This transcript was automatically generated and might contain errors.

[0:29] Jayke Workman: What's up, everybody? My name is Jayke Workman and this is, Oh My Pod U Guys. A musical theater and pop culture podcast.

[0:36] Jayke Workman: You guys, this week was really, really thrilling. I was standing by at Chicago on Broadway and we had a brush-up rehearsal with the original director and creator, basically, of the show, Mr. Walter Bobby, which is kind of rare. They don't usually do full brush-ups with the actual original creatives. And it was just so thrilling to get to sit and watch him work his magic with the entire amazing company of Chicago on Broadway. So I just wanted to share that I'm just in awe. I'm in awe of artists. I'm in awe of Mr. Walter Bobby. And the fact that this show is still so beautiful and relevant 27 years later is just amazing and it is never lost on me that I have a teeny tiny part in the legacy of Chicago, the musical on Broadway. Like, what the hell? And with that, you guys, we of course have to dive right into this week's Broadway World Recap, brought to you by my amazing pals at BroadwayWorld.com.

[1:43] Jayke Workman: First, you guys, Broadway World shared some very exciting first-look photos of Ms. Patti LuPone and Ms. Mia Farrow in The Roommate on Broadway. And you guys, these photos are amazing. Patti LuPone with, like, a shag 90s mullet. Are you absolutely kidding me? I can't wait to see this show. They just had their first preview. The show is being directed by Jack O'Brien. And performances began August 29th with an official opening night scheduled for Thursday, September 12th, which is my birthday! So maybe I just need to have a little birthday treat and haul my ass on down to the Booth Theater for the opening night of Patti and Mia starring in The Roommate. I cannot wait to see the show. And you guys, you have to check out these photos on BroadwayWorld.com.

[2:39] Jayke Workman: Next, you guys, Broadway World shared the very exciting news that a new reimagined production of American Idiot, Green Day's rock opera, is going to be produced by Deaf West Theater in partnership with Center Theater Group's 1CTG in LA. And you guys, it's going to star some amazing people. Mason Alexander Park, Daniel Durant, Milo Manham, and so many more are all going to star in Deaf West's American Idiot. And you guys, if you don't know, Deaf West is this amazing organization that creates shows by and for Deaf actors. So it's musicals that we know and love, then given the opportunity to incorporate Deaf performers in the show. It's absolutely brilliant. We've seen it on Broadway now a couple of times, and this is going to be another amazing show.

I just know it! American Idiot is such a crazy show, and I would only imagine that they have their sights set for a Broadway transfer, because it's going to be amazing. So I cannot wait to keep you updated on all things American Idiot at Deaf West.

[3:51] Jayke Workman: Next, you guys, we have to talk about Romeo and Juliet at Circle in the Square on Broadway, extending their strictly limited engagement by four weeks because of how high the demand for tickets is. You guys, this show shattered the record for the biggest on-sale day in Circle in the Square Theatre's history when it went on sale in May. And it's the hottest ticket in town. It stars Kit Conner and Rachel Ziegler, which is amazing. The promotional material looks absolutely beautiful. I'm going to try to get a ticket, but girl, this seems to be the hot ticket right now. So the tickets are now on sale for their extension. And the show is now going to run through February 16th. So you have a little bit of time if you're trying to get an advance ticket. But run, honey, because it's going to sell.

[4:48] Jayke Workman: Next, you guys, Broadway World shared the very exciting casting announcement that Beanie Feldstein, Kevin McHale, Noah Galvin, and many more are going to star in the 25th annual Putnam County Spelling Bee at the Kennedy Center. You guys, if you don't know the show, it is truly an ensemble piece. It's absolutely hilarious with some amazing, gorgeous music and some really heartfelt moments. And I think Beanie Feldstein is the perfect Logan, you guys. We haven't seen her on stage since her run as Fanny Bryson, Funny Girl on Broadway. So I'm very excited that she feels excited again to step into the spotlight and do something new. You guys, Miss Bonnie Milligan is going to sing the role of Rona.

We are not ready. We are not worthy. I don't know what we did to deserve this, but I am grateful. Noah Galvin as Leaf Coney Bear. I mean, come on. Alex Joseph Grayson is in the show. Kevin McHale of Glee fame is going to be in it. It's going to be so, so good. And who knows, maybe we will even get a little Broadway transfer. I'm just saying it. I'm just saying it. I'm just saying it now. You heard it here first on Oh My Pod, you guys.

[6:02] Jayke Workman: And lastly, you guys, Broadway World shared the rather disappointing news that the beautiful new musical The Notebook is going to close this December on Broadway. And this news comes after the news previously that the show is going to launch a North American tour next fall in 2025. But I'm just so bummed for everybody involved because while, of course, they have had an incredible run, they deserve to go on and continue to do this show. It's so beautiful. It's such a gorgeous representation of everyone on stage. And it's just beautiful. I loved this show. I'm going to have to catch it again before it closes in December. The musical will have played 35 previews and 317 regular performances at the Schoenfeld Theatre when they close on December 15th.

So wishing everyone a huge congratulations on this amazing accomplishment. I will still be streaming the cast recording Miss Joy Woods. Miss Joy Woods, come on the podcast. I love her. And you guys, this has been the Broadway World Recap.

[7:10] Jayke Workman: Oh My Pod, you guys. I am so, so excited to welcome my next guest to the show. She is one of my nearest and dearest at the Ambassador Theatre. A true, like, B-Way icon, swing star of Chicago and Broadway. It's Jen Dunn. Jennifer, welcome to The Pod.

[7:34] Jennifer Dunne Keeney: Thank you so much. You make me sound like I'm so, so famous, and I'm not.

[7:40] Jayke Workman: Because you absolutely are.

[7:42] Jennifer Dunne Keeney: But I think that's because, like, I kind of, I'm always like, no, no, we're, like, I live a little in the shadows, you know, on the swing and stuff. I'm like, no, I'm elusive, Jake. I'm elusive. I'm actually the elusive Chanteuse, because you just casually, like, slide on stage into every possible track. And then otherwise, everyone's like, wait, who is that? And you're like, bye. I have to go.

[8:06] Jayke Workman: Jen, thank you so much for coming on The Pod.

[8:11] Jennifer Dunne Keeney: Oh my gosh, I'm so happy to be here with you and chat more with you, because, like, usually when you're in the show with me, you're rather busy being a Chanteuse yourself.

[8:20] Jayke Workman: And I could say the same for you. If either of us, if one of us is on stage and one of us is off stage, we're like, oh my God, hi, I love you. I have to go.

[8:30] Jennifer Dunne Keeney: Yeah, like, don't miss an entrance. But I am so excited to chat with you, because I feel like from the moment we met at Chicago, we hit it off. And you have been such a, like, without, you know, sounding too weepy and, like, emotional, you've been such a guiding light.

[8:47] Jayke Workman: Perfect, thank you.

[8:48] Jennifer Dunne Keeney: You truly have been such a welcoming presence and such a guiding light through my entire experience at Chicago. And I just adore you. And we have so many connections, both in Chicago and otherwise. So I'm just so glad we finally get to chat.

[9:05] Jayke Workman: I know. For other people to listen, because we're worth it.

[9:09] Jennifer Dunne Keeney: Other people deserve to hear what we have to say.

[9:12] Jayke Workman: Things we have to say are so important.

[9:14] Jennifer Dunne Keeney: No, you know, actually, you know, now that you bring that up, Jake, it's so funny that, like, when I met you, too, it was like this. I think we kind of got on a topic about podcasting, like, within our first couple chats.

[9:29] Jayke Workman: Yes.

[9:31] Jennifer Dunne Keeney: I think maybe during that time, I was a podcast host for a film festival. I was interviewing filmmakers and all that kind of stuff. And I was like, oh, my gosh, you have a podcast, too. And, like, right away, that connection to something that existed, like, outside of the theater was like, oh, oh, you do other, like, you do other stuff. You know?

[9:49] Jennifer Dunne Keeney: And I really gravitate towards artists that have lots of things going on.

[9:54] Jayke Workman: Yeah.

[9:56] Jennifer Dunne Keeney: That are multifaceted, because I just think that for artists, a lot of things that light me up are what we bring from other spaces and places, and we bring it to the performances, whether the audience sees it or not, is really of no consequence to me. But I would like to think that they, because I'm a richer, holder person, you know, that they get to experience something a little bit, you know, more.

[10:23] Jayke Workman: Yes.

[10:25] Jennifer Dunne Keeney: And in terms of connection with you, I really, you know, I connected to you immediately. And that was before I heard your voice. And then I was like, forget about it.

[10:36] Jayke Workman: Oh, please.

[10:38] Jennifer Dunne Keeney: You know, and I, we kind of talked about this a little bit this morning when we quickly decided to do this podcast.

[10:45] Jayke Workman: Yes.

[10:47] Jennifer Dunne Keeney: You know, and the fact that, you know, we were talking about, you know, obviously there's a generational gap between us.

[10:55] Jayke Workman: No such thing.

[10:57] Jennifer Dunne Keeney: I'm slightly older than you. But the idea that, you know, you are what I see as, like, the next generation of performers, you know, that bring your talents to Broadway. And, and how it is my choice whether I welcome you or not as the elder statesman.

[11:19] Jayke Workman: Yes.

[11:20] Jennifer Dunne Keeney: You know, and, and what I, what I want to give to you or not, what I want to share with you or not. And I think that idea of generosity to other, you know, performers that come in is like a really important thing that, you know, kind of grounds me and, you know, and that's not to say I'm a perfect human being whatsoever, but just this idea that, yeah, we, you know, that I want, I want you to feel like you get to come in and be who you are and, and you're truly welcomed and stuff.

[11:54] Jayke Workman: And of course, Chicago being a place that has such history, you know, there's a lot to share there, you know.

[12:02] Jennifer Dunne Keeney: Totally. I mean, even just when we connected on, like you said about like podcasting, but also like you, you were so actively asking me questions about myself, you know, it wasn't just a one-sided, like, well, please like, tell me everything, you know, Jen, I just, I just want to like soak it all in, which is, is true, is the case. But you were so actively like, well, I have seen your Instagram, you, you do photography, you have photography friends, you were also a photographer. So like there were so many things like that connect on such a different, it's just a special level where it's, it's not just about the show, which is such a huge, special thing that we get to share. But outside of that, when you get to actually remember that the other people who you work with have fully realized lives outside of that building.

[12:51] Jayke Workman: Absolutely. And I think that like, that's, what's kind of cuckoo about Chicago too, is like, you do have these people that are going in and they're just like on the stage and you just, you know, the audience sees that dimension of us as dancers, singers, actors, actresses, you know, the whole gamut of that performance alone backstage, we get to learn about each other and all of those other things that we have in our life going on. Like you were talking about photography and stuff and like, and how special those spaces are for us.

[13:27] Jennifer Dunne Keeney: And just, yeah, you know, when I joined Chicago, I'll backtrack for the audience. When I joined Chicago, well, first of all, when I joined Chicago, it was a really, really long time ago. I had done the non-equity show for about four months. I was hired and I had asked them to like make me the swing because in my mind, my very green mind, I thought that being a swing meant I get to perform more. But what I didn't realize is the non-equity circuit doesn't, you know, you don't get paid sick days. And what else are you going to do out on tour in, in like, I don't know, Poughkeepsie or something like that. Except go on for your track. Except go on your track. And also it was like, these people are just out who didn't get to perform at all. So I wasn't there very long, but I did connect with Gary Christ who was involved with that at that moment.

[14:32] Jennifer Dunne Keeney: Cut to several years later, you know, the movie came out and they were setting the, what would be the third national tour. And they were basically using a lot of the cast members from Broadway, from the original revival company. I mean, we had Mamie Duncan Gibbs there, Caitlin Carter. I mean, we just had some really incredible people that I was so fortunate to be, you know, in the room with, you know, and, and so they only needed like a couple people. And so, you know, they had really fast turnaround audition and casting. And I had to go in and sing for Walter Bobby. And, you know, I think then rehearsal started like two weeks later or something, you know, but Gary had recommended to call in a couple of those, those kids that he remembered.

Yes. And, um, and Eddie Bennett and I were the two, two kids and, uh, Eddie Bennett is in so incredible. He doodle do I adore that man. Um, so Eddie is now our current vacation swing that comes in and out. So he's been involved with the, you know, the show for as many years as I have, because Eddie and I actually knew each other from that, you know, that, that very tiny tour. And then we went on to the post-movie tour and, um, and then Bianca Madikine was also like the newbie. So we were all there at like, I think 25, 26 years old. Like we were babies. Um, and, and the rest of them were, you know, just, they were like 20 years, our senior, you know, 15 to 20 years, our senior. And I, I just, you know, it was a, it was a real learning curve in, in the, um, not in the like behaviors and whatever, but just like watching what they knew and, and their, um, you know, thoughts and considerations on what they were doing for the roles.

And they're just ownership of their power as well. Um, and just, just all of the talent that came from, from that group. And so anyway, cut to, you know, eventually I left that tour kind of did some other stuff. And then, um, I kind of was like, I'm leaving the business. And this was like 15 years ago. I was like, I'm done. I I've, I've hit all, I've checked all the boxes, all that stuff, you know? And I moved away. I moved to Europe and I was, you know, going to grad school for something international relation. I was like, I'm out, you know, I had no idea. Yeah. So I was living in Switzerland and I lived in Germany and you know, what I discovered was the industry wasn't done with me. I had more voice to give to it.

Um, and I ended up doing a German production of spam a lot. I like, you know, ran into the final auditions. And, and so then it kind of, I found myself like coming back into the industry. Chicago called me when I was working in Germany and was like, Hey, we have like, you know, a chunk of time we need covered for a leave of absence. Do you want to come? So I was kind of popping back into the Broadway company. And, um, and so then eventually I moved back to the States and I was going to school visual arts, you know, cut to all this like photography, you know, work, all of this kind of stuff. And, um, we, I, I was, you know, going to advertising classes, you know, advanced Photoshop techniques, you know, illustrator, all of this, you know, all this stuff, you know, so, so different.

Um, and then I got a call from Chicago. Well, actually right at that time I was like, okay, the money's running a little tight. I think I, I might need to like, you know, you know, slow the roll on everything and start auditioning and like go to the thing that I know I make money at and all that kind of stuff. And I ended up coming back from like a final call back for something else. And I got a call for the swing position in Chicago. So I got that, you know, and because I had a working relationship, there's, this is not to say like, Oh, I'm so special. They call. No, I was in and out of that building for that. So, you know, so it was nice that I didn't have to like necessarily audition for that particular moment, but they said, you know, do you want this job?

And so I said, Oh my God, yes, perfect. This is perfect. Um, but I really thought I was only going to stay for six months. Wow. I thought I was going to stay for six months and that was 2011. Um, yeah. And I say that all because I think sometimes, especially with Chicago, there's just like, you know, things that kind of get placed on people. Oh, they stayed too long. Are they, you know, what, what's the deal with Chicago and the people inside of it and stuff. And, you know, and, and I kind of have to fight against that perception that there's a stagnation that happens when somebody stays for a long time. Yes. Because in that time that I was there, I have been nothing but the absolute opposite of stagnant, you know, I show up and I do that job, but I also ended up working at a retouching studio, retouching house in New York city, like working on these huge campaign ads for all these different kinds of companies and, you know, high end photographers and, you know, and I'm doing that for years now, a decade, you know, um, and then, you know, got into filmmaking and then, you know, then I met, I had time in a place in a kind of a space to hold myself to, to meet who is now my husband, you know, and, uh, go on that journey of, you know, having children and I have two kids now and raising them and, and being a part of that journey.

And, you know, I'm in grad school now for the second time, which is insane, but so inspiring. I just, I mean, like all of this, like just inspires me so much because, and, and I have to say too, I think it's really important to remember that in talking about that sort of idea of like becoming stagnant in what you do and everything, there are so many factors that contribute to the stigma, which include being a woman and being a dancer and what, what both of those mean and the Venn diagram of that, because there is a really, the misogyny is so, um, sort of pervasive and it can really, really rip away, um, at people. And I just so respect you and all of the women in this, in that building who come in and out.

And regardless of like your actual like age or whatever, like you're showing up and doing the work and that is, it shows, I mean, it's just, it's undeniable. So I just, I applaud you for, for being able to do the things outside of it and yet still come in every day and throw yourself at it. We have a, a, a ferocious group of women, um, that have come in and in and out of that building for, for years, I would venture to say, yes. And, uh, you know, and not to forget all of the men that also exist in there that, um, are also fathers. Oh, men, men, men, men, you know? Um, but yeah, but like it's, you know, for the women that have to juggle the, um, you know, I was pregnant when I, you know, was doing that show and the, the fear that I was gaining a little too much weight, um, before I could, you know, say reliably say it before I can say those words because, you know, um, having a kid for us wasn't easy.

We went through, you know, fertility clinics in order to have our children and thank, you know, you know, shout out to all those doctors and medical professionals that gave me my children because, um, you know, my girls would not be here without them, you know? So, so because it was so high stakes, there was that fear that I couldn't say anything. Not to mention I'm like, you know, giving myself like injections left, right and center all in, in a cloak of secrecy while I'm at the workplace. And you have to go out on stage in a bikini. And I, yeah, and I'm in a bikini. So it, there was a lot of like, you know, how is this going to be received? How is this going to be perceived? And, um, you know, it's funny cause there was a moment where Gary Chris, um, are an amazing, uh, associate choreographer.

He's set so many of the worldwide companies and he was the, he was the man that really kind of got me my, my little tiny toe in the door first time around, second time around, third time around, you know, I credit that man for really giving me so much opportunity. And, and you, um, he came to see the show right at the week I was going to like disclose that I was pregnant. And he was like, do you have something to tell me? And he kind of glances. And in the moment, let's be honest, I was mad. I felt judged. Sure. I was really upset. And I've known Gary for a really long time and I texted him as such. And I kind of was like a little bit like, you know, this is something that's supposed to be happy for me.

And I felt like, you know, whatever. And he wrote back and he's like, Oh no, no, no, no, no, no, no, no. He's like, what did he say to me? He's not like that. He was like, I'm like auntie name or something. He called himself like almost like just saying to me, you are like my child and I know you so well. And like, you know, he, for lack of better, he didn't say you look like you have your freshman 15, but he was kind of like, he noticed something, he noticed a shift in me and, and he was like, no, I could not be happier. And, and so I kind of got off my like aggressive, like maybe that was the hormones. I have no idea, but you know, it, it, because I was so primed, I suppose, for what that fight would be of somebody saying, you don't look very good.

I was like, I was like ready for the fight, you know, um, that I almost like misinterpreted his kindness and generosity. Yeah. And then I was like, this is the secret I'm going to tell them like in two days, it was like two days later that I brought in a cake that was like, you know, um, cell block release or something like that. You know, my baby and stuff like that. And so, you know, yeah, so we, us, you know, so there's that kind of thing with women in the workplace that we have to like, if we choose to build that family, are they going to think I'm a lesser, uh, performer? And I don't mean performer on stage. I mean, performer in the workplace. And, um, and I think that I had a, uh, several, um, strong women that came maybe 10 years before me that started to show me the path of what that was.

Uh, I say women and one man, Eddie Bennett, who are known forever. Once again, back to our vacation swing, Eddie has a son that is, um, I believe 10, nine years older than my oldest daughter. So he was within my group of like friends from way back when, um, he was our first friend that had a child that was a performer, like a performer friend that said, I have a son. And it was a really, really remarkable moment for us to be like, one, it's possible for, you know, Eddie to be a dad too. It's possible for a performer to be, uh, you know, a parent. And then also watching my friend, Marianne Lamb, who, uh, was in the original revival company, Queen. She, um, she and I did the tour together. We did the Broadway company together, and we also did another Broadway show together and to get to go, you know, play with her kids and have those moments where I'd see her daughter come down on the train with her and come back and stuff and seeing this kind of, um, fluidity of, you know, a woman going from parent mode into fierce performer mode back into, you know, stepping off the stage and cutting the crusts off grilled cheese.

And yeah, and just like doing all that stuff and like headed back home to her, her space with her children and stuff. It was like, you know, they really kind of forged a path that wasn't as clear first time around. And, um, and I, and I give so much credit to how that has opened up spaces more and more because I'm not entirely sure, but I would venture to say the majority of the women within our cast at this point in time on Broadway in Chicago, the majority of our casts are parents. There's just so much movement happening where there is this sense of stability. So that kind of brings me to another, you know, thing about the idea of like, you know, long time ago that stability wasn't a word that you would use with Broadway shows.

You just wouldn't, you know, you had maybe two years of a Broadway show, but the idea of these long running shows has created new opportunities and new spaces for people to develop their own personal lives, their own professional lives as artists. Because I don't think that all of the performers on stage are one dimensional whatsoever. I think there's like just artists in general, they just have so many skillsets. They're multifaceted.

[29:06] Jayke Workman: Let her out. She needs to go outside.

[29:11] Jennifer Dunne Keeney: You know, they communicate their needs.

[29:12] Jayke Workman: Yes. I would pay for those notes. Are you kidding?

[29:20] Jennifer Dunne Keeney: You're close. You're close though. Close Jayke.

[29:24] Jayke Workman: Well, yes. In thinking of the longevity of things. I mean, I, of course I have so many questions to ask you about Chicago and your time there, but before I do that, I want to sort of go back to your time before Chicago Broadway, because you did two other Broadway shows in like various capacities as like an understudy and cover, which I think is so, it's such a testament to who you are and what you do so well at Chicago, because you covered roles like Ado Annie in Oklahoma on Broadway at the Gershwin theater, which blows my mind because my entire understanding of the Gershwin is one show called Wicked. So the fact that you performed there before that show is amazing, but also to originate a track in a show like Curtains and to go on for Bambi, like tell me what, what were those, um, or like the sort of lengths of those shows like for you, did you, yeah, did you think of those shows as a potential long running job or were you just like day in, day out? This is great.

[30:37] Jennifer Dunne Keeney: No, I mean, I think with, I mean, Oklahoma, I think I was like 23 when I got that show. Um, I was just, you know, coming off the heels of like, you know, college straight into college. I went on a national tour, then I hit another national tour and then I was like, okay, I'm sticking, staying put so I can, you know, try to, you know, level up in other ways and go for the gold and Broadway, all that kind of stuff. And, um, so I was like super young, so I wasn't looking for any kind of like long running show, but I was looking, I think I've always had this kind of thing within me. Yes. We all want to work. We all want to do like work. And I would go to every audition and do the stuff, but there are definite things that were, you know, you feel like you're in the pocket of things and then you're like, Oh, I'm trying to get in the pocket of things where it's not as natural.

And to really listen to oneself, you don't want to do that, you know, when you're young because you're just like, I just want to do everything and I can do everything. When the fact is like, yes, we probably can do everything, but like, you know, maybe there's somebody that's better suited at some of those things than me. And so, no, not possible. I won't hear it. So, so, you know, I'm trying to do all, all the stuff, all the stuff. But when I heard that Oklahoma was coming to Broadway and Susan Stroman was choreographing it and you know, there was that London production and it was very, you know, in the breakdown, it was like wear ballet slippers and wear a ballet skirt. Yep. And I was like, this is the show for me.

This is the show for me. Wow. I really was like, I love ballet. I love ballet. I was, I was, I started dancing a little later in life. Um, I, I wasn't five, let's put it that way. I wasn't five. So I couldn't join a ballet company by 15 because I was bare, you know, like, um, barely done like official lessons. I was always dance, you know, I was always like chorus line dancing around the living room, but I, you know, the official track, um, I was not destined to be a ballerina, but I would say in my heart of hearts, ballet is my favorite form of dance. Um, and so to find a Broadway show that has that kind of movement quality is sometimes harder to find, you know, it's not, it's varied for a reason, you know?

So with Oklahoma, I was like, Oh my gosh, this is, this is the show. So, you know, I went, actually I went to wait in line because it was non-equity and they were like, well, if we have time, we'll see the non-equities, you know, they had time. So they saw me. And from that Tara Rubin's office, you know, called me and, you know, invited me to a more official audition and, um, you know, cut to, uh, cut to final callbacks. I'm giving monologues, I'm doing the songs and, um, you know, uh, my voice teacher back then was, uh, Victoria Clark, who we all love and adore. And, and she was like, you've got to sing the Ado Annie song. And I was like, that's so, you know, to me that seemed so presumptuous.

Like, well, why would to be a principal? I, why would I sing the song? Can't I sing a song Allah, you know? And she's like, absolutely not. You're going to sing that song because you can nail it and you can do it. And she was, she was unrelenting. She was right. So I go to the final audition. I don't get it. That's the, that's the story. I don't get the job. I don't get that original company. And I watched cartoons for three days. I mean, I was wrecked. I was just like, this was my first taste. I was like, so, you know, that so close, so close. So I don't get it. And, you know, and I, and I say this because that took me to, I got a European tour of a chorus line and I moved over to Europe. I was playing Judy and then, uh, uh, Troy Garza.

He was setting it. Is that right? Yes. And he kind of says to me like, actually, I think I want you to understudy Cassie. I'm like, I'm like 12. Yeah. I'm like, what? But he, he wanted to have another person. He, you know, and this was like, we were already like, you know, rehearsing and all this already setting the show. Yeah. We're already setting the show. There's already a Cassie understudy, but for whatever reason, he wanted me to be a participant as another Cassie. So it was, it was great because like, I got to like, you know, step up and work those jobs and, you know, do all that kind of stuff. Um, and so, you know, just recently a friend told me that the reason that show closed was because there was a school shooting or a shooting, a mass shooting in Germany.

And it was like the, the, the country was in such, it was so distraught that like the industry just kind of shut down. And so our tour closed early. Wow. And, um, and so there I am like, well, crap. Now what? Now what? Because all the summer stock stuff had already been cast. All this stuff was already cast. Like, what am I going to do now? And so I go back and I'm, you know, taking classes like I did. I'm doing, you know, what small auditions were in existence. And, um, I get into this like, you know, musical theater, film festival thing, where I'm playing this, you know, you know, one of those festivals kind of stuff. Anyway, I get a call from Tara Rubin's office, immediate replacement for Oklahoma.

And the show had just been open for like four months, but the girl that, um, they wanted the replacement for was hired as the lead for a 42nd street tour. And, um, long and short of it, I got that job. Wow. I got the job. And you know, looking back on it now, it all makes so much sense because there's all these pieces of ourselves that are built from our experiences and stuff. And you know, that heartbreak that I didn't get it the first time I thought that's the end of the story. Right. And it wasn't at all. And I like, you know, I went to Europe and I'm traveling around Europe and I started, um, I'm always been learning stuff. So I was like learning Italian at the time because we'd take like day trips and go to places.

And, you know, I was able to like enrich myself in these other spaces and I still got the thing that I really wanted, you know? And so, you know, that's, then I got, I still got there, you know, I still, I still got there. And, um, yeah. And then eventually, you know, I picked up the Ado Annie cover and I went on a lot, you know, I went on a lot and it was, and you have shared a crazy story, which is truly one of my favorite stories, which you never personally told me, but since I have been a literal fan of yours since before I met you, I, I know the story of your father getting to come and see you do Ado Annie after flying from Japan. Tell the story cause it's crazy.

[38:07] Jennifer Dunne Keeney: That is so funny. Right. Oh my gosh. You know? Um, so, so yeah, I was, you know, doing the show and my dad is a pilot is now retired, but he's the pilot for Northwest airlines at the time. And he calls me and he says, Jen, I'm going to be coming into New York tomorrow. I have a flight coming from Japan and I didn't realize, but we're actually overnighting in New York. And I said, dad, I'm going to be on for Ado Annie. And he was like, Oh, okay. Okay. You know? So he takes that airplane and he flies above the speed limit of whatever said airplane speed limit is supposed to be. And he literally says to his, his, all the 400 passengers in the back, he was like, ladies and gentlemen, we will be arriving ahead of schedule because my daughter is going to be playing one of the leads in a Broadway show tonight. And I need to go see her. That is so insane.

[39:09] Jennifer Dunne Keeney: So then, yeah, he got in and you know, he didn't get in like with hours to spare. He is hustling himself from I think JFK to the Gershwin and Beverly Jenkins was our stage manager. And I said, Beverly, you know, and, and everybody knew like everybody at the theater too, they knew my dad's coming in. And so the stage managers were like ready and waiting for him to like come to the doorman in his uniform, in his pilots uniform. And they, you know, they, they scurry him in, you know, into the, the show had already started. He, and oh my gosh, you know, I mean, this is obviously days before our, you know, phones had, or yeah, our phones had cameras and stuff like, but I think I have a picture somewhere of my dad and I backstage afterwards and stuff like that.

But yeah, it was, it was a really kind of crazy moment where we both had an experience and, and everybody was just really excited. And I think that, you know, that is our community, you know, in general is like these things that happen and everybody kind of gets, gets around it too of like, oh, Jen happens to be on and, oh my God, her dad's coming. And, you know, and then of course the passengers are like, Oh, you know, good luck to get into the show. Our pilots flying us to Broadway.

[40:36] Jayke Workman: Well, okay. So I also think it's so wild too that your, your father would have had the sort of understanding of what it means to go on for a principal role because his brother is a performer. You are a fourth generation performer, which is like kind of rare and so special, but like, to go from, you know, having, having people in your family perform in vaudeville shows and then having your uncle perform in Bob Fosse's dance in, and then for you to go on to perform a show about vaudeville set by Bob Fosse. The sort of iconography of that and like the, the sort of, just like the lore of having a family that has always performed. I want to know, do you ever anticipate or think about your children going on to perform? Is that something that you, I mean, not that you would necessarily allow because they're going to do what they want to do, but have they ever expressed any interest in what you, in what, in loving what you do?

[41:38] Jennifer Dunne Keeney: I think, yeah, I'm going to backtrack that. And like, you know, we could talk about this nature versus nurture idea of like who we are and stuff. My dad was raised in New Jersey, but I was raised in Michigan. I was 20 minutes away from Interlochen Arts Academy, which is a fabulous arts academy. I never went to it. I never went to, I never went to Interlochen. But, you know, I didn't have the same kind of access and, and I was always dancing, you know, all of this kind of stuff. And I think that, I think it is, I think it's in my blood somewhere. You know what I mean? Like I think that there's this part of, well, first of all, my dad, you know, his whole family is like Irish. So the Irish, they love, you know, they love their stories.

They love their storytelling, you know, and they are very colorful with the storytelling and stuff. So I think that there's like, and his, uh, so my, it was my dad's, uh, grandfather that was a vaudeville performer and he was doing vaudeville skits and he would pull on his five-year-old son, which was my grandfather, my dad's dad. And so he, uh, so my grandpa was like the little policeman in the skit, you know? And so they were like doing that kind of stuff. And then, and then along comes my uncle, my dad's brother, who out of the, you know, out of the womb, I think he was also dancing around and stuff like that and cut to, um, my dad watching this industry through his brother, he saw the, you know, disarray and the wild times. And of course it's in the seventies. So they were really wild. Wow. Um, you know, and seeing that life. So, so for me growing up, he was not.

[43:38] Jennifer Dunne Keeney: Let me nurture this kind of life at all. He was kind of a little bit like, whatever you do, just don't become a dancer. So it was interesting then that I was always kind of flitting around the house. And I think that for you singing and what that feels like to you, what it feels like to dance for me is very cathartic. It's a space where I go to relax and feel whole. And I was doing that at a very young age where the music spoke to me in a way that my body naturally moved. It just wanted to, it couldn't help but move. And so yeah, I think that there's this, you know, my dad is hard as he tried. And I mean, he got very, very close. I was accepted to go to school to become an engineer. He was this close.

And then I said, I think I want to audition for some art schools and stuff like that. And he couldn't be prouder now. I will say that he couldn't be prouder. And, um, and so, so yeah, there was that. So it's funny that I kind of understand where he was trying to protect me because now as a mom, I want to protect my kids. I want to protect them from hardship, but I also am such a realist. I will never be able to protect them from hardship. There is no job that will ever be perfect for anybody because there's hardship in every kind of industry, every kind of sector, there's something that takes a hit. So you have to just kind of lean into who they are. And, you know, so speaking of that nature versus nurture, I don't nurture their artistry, but through nature, I see already my older daughter, she is a storyteller.

She's a visual artist. She, um, I think she's going to be the next Tim Burton. Wow. She, she loves spooky stuff. She loves a little off the, you know, a little, a little off to the side, you know, kind of scary, spooky. She leans into things that kind of, you know, scare her a little bit. She, um, she can like sit down and watch Miyazaki films and she's only six. And she just really, and she's such an empath. And I think that like her world is going to be through stories. I can feel that already. Um, and my younger one, she might be a dancer. I see it. I see, um, not only in her arch, but also, um, in, in the way that she expresses herself. Um, she sings a lot. She's a much more verbal kind of girl.

She, she knows all these lyrics of songs already. And she sings like with great pitch. Like she knows the half notes. She's not kind of guessing. She's got them. She's got them. She's like, you know, um, and, uh, so, and she also like, kind of like moves around. And, uh, so, and she also has this inclination to like be pretty, which is an interesting thing. Cause in our house, we're like, that's, that's not my, my kind of go-to word. Um, so, so I have to look good, mom. Yeah. She's like, do I look beautiful? And I was like, well, you always look beautiful, but now you look fancy, but yes, you know, um, perfect way to put it. Well, yes, you are giving fancy. You are giving fancy. Yeah. So, um, so I can tell that there's like this kind of aesthetic quality that, that really speaks to her in the arts, in the more, in the, in the way that we're used to and stuff.

So I will be very interested to see where both of my girls go and they could, you know, but also Nave, the younger one, she's also such a sassy pants. Like she could be a lawyer. Who knows? Who knows? Or she could play a lawyer either way. She could play a lawyer. Have either of them ever seen you do the show? Um, yeah, Ella Wynne, she has come twice to the show. She's my older daughter. Um, she came two days after her fifth birthday. And of course, like, you know, Charlotte, you know, does her little, you know, she, she got, she was, um, and, uh, so, so that was, and she was sitting front row and of course, like, you know, our Chicago community, so many people know her. And so of course they're giving her little, little, you know, little eyes and giving her looks and stuff like that and little winks.

And, you know, five is, you know, slightly on the young age of going to see a Broadway show, just having the ability to sit there for that long of time, you know, people can get squirmy, but she sat there and she, she was really with it. Now she's six and a half and she just came to the show a week and a half ago, I think. And, um, you know, and actually she fell asleep for a tiny bit, but, um, but, but she was like, she was in it. She and I together fell asleep. She was, she was playing with her cousins all day. I think it wore her out or something. Cause normally she's like a night owl, but I was like, oh, she fell asleep, but she was really, she was really engaged. And, um, you know, she asks, I cannot remember the question she asked, but it was really like kind of a deep, deeper question her and her, her little cousin, they were asking some pretty profound questions.

So I mean, I think that like, that goes to show like how at such a young age, kids are figuring things out. They know more than people want to think they know. And yes, they're listening. Yeah, exactly. So, um, so yeah, we were on the fence about having her come to see the show because she's three and a half. She's a little, like, we just didn't know if she would sit through the thing. Well, and it's not a particularly, it's not watching little Einstein's like this, there isn't the color and the sparkle and all of that. It is very, I mean, if you have the capacity to handle it, of course it's, it's stunning to look at, but I would imagine as a child, it's not, it's not watching the little mermaid.

Yeah. Yeah. Yeah. Yeah. You know, taking her to Aladdin where she sees all these colors come to life and stuff like that, you know, literally flying through the air. Yeah. A beauty and the beast, you know, stuff like that, that really, you know, grabs their attention quickly and, um, and stuff is something that she could handle. Um, but yeah, they're definitely, they, they have their touch of the arts for sure. And, you know, it's so special that they get to see their mom do it. I just love that. And I think, I mean, I have to ask just like about like the sort of lore of Chicago, simply because you have been a part of the show for so long now, and you are a swing, which is just an absolutely essential position to the show, but you have also served as dance captain for the show.

You have gone on for leads in this show. You basically, there, there kind of is this like inherent, like in your bones quality of Chicago, the musical. And I'd love to know, like, number one, was that, how long did that take for you to develop? And then also do you ever still have days as a swing where you're like, well, I royally fucked that up because I haven't done that in months? Like, how do you, I mean, is it, is it just 100% in, in your, in your like, sort of second nature or are you still, you know, finding things?

[56:36] Jennifer Dunne Keeney: Well, it's funny because, uh, my husband, he calls me present tense Jenny, um, because he jokes that I have, like, I just really don't have a great memory. Like I'll be like, Oh, did we see this show? You know, or I read this fabulous book and I can't recall what it was about, you know, like, or I recall the way it made me feel, but I can't remember all the finite details. He's like, Oh my gosh, you know, this, this woman. So sometimes I don't trust my brain. Um, and so as you know, I have like my little note notebook that has, it's like a little index cards of like shorthand of just numbers, spaces, traffic patterns that might be a little tricky for each of the tracks. And I mean, after, you know, a decade plus, I still look at those.

I still look at them every show because I don't want to think on stage. I want to perform, right. I want to perform on stage, not think. And so I do my thinking, you know, before I walk on that stage. And so, yeah, there's tracks that, you know, I don't go on for as frequently because of course there's the incredible Sharon Moore that is the other swing in the building. And so shout out Sharon. Um, so between the two of us, we kind of split, we have our primaries and our secondary. So some of those secondary tracks are not as, um, you know, in my bones as my primary ones. So, you know, I have a lot more thinking going on, but, um, with all that said, I got to, you know, I got to do the rehearsal process long, long, long time ago.

Then I got to do it after the movie came out. Then I got to do a rehearsal process, like when they kind of set this kind of patchwork quilts of all these cool performers, um, for Taiwan. Uh, I got to rehearse in for a Dubai like stint. Um, and then also when we'd like, you know, close for a hiatus on a tour and then we get to go back, um, you know, we'd have a, even if it was just two weeks, but like have another rehearsal process. Um, and then also I did the Japanese company of Chicago where I played Hunyuck. And so that was a two month process. All that to say, I've spent a lot of time in the room with Gary, um, when he would set these companies and he is, you know, he's unrelenting with his critical eye in the best way possible.

Like he, he really can, you know, craft a picture. And, um, and so I think because of that, I've been able to get enough vocabulary that's familiar in my body that I don't have to think about that as much. I don't have to think about those stylistic choices as much. I'm not kind of like going, am I doing falsy right now? Am I, am I doing the style, you know, am I, am I upholding that thing? You know, um, where I'm kind of like making up things too much. I've, I've had enough of that time. So I feel pretty comfortable in that sense. And then, I mean, when they called me about the swing position, when I had done the tour, I wasn't a swing, you know, I hadn't been a swing since that time, but I was like, Oh, I thought I'd get to go on a bunch.

And I did it, you know, then I was like that ship had sailed. Um, so I was always playing different tracks. And so when the swing position came about, I was like, well, actually that's perfect. Cause I'm not going to get bored. Um, I'm going to be able to kind of like grab into like taking charge of each of those individual roles and, um, and take on that challenge of what does that role mean to me? You know, I'm not a carbon copy of anybody that's out there. We don't look like each other. So for me to try to pretend that I'm going to be that girl is ridiculous. Um, you know, it's the ownership of how you're going to tell that particular cell block girls story in that moment. And I've literally seen you do, I think almost every single one, which is so insane.

Cause then you come off stage and you're like, Oh my God, hi, how are you? And I'm like, bitch, how are you doing this? How are you doing this? But wait, so have you, how out of all of the women in the show, who have you gone on for all of the ensemble women?

[57:58] Jennifer Dunne Keeney: All the ensemble women. Um, I understudied Roxy out on tour. Um, so I went on for Roxy out on tour. I didn't do it in Broadway, although it covered for a moment, like post pandemic, you know, because we had, they were like, you just never fucking know. Do you think you, yeah. And it was like, dude, this has been like 15 years. Are you kidding me? Like, but, um, but I was like, all right, okay. Let me like, look through the script again and see, see what I remember. Um, and then I, uh, no, I think because I was always kind of the up until recently, I was like one of the younger company members. It wasn't, I was like, it wasn't that I was seen as like, you know, one of the ladies that ruled the roost, the matronly, you know, and now I'm like on the other side of it, but no, I never covered mama never.

Well, on that non equity tour, I covered Velma for, you know, the short amount of time I was there, but, um, but yeah, so I learned some tracks, but I never, I never learned Obama. So nobody expects me to ever jump on for that.

[58:06] Jennifer Dunne Keeney: Just genuinely for, for what 15 years or so of your life, this has been your day in day out. Like not even, even if you're not on, even if you're just hearing it in the background, hearing the words, hearing the notes, like it just astonishes me that there are these opportunities for artists that like really do just create, I mean, hold such weight. Like I, I just, I would imagine that this show, because it's so special to me and I've only been a part of it. I did it, you know, the, the non-act tour pre COVID and then joined the Broadway company 2021 as like vacation coverage. And now I'm just out of the building, but it's like, it is such a special show to me, but for someone to then be able to say, you know, I've been there for 15 years. This has been a part of my life for more than more than that. It's just amazing. And like, I can go into the weeds because the crafting of this show is so phenomenal.

[58:11] Jennifer Dunne Keeney: There's, as we watched the rehearsal just yesterday, was that yesterday? Oh my gosh, that was just yesterday. The rehearsal with Walter and Gary where they're kind of really going into those finite moments that let's look back on this, let's think on this, what's actually happening and all of these nuances that makes the performance just sizzle. And, you know, so there's that element of just how do you craft comedy? How do you craft comedy, cynicism, all, you know, intertwined, like dark plus pleasurable. And then on top of it, you have our choreography that is very rigid at certain particular moments, and then very fluid in terms of our individuality and our improv-ing in other moments. And that's something that I think can carry a performer for a very long time, because you can keep on going back and looking back and going, well, all right, let me see, what can I do for this improv in this particular moment?

What else can I do? And especially because I'm in six different spaces at six, you know, at any given day for those six women, I'm improv-ing on the stage in different spots. So that gives a lot to like dive into. I can be bored if I wanted to, but I'm not bored because there's always something more. And also the opportunity to interact with your company members is something we're not doing other shows where we're just like outward facing to the audience going da-da-da-da-da-da, you know, we are getting to play with each other in different moments where it's like we're intertwining. And so there's like touching or, you know, response. It's almost like contact improv, you know, where we get to have those moments with each other that are, you know, very organic.

And I love to take opportunity to connect with my company members in that kind of way. I love that fluidity of just kind of getting in there and being like, oh, he's going to do this thing and I'm going to wrap my body around him like this, you know, and be like, don't mind me. You know, it's really fun. And if you get enough company members that speak that same understanding, it just becomes this other creature that's very alive.

[1:00:51] Jennifer Dunne Keeney: Electric. It's so incredible. I mean, just watching the rehearsal yesterday even was just astonishing to see how connected everyone can be. Yeah. And that like that opportunity to kind of all have, you know, as Walter's kind of saying, like, take your moment of spotlight, take your this, and then you come together and we are all a unit. We are all working together then. And it's like there's moments they call like Greek chorus, you know, and taking pride in the fact that you can be your individual when it's time, but then also taking pride in this is not the moment to be individual, because I think that sometimes people want to say, well, I want to be special all the time and I want to be seen all the time.

And so we kind of do these things that individualize our performances. And sometimes the choreography asks us to strip that away. To be able to take pride in I am not an individual right now. I am a team. I am a unit. Um, it takes great restraint in order to do that, in order to say, this isn't my moment. This is our collective moment. And in order for that, uh, to be powerful, the audience, I have to strip my ego away and be a collective. And then you have those bust out moments where then you get to be your own individual to really know when to like, you know, take that forward and, you know, pull it back is something that can busy a person in Chicago for years, you know? Um, so yeah, so it's, it's, um, it's been, uh, it's been great, you know, being able to like, you know, watch the, the moments of Chicago where, you know, we have that electricity, like you were saying and moments that it's like, oh, this feels, feels a little off.

We're a little, like, we're not driving. We got it. Yeah. It feels a little crunchy. Like, how is it we're missing? What are we missing right now? And like, what is that, that thing that's missing, you know?

[1:03:07] Jayke Workman: Totally. So Jen, I just absolutely adore you. Thank you so, so much for coming on the pod. Before I let you go, I have, I have a series of musical theater rapid fire questions.

[1:03:13] Jennifer Dunne Keeney: Oh God, I'm not going to know anything.

[1:03:18] Jayke Workman: No, no, it's not trivia. So it's just for you.

[1:03:23] Jennifer Dunne Keeney: Oh good. Because I'm like, oh, opinion. Are you ready?

[1:03:27] Jayke Workman: Oh yes. Sondheim or Andrew Lloyd Webber?

[1:03:33] Jennifer Dunne Keeney: Sondheim.

[1:03:34] Jayke Workman: Sweatpants or jeans?

[1:03:37] Jennifer Dunne Keeney: Jeans.

[1:03:37] Jayke Workman: Do you have a favorite musical?

[1:03:37] Jennifer Dunne Keeney: Uh, I really like West Side Story gives the, the triple threat for everybody. Oh yes. So I would, I would say that that just the, the richness of the score and the acting beats and then the dancing, like you're getting 10, 10, 10 all the way. So um, that would be a really special. And of course, Chicago, do you have a least favorite musical?

[1:04:08] Jennifer Dunne Keeney: I don't think they lasted very long. You're like, you wouldn't even know the name.

[1:04:19] Jayke Workman: Would you ever like to do a Broadway play?

[1:04:19] Jennifer Dunne Keeney: Yeah. Yeah. I mean, I probably won't, but uh, but I really feel a strong, uh, appreciation and respect for the plays.

[1:04:33] Jayke Workman: Are you a morning person or a night owl?

[1:04:41] Jennifer Dunne Keeney: Oh, I think it's a mid morning actually, but um, but yeah, I'm a mid morning person, but I do, I do wake up more in the morning time.

[1:04:45] Jayke Workman: Love. What is the craziest thing a director has ever asked you to do?

[1:04:51] Jennifer Dunne Keeney: And is it do a photo shoot on an airplane in the middle of an airplane hangar for Chicago on Broadway? I was 100% into that. I was like, let me get up there and like straddle the propeller. It was, um, that, that photo shoot was phenomenal.

[1:05:12] Jayke Workman: Oh, it's iconic. Golden age or contemporary?

[1:05:12] Jennifer Dunne Keeney: I think that we've all, we have our moments of growth in different times. There was a point where I said golden age, but I say contemporary now.

[1:05:27] Jayke Workman: Oh, I love it. Um, do you have a favorite role you've ever played either within the world of Chicago or otherwise?

[1:05:36] Jennifer Dunne Keeney: Um, I think that, uh, I really felt like Ada Manny was a great role for me. Um, you know, I think that people like to think of her as this like kind of ding dong. And, um, and, and I found her, I, I enjoyed performing her as very certain of herself and I, and I, I hit the range and, and my, my certainty read, you know, in, in the right kind of way. I think that that was a really fun role to get to play where I felt it authentically, but yet I knew I was executing it to the way that they wanted it, you know? Um, and I really, you know, it's funny because like of all the other understudies had, including like the Roxy stuff, um, for me, it means I got felt good. Um, but, uh, yeah, I think, uh, and also actually, uh, when I played Hanyak in the Japanese company of Chicago, uh, I really loved playing that role.

I really felt it really spoke because I'd lived overseas. I knew what it was like to be misunderstood, um, and to not be able to advocate for yourself in another language is, uh, is something that, you know, I, you know, I felt very honored to get to play that role. Um, so yeah.

[1:07:00] Jayke Workman: Are you a coffee person or tea person?

[1:07:03] Jennifer Dunne Keeney: Coffee all the way.

[1:07:04] Jayke Workman: Me too. Um, what is the hardest show you've ever done?

[1:07:08] Jennifer Dunne Keeney: Um, Curtains was, Curtains was hard. Curtains really challenged all of us physically. Um, and, uh, yeah, we were all just doing crazy, crazy stuff. And, uh, and it was, um, it was just like physically challenging in that, in that sense. But my God, the group of people, woo, they were so like that team. And I call it a team, that company, we all were there for each other every step of the way. Every day we were so tight. Like we just, uh, I don't know, maybe it was a year ago we had a reunion of that cast and, you know, and Scott Ellis at the helm, like, you know, pulling everybody together and, um, and that it was a really special company. So for as like hard as it was to like, you know, do this very athletic kind of thing, which I loved, um, it was, uh, it was a, it was a fabulous experience.

[1:08:12] Jayke Workman: So cool. Do you have a favorite costume you've ever worn?

[1:08:16] Jennifer Dunne Keeney: Hmm. Hmm. I, I suppose there was this one costume in curtains that I, it's funny because I do so many like dance shows where they're like, you know, chorus line, we're in leotards, you know, Chicago, we're in like underwear, you know? And so, and then like Oklahoma, I'm in like a, you know, Oklahoma, a petticoat dress. I was like, I know, you know, like, actually, no, I hate all my costumes. I'm like, where are the rhinestones? Where are the, where's, you know, like, you know, in the Pamela and I got to do some stuff, but there was this one, um, William Ivy long built this one dress, uh, for, it was the number in the same boat, uh, in curtains. And I was on this steam boat kind of thing. And I was like one of the fancy ladies and stuff like that. And the way that he, you know, used the material to create this patterning was really, really quite beautiful. And so, yeah, I guess I felt fan. I felt fancy.

[1:09:29] Jayke Workman: Like mother, like daughter. My last question for you is a question I ask every single guest, which is what is one thing that you would tell a baby Jen?

[1:09:33] Jennifer Dunne Keeney: You can do so many things, so many things. Yeah. Just keep going. Just keep growing.

[1:09:41] Jayke Workman: Oh, I love it. Title of episode. Just keep going. Just keep growing. Yes. Oh, I like that. I'm absolutely obsessed with you. Can you please tell the listeners, um, where can they find you? Do you have a website or anything? I was going to say like, tell them all the things that I love about you. Like, no, no, that's really like, I mean, I, you know, before you hang up on me, um, I just have to say you really, you really, you excite me. You excite me in the sense that like, just what you bring to when you come into the theater, your lightness and your spirit. And then also what you bring to the stage is so exciting. And, and it really makes me happy to have you as a colleague because, you know, I'm like you, you know, whatever that day is that I hang up my shoes, you're going to be there, Jake.

And, and that makes me really excited. And I'm, and I'm so, if this is where theater goes, you know, yay, yay, yay, yay. That means more than you could ever know, because I'm just so in awe of you and what you do in our show.

[1:10:54] Jayke Workman: Thank you. Um, no, I'm not on social media. Like I'm, I think Mikey Scarotto has me, like, he tags me sometimes as like Jenny under the rock or Jenny off the block or something like that.

[1:11:07] Jennifer Dunne Keeney: He fucking would. Yeah. So you'll have to ask him what, like, you know, because if you go, I guess, find those tags, I guess you're going to see a ton of pictures of me somewhere. Um, but, uh, but yeah, no, I, I went off social media about eight years ago. I, I just didn't find it to be back and I know I didn't really look back. I wanted to have a different kind of authentic relationship with my friends and stuff like that. But, um, I am on LinkedIn. Come on. Yeah, exactly. Like what people are like, what is business endeavors? No. Yeah. And I, I think I have a, I have a website that's actually a little bit more aligned with my, um, you know, my photographic retouching, my producing film world, you know, and that's Jennifer Dunn, I think it's www.jenniferdunkeeney.com. So it's like my full, full name, my, my, my married name, my off the stage, my, my, my mom's name, my retoucher name, my mom's name.

[1:12:12] Jayke Workman: Well, Jen, thank you so, so much for coming on the pod. I just love you.

[1:12:19] Jennifer Dunne Keeney: I love you too, Jake.

[1:12:22] Jayke Workman: You guys, that's it for another episode of Oh My Pod, You Guys. Don't forget to rate, review and subscribe anywhere you listen to the pod. And you can follow the show on Instagram at Oh My Pod, You Guys. Thank you so, so much for listening. Talk soon. Bye.