears this, but I won't say the name, but it was really hilarious. So in the opening, someone says, look, it's Galinda. And the person goes full out, look, it's Wicked.

[55:54] Dan Micciche: It was so good.

[55:58] Jayke Workman: And then does he have to double down and be like, I mean, Galinda?

[56:03] Dan Micciche: No, it just was like, okay, we're going. Look, it's Wicked.

[56:08] Jayke Workman: And just full out screaming.

[56:11] Dan Micciche: Of course. Oh my God. Well, my last question for you is a question I ask every guest, which is what is one thing that you would tell baby Dan?

[56:21] Dan Micciche: That it's going to work out more than you ever could have dreamed. And keep preparing because it prepares you for the opportunity.

[56:35] Jayke Workman: A hundred percent. Well, Dan, I am so, so happy that I got to chat with you. I can't wait to meet you in person. Would you tell the listeners where they can find you on the socials and keep up with your amazing work?

[56:45] Dan Micciche: Yes, happily. My Instagram is my name, Dan Micciche, M-I-C-C-I-C-H-E. And my website is danmicchikemusic.com.

[56:58] Jayke Workman: Love. We love to see it. Thank you so, so much for being on the show.

[57:04] Dan Micciche: Thank you for asking me and having me. And I was so thrilled to see your email come through.

[57:10] Jayke Workman: Oh, absolutely.

[57:14] Jayke Workman: You guys, that's it for another episode of Oh My Pod, you guys. Don't forget to rate, review, and subscribe anywhere you listen to the pod. And you can follow the show on Instagram at Oh My Pod, you guys. Also, please feel free to shoot me an email at OhMyPodYouGuys at gmail.com. Thank you so much for listening. Talk soon. Bye.