This transcript was automatically generated and might contain errors.

[0:01] Jayke Workman: You guys, Season 3 of Heartstopper came out, and let's just say this. If I didn't know I was gay before, I certainly know now. What's up, everybody?

[0:30] Jayke Workman: My name is Jayke Workman, and this is Oh My Pod U Guys, a musical theater and pop culture podcast. You guys, this week has been crazy cuckoo bananas. I had the absolute pleasure of getting to see my friend Daya, shout out to you, darling, play accordion for the Broadway revival of Cabaret, and it was astonishing. I have looked forward to seeing this show for so long, and I had the pleasure of seeing Adam Lambert and Ali'i do their incredible work as the emcee and Sally Bowles. I was floored. This show is everything I hoped for and more, and the cherry on top was getting to see my friend play in the orchestra for this iconic show. I mean, just hearing Daya play the iconic introduction, those bars of accordion as the emcee lights up the stage is just amazing. So congratulations to you, my darling, and congratulations to everyone in that show who had a hand in creating it, because it is truly extraordinary, and I cannot wait to go back.

[1:37] Jayke Workman: And with that, you guys, we have to dive right into this week's Broadway World Recap, brought to you by my lovely pals at BroadwayWorld.com. First you guys, we have to talk about the passing of two titans of the Broadway community, Mr. Ken Page and Mr. Gavin Creel. Ken Page was one of the voices of my childhood. I mean, he played old Deuteronomy in the original Broadway cast of Cats and in the filmed stage adaptation of the show, which I watched pretty much every day of my childhood, from like age six to nine. I adored him and this show. He of course created the role of Ken in Ain't Misbehavin' on Broadway. He voiced characters in movies, and he was just a light in this community, and he will be sorely missed.

[2:32] Jayke Workman: And we of course have to talk about Gavin Creel. Gavin was so, so young, died at the age of 48 from a very rare form of cancer, and it came on extremely quickly. I think that this untimely passing just really shook the Broadway community to our core. I did not personally know Gavin. I met him a couple of times very briefly. He was always extremely lovely, but the outpouring of stories from so, so many people whose lives Gavin touched just shows what a wonderful person he was. We can talk about his performances and his voice and everything and how gorgeous he was. He truly was one of my childhood crushes. My very first introduction to him was when he played Bill the waiter in Eloise at the Plaza.

I remember being like, wow, that boy is very handsome as a nine-year-old. But he touched the lives of so many people in this community. I would literally see him at the grocery store. It's so wild to think of him not being here anymore because he just had so, so much life left to live. And now I'm kind of just rambling because I'm still really just so, so shocked and saddened by this news. But I hope that Gavin knew just how adored he was because he was, and he will live in our hearts forever. And I will continue to cry while I listen to Put on Your Sunday Clothes. So may both of these men rest easy and know that you will never, ever be forgotten.

[4:34] Jayke Workman: And you guys, we got the announcement that Water for Elephants on Broadway has set their closing date, but they will be launching a national tour in the fall of 2025. Water for Elephants opened at the Imperial Theater on Broadway this year in March, and they have set their closing date for Sunday, December 8th, which is a really incredible run. I hope that everyone in the show is so, so proud to have had a hand in bringing this beautiful show to Broadway. And hopefully some of the cast gets to reprise their roles across the country on the national tour. So wishing everyone at Water for Elephants a huge congratulations on a beautiful run, and I cannot wait to catch you before you close on Broadway.

[5:16] Jayke Workman: And lastly, you guys, we got the very exciting announcement that the star of the very acclaimed TV series Succession, Miss Sarah Snook, will make her Broadway debut playing 26 characters in The Picture of Dorian Gray. This is following their sold-out, critically acclaimed run on the West End. You guys, I am so excited to see the show. It looks incredible. I've tried to do as much research as I can, but they are very gatekeepy about promotional materials and where they are letting videos go. But it looks stunning, and I'm so excited for her to be able to make her Broadway debut. So congratulations, Miss Sarah Snook. So congratulations to Kip Williams, the director of this amazing adaptation of Oscar Wilde's singular novel. I cannot wait to see it. Welcome to the Broadway.

[6:08] Jayke Workman: And you guys, this has been the Broadway World Recap. Oh, my pod, you guys. I am so excited to introduce my next guest on the show. You guys, this is just silly. We've already been google-gaggling for like 20 minutes before we even hit record. Yeah. She is truly a bona fide Broadway actor who you can see very soon on stage in Harry Potter and the Cursed Child as Ginny Weasley. Yes. Please welcome. Ginny, yeah, yeah. Please welcome my freaking angel, Sarah Killough.

[6:46] Jayke Workman: Hi. Sarah, welcome to the podcast. I can't believe it's taken this long for this to happen.

[6:52] Sarah Killough: I know. We've talked a lot about it. I feel like every conversation we have could be a podcast. So I'm like, it's a wonder that we haven't just like pressed record on like a phone call.

[7:02] Jayke Workman: Just hanging out.

[7:03] Sarah Killough: Yeah. Just like, hey. At a party where we're like, no, I just want to talk to you for a second though.

[7:07] Jayke Workman: No, no. I know.

[7:09] Sarah Killough: Oh, no, no. That's okay. You guys look like you're having fun. You go over there.

[7:13] Jayke Workman: But we want to talk.

[7:14] Sarah Killough: We're actually really, really deep into this story.

[7:15] Jayke Workman: So deep.

[7:16] Sarah Killough: So deep.

[7:17] Jayke Workman: So go away. Thank you so much for being here.

[7:19] Sarah Killough: My pleasure.

[7:20] Jayke Workman: We have so much to talk about. I have to, of course, I usually ask my guest, where are you calling in from? However, you are sitting four feet away from me, darling. But we share a very special hometown connection.

[7:33] Sarah Killough: We do.

[7:34] Jayke Workman: We are both from Minnesota.

[7:35] Sarah Killough: The great state.

[7:36] Jayke Workman: Girl, talk about it.

[7:37] Sarah Killough: The north.

[7:38] Jayke Workman: The north.

[7:39] Sarah Killough: Yeah.

[7:40] Jayke Workman: I'm from even, I'm from the north of Minnesota.

[7:41] Sarah Killough: You are the girl from the north country.

[7:42] Jayke Workman: Best musical ever, clearly.

[7:50] Sarah Killough: I'm from Duluth, born and raised. This is not my natural accent.

[7:56] Jayke Workman: You've worked on it?

[7:57] Sarah Killough: If I called my mom, it would sound more like this.

[7:59] Jayke Workman: Oh, hot dish.

[8:00] Sarah Killough: Oh, hot dish. Don't you know?

[8:02] Jayke Workman: Yeah.

[8:03] Sarah Killough: Oh, good.

[8:04] Jayke Workman: Yeah.

[8:05] Sarah Killough: Teeter tot hot dish.

[8:06] Jayke Workman: Yeah.

[8:07] Sarah Killough: It's the best.

[8:08] Jayke Workman: Teeter tots.

[8:09] Sarah Killough: Oh my God. So when did you, before we dive into all of the Broadway of it all, when did you like first know that like art and theater were going to be part of your life?

[8:15] Sarah Killough: Like was your upbringing in Duluth like in tandem with that?

[8:21] Sarah Killough: Yes. My mom's brother is an actor at the Guthrie.

[8:33] Sarah Killough: And he, so I think the first show I ever saw was Christmas Carol at the Guthrie. It was terrifying. Scared the shit out of me. But I think he played Scrooge at the time.

[8:42] Jayke Workman: Cool.

[8:44] Sarah Killough: So I grew up seeing shows there and then, you know, I sang in church. I took piano lessons, voice lessons, oboe lessons.

[8:56] Sarah Killough: I almost said all the normal things and then you caught me.

[8:58] Jayke Workman: So normal.

[9:00] Sarah Killough: So normal. It's really cool. I was very cool.

[9:02] Jayke Workman: What is that? Does the oboe sound like...

[9:04] Sarah Killough: It's the dying cat.

[9:05] Jayke Workman: Oh.

[9:06] Sarah Killough: But also very pretty.

[9:07] Jayke Workman: Okay.

[9:08] Sarah Killough: Yeah. But like a violin, but a wind instrument.

[9:11] Jayke Workman: Interesting. How long did that last for you?

[9:15] Sarah Killough: Um, I started lessons in fifth grade and then I took lessons until 10th grade when I went to...

[9:22] Jayke Workman: Oh, okay.

[9:24] Sarah Killough: So a long time.

[9:25] Jayke Workman: Yeah.

[9:26] Sarah Killough: Then I went to boarding school for 11th and 12th.

[9:27] Jayke Workman: Talk about it.

[9:28] Sarah Killough: Girl.

[9:29] Jayke Workman: Yes.

[9:30] Sarah Killough: I went to Interlochen Arts Academy.

[9:31] Jayke Workman: Interlochen.

[9:32] Sarah Killough: Locked in.

[9:33] Jayke Workman: I did.

[9:34] Sarah Killough: At Interlochen.

[9:35] Jayke Workman: Okay. So can you tell me, I have actually been wondering this.

[9:38] Sarah Killough: Yeah.

[9:39] Jayke Workman: Because I moved to Minnesota when I was 12.

[9:40] Sarah Killough: Right.

[9:41] Jayke Workman: So I didn't like grow up, grow up knowing the like lore of Interlochen.

[9:44] Sarah Killough: Yeah.

[9:45] Jayke Workman: But there's like a different thing, right? There's like the, the summer program.

[9:47] Sarah Killough: Yeah.

[9:48] Jayke Workman: There's a camp.

[9:49] Sarah Killough: Versus like...

[9:50] Jayke Workman: The academy.

[9:51] Sarah Killough: The academy.

[9:52] Jayke Workman: So you did...

[9:53] Sarah Killough: I did the academy.

[9:54] Jayke Workman: Interlochen proper.

[9:55] Sarah Killough: Which I didn't know about until maybe my freshman year of high school because there was a girl in band with me who had gone to the camp. And I was looking at prep schools. I wanted to go to a boarding school. My mom went to a boarding school for her last two years of high school and I was like, yeah, I want that experience. I'm going to be just like her. I'm going to be like my mom.

[10:16] Jayke Workman: And she was a horse girl.

[10:21] Sarah Killough: So she went to...

[10:22] Jayke Workman: She truly is a horse girl.

[10:23] Sarah Killough: Oh my God. Yeah. I am a secret horse girl. My aunt, her sister trained horses for years. Still has horses. Her husband built her a barn. My mother's mother...

[10:33] Jayke Workman: They're horse girls.

[10:34] Sarah Killough: Has horses. They're all horse girls. I grew up with an Appaloosa named Domino. This is outing me on the podcast. I literally never talk about how much of a horse girl I am, but it's true. I do have long hair, so I kind of look like a horse girl.

[10:43] Jayke Workman: Low ponytail, maybe a braid.

[10:48] Sarah Killough: Yeah. Cause you got to fit under your helmet.

[10:50] Jayke Workman: Absolutely. Saddle club!

[10:52] Sarah Killough: Oh my God. So, but my mom was a horse girl. So she went to a prep school in Virginia where they had horses and so she could ride. And she played field hockey. But I wanted to be an actor.

[11:07] Jayke Workman: Of course.

[11:08] Sarah Killough: Which I've wanted for a very long time. I don't really remember not wanting to do it.

[11:13] Jayke Workman: Did you always know it was a stage actor that you wanted to be? Or was it like watching movies on TV?

[11:18] Sarah Killough: I don't think I knew a difference.

[11:19] Jayke Workman: Okay.

[11:20] Sarah Killough: Yeah.

[11:21] Jayke Workman: And I saw my uncle do it, so I knew that it was possible.

[11:23] Sarah Killough: Oh, right.

[11:24] Jayke Workman: Right.

[11:25] Sarah Killough: And his wife and their child. And there's a lot of actors in my family. I have a, my cousin is a designer. He does sound and lights and all sorts of technical design. I have another cousin who does voice acting. He does audio books, but he's done a lot of stage work and film and there's a whole bunch of us.

[11:43] Jayke Workman: Wow.

[11:44] Sarah Killough: So you guys are just...

[11:45] Jayke Workman: It's a dynasty.

[11:46] Sarah Killough: Yeah. So then, but cut to your collegiate career, which is yet another connection that we share. It's just so wild to me that like, I can just like fall in love with a person like you and we have so many similarities, but we never crossed paths.

[12:06] Jayke Workman: I know.

[12:48] Sarah Killough: I didn't know anything about college programs. In fact, I joke, like, my mom was like, well, I read about this really amazing program in Michigan. We should check it out. And I was like, Michigan? That's way too close to Minnesota. What are you talking about? I'm not going to Michigan. Joke's on me. But yeah, I mean, I had an amazing experience at Hart and I wouldn't have traded it. But did you know about college programs? At Interlochen, because most of the students at Interlochen in the academy are seniors. Half of the students are seniors. Okay. So when I was there, it was about 400 students and 200 of them were seniors. And then 100 of them were juniors. So I went for my junior and senior year.

And I knew some students, my junior year who were seniors who went to Hart. God, they liked it. Sure. So then when it was my senior year, and I went to Unifieds in Chicago, I think I initially applied to like 15 schools. Yeah. But Hart was a walk-in. Same for me. I did a walk-in audition in Chicago. I loved Ralph Perkins so much from the jump. I was like that person because I didn't I didn't I wasn't a dancer. I didn't grow up dancing. I didn't do any of that. Yeah. And I was like, that person can teach me how to dance. And I will listen to whatever they say.

[14:20] Jayke Workman: You a boo.

[14:22] Sarah Killough: A boo.

[14:24] Jayke Workman: And I get Ralph Perkins on the podcast. Oh my god. Next guest.

[14:31] Sarah Killough: I love him. He taught me everything I know about dance. And I get hired as a dancer sometimes. Yes, you do. Dance captain. Yes, dance captain. And then also in my audition, Alan read my resume and referenced it in the audit. He was the only person that was like the only school that saw me for who I was. Yep. I didn't I wasn't like psyched about it when I went to the audition, but I really liked the people. Yeah, I think I filled out an application to the university in like a 20-minute lunch break at school. It was a very quick just like I already have an essay for that send send. Yeah. So I did that. And then when I got all my acceptance letters, all of them so many not enough, but who cares?

It came down to the Guthrie program at Minnesota and Hart, mainly because of money. Yeah, my dad had made an agreement with me that if I went to boarding school, I had to have at least two years of college for free. Okay. And he was a professor. He was he's a retired English professor. So I could have gone to his school for absolutely free. Mm hmm. They don't have a theater program, right? So we're not doing that. But it is it. It was a private school and there's a chain of private schools that are all connected. So you can apply for tuition exchange. And so we did that. Okay, so he said I could go to the Guthrie program because it was an in-state school, right? And so that would have counted.

And then I could go to Hart because it was on the chain of schools for free. Wow. So I went to Hart because it was closer to New York. I wanted to learn how to sing and dance because Interlochen is not a musical theater program, right? Just acting. It was at the time. I don't know what it is now. So I went to Hart because it's closer to New York. I really liked Ralph. I liked the teachers. I was like this feels right.

[16:23] Jayke Workman: Yeah, yeah, I had such a similar. I loved that experience. I love the dance hall. Of course, I was like not a dancer, but I felt like I could dance doing that. Yes. Yes. Well, Ralph is very good at making you not feel stupid. Even if you do. He's gonna be like, sell it, please. He will also make you feel stupid. Well, that's a separate thing. It's a different it's a different thing there. But you're right. Yes. And the learning of it. Yeah. And I just I remember to my experience with Alan, who was the head of the program at the time. I sang my first song. And he said, I know exactly who you need to study with. His name is Mark Planner. And so in that way, I felt so affirmed because he wasn't saying like, you did it, you got into our program, like, don't tell the others.

It was very like, on an academic level, I know who you need to be with. I know I can see the trajectory of where you will be four years. I think that was a strength of Alan's that he knew that he hired good teachers. And he knew what to do with his students. Yeah, I may not have known all of his students. Yeah. But I don't know. I don't. I went to school with a lot of them. I know a lot of Christmas Carol. That's why I know a lot of people.

[17:41] Jayke Workman: Well, okay, so switching gears a little bit. You just know, like a lot of people, Sarah, you're just like, really? No, but you are, which is the funny thing. Because who doesn't frickin love Sarah? Hello. I bet there's people out there. You're like, you know what, let's not open that can. It's there. I'm sure they're there. So post your grad experience. I came to know you. I, of course, like through the like lore of like the grads of the Hart School program and going on to like, do New York theater and get to actually like consistently work. That was like a really exciting thing for me and for the people in my class. Because you know, when you when you are in a program, you want to be able to see yourself.

Yeah, the people who have graduated and like, definitely know what you're doing. So when I heard that you were doing Long Day's Journey in Tonight with Jessica Lange, also a Minnesotan, but yeah, also, also a Minnesota girly. That was like the hugest, you know, that was like the biggest thing I had ever heard of like someone who I actually know. Yeah. Entering into like the real zeitgeist of New York Broadway theater with heavy hitters. Real dramatic American play. Yes. And that was your Broadway debut. Yes. So tell me like, what was the sort of you arrive in New York three bucks, two bags, one me to being on stage with Jessica Lange.

[19:10] Sarah Killough: So my last two summers in college after my junior year and after my senior year, I spent at Monomoy, the gorgeous, gorgeous Cape Cod theater. Chatham, Massachusetts. And my second year there, I did The Dining Room, great American play. And it was directed by Rich Cole, who was a casting director here in New York. And I was the only student in that production, who graduated, everyone else was a grad student at Ohio. So I was the only one who graduated and was going to New York. And he said, call me when you get to New York. Yes. So I did. And he had me be a reader for him. Okay, so I was his reader in fall. I'm not going to date myself. So the fall after I graduated, I was his reader. And then I had another friend who from Hart who went into casting.

And he asked me, he's like, Oh, you have reader experience. Can you do an Irish accent? And I was like, can I do with this red hair? I hope so. And then he's like, Can you do a Czech accent? And I said, I'll figure it out. I'll check. So that's funnier. So that was to be a reader for replacements for the for Broadway's Once. Once? Yes. Okay. Because you need to do Irish and Eastern European Czech. Sure. So I did a lot of that. And that's how I started reading for Jim Carnahan's office. So I was a reader for him for many, many, many years.

[20:56] Sarah Killough: Cool. In 2015, I had done a show at Monomoy. I was a guest artist. And then Francesca James called me and said, Would you like to do Once Upon a Mattress off Broadway with the transport group? And I was like, Yeah, what do I have to do? And she was like, I'm going to recommend you nepotism works. It'll be good. So I was in the ensemble of Once Upon a Mattress. I had to turn down Christmas Carol that year. At Hartford stage. Yes. My pay was a big cut to go from Lord B to off Broadway. Yeah. But I was in town for Long Day's Journey auditions. So I was initially up for the role of the maid in Long Day's Journey. And I was very nervous. Because they already cast Jessica Lange, Gabriel Byrne. Yeah.

Michael Shannon, and John Gallagher Jr. What in the? Like, cool, cool, cool. Sure. Are they also casting the understudy at this time? Because like, maybe that's more my speech. Sure. So I go in. I do my audition with the reader who was lovely. I meet some girls in the out in the waiting room. They're really fun. And then I got a call back, I go back in again. And then like a week or so later, I'm reading for another audition before a matinee. And I go in, and Jim Carnahan's like, Can I talk to you for a second? And I was like, Yeah. What did I do now? Sure, what? Yeah. He's like, So we're gonna give you the understudy. And I screamed. I think. Oh my god. And then I went back to my, I went to my matinee that evening, way downtown, or matinee, and not evening, who cares?

And everyone was like, Oh my god, you're gonna be on Broadway. Right. So during that show, people were like turning around on stage, hoping their mics were off saying you're gonna be on Broadway. That is really exciting. That is so wild. And I don't think I would have had that opportunity if I had taken Christmas Carol that year.

[23:05] Jayke Workman: Yeah. Well, that's I mean, I have spoken to so so many people in the pod about like the sort of nonlinear. There's so much of that experience. Yeah. I was like, if I had, if I had been in this show that I really wanted to do, I never would have been able to do what I wanted. Yeah, I wouldn't have gotten these 12 other things that I loved. Yes. And that is like kind of the, I mean, it's a hugely frustrating aspect of it. I have to remind myself every time I don't get something I want to be like, okay, but something else will probably happen. Right. So I mean, this, that, of course, was your first, like foray into the world of Broadway, but you have gone on to do three other Broadway plays after that, including Leopoldstadt, which I cannot wait to talk about.

But in talking about being a reader, I would love to ask you about that, because that's something that like, I don't think quite a lot of people even really understand is a job. Yeah. And like, for people, especially for people who are not even like in the industry, like nobody, when you think of like, I'm going in for my big Broadway audition, they're like, so you put on your pretty dress, and you go in and you sing happy birthday, and they give you the job.

[24:14] Sarah Killough: Yeah, that's there's not much. It's usually because they're fabulous answers. They're like, can you hit a note? Yeah. Yeah. Great. You can. You're hired. You're hired. You're a featured dancer. But that is the craziest. I mean, you must just have so, so many stories and experiences of being in the audition room. Wild things. I've seen famous people crack. Uh huh. Many times. Sure. And the way that they handle it is why they're good. Right? Because it doesn't derail their day.

[24:42] Jayke Workman: So okay, tell me, walk me through even like, when it's a new show that you haven't been a reader for, or maybe not even a new show, but if you haven't been a reader for it, yeah, do you have to do research and work to ask them?

[24:56] Sarah Killough: Yeah, I asked them to send me the script. So I can read it ahead of time. Yeah, they usually send me the sides. I do want to know more. I was Yeah, often that if it's a musical, I want to hear some of the music. Sure. And often it's in because they send me the Dropbox that they send to the agents. So I just get all the things usually. Yeah. But there are sometimes like when I was a reader for Travesties, Tom Stoppard's Travesties, they sent me the sides and I was like, these don't make any sense. Can you send me the play? And the casting director was like, yeah, I don't know if that's going to help. But, uh,

[25:34] Sarah Killough: And I read it and I was like, I don't understand this. But then I got to those auditions and I watched everyone auditioning and the director directing and I was like, oh, gotcha. Now I understand the vibe of this. I understand what this is. So, I mean I have been a reader a couple of times. Okay, good. Yeah, like of course nearly to the extent. Hi, if you've auditioned for Broadway, I was probably your reader. And that's probably actually really fierce like title of Broadway's reader autobiography. Yeah, read them down. Yeah, but it's interesting to be in the position where you are in service to whoever is coming into the room and as an actor yourself, you have that level of respect and empathy and you want to help them.

Yes, exactly get the job. That's like kind of the whole point. But at the same time, you are an actor yourself. So in reading a script, you're gonna make choices, you know, opposite whatever they're doing. Yeah, and so it's I found even just in like the couple of times that I was reading sides for people, I was like, that's the wrong choice, baby. Yeah, you're not doing it right? Yeah, and I like it's stupid because I'm not the one auditioning. No, it's not but I want to make the team laugh. I want to make the table fucking crack up. It's not my audition, but I'm still a good at my goal as a reader is to make everyone behind the table laugh without distracting someone's audition.

[27:01] Jayke Workman: Okay, so and I sometimes, yeah. How do you fail strike the balance or like? Are there ever instances where like you really feel like you just have to abandon any choice that you would have made?

[27:14] Sarah Killough: Naturally because you have to be in service of what that yes doing though I because I'm in the room and I'm hearing the director direct right often. I am trying to lead the auditioner in the correct way. Very kind of you, I try to and I sometimes I get direction from the director very rarely. So I will hear what they're directing the actor to do and I'm like, okay, how can I help that? Yeah, which is a fun acting exercise. Yeah, then when I get a job and I hate it when they take the actor away and tell them a secret and I'm like, no, no, I want to know because that maybe I can help it. Yeah, don't surprise me, right? What about a kiss? Yeah, you're gonna kiss me.

[28:07] Jayke Workman: So but then are there also instances where and you know, I'm sure there are but like have you ever felt like this is a role like you are the reader? And someone is coming in for a role that you really want to do?

[28:21] Sarah Killough: Yes, how do you sort of compartmentalize and separate that and and however that performer is doing from you know your own desire to take on that role? Is it is that hard that is that can be hard?

[28:35] Jayke Workman: Yeah, that's happened a lot. Sure often. It's for musicals and though I do do musicals I'm not known for my singing which is ridiculous. Don't know how to get neither here or there because most casting directors that I read for don't know that I sing. Uh-huh. So I don't know which is just hilarious because I'm like wall in the competition ladies. Everybody sings. I know like what do you mean? You don't think I can sing? Well, yeah, right, but like yes, thanks, you know, yes, everyone thinks they can sing. Yeah, which makes me think am I one of those people? No. What am I thinking? Yeah, everyone thinks they can sing Sarah so the read you just I'm a reader.

[29:17] Sarah Killough: So there are times there have been some plays. Luckily sometimes the director asks me to audition. Cool, which is always lovely having already read for them. Yes, having already read for them cool, which is sometimes the Jim Carnahan has spoken has called me before auditions being like you're right for this role. Do you want to come and audition for it? Or do you want to be the reader for it? Mm-hmm and hopefully get seen and we'll mention she'd be good for it, too. Sure. Usually I accept the reader gig because then I'm in the room to hear the directions and to hear the things, yeah, that they're like the secrets that they should tell every actor, but they don't yeah. And also I'll get paid well, yeah, I mean would you rather it's not a lot of money but come in and risk just not getting a job. Would you like to be paid? Yeah.

[30:15] Jayke Workman: Yeah. Yeah, exactly. That's so wild. So you but sometimes in sad rooms, the directors don't think of you as a valued actor, right? You're someone who helps right and and honestly kind of like to no fault of their own because while obviously you should be considered yeah as like equally important as the person auditioning, we have sort of like designed not we whatever. Yeah, the industry has designed to this hierarchy. We're trying to be in it, but it's weird when I'm like, yeah, I've been in a Broadway show but I'm gonna go over here and be a reader for this regional theater and they're gonna laugh at all my jokes. They're gonna think I'm an amazing actor. Yes, you're never gonna hire me. I've been a reader for cruise ships after I've done Broadway.

Mm-hmm, and they're like sir, you're good and I go. Thank you. No, really do you want to do this? Are you sure I don't? But well, that's I am so happy to be here and watch these people audition. Yes a hundred percent. I'm having a great time. Yeah, it's a great day.

[31:24] Sarah Killough: That's another thing when I have a bad day. One of my best friends I would you know go home and complain after being a reader all day and he go he would always remind me he's like yeah, but you got to be an actor today and that's see and it's so true and you got to be an actor with the knowledge. Yeah, you got to be an actor behind the table. Yeah, which is crazy in the room to hear them, you know when you leave the room and they like take a long time to see the next person when you're the auditioner you're like, oh my god, they're talking about me. No, they're probably ordering lunch. They're not movie or oh my god. My sister just texted me. She had her baby. Yeah. Yeah, that's what happens. But it's very rarely that's great to remember you'd think that me being a reader I'd be a great auditioner. I don't think that I am.

[32:09] Jayke Workman: In what way?

[32:13] Sarah Killough: I don't I think I prefer to know what's been talked about in the room.

[32:17] Jayke Workman: Oh, of course.

[32:24] Sarah Killough: So when I go in to audition, I'm trying to guess at what they want rather than show them what I have, right? But that's the age-old balance that must be found of like this is just a showcase of me versus like but I'll do whatever you want. Yeah, but what do you want me to do? Tell me what to do and I'll do it but there are times you know an actor will come in they'll leave the room and the director will say I wish they'd done it this way and I'm like then tell them to do that ask them to I'm sure they will.

[32:51] Jayke Workman: So in that vein then in thinking of the next I mean like layman trilogy and and then going on to do Leopold stat like were those audition experiences like that for you or like specifically with Leopold stat because I got to see it three times and I got to see you do multiple tracks in the show, which is amazing. I mean, I was I was stunned by that show. I thought it was beautiful. Absolutely beautiful. The performances were just insane Brandon, he's incredible insane and then everyone gets to work with him because he's the best loveliest person to work with crazy and he just did tick tick boom. Yeah, insane, but Titanic and he's doing ragtime. Oh, come on. Talk to me. He's my doctor. Oh, he could be my doctor.

[34:00] Sarah Killough: But for that show, yeah the I guess I mean I'd love to know about the audition process but also the rehearsal process because it was new. Mm-hmm. It was like transfer from London. Yes, yes, but an original cast an original company. Yeah, except for four, but you got to work on it like rehearsals and previews tech. Yeah, everything all of that for you opened and then went on to close. Yeah the company. Yeah, so was that an experience different for you than doing your previous Broadway shows?

[34:15] Sarah Killough: Well, the show I'm currently working on is my first time being plugged into a production. Okay, every other show I've worked on. Wow, I've done tech. I've been there for tech. That is so not I know that's not common. Yes people get plugged in right so in a recast of some kind. Yeah, so my first two long days journey and travesties travesties I got from being a reader. They just called me and said do you want to understudy this? And I was like, I barely said anything in those auditions and they were like, yeah.

[34:48] Sarah Killough: So for those, for those odd for those rehearsal processes we didn't the understudies didn't join until the last week in the studio. So you're not there for any of the decision-making. You're only there to watch. Oh and any product that's hard learn the show during tech, right? Which is kind of nice because they stop they do they do things over and over again so you can learn the blocking you can learn all that stuff. Oh, I see, which I like and I can work that way. Not a lot of people can but I feel very lucky that I can work that way. So that happened both for long days journey and for travesties. Lehman Trilogy I did audition for which is a weird it's a three and a half hour play with three men.

Yes, I'm not a man. What but in the last minute of the play 20 people were on stage. Right, and all I did was inhale lights up. I was an extra lovely contract love it and it really had a great effect. But like we weren't in the playbill. We didn't have bows. Sure, we were extras. We were just but it was a really nice job. We had done four previews before the shutdown and then we came back. So it was nice to be employed the Broadway coming back. It was very nice to be a part of that. Yes.

[36:08] Sarah Killough: But the audition for that was very intense for being on stage for one minute. We did we were paired up in the audition and we had to do like a two-minute improv with your scene partner like person A forgot something and person B solves it that was essentially our prompt. Okay, and we had to come up with a scenario and I'm not great at improv. Okay, terrible.

[36:39] Jayke Workman: You're doing great right now.

[36:42] Sarah Killough: Well, you're improvising all of this. Performing improv, it's very hard for me. And then we had a movement part of that for her audition where we had to each enter the space one at a time no and then no when the person clapped their hands, we had to look at a spot on the wall and then while we're exiting the space knowing that we're leaving the space as a changed person our life will be different as we exit and what does that show help. Well, I wouldn't say it tells casting. Well not casting the team the creators like okay, so she can walk. Yep with she can act. She has small knows does she look like someone who worked at Lehman Brothers Bank in 2008? Anybody could have done that job it was a I feel like I cheated because I knew the casting but okay, so then Leopold shot was like a very different.

Well, well, well, okay, so I was reading for the off-broadway production of merrily at the time, uh-huh, Maria Friedman directing this was a scenario where Jim called me and said do you want to audition or do you want to be the reader for merrily? Yes fierce and I was like, I loved merrily. I did it in college. Yeah, I love that show and Jim was like Maria is a vibes person. So I think being a reader would actually be a good thing great. So I did. Mm-hmm

[38:21] Sarah Killough: She asked me to audition. I auditioned. She said to me one day, you're in. And I was like, oh my God, I have a job. I'm going to be in, I'm going to be an offstage swing in Merrily Roll Along Off-Broadway. Then on our last day of auditions for that, Jim Carnahan walks over to me and says, you're also getting an offer for Leopoldstadt. I was like, wait, but I didn't, but wait, I didn't audition for that. I thought we decided that I wasn't going to audition for that because I'm not Jewish and it's a Jewish family story. And he was like, don't ask me. Here's Patrick Marber's email saying, what about Sarah Killough for crack, blah, blah, blah. And I was like, a new Tom Stoppard play on Broadway? I can't turn that down. And it was to be an offstage cover, to cover four roles.

[39:11] Jayke Workman: Which you went on for all four.

[39:12] Sarah Killough: I didn't, no, I didn't go on for the grandma.

[39:14] Jayke Workman: Oh, the grandma. That's right. Okay.

[39:16] Sarah Killough: But I did do a lot of the other three.

[39:18] Jayke Workman: You sure did. And you, there was a monologue that I was just floored by about, um, essentially the whole point was like, why would we leave?

[39:27] Sarah Killough: Oh, that one. Yeah.

[39:31] Jayke Workman: Why would we leave?

[39:32] Sarah Killough: I like, that was a good.

[39:34] Jayke Workman: It was. And if you don't know the play, we can, I'll get into it later or something, but I was just so.

[39:39] Sarah Killough: It's a Holocaust play.

[39:40] Jayke Workman: It's a Holocaust play. And it was so, um, gripping, but, uh, it was long. It was a long play, but it didn't feel long.

[39:49] Sarah Killough: It was like 2.10 with no intermission.

[39:55] Jayke Workman: And I'm crazy when I go to plays, like I specific, plays or musicals, but like I buy an aisle seat specifically because I have to get up. I have to pee. Even if I don't actually have to pee. If I, if my anxiety convinces me that I am going to have to pee, it's over.

[40:15] Sarah Killough: And I never once thought about getting up.

[40:19] Jayke Workman: Even like the third time you saw it.

[40:22] Sarah Killough: It was so beautiful.

[40:23] Jayke Workman: The transitions. It was a very well-constructed show and they did most of that in London, the constructing of it. So for that rehearsal process, the understudies were included from the beginning. So we got to watch why decisions were made, which is like, we got to see the actors question and figure stuff out, which was yes. Incredibly helpful.

[40:49] Sarah Killough: Because if you are supposed to fill their shoes, why would you not want to have all of the information?

[40:56] Jayke Workman: Is there a draft? I don't know.

[40:59] Sarah Killough: I'm chilly. I've had shows where in Christmas Carol, which I've done far too many times, there are times where I'm like, okay, now we crossed down, right? And there's no reason we crossed down, right? So my justification is I farted. Let's walk away.

[41:12] Jayke Workman: In the party scene.

[41:13] Sarah Killough: You're like, oh, that's exactly it. Walk away, walk away, walk away, walk away.

[41:20] Jayke Workman: Nerding out.

[41:21] Sarah Killough: So, okay. Where do we even begin with Harry Potter? The time has come. We must talk about Harry Potter.

[41:30] Sarah Killough: I was a reader. I was a reader for Harry Potter and the Cursed Child, 2017. Jim Carnahan called me ahead of time being like, so there's a role you're kind of right for, but you're not really right for it, but do you want to audition for it? And he's like, cause you're really right for Lily Potter, Harry's mom. And if anyone's seen the show, it's not a big part. You're really right. She's got one line, but it's just cause she's a redhead, you know? So that character doubles as Myrtle and he's like, but you're not really a Myrtle. I mean, you could probably do, do you want to come in for it or do you want to be a reader? And I was like, I think I want to be a reader cause I don't think I'm right for a Myrtle.

So I was a reader for years. Everyone who came in, I was their reader. And then I was a reader again for year two on Broadway. Wild. And they invited me to final dress of year two, which was fun. I barely get free tickets to shows from being a reader and that one I got. Cool. Um, then in 2019 we were casting the San Francisco production and we were low on Delphi's and we were, we were doing pre-screens.

[42:46] Jayke Workman: In terms of coming in, like people coming in for it?

[42:52] Sarah Killough: Yeah. Enough people to send on. We had a lot of people coming in, but no one who was going to go to the next round. No one was going to pass the casting rounds to go to the first associate round. Um, so we're sitting there and it's just me and the other reader and casting who I know very well. And they're like, yeah, we're low on Delphi's. And my friend Daniel, who was the other reader with me goes, what about Sarah? And the casting director was like, yeah, what about Sarah? What was that conversation? Like, do you, would you want to be Delphi? And I was like, yes, yes. I said, can you come to the movement call this afternoon? And I said, yeah, I don't have the clothes for it, but I can get someone to bring me clothes and I'll go to this movement call.

So I got my roommate and I did tell her, I was like, I'll give them your headshot if you bring me clothes. And then they, they saw her. They gave her an audition. Hell yeah. Um, so I went into that movement call. Then I got seen with the associates and they all know me cause I've been their reader for years. I got down, I had a flying audition for that. It got down to finals. I also saw the other girl audition. There were two of us. I saw her audition. She was great. Fierce. It got down to the two of us. She got it. And Jim Carnahan wrote me the nicest email saying like, this is why you didn't get it. You're a too young Jimmy. Jenny, you're not a Delphi. I see. And I was like, fair, fine. I'm not a Delphi.

Sure. And then years go by again. The pandemic happens. Broadway is continuing to run. I'm, I go on this big trip with my mom this past spring. We went to England, Ireland and Scotland for the first time. It was so much fun. And then I go home back to Minnesota and spend time with family before I come back to New York. And I'm home with my mom sitting on the couch and I get an email from casting saying, when are you back to New York? And I was like, well, probably after blah, blah, blah. I'm like, can you be here this week? We're casting a new Jenny on Broadway. And I was like, mom, you're going, you're going, you're going to go. You're going. Well, you're going, okay. Oh, you're going to go.

Oh, you're going to go. Let me check my points. Get your wand. Yeah, exactly. So she flew me out here. I had an audition. I had a call back, flew home for my nephew's birthday, flew back to New York, waited weeks to hear. Finally went to call callbacks, final callbacks. I'm the last person of the day. And I know Jim very well. And he goes, honey, you're last. And I was like, great, great, cool. Thank you. I get in there. I know the readers. I know the director. I know the associate director, both of them. I know everybody in the room. Like, hi guys. Hey, I do the audition. I leave. They kick out the readers because I'm the last person. So I'm chatting with them in the hallway. Jim Carney and comes back out.

He goes, Sarah, can you come back in here for a minute? And then Jim, I was like, do you need, do you need the readers at all? And he's like, no. I was like, okay. He goes, you're not in trouble. And I'm walking in the room and John Tiffany goes, you got it. Oh my God. And I start crying. Jim starts crying. Alexander starts crying. Yeah. Wow. Yeah. That is also so rare. It's wild that like, yeah. In the room. I've seen it happen. Yeah. It's very exciting when it happens. Of course. Wow. That is so. So Jim Carnahan has been my Broadway savior. But how thrilling that like a thing that you have clearly been so passionate about and have worked on for so long. Yeah. It really does come to fruition.

Like it's not, it's not to say that that will always be the case of like you work and you work and you work and then finally your turn comes because that's just not how the world works. I mean, like Leopoldstadt was just an offer. Right. A straight offer. But it's because it's the same director as Travesties. Right. But he knew I could understudy. How amazing that like literally in the room last audition of the day, they're like, well, I mean, it's her, so you might as well just grab her and tell her. Yeah. That's so wild. Yeah. So you are in rehearsals right now.

[47:11] Sarah Killough: To be a replacement. Yeah. On Broadway. Yeah. Six year, six year, six. So have you, I mean, I in Chicago, it's a little different because I'm not technically a replacement. I stand by and I covered vacations and everything, but I know, but so in, in that regard, I don't have the, like, I don't go necessarily to the, the other people who play Mary sunshine and like ask for advice or whatever, because we have a great rapport and we're all friends and you know, we, we do it so differently, but there are, you know, marks you have to hit and whatever. But have you been able to talk to any of the people who you have literally like read for and like put into the show about the process?

[48:05] Sarah Killough: I am not getting to talk to the Ginnies. Okay. But our director, our resident director is allowing us to find our own versions of it. Great. And I've also been told that like all the understudies get to do their own version of it, which I really like that we're getting the freedom. It's not like we're plugged into a track. We're doing a lot of table work. We're doing a lot of, why do I do this? What is my feeling around this? And everybody's, I've worked with a few different Harry's now because for various reasons that the understudies are playing Harry in rehearsals sometimes. Yeah. And I'm like, oh, they're all different, but it all works. So it is kind of like being a reader where I'm working with different actors every, every 10 minutes, but it's still based in truth.

And I can still play the thing that I've decided is my story against these other actors who are playing their own truth. And I feel like I'm talking about too much technique and acting. It's a joy to be able to work with so many different people in the same story and still tell the same story. And in a story, well, I mean, I guess Cursed Child is different than the quintessential first series of Harry Potter and what all of that means, but to work on roles and characters that have existed for years, for 20 years. Yeah. Like that's just kind of crazy that you are being given the, the agency to fully explore because these people and these characters are beloved and known by millions of people.

[49:44] Sarah Killough: And that's another thing. Like I, so I reread all seven books after I found out I was cast before rehearsal because I, because I want to, because you're crazy. True. I also love them, but I also want to honor the fans who know all of the lore. Yeah. So I'm really using the Harry Potter wiki. Hell yeah. Going on to Pottermore, which is not called Pottermore anymore, but like figuring out.

[50:06] Jayke Workman: Potterless.

[50:06] Sarah Killough: Potterless. So I just like trying, I want to honor these people who were created, but the fans have adored these people for so long that I just, I want to like, well, what is the story there? Why am I doing this? There's, we have history to look at, which is wild because it's all fiction. Right. It's yeah. Well, and the, I mean, on top of all of that, the magic of it all, which is so crazy. And I know like we cannot, we cannot share any secrets. No, but like I have a wand and it does things. You have a wand and you can literally do magic on stage. I get to cast spells. That is so fucking weird. And something happens. That's crazy. It's cool. It is Broadway magic. Yeah. I've only seen the show once. I cannot wait to see it again, obviously because you will be on stage. Can you tell us when, when will we be able to see you go into the show?

[51:02] Sarah Killough: I start performances November 12th. Wow.

[51:08] Jayke Workman: For a year at least.

[51:11] Sarah Killough: Yeah, wow.

[51:13] Jayke Workman: Bember that's coming up. It's coming up. Yeah. I know I haven't learned the whole show yet.

[51:21] Sarah Killough: Well, you've got some time.

[51:22] Jayke Workman: Yeah.

[51:25] Sarah Killough: Jayke Workman, I absolutely adore you. I could really talk to you for a million years.

[51:29] Jayke Workman: Before I let you go, oh no, I have a series of musical theater rapid-fire questions that I ask.

[51:35] Sarah Killough: Does it count? I don't I haven't done a musical on Broadway. Does this count?

[51:37] Jayke Workman: Okay, I've done musicals.

[51:40] Sarah Killough: Wait, do you know that do you know the video of Patti LuPone on the red carpet talking about Agatha all along where she goes?

[51:46] Jayke Workman: And it's a musical.

[51:50] Sarah Killough: Do you know that?

[51:53] Jayke Workman: All the time.

[51:56] Sarah Killough: I mean, you know else we do is um Donald Trump is like express some interest in coming to your show and she goes. Well, I hope it doesn't because I won't perform if he does.

[52:08] Jayke Workman: Okay, I won't go on really she goes really.

[52:16] Sarah Killough: Okay, okay, are you ready for musical theater rapid-fire questions? I guess I should change the name to maybe theater well.

[52:23] Jayke Workman: No, 'cause a lot of they're pretty I listen to the pod so I know that they're okay and I have a degree musical.

[52:26] Sarah Killough: Oh my god, that's right. You do. Yeah.

[52:33] Jayke Workman: Sondheim or Andrew Lloyd Webber?

[52:40] Sarah Killough: Sondheim.

[52:40] Sarah Killough: Pants. I'm wearing them now.

[52:44] Jayke Workman: Sweatpants or jeans?

[52:44] Jayke Workman: Do you have a favorite musical?

[52:44] Sarah Killough: I've been preparing for this question good. I wish more guests 'cause I listen to your pod. I would I love Sunday in the Park with George.

[52:53] Jayke Workman: Yes.

[52:58] Sarah Killough: But I don't know if it's my favorite. I don't there are many parts of many musicals that I absolutely love.

[53:06] Jayke Workman: Like I love the overture to carousel, of course. I love it stunning. I don't love this show, right?

[53:12] Sarah Killough: But I love the overture or there's like dance things. So I don't have a favorite.

[53:21] Jayke Workman: Okay. Do you have a least favorite musical?

[53:21] Sarah Killough: Yes, say it now.

[53:23] Jayke Workman: Which is literally, oh my god, what because it takes place in Duluth.

[53:33] Sarah Killough: But it has nothing to do with Duluth your home.

[53:36] Jayke Workman: What? Yeah, and maybe it's just 'cause I'm from there that I'm so annoyed by it. I also think it's an Irish play that they decided to put in northern Minnesota, right?

[53:46] Sarah Killough: Bob Dylan was the boy Dylan of it all but he didn't grow up there. He grew up in Hibbing, right?

[53:52] Jayke Workman: Nerd.

[53:53] Sarah Killough: But like when I saw 'cause I saw it at the public and they had a picture of a lake in the background and I was like, what is that supposed to be? As I grew up on Lake Superior, which is technically on Superior freshwater inland sea. You cannot see the other side it so when I first saw the ocean I was like so.

[54:14] Jayke Workman: My mom was like go stick your finger in it.

[54:17] Sarah Killough: So I have so many problems with the girl. I think it's a great show. I just don't know why careful.

[54:24] Jayke Workman: I don't know why it takes place in Duluth. I think it's ridiculous.

[54:29] Sarah Killough: I can't even really say anything about it, but I will say my darling grandparents who listen to the pod hi if you've made it this far in the episode they were like that was not it that was not good and I said, yeah, you're right. There's also a lot of like race things in it that like they reference where I'm like, this isn't quite where are the Native Americans? Right? What it 'cause have you been to Duluth? What are we talking about?

[54:58] Jayke Workman: We got him. Yeah, we got him. We got Annie.

[55:03] Sarah Killough: It's just it's tricky and then they reference it. I have feelings. I said performances were great when I saw it. Sure. I mean, that's true. I have fun for the show. It's not.

[55:13] Jayke Workman: I did somewhere else. I absolutely despise somewhere.

[55:16] Sarah Killough: I'm not from Footloose.

[55:16] Jayke Workman: Oh, I've seen so many productions where I'm like those people are amazing. The talent is amazing.

[55:27] Sarah Killough: I've only seen the movie. I've never seen the musical.

[55:27] Jayke Workman: Well catch your blessing, but I know Jeremy.

[55:31] Sarah Killough: This is a silly question, would you ever like to do a Broadway play next?

[55:37] Jayke Workman: Yeah, are you a morning person or a night owl?

[55:37] Sarah Killough: Okay, I like being awake in the morning, but it's way easier for me to stay up till 4.

[55:47] Jayke Workman: Me too.

[55:47] Sarah Killough: Because when I do on the off chance that I wake up in the morning, I feel great. The world is so quiet. It's a beautiful.

[56:01] Jayke Workman: Um, could you think of the craziest thing a director has ever asked you to do?

[56:07] Sarah Killough: This didn't end up happening. But if you meet me, I have a lot of freckles.

[56:11] Jayke Workman: Yes.

[56:11] Sarah Killough: And the director wanted me to make up my freckles so you can't see them and I was like, that's my skin that my skin that no, are you telling me to just be white?

[56:22] Jayke Workman: Yeah, I am very but also polka dot, right?

[56:28] Sarah Killough: But he wanted me to put makeup on my skin to hide my freckles absolutely not.

[56:34] Jayke Workman: Douglas Lyons, I am leopard print.

[56:40] Sarah Killough: Yeah. Oh suck it. It goes with the hair period. Um Golden Age your contemporary?

[56:46] Jayke Workman: Golden Age. Do you have a favorite role you've ever played?

[56:52] Sarah Killough: I have played it twice I love playing Lizzie Curry in one time I was so so sad. I couldn't come and see you at Montemoy in that role. I was fun gorgeous.

[57:05] Jayke Workman: It's fun to sing. It's a little high, but it's oh, yeah, she's up there.

[57:10] Sarah Killough: What is the hardest show you've ever done?

[57:12] Jayke Workman: Because you have covered oh so many people in so many shows.

[57:14] Sarah Killough: Yeah, I don't find that hard.

[57:24] Jayke Workman: No, so then maybe is it like material wise what's the hardest you've had to cover like Leopold Scott is like crazy to me.

[57:29] Sarah Killough: I would say travesties was harder just because it's a mind fuck it's it's.

[57:36] Jayke Workman: It takes I could tell you the plot of travesties, but it yeah, it's the mixture. Excuse me. It's a mixture of James Joyce.

[57:43] Sarah Killough: Tristan Zara, which is Dadaism. Yes, and which is crazy Lennon as in Russian leader Vladimir Vladimir Ilyich Ulyanov.

[57:59] Jayke Workman: And importance of being earnest.

[58:02] Sarah Killough: Tom Stoppard wrote the play in all four of those styles and.

[58:08] Jayke Workman: SpongeBob.

[58:14] Sarah Killough: Yeah that too, which is just like the added little that's like the scenic. I like the secret one. Yeah.

[58:16] Jayke Workman: When you see it you see it.

[58:23] Sarah Killough: You see the pineapple under the sea. Yeah. Yeah. Everyone's wearing spare pants. It's weird.

[58:23] Jayke Workman: So that one is just that was complicated and I read I read Ulysses or if you're British Ulysses and.

[58:32] Sarah Killough: Ulysses meaning every word went past my eyes is didn't understand the nose throat. Yeah, all of it did my fingers. I didn't understand. Did you?

[58:43] Jayke Workman: Hey Tom.

[58:45] Sarah Killough: What is this? No, he wasn't around for that because it was just a Bible. Oh, I see and then I was too scared.

[58:51] Jayke Workman: He's very intimidating.

[58:55] Sarah Killough: He's a very nice man, I was good, um could you name all the Broadway theaters that you've performed in?

[59:03] Sarah Killough: Yes. My first two were both in the American Airlines now the Todd Haymes Theatre. Then I was at the Nederlander then the Longacre and now the lyric.

[59:15] Jayke Workman: Fierce, um do you have a favorite costume you've ever worn?

[59:20] Sarah Killough: Ooh some of my costumes in Christmas Carol. I really like oh, yeah, they're built for me.

[59:26] Jayke Workman: Just the what is it's her name is her name silly girl. Her name is weird sister.

[59:41] Sarah Killough: Oh, yeah. I've done Christmas Carol at Harford stage nine years. Yes.

[59:46] Jayke Workman: There's so many years that's and and it's so beautiful. It's a cool show. It's fun. It's so Hartford loves it.

[59:53] Sarah Killough: Yeah, they have it and they love it the greater Hartford area. They love weird sister. They love weird sister. They do.

[1:00:00] Jayke Workman: I didn't originate the role the beautiful Natalie Brown did and I just copied what she did and that's how I did the role.

[1:00:04] Sarah Killough: But you got to do it in that giant ball gown.

[1:00:10] Jayke Workman: Yeah, the big yellow dress. I was Belle. Yeah, and when I was being fit for that the costume designer Alejo Yeti was like, do you feel pretty and I was like, I mean, yeah, no, but do you feel pretty but do you?

[1:00:23] Sarah Killough: Gun to your head.

[1:00:25] Jayke Workman: Like her hair is crazy and she's got glasses and she just looks like a bouncy nerd and but it's a bell gown.

[1:00:32] Sarah Killough: Yeah a bell ball gown and I had my hair down. I was like, I feel very pretty right now. I want to run through a field.

[1:00:40] Jayke Workman: Pride and prejudice. I want adventure in the great white.

[1:00:45] Sarah Killough: Oh.

[1:00:46] Jayke Workman: Okay. Well, my last question for you is the question I ask every guest which is what is one thing you would tell baby Sarah?

[1:00:54] Sarah Killough: I could cry thinking about this but like do it do it. I dare you cry on the podcast.

[1:01:07] Jayke Workman: You did it you got what you wanted yeah and pivot find out what else do you want? Uh-huh.

[1:01:19] Sarah Killough: Yeah, and it'll be okay 'cause five Broadway shows in there are still other things there are other things in your life that you but also I don't want to that's I want to say like you did it meaning you achieved what you wanted be happy with that for a while.

[1:01:40] Jayke Workman: Yes, sit in it sit in it. Yeah, enjoy it.

[1:01:50] Sarah Killough: Mm-hmm. Don't keep looking for the next great thing. Sure.

[1:01:50] Jayke Workman: Well, that's something that I have admired about you since I've known you is that like you? We can talk about theater and of course like because we're doing a podcast.

[1:02:03] Sarah Killough: Yeah about theater about that we're gonna talk about it, but so much of our friendship has nothing to do with that.

[1:02:08] Jayke Workman: Yeah, which is so fun.

[1:02:09] Sarah Killough: Yeah, 'cause like do other things.

[1:02:17] Jayke Workman: Yeah do other things and learn and grow and be normal human weird.

[1:02:26] Sarah Killough: And yeah, yeah.

[1:02:28] Jayke Workman: 4 p.m. on a Sunday.

[1:02:34] Sarah Killough: I just adore you. Thank you Jayke so so much for being on the pod.

[1:02:39] Jayke Workman: Would you can you tell the listeners where they can find you on socials slash?

[1:02:45] Sarah Killough: Join you at the Lyric Theatre in yes, Harry Potter and the Cursed Child of Broadway. So I start Harry Potter November 12th, which we said.

[1:02:53] Jayke Workman: I'm coming.

[1:02:54] Sarah Killough: You are of course I am.

[1:02:56] Jayke Workman: Okay.

[1:02:58] Sarah Killough: See you there.

[1:03:04] Sarah Killough: My Instagram handle is rhymes with pillow. Mm-hmm. That's my last name's kill. Oh.

[1:03:12] Jayke Workman: Rhymes is the hardest part of that.

[1:03:18] Sarah Killough: Oh, yeah. I will never spell that. No, there's an H. There's an M motor why I think in that order.

[1:03:20] Jayke Workman: Um.

[1:03:26] Sarah Killough: I'm on tick-tock, but I don't post on tick-tock. I think Instagram is easiest place to find me great.

[1:03:27] Jayke Workman: Yeah.

[1:03:27] Sarah Killough: Well, that's it. Bye.

[1:03:36] Jayke Workman: That's it. Bye. I love you so so much.

[1:03:41] Jayke Workman: You guys that's it for another episode of oh my pod you guys don't forget to rate to 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.