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[0:00] Jayke Workman: This year for the Fourth of July, I celebrated the true meaning of the holiday.

[0:04] Jayke Workman: The 100th anniversary of the Caesar Salad.

[0:12] Jayke Workman: Oh my god, did you hear?

[0:14] Jayke Workman: Did you hear?

[0:14] Jayke Workman: Did you hear?

[0:15] Jayke Workman: Oh my god, guys.

[0:17] Jayke Workman: Hi, Jake is a podcast.

[0:18] Jayke Workman: Oh my god, oh my god, oh my god, you guys.

[0:27] Jayke Workman: What's up, everybody? My name is Jayke Workman, and this is Oh My Pod, you guys, a musical theater and pop culture podcast.

[0:34] Jayke Workman: You guys, at the time of this recording, I have some very, very exciting announcements about a new project that I am going to be a part of this summer.

[0:44] Jayke Workman: Um, but it has yet to be announced, so I will have to wait until next episode of the pod to officially get to share with you what I'm about to do.

[0:52] Jayke Workman: But let's just say I am working with a very exciting team on a new musical in New York City, and I could not be more thrilled.

[0:59] Jayke Workman: This when I like set out to have a career in theater, it was of course, you know, the the like sleeper pipe dream of mine to originate things and to be part of new works.

[1:11] Jayke Workman: And so to get to say that I, you know, participated in a new production at Arena Stage, and then to do this new musical in New York in the same summer is just like incredible.

[1:22] Jayke Workman: And it is not lost on me how lucky I am and fortunate I am that I get to say that I'm a working actor, and I get to have a hand in in new material all the while standing by at the longest-running American Broadway musical.

[1:35] Jayke Workman: It's just, yeah, things are I'm very grateful, is what I'm trying to say.

[1:39] Jayke Workman: I am so excited to share with you this project, and I'm just expressing my ultimate gratitude on the podcast because the shit is hard, and uh it's not for the fan of heart.

[1:51] Jayke Workman: And there are many, many times where it is not as uh fruitful, one might say.

[1:58] Jayke Workman: Um, but this week, this month, this summer, I'm feeling very lucky and grateful.

[2:04] Jayke Workman: And I hope you are too.

[2:05] Jayke Workman: You guys, I have a kooky, crazy, spectacular interview for you with the icon that is Mary Testa.

[2:13] Jayke Workman: But before we get into that, we of course have to dive into this week's Broadway World recap, brought to you by my amazing pals at Broadwayworld.com.

[2:22] Jayke Workman: First, you guys, we got the announcement that the highly anticipated wicked film adaptation has actually had its opening day moved up five days from November 27th to November 22nd, which I mean, of course, any one day sooner would have been exciting, but you know, a week earlier than expected is thrilling.

[2:43] Jayke Workman: But I'm kind of like, why what are who what? Why?

[2:47] Jayke Workman: I mean, like, when you think of, you know, the sort of quintessential like movie release date being Thanksgiving, you would think that that would be sort of like the coveted slot.

[2:57] Jayke Workman: So the fact that they are trying to beat that is a little interesting to me.

[3:01] Jayke Workman: It is, you know, also the same day that Disney's Moana 2 is set to be released on the 27th.

[3:07] Jayke Workman: So who knows? Maybe this is a brilliant marketing scheme.

[3:10] Jayke Workman: But either way, we get it five days earlier, and I I couldn't bamba I had to, I had to, as I am a homosexual.

[3:19] Jayke Workman: Next, you guys, Broadway World shared a really awesome first look at Empire the Musical, which is the new musical playing at New World Stages, and it's set to have a 12-week limited engagement run.

[3:30] Jayke Workman: But you guys, the photos look gorgina.

[3:34] Jayke Workman: I mean, it is the work of one Matthew Murphy, friend of the pod.

[3:38] Jayke Workman: So obviously the photos are gonna be stunning.

[3:39] Jayke Workman: But this costume design, the lighting design, the scenic design, they all look beautiful.

[3:44] Jayke Workman: I cannot wait to see the show.

[3:46] Jayke Workman: This elevated new musical celebrates the world's most iconic tower, the Empire State Building, and it celebrates the stories of the immigrants who had the guts to take on this insane huge project in the Roaring Twenties and through the Great Depression and into the bicentennial year of 1976.

[4:04] Jayke Workman: So I am so excited to check this out, and you guys should all check out the photos on BroadwayWorld.com.

[4:11] Jayke Workman: Next, you guys, Broadway World shared the very exciting first look at the new production of Midnight in the Garden of Good and Evil at the Goodman Theater, which is being directed by Tony Award winner Rob Ashford, and is led by Tony and Grammy Award winning actor Jay Harrison Ghee as The Lady Chablis, Tony Award nominee Tom Hewitt as Jim Williams, and Olivier Award nominee Sierra Boggus as Emma Dawes.

[4:34] Jayke Workman: You guys, these photos, I mean, Jay Harrison Ghee. Where do we even begin?

[4:39] Jayke Workman: They look absolutely incredible.

[4:45] Jayke Workman: This is, of course, the stage musical adaptation of John Barrett's iconic nonfiction book of the same name.

[4:51] Jayke Workman: And it has a book by Taylor Mack and music and lyrics by Tony Award winner Jason Robert Brown.

[4:57] Jayke Workman: I cannot wait to hear this score.

[4:59] Jayke Workman: I want to know everything about this show.

[5:01] Jayke Workman: I mean, come on, Tom Hewitt, he is looking dapper as always.

[5:07] Jayke Workman: My very own first Billy Flynn ever on Broadway. Hi!

[5:10] Jayke Workman: Hi, Mister. Miss you.

[5:13] Jayke Workman: Come on the pod, Tom. I gotta get Tom Hewitt on the pod.

[5:16] Jayke Workman: You guys, you have to check out these photos on Broadway World.com.

[5:19] Jayke Workman: The show looks incredible, and I cannot wait to see where this show goes after the Goodman.

[5:25] Jayke Workman: And lastly, you guys, Broadway World shared the very exciting announcement that there is a studio 54 musical in development for Broadway.

[5:33] Jayke Workman: And it's gonna feature direction and choreography by Sergio Trujillo, who has an incredible history of choreography on Broadway.

[5:42] Jayke Workman: This Broadway aimed musical traces the astonishing ascent and sudden downfall of the most legendary club in nightlife history.

[5:48] Jayke Workman: And with choreography by someone who is so so established and just knows the language.

[5:55] Jayke Workman: I mean, how could you not have a hit on your hands with Studio 54 the musical?

[6:00] Jayke Workman: I'm so intrigued by this.

[6:02] Jayke Workman: It is very early days for the show, so there's not much more I can share, but I will of course keep you updated on all things Studio 54 the musical as I hear them reported by BroadwayWorld.com.

[6:14] Jayke Workman: And you guys, this has been the Broadway World recap.

[6:17] Jayke Workman: Oh, my pod, you guys. I am so excited to welcome my next guest to the show.

[6:23] Jayke Workman: Our path recently crossed for the first time, and I am so overjoyed that they did.

[6:27] Jayke Workman: She is a three-time Tony nominated actress. Please welcome Miss Mary Testa!

[6:35] Mary Testa: Hi, Jay!

[6:36] Jayke Workman: Welcome to the podcast!

[6:37] Mary Testa: Thank you so much for being here.

[6:39] Mary Testa: Oh, it's very nice of you to ask me to do it.

[6:41] Jayke Workman: Oh my god, I was thrilled when you when you said you wanted to come on. Would you tell the listeners where are you calling in from on this fine day?

[6:48] Mary Testa: I am in my house in Greenwich Village, calling in.

[6:51] Jayke Workman: Greenwich. We love her.

[6:54] Jayke Workman: And you and you just froze.

[6:56] Mary Testa: Oh, it's okay. You can if if you can still hear me, I can hear you.

[7:00] Jayke Workman: Okay, perfect. Sometimes I'm very bad with technology, so I always have to be taught through things.

[7:05] Mary Testa: So am I. I'm it's a wonder that I have been able to make this a thing because I I repel technology, but me too.

[7:14] Jayke Workman: I'm so glad you're here. I uh I'm so uh like overjoyed that our first thing that we got to do together was a wrinkle in time at Arena Stage because it's such a brilliant it's so special.

[7:26] Mary Testa: I mean, I I had you know the the first sort of like draft and everything in my mind um a year ago when we did it at New York Station Film.

[7:35] Mary Testa: But to get to revisit this piece and then to see it fleshed out in such a beautiful way, and to hear you and Canita and Amber sing this crazy music was just thrilling.

[7:46] Jayke Workman: How did how did you first come to be a part of the show?

[7:49] Mary Testa: Well, they asked me to do it last summer, but I was booked with something else, and the timing um the the overlap was not gonna it we wouldn't have happened for either party, so it wasn't it just wouldn't happen, and I was so um I was so upset because I just think Heather is extraordinary and had done one other project with her, and so to work with her again, and also I know Lee because um her husband Daniel was the um uh the um uh orchestrator of Oklahoma, yes and also another project that uh we were working on called Most Happy.

[8:25] Mary Testa: So I met Lee through Daniel, you know, because she would come and see things, and then I saw oratorio, which Lee directed, and I was like, oh my god, this is sensational.

[8:36] Mary Testa: And so I was really upset, and I had said yes to do a reading for Grace McLean of her piece called A.

[8:46] Mary Testa: Oh, that's right, and um then this came about, and I literally I don't usually do this, but I said, I have to pull out of yours because I need to do this.

[8:57] Mary Testa: I was supposed to do this a year ago.

[8:58] Jayke Workman: Right.

[8:59] Mary Testa: And I couldn't. I felt really bad, and I hope she understood, but I just really needed to.

[9:05] Mary Testa: I just think Heather's so extraordinary, I just really needed to work with her.

[9:09] Jayke Workman: Oh, absolutely. I mean, the I I actually first uh came to know Heather because of Oratorio through that audition process.

[9:16] Jayke Workman: And so getting to like audition for her was a different thing.

[9:21] Jayke Workman: Like being handed the sides of music and being like, what the hell is this for an audition?

[9:27] Jayke Workman: I was like, what imagine?

[9:29] Mary Testa: Yeah.

[9:30] Jayke Workman: It was so crazy.

[9:31] Mary Testa: But um, but yeah, I mean, this music is so special, it's so inventive and new.

[9:35] Mary Testa: Um, but it also just like hits on an emotional level.

[9:40] Jayke Workman: It was so thrilling to have new eyes and ears in the room for those presentations because yeah, you get the laughs and you get the the tears and everything.

[9:47] Mary Testa: But yeah, it's so crazy.

[9:48] Jayke Workman: Right. So do you when when you are I mean diving right in, when when you are sort of offered the opportunity to do a new project, is it such that you are it's it basically a yes or no? Like I just want to hear the material and I Yes will say yes or no.

[10:03] Mary Testa: Well, it depends on who it is, right? Um, you know, there are a number of things that I turn down.

[10:08] Mary Testa: Uh, you know, not that I'm like offered stuff every day.

[10:11] Jayke Workman: No, no.

[10:11] Mary Testa: But there are projects that I say, well, this looks really cute, but I I don't want to do this.

[10:17] Mary Testa: This is not where I'm at right now.

[10:19] Mary Testa: I mean, I've been doing this for 48 years, and so there are things that I want because they're gonna challenge me, and then there are some things that I feel like, well, I'll be doing you a favor doing this, but this is sort of treading water for me, and so this is not what I want to do.

[10:35] Mary Testa: Yes, I really just want to work with like genius people that are challenging, and I want to challenge myself.

[10:42] Jayke Workman: So I would certainly say that Heather Christian is one of those two.

[10:45] Mary Testa: Yes, yes.

[10:46] Mary Testa: There's a there I work with a number of people and have worked with a number of people that I find challenging and wonderful.

[10:53] Mary Testa: I work a lot with Michael John LaCuza.

[10:55] Jayke Workman: Yes.

[10:55] Mary Testa: And I adore his stuff.

[10:57] Mary Testa: And I am going to do a workshop of the Lazar brothers, who are also just magnificent.

[11:04] Jayke Workman: Fantastic.

[11:05] Mary Testa: Yeah. And so, you know, like I I and I love the young voices, you know.

[11:09] Jayke Workman: Yeah.

[11:10] Mary Testa: And so, yeah, like if it's interesting and challenging to me, I will always be a part of it.

[11:16] Jayke Workman: I love that.

[11:16] Jayke Workman: Well, and I uh, you know, even just getting to know you over that sort of like three-week uh time period.

[11:22] Jayke Workman: Uh you're so open and giving, but you're also just such a no bullshit, give it to me straight type of person.

[11:28] Mary Testa: And I love that.

[11:29] Mary Testa: It's true.

[11:30] Jayke Workman: I mean, how could you have a such an enduring career and not be that way?

[11:34] Jayke Workman: You know, it's like I you've been in the game for so long.

[11:36] Jayke Workman: You're like, I know what works, I know what I need to make it work for you.

[11:40] Jayke Workman: Like, let me just give it to me straight and I will do it for you.

[11:43] Mary Testa: Yeah, it's really true.

[11:44] Mary Testa: I've always been this way, though.

[11:45] Mary Testa: I mean, even even when I was in my 20s.

[11:47] Mary Testa: I've always this is the person I am, and that's who I am.

[11:50] Mary Testa: She's brassy.

[11:52] Jayke Workman: But I am very um I am very I'm a team player and I I enjoy uh I enjoy the um collaboration.

[12:01] Mary Testa: You know, 100%.

[12:02] Jayke Workman: So uh I've always enjoyed the collaboration, and so I'm not that, you know, I need this because I need to be, you know, blah blah blah.

[12:10] Mary Testa: Right.

[12:10] Mary Testa: No, I need this when I need to be comfortable or what I need, you know, communication what I need, that kind of stuff.

[12:16] Mary Testa: I'm very like cut and dry.

[12:17] Jayke Workman: Totally.

[12:18] Mary Testa: But the collaboration of every project to me is exciting.

[12:21] Jayke Workman: Yeah.

[12:22] Jayke Workman: Well, you touched on it a little bit, but I would love to know about sort of the uh ever evolving experience of being a uh an actor in this world of theater where you know you you started your career in one place and now the things that you work on are so very, very different.

[12:42] Jayke Workman: What is it like to go from doing something like the rink to then do something like Daniel Fish's Oklahoma, where it's like we have taken this classic piece of theater and completely reimagined it.

[12:55] Mary Testa: Like, is that what you are drawn to most in taking on new projects?

[12:59] Mary Testa: Yes, I like listen, I you know, there I've done I started with Bill Finn.

[13:03] Mary Testa: So I started with something unusual.

[13:05] Mary Testa: That's right, I'm different.

[13:06] Mary Testa: Um his voice had never been heard before.

[13:09] Mary Testa: So, you know, I started in this city basically within trousers, which was the beginning of Bill Finn's career.

[13:15] Mary Testa: So I've always been drawn to the new voices and the new experiences.

[13:21] Mary Testa: But as an actor, you've got to do like I I don't always want to do revivals of things that if they're not looked at, you know, differently.

[13:30] Mary Testa: I mean, but you have to you have to pay your bills.

[13:33] Mary Testa: So it's it's kind of the thing that is I find um interesting is the balance between art and commerce.

[13:40] Mary Testa: If you're able to work on artistic things and then do some commerce things, you know, at the same time, it's a good balance.

[13:48] Mary Testa: If you're able to to be artistic and work on projects that are challenging and creative and interesting and not middle of the road, then you've won.

[13:57] Mary Testa: You know what I mean? And if you can pay your bills, then you've won again.

[14:01] Mary Testa: So as an actor, then you've won.

[14:03] Mary Testa: So I've done a fair amount of both.

[14:05] Jayke Workman: Yeah.

[14:05] Mary Testa: Um, and I will probably continue to do a fair amount of both.

[14:09] Jayke Workman: Sure.

[14:10] Jayke Workman: But I think it's so fun too to to think of it. I mean, obviously, in terms of like the the things that challenge you and fulfill you artistically, but then you know, on the commerce side of things, you do have to pay bills.

[14:21] Mary Testa: But I think there's also something exciting to you know consider when like we could be doing Chekhov or we could be doing Xanadu.

[14:30] Mary Testa: And either way we're being fulfilled artistically.

[14:33] Jayke Workman: And like, well, let me tell you something. I don't know if you saw Xanadu, but Xanadu was pretty gross.

[14:37] Mary Testa: Oh, it was fucking incredible. Are you kidding? Yeah, it was great. I had Miss Carrie Butler on the podcast, and I was like geeking out because I was like, this that was my senior high school show, and I was terrible in it, of course.

[14:51] Jayke Workman: Oh my god. You did it or you saw it?

[14:54] Mary Testa: I did it. I did it. Did you see it on Broadway?

[14:57] Jayke Workman: Did you see us?

[14:58] Mary Testa: I did not. I've listened to every possible bootleg and cast recording, of course. But nothing compares to seeing it in person, I'm sure.

[15:06] Jayke Workman: No, that was pretty great. But you know, and a lot of people, you know, this is just a side note, but I remember when we were in rehearsal, people were just like, "Oh, are you still working on that show? How's it going?" Like everybody just assumed it was gonna tank.

[15:18] Mary Testa: A flop, yeah. And finally I was like, do you see who's involved with this? Right, no, look around.

[15:31] Jayke Workman: Oh my god. Well, before we dive further into, you know, your sort of like career and all of these amazing shows that you have had a hand in creating, I would love to know what your sort of like childhood/familial background was like and how it formed your path to musical theater. Were you always this theater woman?

[15:59] Mary Testa: Uh, no, no. I mean, I always sang because my mother was a singer, and so I sang from the time when I was little, but I never intended to do musical theater. I was gonna do music separate from theater. Uh-huh. And um, I in my teen years, and this is kind of a like a famous story that I've told a million times on podcasts. I was trying to decide between law and theater, and I decided theater because I wouldn't have to go to school as long, basically.

[16:28] Jayke Workman: Yes.

[16:28] Mary Testa: And so I studied at, um, I majored in theater at the University of Rhode Island. I did not finish. I finished all my theater credits by my first semester junior year, and then I worked three jobs to save money and moved to New York.

[16:42] Jayke Workman: Pierce.

[16:43] Mary Testa: Um, but I never intended to do musical theater, and it was just because someone heard me sing, um, when I was in college, actually it was Bill Finn, but um, that my path became musical theater, and I wasn't really pleased with that, and I was lucky enough to get agents who are still my agents, the same agents early on. And I said, I don't want to just do musicals. I need to do plays, I need to do film, I need to do television, yeah, I need to do everything. And so it was a fight, but I got I'm able to do that, which I'm very pleased with.

[17:20] Mary Testa: Um, I don't much work in classical theater. I don't do a lot of Shakespeare. I've done some, and I don't do Chekhov and things like that. Although I'd be open to doing it, I just have never been asked to do it. Yeah. Um, but I'm open to everything. I mean, I kind of like the experience of everything. I mean, your resume certainly suggests that having done so much TV and film, some concert work and all of that stuff. So, but it was a fight to get them to understand that. You know, and I credit my agents with allowing me to be who I am because they, you know, there's been many times over the course of many years where I'm like, I don't want to do that. I want to do this. This pays me $200 a week and that pays me a thousand dollars a week. I want to do the $200 a week. And my agents have never been like, no, you need to do the one that so we can make money. They've never been that way with me.

[18:17] Jayke Workman: So I'm fortunate.

[18:18] Mary Testa: That is a very fortunate spot to be in. Because, you know, yeah, there comes a point in your career where obviously you have enough already sort of set behind you, so you can take those opportunities to be like, well, this month, this week, I can afford to do the $200 thing. And if it's gonna make me feel like more of an artist, then I'm gonna do it.

[18:38] Mary Testa: Yeah, exactly. It's gonna make me happy or it's gonna be what I wanna do. Totally. It's um what I want to have the way I want to express, or, you know, it's a new person, new voice, and I wanna, I wanna, you know, channel that. I want to be able to work with that.

[18:53] Jayke Workman: So before you were, you know, sort of Broadway's Mary Testa, were you going into rooms just saying here it is, and if you like it, you like it, and if you don't, you don't, or were there a lot of, um, not struggle, but like, you know, were there lots of auditions where you were like, I'm not getting this job? Or was it, yeah, okay, of course?

[19:15] Mary Testa: There's still lots of auditions where I don't get jobs. I mean, I like, you know, I know, and I laugh with my agents, you know. But I have one agent who, uh, you know, all these Zoom auditions or these, you know, putting yourself these self-tapes, you know. And I, um, I make my agent read with me and tape it because I'm like, I'm not, I live by myself. So I'm like, I'm not finding somebody to read with you, figure it out.

[19:40] Jayke Workman: Right.

[19:41] Mary Testa: When during the pandemic, I was like, you need to figure this out because I'm not gonna do this myself. So my agent zooms me, it's perfect. He zooms me, he reads with me and he films me. So perfect. But I rarely get any of the stuff that I self-tape. I rarely get it. The majority of my jobs at this stage of the game are offers, and which is great. Yeah. Um, but there are still things I have to audition for and don't get. So, you know, sure. Uh, uh, yeah, uh, and even when I was younger, I mean, you know, you just listen, I've always been of a mind of you walk into a room and you do the audition for yourself and just have a good time.

[20:24] Jayke Workman: Right.

[20:24] Mary Testa: Because they're either gonna say, yeah, she's what we want or she isn't, and so there's nothing you can do to control that. All you can do is to be the best you can be, yes, and have a good time, you know.

[20:35] Jayke Workman: Absolutely. So then cut to, you know, now you're in this position where you are sort of known in the community, you're known as like a certain type, maybe, or like, you know, you've been nominated for these Tony Awards and everything. Do you feel like your sort of like name and brand and reputation enters the room before you do in terms of being considered for roles? Does that have something that you argue?

[21:05] Mary Testa: I have no idea? I mean, uh, I really don't. I'm, uh, I do, I'm still frustrated by, as many people are, by, you know, being considered old. This is what she does. Right. And I'm like, I can do so, I can do a whole bunch. And absolutely. And so I still get frustrated by that. Um, so I don't know. I mean, I don't, I don't even, I'm always like, oh, Broadway's Mary Testa. Well, okay. But you know, I, I don't even, I don't take any of that on like I'm just like, uh, yeah, I have worked on Broadway, but you know, I don't consider myself that and the powers that be don't consider me that either, I don't think so.

[21:49] Jayke Workman: Right, right.

[21:50] Mary Testa: I don't know.

[21:50] Jayke Workman: I love it. Well, so in thinking of, um, sort of like long-term artistic partnerships and relationships that you have forged throughout your career, I would love to talk about Bill Finn and his amazing works because you have really put your stamp on them in such a memorable way and now that's sweet often, you know, people only think of you when they think of the songs from A New Brain and all of his work.

[22:18] Mary Testa: So like would you—

[22:18] Jayke Workman: That's very sweet.

[22:21] Mary Testa: I um, yeah, like I said, I met Bill when I was in college because um, my theater department had a 10 show, we had this Rockefeller grant to do 10 new shows and one of the shows was a show called Scrambled Eggs, which was Bill's show. He had just graduated Williams College. So all the shows were new, which was very exciting, and they asked him who he wanted. They we had an equity company, um, and as students we would participate in the shows. I was lucky enough to get roles in pretty much all of them. Um, but they asked who he wanted, and he said, I and I was doing a production of Antigone. I was in the chorus, yes, and we made these sort of musical sounds, and he was like, uh, the one with the big hair, I want her, I want her.

So that's how I met him. I was still in college, I think I was 19, but then I moved to New York at 21, and he called me, Alison Frazier, and a woman named Kate Pessick, and we started, that's how In Trousers came about. We just started working on his material.

[23:25] Mary Testa: Wow. And then we'd perform In Trousers for, we'd clean his apartment and get grapes and wine and stuff, and then have people come and listen to this list of songs. And one of the people that came was Ira Weitzman, who then said, we want this for Playwrights Horizon. So my connection with Bill was, uh, you know, very deep. However, um, after In Trousers, March of the Falsettos happened, right? So that's where I got my first Broadway show.

[23:54] Mary Testa: Wild. We were in a workshop of March of the Falsettos, and I think we were getting paid $75 a week. And my character from In Trousers was in March of the Falsettos, and I had to decide, um, between staying with the workshop or taking my first Broadway show. I didn't want it, but I, that was my first art versus commerce. So I took the Broadway show because I, at that time, it was 1980, I was getting paid four hundred dollars a week.

[24:21] Jayke Workman: Right.

[24:21] Mary Testa: And I was like, I need to do this, even though I didn't want to. And he didn't speak to me for a year, and then my part got written out, which it should have been because she really had no place in March of the Falsettos. So everything happened the way it should, but then I spent a big chunk of time not being involved in Bill's stuff because first he was mad at me, and then, you know, the character just didn't have a place. So it wasn't until A New Brain that I came back sort of into Bill's fold. And they had done several workshops of it, but they just offered me the Lincoln Center production. So that's how it sort of happened. And then we also did like some Joe's Pub live at Joe's Pub, like an album.

[25:07] Jayke Workman: Yeah.

[25:08] Mary Testa: Stuff like that. So, but I spent a big chunk of time not being involved in Bill's world. So, and then I just recently did A New Brain up at Barrington Stage, but I played the mother this time.

[25:21] Jayke Workman: Yes.

[25:21] Mary Testa: And I did it because he's up there. He lives up there. Um, his health is not great. And so I really wanted to spend time with him and just sort of honor him, and I just think he's extraordinary.

[25:34] Jayke Workman: Absolutely. I mean, you know, I can't even imagine being, you know, handed the sheet music and hearing for the first time "Change" and thinking—

[25:43] Mary Testa: Oh yeah.

[25:43] Jayke Workman: Oh yeah, sure, I can sing this for you.

[25:46] Mary Testa: Well, you know, I did, I well, it was just like in rehearsal. I mean, I didn't have to audition or anything. Right. Also, Michael Starobin, who he and I have worked together from, he orchestrates a lot of Bill's stuff and orchestrated In Trousers. So I've known Michael since he was 19 as well, and you know, he and I have done several shows together. We have worked together a number of times on sort of left of center cabaret if you want to call them things.

[26:13] Mary Testa: And sure, um, I love Michael. Michael's like my family. So he was involved. So you know what I mean? It's like working with the people that you love the most, and you know, how I adore Michael, and I think he's another genius.

[26:25] Jayke Workman: So yeah.

[26:26] Mary Testa: That's great. Well, something that I have asked a few people on the podcast about is your sort of thoughts and opinions on the ever-changing, uh, landscape of recording, specifically recording musical theater, because obviously we talk about being TV and film actors, and that is a completely different thing. But I came to know you through the videos of these incredible concerts that you were singing in, and you know, your own videos that you would post on the internet. But I'd love to know, like, I mean, like I just think of, and I think I told you the other day about like I have watched that video of you and Rebecca Luker and Audra singing "Sing for Your Supper."

[27:10] Mary Testa: Oh yeah.

[27:12] Jayke Workman: Probably a thousand times. And I, oh funny, never did I think that I would be sitting and chatting with you, uh, when I was watching that video. But like, do you think, do you find that the video element of things now, uh, maybe apart from self-tapes, um, enhances an audience's, um, sort of access to the world of theater?

[27:31] Mary Testa: Uh, I guess. I mean, honestly, I don't know, and I didn't videotape that. Uh, that was a Boston Pops concert that was on PBS for many, many years ago. So I don't know who put that up because I don't do any, I, I have someone, I have this wonderful guy, his name's Gabe Crawford, he does my Instagram for me. So he's the one that finds these things and puts them up. I don't. Um, and I don't, you know, uh, I don't, if I had to do it myself, I wouldn't. I find that uncomfortable.

[28:00] Mary Testa: Yeah, but apparently you need to do that in order for people to respond. Sure. Um, so, uh, you know, I'm the worst person about social media and stuff like that because I would not do it if I didn't have to. But Gabe helps me.

[28:18] Jayke Workman: Love that.

[28:19] Mary Testa: So I can't answer your question because I really don't know, but I would assume with the, you know, the blossoming of social media and videos and things like that. Yeah, I guess people are drawn into certain entertainers' worlds by seeing their stuff on YouTube of you on YouTube, the recording from that Boston Pops concert.

[28:42] Jayke Workman: Oh, wait, I think it was the same concert of, um, when you sang "To Keep My Love Alive."

[28:46] Mary Testa: Yeah, that's the same concert, yeah.

[28:48] Mary Testa: It has hundreds of thousands of views. Are you aware? That's so crazy to me. Um, you know, Catherine, who was doing the workshop with us, she said, I can't tell you how many times I've watched that video. Like one of the first days. I was like, oh my god, that's so great. Thank you. But how special that like something that you may not have thought would have this longevity, you know.

[29:10] Mary Testa: No gets to be a good idea. I have no idea you're telling me that's the first time I've heard how many views. I mean, I don't know, and I don't search it out either, you know what I mean? So um, but um I do appreciate there are some videos from one of my favorite things to be involved with was a show called Our Hit Parade, which was Kenny Melman. Um and it was at Joe's Pub, and they would take the top ten songs from and then ask people to sing them. So I literally have a song with Ken. There are two videos that I love. One is with Kenny doing um uh that um oh, what's that country group called? Uh fuck. Oh, you're not supposed to swear.

[29:54] Jayke Workman: Oh, you surely can, darling. This is a Broadway world. We can say whatever the hell we want.

[29:58] Mary Testa: It is um uh uh Would it be Lady Antebellum? Is that that? Yes, yes, Lady Antebellum. Need you now.

[30:05] Jayke Workman: Need you now?

[30:05] Mary Testa: Yes, yes, yes, yes, yes. Yes, love it. So I mean, I could just, you know, we could like jib or jabba forever because I have so many questions for you, but I would love to know, switching gears a little bit. You have done so many different shows throughout your career, both on Broadway and you know, uh regionally and wherever. Was there ever a show, or could you could you think of an instance where you thought this is it? This is something that uh no one else has done before.

[30:37] Mary Testa: Yes, Queen of the Mist.

[30:40] Jayke Workman: So did you know going in that it was gonna be that, or was it like throughout the process?

[30:45] Mary Testa: Because it was written for me by Michael John Lachiusa. Right. And it was uh a show that spoke to my soul, the character. It was an underdog, it was Anna Edson Taylor who was the historically the first woman to go over Niagara Falls in a barrel of her own design and survive. Um she was ignored and mocked because she was a difficult woman in her 60s, and um died a pauper in a pauper's grave. And Michael John, when he writes for you, he writes to the bottoms of your the depths of your soul and to the top of your range. So and and it goes through, you know, from the bottom of your range to the top of your range all night long. And it was the first time I played the lead. It was me, yeah, who sang everything, said everything, and got the final bow.

That has never happened for me before because I'm a supporting actor for the most part. And it was a very challenging show to do. It was an extraordinary experience. And I don't know that I will ever have a role that is that good. So yes, it was Queen of the Mist.

[31:56] Jayke Workman: Wow. And so do you when was that uh last iteration of it?

[32:01] Mary Testa: That was oh, a good 11 years ago. Okay. Um, we did a concert version five years after we uh five years after the uh opening the original run. We did a concert version um for this was all through Transport Group. Yes. And then we are, I believe, doing another concert version of it in February out at um the uh Montclair Theater, the New Jersey in New Jersey because Wiley Housum runs it now, so we're doing that. It's very funny.

[32:35] Jayke Workman: Fantastic.

[32:36] Mary Testa: Oh my god, I will have to haul my cookies over to New Jersey and there's an album. There's an album, yes, absolutely. But to see to hear, I mean, just hearing you sing live in that rehearsal room in DC, girl. I was like, this is it, it's crazy. Did you always know you had that voice?

[32:54] Mary Testa: Yes, just from the beginning. Yeah, I've always had a very strong voice. But I studied. I studied for the first six years when I moved to New York. I studied with an opera teacher. I was his only non, I was the only non-opera student he had. Wow. And I my classes were usually an hour long until he said I have to make these a half hour, you don't pay attention after a half hours out. So he was like, You're the only non-opera person I can listen to, which was very sweet. I don't even know if he's done that. That's a high compliment. But yes, so it was a really high con he was a doll, and he was a wonderful teacher. I don't know. His name was Michael Warren, and I don't even know if he's still around.

I haven't I mean this was like the first six years of my time in New York. So it was like till 82. Right. And then I just sang so much that all the time that I just never studied again. But you know, I probably could use some studying, but uh I mean, I think I think your your day in, day out is enough practice to to keep the the pencil sharpened for what you're doing.

[33:53] Jayke Workman: Well, you know, I also have learned, you know, at this stage of the game and at this age, I cannot do the belting like I used to do. I have to mix more and I have to place things differently, and I have to, and that's just you know being smart about your instrument.

[34:08] Mary Testa: That's technique, darling.

[34:10] Jayke Workman: Yeah, it's technique, exactly. And um, you know, I don't I don't push things as much as I used to when I was young. I mean, for forget it. For what?

[34:20] Mary Testa: Yeah, well, I mean, just then I I remember I was doing this show Marilyn, an American fable on Broadway, and we were in rehearsal and I was getting a little hoarse, and I had a dream one night, and and in the dream I said to myself, You're singing too loud. And I was like, because I wanted I guess I wanted to be noticed, you know, because I was in the chorus basically. I had a couple of standout things, but I guess I wanted to be noticed, so I thought, let me sing as loud as possible. I corrected it and then I was and then I was fine.

[34:53] Jayke Workman: Oh my god, the only person to to say you're singing too loud to Mary Testa is Mary Testa.

[35:01] Mary Testa: Oh my god, iconic. Well, thinking in in that sort of same like era of your career, I I mean, I'm sure you have been asked countless times, but I would love to know about your experience in The Rink with some really you know iconic heavy hitters of the Broadway world. Obviously, Miss Chita Rivera.

[35:18] Mary Testa: And she was wonderful. She was tough, but she was wonderful. Liza it was a it was a very um sort of fraught but exciting and really wonderful. It was a great role for me.

[35:35] Jayke Workman: Yeah.

[35:35] Mary Testa: And I had auditioned for it originally, but you know, when you've got Liza, and it was I used to sit on the backstairs in the theater and watch every night, and then I would just sort of sit outside. Is this the old Martin Beck now, which is where Moulin Rouge is, I don't even know what it's called now.

[35:52] Jayke Workman: Al Hirschfield now.

[35:54] Mary Testa: Yes. And I used to just sit on the backstairs. But um I I had a lot of weird things happen during that time. It wasn't very long. And it was really fraught. Um I'm not gonna go into all of it just because it's like old news and I kind of don't want to rehash it. But uh I wasn't treated very well by some people, and then it just was a weird experience. But when I went on, it was a uh a great and Chita was great. She was tough, but she was great. I mean, one of the first times I was on was the Fourth of July, actually.

[36:28] Jayke Workman: Oh my god.

[36:30] Mary Testa: And Liza had committed herself to the Betty Ford Center. She had two weeks left of her contract. This is all public knowledge, so I'm not speaking out of Oh yeah, you know, but um she had two weeks left of her contract, and then Stockard Channing was coming in to replace her. Right. And um the first time I went on, I was ready because I had rehearsed. It wasn't like it was a surprise. I mean, it was a surprise, but I was ready. And the first time I went on, like in the first couple of moments, Chita just went and whispered in my ear, pick up the pace. Like that was like, because you you're not in the, you know, you're just like you're trying to get everything right. So I was like, oh okay. But I had a ball with her because she's sensational.

[37:15] Jayke Workman: Yeah.

[37:16] Mary Testa: And she was a wonderful, like I remember one night, and this is another classic story. I said something to her, and she answered me in a different way. Because she's very, she was very like everything was the kind of the same. It was brilliant, but it was all done the same. Well, she's a dancer at heart, so it you know, everything was sort of and she answered me in a different way, and I came off stage and I said, I got you, I got you. You responded differently. And she said, Yes, and it didn't work. So don't do that again.

[37:51] Jayke Workman: Yeah, she was she was really wonderful. And apparently in her book, she mentions me, which I I think is really lovely.

[37:58] Mary Testa: Yes. When she was talking about The Rink, she said something about it was a difficult situation, and that I came in and you know, did a great job or whatever she said. I don't remember what she said, but um I mean I can't imagine that that sort of iconography of like, you know, I mean, it was it was early days for for everyone at that time. It wasn't nobody was that established yet, but I would imagine being offered that position, you know, and and they say, Would you like to stand by? And you say, Sure. Who who am I standing by for? And they say Liza Minelli. What the hell is that?

[38:31] Mary Testa: Like, well, I wasn't the original standby. Laura Eleanora Nemitz was the original standby, and she left. So I was doing a show at Soha Rep and had an audition to replace. And um the I think the only reason I got it was because of Graziella. Because I later saw the stage manager notes. I have lots of stories. But I later saw the stage manager's notes and the the PSM was this guy named Ed. I'm sure he's long gone, but he because he was kind of old, and he put in his notes that I wasn't able to sing it, that I couldn't sing it. And Graziella, which was bullshit because I could sing rings around it. Graziella during the auditions said there's only one person on that stage with star quality, and it's Mary Testa. So I she's the reason I got it. And and because I'm not a dancer, I had to dance and do all this stuff. But anyway, it was wonderful.

[39:26] Mary Testa: And then the other sort of nod from God, Annie Golden calls these nods from God. Annie was in the playbills. Do you remember people used to write, they put questions and answers in the playbill? This is long term. Someone put they and they posted this, they put it in the playbill. Um we went to see The Rink, and we were really disappointed that Liza wasn't there. But then we saw the understudy. Her name is Mary Testa, and she was phenomenal. And so I was like, yeah, that was the thought.

[39:57] Jayke Workman: And you're like, it's in print, bitch.

[40:00] Mary Testa: It can never it was in print, yeah. But I had a lot of a lot of sort of heartache because they uh as I said, I was treated kind of badly by some people.

[40:10] Jayke Workman: Yeah.

[40:10] Mary Testa: And it was uh it was kind of depressing, but I but it was a wonderful experience to do. I mean, even just thinking of that score and and going on for that role and singing colored lights, like what a what a crazy ride that must have been. As it was basically a newly, you know, formed Broadway baby. Like that was the early days.

[40:34] Jayke Workman: Yeah.

[40:35] Mary Testa: That is so it was uh yeah, it was amazing. And I have to say, you know, I I Liza was extraordinary when she was on. She was not very consistent during that time. There was a lot of stuff. She's been through a lot of stuff over the last friend. I have nothing but total respect for her. She was phenomenal when she was on. She was, she I you you watched her and you knew why she's a superstar. You know, you knew what know why she's beloved around the world because she just had a fragility and a vulnerability that was incredible, you know. So I mean, I'm I think doing she's you know, she took care of lots of things. I mean, she was a kid and she had to take care of her mom. I mean, it's a lot.

[41:23] Jayke Workman: Oh, yeah.

[41:23] Mary Testa: So I give her like all props, all the props. She never remembers me, apparently, which is fine. I mean, you know, we're not we're not buddies or anything, but she she doesn't remember that I was her understudy, but it's completely fine. We're gonna be doing, and I I had sort of put a moratorium on 54 Below because I just have sung there so much, and I was like, I'm done. But um, the end of July, they're doing uh The Rink, and I'm gonna be singing colored lights there because it's uh it's uh uh it's uh to honor Chita. And so that's why I'm doing it.

[41:57] Jayke Workman: Yeah, so it should be it's a great group of people.

[42:01] Mary Testa: Well, if it's not already sold out, I will absolutely be getting to it.

[42:04] Jayke Workman: Oh, yeah, I don't know. I have no idea.

[42:06] Mary Testa: So exciting.

[42:07] Jayke Workman: Oh my gosh. Yeah. Well, you you mentioned it uh like very briefly, but I have heard honestly, just through listening to your own interviews and and watching videos and stuff, that you don't typically love to replace someone in a long-running show. However, I have though. A very special connection that we have is Chicago on Broadway. And I would love to hear about you going in as Mama Morton because the role has been played by so many people. But when I heard that you did it, I of course did a deep dive and was like, I have to hear every recording possible.

[42:41] Mary Testa: Oh, I don't even know that there are recordings. Are there?

[42:43] Jayke Workman: Well, maybe not from the live like the actual production, but there is a video of you singing When You're Good to Mama on YouTube, which I have watched.

[42:50] Mary Testa: Oh, that's probably from this this show that my friend Tys Green. Do you know Tys?

[42:55] Jayke Workman: Yes.

[42:55] Mary Testa: He put together this show in Houston, this cabaret of me doing all the things I've done, and I not anything I would do in New York City. So he made me sing that there. Um I was my mother had just passed away, and they offered me to do three months.

[43:13] Mary Testa: And I thought this is a good um way for me to sort of take myself out of this grief and sort of travel through. So I was very grateful for it. Three months. I had a really good time. It's a really easy it's easy. I feel a similar way of like you pop on stage, you do your number and you leave again.

[43:34] Jayke Workman: Yeah.

[43:35] Mary Testa: You go sit down. And then you do a scene, then you go sit down. Yeah. No, I was very grateful for the experience, and everybody was lovely, and um I enjoyed it. And so do you remember who who was your Roxy and Velma?

[43:48] Mary Testa: It was uh Brenda Braxton and uh and uh and Charlotte.

[43:52] Jayke Workman: Charlotte, yeah.

[43:54] Mary Testa: Wow, wild. I mean, I always think of that show. Oh, and then Luba Mason came in too.

[43:58] Jayke Workman: Oh, yes.

[43:59] Mary Testa: Charlotte was there, and then Luba came in. So uh yeah. I mean, it's such a revolving door of people in in a great way. Like it's so exciting. Anytime I'm back, because I've now I made my debut in 2021. So now I've been there for almost four years, just in and out anytime they need coverage for Mary Sunshine, and it is so fun. The most fun thing about it is getting to meet all the new people who are there and you know I can imagine, and I bet you're brilliant because you just have an extra I told Michael John about you.

[44:26] Jayke Workman: Oh my gosh, you are too kind.

[44:27] Mary Testa: It said if you need a counter tenor this is the one.

[44:31] Jayke Workman: Well, I mean, that getting to sing Heather's music and have it be up there, that is it was so special because I never work on new material that well, I mean I shouldn't say never, but it's a rarity that I get to sing really up in like my comfort comfort zone.

[44:46] Mary Testa: Oh my god. And you were sensational. And that whole I love your shoes and that whole thing, you know, that whole with the with the mega phone with my megaphones.

[44:55] Jayke Workman: Yeah, it was so great.

[44:56] Mary Testa: It was so great.

[44:57] Jayke Workman: Yeah.

[44:57] Mary Testa: Well, I feel like I I have said it before about Chicago, but I feel like it's the type of show where replacing is so different than a normal, you know, show that's been running for two years, five years, whatever, because yeah, it's so far removed from the like original or like that that original idea of what it is that you really do get to make it your own, you know.

[45:18] Mary Testa: Whereas, you know, if someone opens a show five months in, they win the Tony for it, and then they decide to leave and you're their replacement. There's a lot there's big shoes to fill in that regard. You don't necessarily get to make it.

[45:30] Jayke Workman: Yeah, my my um, you know, uh uh replacing uh it's usually years and years like I d also did wicked, you know, like uh uh I don't even know. I was maybe number eight hundred and something more about again grateful for the job because it's a just a paying job, you know, and it pays well and it's like you know, and what's a well-oiled machine.

[45:52] Mary Testa: I mean, my god.

[45:53] Jayke Workman: Yeah.

[45:54] Mary Testa: So, you know, I'm grateful for it. I'm not trying to diss either one of those experiences. I was very for both of them.

[46:00] Jayke Workman: Yeah.

[46:00] Mary Testa: Was there has there been a role in your career that you have felt the most powerful or the most beautiful, like in your strength?

[46:11] Mary Testa: Xana do, I think. Xana do because we You know, we our costumes are David Zinn, yes, who's a genius, and you know, had these gorgeous wigs, and we were goddesses. We were goddesses. Literally.

[46:22] Jayke Workman: You and Jackie Hoffman.

[46:25] Mary Testa: We were still goddesses. And so, you know, you feel you felt really great. Um and it was fun and hilarious and yeah and all that. But I'm not usually cast in those roles, you know what I mean?

[46:37] Mary Testa: Xanna do something else, but you know, I'm a supporting person and they don't they don't ever say, Oh, you know, let's um you're so beautiful. Let's put you they don't ever say that. It's always like, you know, you can play I always like to joke, yeah, bridge troll.

[46:52] Jayke Workman: Yeah, let's get married, you know.

[46:54] Mary Testa: Um But it's just it's the hilarious thing is that you are so gorgeous, but you're such a good actor that you're very sweet.

[47:02] Jayke Workman: Well, but that's the tea.

[47:03] Mary Testa: It's like often people are like, Well, we don't have anyone who's um, you know, smart enough to do the comedy, so please get married.

[47:03] Jayke Workman: Get married.

[47:11] Mary Testa: It's really true. Years ago, I just told this story recently, like many years ago, I had auditioned for a soap opera and they flew me out to California. I can't remember which one it was, but it was one of those California ones.

[47:23] Mary Testa: And and they came back to my agents and they said, You know, we want somebody who's funny, like Mary Testa, but soap pretty.

[47:33] Jayke Workman: And I said to my agents, good luck!

[47:37] Mary Testa: Letter to you. Good luck. Also, what?

[47:39] Jayke Workman: Like a bar of soap pretty or like that hilarious.

[47:44] Mary Testa: So that's ridiculous. Or I once auditioned this another harem. I once auditioned for a movie. It was uh that Girl Scout movie, I can't remember again many years ago.

[47:54] Mary Testa: And the feedback was I love these things. If we want to go Guido with the role, we'll hire Mary Testa. And do they do these bitches think that it's not gonna get back to you?

[48:06] Jayke Workman: No, my agent always told me the horrifying feedback, and we would just laugh. It's just like okay.

[48:13] Mary Testa: But I have such respect for you that you can laugh at it because there are people who it would make them crumble. But you're like, you know what? I uh just as well as I could do this job, and I would take it if you offered it to me. I don't need it, and I don't like yeah, there are like if you're gonna be that asshole, who's gonna say that thing? I don't want to work with you anyway.

[48:32] Jayke Workman: Exactly.

[48:32] Mary Testa: Not exactly it's all good, it's all good.

[48:37] Jayke Workman: Well, on the opposite side of things, are there are there roles, or is there like one singular role in your career that you would love to do still or or wish that you had done?

[48:48] Mary Testa: Uh I've said this before, it probably will never happen, but um, I would love to try playing Kate Catherine in Taming of the Shrew.

[48:57] Jayke Workman: Not the musical, the play.

[48:59] Mary Testa: Yes, the play. I would love to try that. Um I I've said this many times. And actually, when Brian Kulick was running CSC, he had asked me because I was doing Caucasian chalk circle there, and he had asked me, What do you want to do? And I told him that.

[49:14] Mary Testa: So they scheduled a reading, and Mark Kutish and I played uh Catherine and Patruchia.

[49:19] Jayke Workman: Ah, Mr. True.

[49:20] Mary Testa: I they fell in love with Mark and they were like, not for me, and then nothing ever happened. It never happened.

[49:26] Jayke Workman: So yeah. Have you ever played Mama Madame Rose?

[49:31] Mary Testa: Mama Rose?

[49:32] Jayke Workman: No.

[49:32] Mary Testa: No.

[49:33] Jayke Workman: Would you ever?

[49:33] Mary Testa: I never will.

[49:35] Jayke Workman: No.

[49:37] Mary Testa: No.

[49:37] Jayke Workman: I just can hear it sung in your voice.

[49:41] Mary Testa: Too many people have done it.

[49:42] Jayke Workman: And I don't piss on anything and prove it.

[49:45] Mary Testa: That's real. And again, too many people have done it. And now I'll just gonna do it.

[49:50] Jayke Workman: So of course it'll be like that's it.

[49:52] Mary Testa: But uh I I just don't, I don't I don't need to do it.

[49:58] Jayke Workman: Well, maybe someday I will get to convince you to sing some people for me in my living room or something.

[50:04] Mary Testa: We can do it that way. I have I, you know, it's a it's an incredible piece. Uh but I just there's too many great women that have done it.

[50:13] Jayke Workman: Sure.

[50:14] Mary Testa: You're like, what's one more? Come on.

[50:17] Jayke Workman: Well, Mary, I you are just such a delight to speak to. Before I let you go, I have a series of musical theater rapid fire questions that I asked.

[50:26] Mary Testa: Okay, I may not be able to answer them.

[50:28] Jayke Workman: That's okay. It's not trivia. These are these are specific to you. Are you ready?

[50:31] Mary Testa: Yeah.

[50:33] Jayke Workman: We're starting off with a controversial one, which is Sandheim or Andrew Lloyd Weber.

[50:42] Mary Testa: I'm dead.

[50:43] Jayke Workman: Um, sweatpants or jeans.

[50:46] Mary Testa: Sweatpants.

[50:48] Jayke Workman: Do you have a favorite musical?

[50:51] Mary Testa: I have a few. Um, but I can't think of one right now. I have a few that I I like when they're challenging.

[51:00] Jayke Workman: To listen to or to do?

[51:03] Mary Testa: Both.

[51:03] Jayke Workman: Love that. Do you have a least favorite musical?

[51:08] Mary Testa: Yeah. Um, but uh uh only because I'd never I never saw uh cats.

[51:13] Jayke Workman: I I don't know, but I understand this new iteration is great.

[51:15] Mary Testa: Very the oh oh the the ball one.

[51:18] Jayke Workman: Yeah.

[51:19] Mary Testa: I need to do my research and see that.

[51:21] Jayke Workman: You need to go see that.

[51:22] Mary Testa: Apparently I do too. Um, because um uh I know some people in it, and also I think it's a really interesting totally.

[51:29] Jayke Workman: I want to see that new space, too.

[51:31] Mary Testa: Yes, absolutely.

[51:33] Jayke Workman: Um are you a morning person or a night owl?

[51:36] Mary Testa: Well, I used to be a night owl big time, but now I'm more a morning person.

[51:40] Jayke Workman: I love that.

[51:41] Mary Testa: What is or could you think of the craziest thing a director has ever asked you to do.

[51:50] Mary Testa: I can give you the best note I've ever gotten.

[51:53] Jayke Workman: Oh, please, I must know.

[51:55] Mary Testa: This is from a director, he's passed on, he passed away a year or two ago. Andre Belgrader, he is a Romanian director, he was just genius, and he always smoked, and he said to me, I was doing um scapan with him. And he said, you know, you try too hard to be good. Just be bad.

[52:21] Jayke Workman: And I I went, like, that is the most brilliant thing I've ever heard.

[52:28] Mary Testa: Because trying to be good makes you miss a whole bunch of things. Period. And just laying it out there and making a mistake or fucking up or being an asshole or not hitting the moment makes you discover way so much more.

[52:46] Jayke Workman: And that is a note I have taken with me forever.

[52:49] Mary Testa: I love that.

[52:50] Jayke Workman: That's so good.

[52:52] Mary Testa: It is.

[52:57] Jayke Workman: Depends on what it is.

[52:59] Mary Testa: I love that.

[53:00] Jayke Workman: Depends.

[53:00] Mary Testa: Because it's never one thing.

[53:02] Jayke Workman: It can be contemporary and golden age.

[53:05] Mary Testa: Exactly.

[53:06] Jayke Workman: Exactly.

[53:07] Mary Testa: Do you have a favorite role you've ever played?

[53:09] Mary Testa: Yeah. Queen of the Mist.

[53:11] Jayke Workman: Work.

[53:12] Mary Testa: Coffee or tea?

[53:14] Mary Testa: Coffee.

[53:15] Jayke Workman: Me too.

[53:16] Mary Testa: Could you think of the hardest show that you've ever done?

[53:22] Mary Testa: Um, a wrinkle and tongue.

[53:24] Jayke Workman: That was pretty hard.

[53:25] Mary Testa: Uh-huh.

[53:25] Jayke Workman: They're Christian original.

[53:26] Mary Testa: Yeah.

[53:27] Jayke Workman: That was pretty hard.

[53:28] Mary Testa: And I know, and you know what's interesting? I still didn't get some things right.

[53:31] Mary Testa: Oh, I was thinking about, I was like, okay, if and when they do an eventual cast recording of this, they are going to have it's gonna have to be done in like 30-second chunks.

[53:42] Jayke Workman: Yes, because the way that they are gonna have to plunk out notes for everyone are I swear to God.

[53:48] Mary Testa: The ha I I I the that um dark. I I mean I never got it right.

[53:55] Jayke Workman: I never got it.

[53:57] Mary Testa: Never, never insane.

[54:00] Jayke Workman: Um do you have any pets?

[54:04] Mary Testa: I had a dog that I love very much that I lost seven months ago, eight months now.

[54:09] Jayke Workman: Yes, and I still cry every day.

[54:12] Mary Testa: Oh my goodness, special.

[54:14] Jayke Workman: But you were telling me you you got to take him everywhere with you.

[54:16] Mary Testa: He did, he came everywhere with me.

[54:18] Jayke Workman: That's fantastic.

[54:19] Mary Testa: I love him very much.

[54:20] Jayke Workman: Love that.

[54:20] Mary Testa: And I miss him very much.

[54:22] Jayke Workman: Uh, do you have any pre-show rituals?

[54:26] Mary Testa: Um, no.

[54:28] Jayke Workman: Uh, if it's a difficult show, I will warm up, but I generally don't warm up.

[54:32] Mary Testa: I warm as I go. Um, but a difficult show I will spend a good 20 minutes warming up.

[54:38] Jayke Workman: Um, no, I have no rituals really.

[54:41] Mary Testa: I know, like if I'm nervous, then I have to poop.

[54:44] Jayke Workman: Me, just before the show starts.

[54:47] Mary Testa: Oh.

[54:47] Jayke Workman: And that's how I know, okay, I'm processing my nerves.

[54:50] Mary Testa: But not really.

[54:51] Jayke Workman: I don't have any.

[54:52] Mary Testa: Like, I I can't tell you how many times like I've been in the dress room and uh either a dresser or a wig person goes, I'll leave you alone to prep prep.

[54:59] Jayke Workman: And I'm like, I'm not prepping, I'm just in here.

[55:02] Mary Testa: Don't worry about it. I'm playing Candy Crush.

[55:04] Jayke Workman: Yeah, exactly.

[55:06] Mary Testa: Well, my last question for you is a question that I ask every single guest, which is what is one thing that you would tell baby Mary.

[55:15] Mary Testa: Um, to I would tell a baby Mary that you were okay, like to not be so hard on yourself and to just be who you were, which I basically was, but uh to not uh to just appreciate who you were more than you did when you were young.

[55:34] Jayke Workman: I love that.

[55:36] Mary Testa: She appreciates it every damn day.

[55:38] Jayke Workman: Well, I'm trying.

[55:39] Mary Testa: I'm trying.

[55:40] Jayke Workman: We certainly appreciate it.

[55:43] Mary Testa: Thank you, Dick.

[55:43] Jayke Workman: Thank you so much.

[55:44] Mary Testa: Mary, you are such a delight, both to work with and just to speak to you. Would you tell the listeners where they can find you uh slash on on socials or you know, your your upcoming um your concerts that you're gonna do?

[55:57] Mary Testa: Yeah, uh uh. I'm on Instagram, but I never know my own address.

[56:03] Mary Testa: I'm telling you, I have the gape. I'll put it, I'll put it in the little description of the update.actress or something.

[56:09] Mary Testa: I've never come up with any of these myself. And then I'm on Instagram.

[56:13] Mary Testa: And then uh uh the 54 below concert of the rink, I think is like the July 26th or 27th or something like that.

[56:22] Jayke Workman: Yay, I can't wait.

[56:24] Mary Testa: Yeah.

[56:25] Jayke Workman: It's a Monday.

[56:26] Mary Testa: It's a Monday, and I don't remember the date.

[56:28] Jayke Workman: Industry night.

[56:29] Mary Testa: Everyone can come.

[56:32] Mary Testa: Um there's a lot of people on the bill. So there's like Karen Mason and Ben Davis and like a million people.

[56:38] Jayke Workman: Love.

[56:38] Mary Testa: Um, so I think everybody's going to be singing from the score.

[56:42] Mary Testa: And um other than that, I don't I don't have any formal gig for a while.

[56:48] Jayke Workman: So other than that, everyone will just have to tune in to Oh My Pod, you guys to listen to our shenanigans.

[56:54] Mary Testa: Exactly.

[56:55] Jayke Workman: Exactly.

[56:56] Mary Testa: Well, thank you so so much for being here.

[56:58] Mary Testa: Thank you, Jay.

[56:59] Mary Testa: And I again I mentioned your your talents to uh some powers that be.

[57:03] Jayke Workman: So gosh.

[57:04] Mary Testa: I um because you're extraordinary.

[57:06] Jayke Workman: You are so thank you for asking me.

[57:08] Mary Testa: This was lovely.

[57:09] Jayke Workman: This is so fun.

[57:13] Mary Testa: You guys, that's it for another thrilling episode of Oh My Pod, you guys. Don't forget to rate review and subscribe anywhere you listen to the pod.

[57:20] Jayke Workman: And you can follow the show on Instagram at oh mypod, you guys.

[57:24] Mary Testa: Thank you so so much for listening.

[57:26] Jayke Workman: Talk soon.

[57:27] Mary Testa: Bye.