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[0:00] Jayke Workman: You guys, what does it say about me that my sexual awakening was the Rum Tum Tugger? A grown man in spandex pretending to be a cat. I'll take my answer off the air.

[0:21] Jayke Workman: Oh my god, did you hear? Did you hear? Did you hear? Oh my god, guys. Hi, Jake. Oh my god, I'm sure. Oh my god, oh my god, you guys! What's up, everybody? My name is Jayke Workman, and this is Oh My Pod U Guys, a musical theater and pop culture podcast.

[0:43] Jayke Workman: You guys, last night I had the absolute honor and pleasure of attending Sunset Boulevard on Broadway, starring Nicole Scherzinger. You guys, this show was absolutely insane. Huge, huge shout out and thank you to Weston Hicks, the incredible associate company manager for hooking me up with the tickets. I absolutely adore you, and you guys, what a show. I mean, Nicole, of course, we knew, but like it was transcendent. She is so like just scary as Norma Desmond, like obsessive and compulsive, and I mean she's stunningly beautiful. The voice was everything. The orchestrations, you guys, I mean, the orchestra sounds like it's 50 people. It is so stunning. There is no set. It's so like pared down and stripped down. It's beautiful. The ensemble is dancing like crazy. Shout out to my lovely darling Diva, Miss Liv Andrews. I adore you.

[1:51] Jayke Workman: Um, also, you guys, I saw the principal debut of a man named G-Man Moon in the role of Joe. It was his first time on. He never even had a full run-through of the show and led the show so beautifully. He was cool as a cucumber. He did the crazy thing where he runs outside of the theater into Schubert Alley on the video and it's up on the screen. It's just amazing. And I was so, so just proud of this performer in this moment of like taking on, you know, his understudy track and doing it for the first time in front of an audience. It was so thrilling. So, all in all, just an absolutely incredible evening of theater, and I truly cannot recommend seeing Sunset Boulevard on Broadway as fast as you can.

[2:40] Jayke Workman: Also, I have to say, there is Rialto chatter of Miss Scherzinger snatching that Tony from Miss Audra McDonald. It is gonna be a tight competition, ladies. But I am so just in awe of this show and everyone in it. So congratulations to all in Sunset Boulevard. You guys run, run to see this show. And with that, we of course have to dive right into this week's Broadway World recap brought to you by my amazing pals at Broadwayworld.com.

[3:10] Jayke Workman: First, you guys, I am so excited about this announcement. Jonathan Groff is confirmed to be playing Bobby Darren in the new musical Just in Time on Broadway in the spring. You guys, this has been a long time coming. I have actually had the pleasure of seeing multiple run-throughs and workshops of this show. And Jonathan Groff, I can already tell you, he is turning the party in this show. He is so brilliant. His voice is just clear as a whistle, gorgeous. And the acting is phenomenal. I am so honored to have gotten to see it at its sort of like inception and then to, you know, cut to Circle in the Square this spring to see him do it with an entire cast and band and costumes and lighting and everything. I'm just so thrilled about it. So congrats to Mr. Jonathan Groff on this show.

[4:08] Jayke Workman: Um, Bobby Darren, if you don't know, was the original singer of Mac the Knife and Beyond the Sea and Splish Splash. So a lot of like hidden gems that like nobody really knows or attributes to this specific person. And he has such an incredible story. Uh, and Jonathan just plays it so brilliantly. So I can't wait for more people to get to see this brilliant show. Next, you guys, Broadway World shared that the lights of all Broadway theaters are going to be dimmed for Gavin Creel, Adrian Bailey, and Maggie Smith on individual dates, so they will all be honored in their own way.

[4:44] Jayke Workman: There was a lot of like weird talk about specific theaters dimming their lights and not others for all of these people, which is just kind of insane to me and ridiculous that we even have to have a conversation about this and ask that all the theaters dim their lights in honor of all three of these incredible artists. Uh, and I also think it's kind of a shame that the icon Ken Page has not yet been confirmed as having the lights dimmed in his honor yet. So something's weird, something is going on, you guys. I don't really know why it is so difficult for the community sometimes to be heard in the way that we need to.

[5:28] Jayke Workman: Um, but we're gonna keep on talking about it and we're gonna keep on asking and fighting for, you know, the legacy and honor of these incredible artists to all be celebrated and remembered correctly. But I will share all of the dates of those individual dimming of the lights when I have them. And lastly, you guys, um, in a little crazy twist of events, it was announced that Nichelle Lewis has replaced Joaquina Kalakango in Ragtime at New York City Center, which is just crazy because Joaquina was already a replacement for Joy Woods, who then, you know, we know has gone on to take on the role of Louise in the revival of Gypsy.

[6:10] Jayke Workman: So we had a replacement, and now we have a second replacement, but we are just as thrilled about it because incredible. She was just seen in the Broadway revival of The Wiz as Dorothy, and she was stunning. And so you guys, I'm so excited about this. She's gonna play the role of Sarah in Ragtime, which is such an incredible role, what a score, what a part. Just like what an honor to get to do it at City Center. So congratulations to Misselle Lewis. And you guys, this has been the BroadwayWorld Recap.

[6:44] Jayke Workman: Ba-naba, oh my bottom. You guys, uh, you guys, where do I even begin? I am so excited to welcome my next guest to the show. He is a Broadway star. And okay, well, co-workers at Chicago, blah blah blah. Please welcome Jaquez.

[7:03] Jaquez: Hi, what's up? I usually ask my guests where you're calling in from, but since you're sitting on my couch, I have to ask you my first question, which is um, can you please tell me about you being a bona fide skater girl? You are like world-class level roller skater. How, what is that about? Where did that come to be?

[7:28] Jaquez: Around three or four, I started roller skating. Um, and I had those Fisher Price roller skates that were basically you're walking on wheels. Yes, clank clank clink clank. I had those for about half a year, and then I got my own little custom roller skates. Oh, and I used to skate in Chicago like once to twice, at least once a week. Nothing. Chicago, the city where I'm from. Sha Town represents, but every week we would go roller skating.

[8:00] Jaquez: Me, my mother, and my brother. Oh my god. That's so fun. And my mom's really, you know, she Jesus, Jesus, Jesus. Oh my pod, Jesus. Um, we would go to gospel roller skating every Thursday night at 7:30 p.m., we would go to the suburbs of Chicago called Glenwood Roller Rink, and we would skate gospel music. And this was like 90s, like Kirk Franklin. What the hell? This sounds incredible. I want to go to gospel roller skating. Everything. I would absolutely eat shit. Yes, but I'd have a great time doing it. And I would eat. Okay. Period.

[8:40] Jayke Workman: Jaquez, thank you so much for being on the pod. I'm so excited for you to be here. We, of course, first met at Chicago the Musical. But you have a long history of doing shows on Broadway and national tours and everything. But I'd love to know what was your road to Chicago specifically, because you play Fred Casely, which is a very special role. You get murdered in the first three minutes of the play.

[9:02] Jaquez: Yeah. Yeah. What was your audition process like or your road to the show?

[9:09] Jaquez: So I've auditioned for Chicago many, many, many, many times. And you know, they're always like, we're looking for fresh faces, unique faces, unique talent. And you know, I come in, you know, wear my blacks and everything. Of course. Keep in mind, you know, razzle dazzle. So Fossey. And I would get cut after the first round. I would make it through all that jazz and get cut every single time. I would say about more than 10 times. I would be paid dust. Like looking around.

[9:43] Jaquez: Right. Up until April of this year, um, I just felt the eyes on me. Yeah. And the energy. I even auditioned back in October. Um, and same thing, dust. But this April, this past April or yeah, April. Um it just happened that fast. Wild.

[10:07] Jaquez: Yeah. They were like, we don't know yet, you know, the powers that be is on vacation in Florida, so everybody is a go, but we're waiting for this person. Right. And I'm like, okay, well, I have another contract in Chicago. Chicago. Chicago. What is going on? Chicago! Um, I have another contract on pending in Chicago, so I need to know, like, now, am I do I got this or not? Right.

[10:33] Jaquez: Um, and they got back to me the next day. And period. There it is. Broadway.

[10:39] Jayke Workman: Yeah. Hi. That's insane. Do you know that the video um or the clip uh from every little step of Rochelle Rack? Did I get it? Did I get it? I'm a big girl, Chuck. I'm a big girl. You can tell me now. I'm a big girl. That's me after every an initial. Did I get a callback or not? Because it's the weight that's the words. The horrible refreshing your email every one minute.

[11:00] Jaquez: Oh my God. Yes. And then of course, you don't check it, and you have 15 emails.

[11:04] Jayke Workman: Right.

[11:05] Jaquez: And you don't get it, and you don't hear a word from anybody.

[11:11] Jayke Workman: So you've been doing Chicago consistently since uh June 8th was my first show.

[11:16] Jaquez: Yeah.

[11:16] Jayke Workman: And you've been there for like quite some time now. At least what, seven or eight months?

[11:21] Jaquez: Nearing four months.

[11:22] Jayke Workman: Oh, four. Yeah. I can't do math. I don't know anything about um the Earth or calendar. Um but how is the uh sort of like stamina for you in a show like this? I mean, obviously.

[11:36] Jaquez: She's buffed, she's strong. But this is a different show than other shows that you've done.

[11:43] Jaquez: Yeah in terms of like the movement. How has it been for you sort of like navigating the day in, day out of that?

[11:51] Jaquez: Um so the movement is pretty much in my wheelhouse. I my introduction to musical theater was all the Fosse DVDs and everything. And I'm a classically trained dancer, so that sort of manipulation of your body in a more nuanced way is pretty much how I kind of go to anyway.

[12:13] Jaquez: Yeah, like they're like freestyle, and I'm like, ooh, less. Less. Less is more.

[12:19] Jaquez: Less. Um. So that part, like learning the show really fast, thankfully, I had that in my arsenal of movement.

[12:27] Jaquez: Yeah. So that part I actually love, and I love the storytelling in the movement. Um, but uh the stamina, in terms of the the Wednesday off, though.

[12:40] Jaquez: Why that is throwing me for a loop. I'm I'm I'm accustomed to the one day, the Monday.

[12:46] Jayke Workman: Yes, the Monday.

[12:47] Jaquez: Wednesday when everybody else is on hump day mode, and I'm like, oh, we're going out. We out, everybody out. All right, cool, all right. Everybody is trying to get through everyone to Friday. Go home, okay.

[12:58] Jaquez: So that part is I'm finding my way. I'm finding my way. But that part I feel like is a little, that's difficult. And also sitting on stage.

[13:05] Jayke Workman: Yes, the whole time.

[13:07] Jaquez: Yeah. And you have a particularly strange like track because you die, you have to stay on stage dead.

[13:14] Jaquez: I died. I get a break. I get a break, so block tango. I have a nice break. I usually do like exercises then because I come back to sit on stage for like 15 minutes, and I feel like I am slightly narcoleptic.

[13:28] Jaquez: But anytime I'm in a comfy, warm, dark place, the blanks. She's ready to the blinks are long. I'd be like. And someone says, ps. Baby. Girl, that was an adjustment. Well, I did the tour before I did Broadway. And on the tour, Mary doesn't sit in the chairs at all. And then my first night on Broadway, they were like, where are you going? We you sit right here. And I said, Oh. Okay. And then I now I love it. Cause I get to, I just get to watch like Roxy, the number, and then that is also my favorite part. Um, it's like the worst part, and my favorite part of the show is watching people, especially like the understudies and like people or people when they're feeling themselves. Like, you know, the eight show week is hard. Yeah. We do it when we're sick, when we're under, when we have we're not mentally like wanna be right on display. But when people are just like in and eating, I love people just seeing them do their fucking thing.

[14:36] Jaquez: Yeah. Can we say the F-word?

[14:38] Jayke Workman: Of course.

[14:39] Jaquez: Great. Do the fucking thing. I love it. Not just sit there and I try not to cheer.

[14:43] Jayke Workman: Right.

[14:43] Jaquez: Try not to smile too much.

[14:47] Jayke Workman: Yes. Do you okay? So we have to talk about the Alyssa Milano of it all. Because you are playing opposite an icon, a diva.

[14:55] Jaquez: I know. Miss Alyssa, who is a gem of a human. Even just in like the few interactions that I've had with her. She's been nothing but wonderful. But how has it been like having those audiences there that like are just so electrified?

[15:09] Jaquez: They're die hard. And you know what? I'm thankful that I wasn't on the charm train. Yes. All my girlfriends and not starry eyed and like all my middle school girlfriends were all about charmed and who's the bosses, you know, I've saw it on Nick at Night before my time. But um because you're very young, you're very baby.

[15:32] Jaquez: Very young. Um but she is so down with the shits, and I love that about I'm mostly the Roxy's. I think that role calls for someone like that. Yes, because I get a Roxy, a different Roxy every month.

[15:46] Jaquez: Yeah, I feel like since I've been there. Um, but she is so cool and so like we're here and so real and funny. She is so funny, like off the cuff.

[16:00] Jaquez: She is hilarious, off stage. She's hilarious. And she's a mother, like through and through, so nurturing and just inviting. And I'm gonna miss her.

[16:08] Jayke Workman: I know.

[16:09] Jaquez: That's that's the worst part about like. Yes, because it's such a machine, and it like, you know, there are the staple people who have been there forever. Like Ryan Lowe, who just celebrated 20 years in the show. And then you have those like amazing people who swing in for five seconds and then leave, and you're like, no, don't go.

[16:29] Jaquez: Every time Jinx leaves the building, everyone's like, I don't know. Oh, that was love. But yeah, Alyssa, Alyssa is awesome. She's so great, and she's grown so much, like doing eight show week and also a character like Roxy, it's this ain't no punk show.

[16:44] Jayke Workman: Right.

[16:44] Jaquez: It ain't hard, it's hard, it's real, it's hard and like she is eating, she's owning it. She's and it's growing even more rich and more full, and she's more of herself and her humor is coming out.

[16:57] Jaquez: And I'm just that part also sitting on stage and watching the light bulbs go off, uh huh. Is and I have to always give her a props too.

[17:05] Jaquez: Yeah, you know, you know, we'd be like, okay, she was good. You know how broad people can be like, Right, you're right. Oh what a surprise. Okay, she was good. And I'm like, look, but you ate, okay, you did that.

[17:15] Jaquez: Well, and that in that regard too, it's funny because a lot often the stunt casting, if you can call it that, for Chicago, is not necessarily actors or people who have even like put themselves in a position to be looked at by that many people in this way so intimately.

[17:33] Jaquez: And she is a true actor. Like she that that's in her wheelhouse. So I feel like she has just been given this platform to like shine, just like thrive in it.

[17:42] Jaquez: Which is so cool. I'm so excited to see her do it and and to get to spend time backstage. But so switching gears a little bit.

[17:48] Jayke Workman: Yes.

[17:48] Jaquez: Um before we talk about your other, you know, accolades and your very fancy shows that you've been in, I would love to know about your training because you mentioned it earlier about being a classically trained dancer.

[18:01] Jaquez: You also I believe attended NYU.

[18:01] Jaquez: I did. Um and I'd love to know what um what effect New York City had on you and your career in a collegiate sense.

[18:16] Jaquez: Like did you did you find that being in New York City was the way for you to break into this crazy industry or do you think like was it was it hard? Did it hinder your ability to like see past um New York and Broadway?

[18:33] Jaquez: Let's see. Ooh, where do I start? So New York um so I'm coming from Chicago and what am I eighteen going into college Uh my adjustment to New York City was it felt like that week our I already like uh adjusted. Love.

[18:50] Jaquez: Like I the subway system was easy to navigate I felt like and once I knew what uptown, downtown, north, south east west was I was good. Um and I was in the East Village, you know with the dorms at NYU.

[19:04] Jaquez: So I'm in the city. Right. Um I felt I don't know, I was just so excited to to get to know people and to network, even though the school in a collegiate sense would kinda shy away from you auditioning and sure.

[19:22] Jaquez: And putting yourself out there t in terms of like getting you picked up for something that would take you away from school. Right. Um I didn't care because I felt like I felt like to be honest, I felt like when you're in in that bubble of school, you're not really networking um to the powers that be once you leave.

[19:44] Jaquez: And I felt like it would behoove me not to at least get my feet wet and and at least kind of make a name for myself.

[19:52] Jayke Workman: Yeah.

[19:53] Jaquez: Um even making mistakes in the beginning, like not wearing the right stuff to auditions, not having a full book, having like sheet music, and like that's okay. I learned it the hard way, I guess.

[20:05] Jaquez: Sure. And uh look at look at me now.

[20:08] Jaquez: Look at me now. Um, but I felt like being immersed in New York City really taught me to uh pull up and show up.

[20:18] Jayke Workman: Yeah.

[20:19] Jaquez: Uh really fast. Because I in my training, I started training at 15.

[20:25] Jaquez: I'm late. I was late to the game. Although I always sang in church. Since I was able to talk, I sang with the Chicago Children's Choir, did private voice, I was in chorus, I did the school plays or whatever, but like I never trained uh in dance.

[20:42] Jaquez: Like I would just learn stuff from music videos and I roller skated.

[20:45] Jaquez: Sure. Um then fit uh when I was fifteen I ended up uh getting a scholarship to a ballet academy.

[20:52] Jaquez: Fierce. Um no it was a dance academy, and then the next year I got a scholarship to a ballet academy.

[20:59] Jaquez: Um so ballet and then I did jazz and Horton and Graham.

[21:05] Jaquez: So I came from that world.

[21:08] Jaquez: Um on top of being I quit track to uh dedicate my time to the arts because I knew I wanted to go to NYU or Fordham Ailey uh for dance.

[21:19] Jayke Workman: Yeah.

[21:20] Jaquez: So it was a dance major.

[21:22] Jaquez: I was a dance major, yes.

[21:24] Jaquez: Um and I started as a dance major journalism double major.

[21:29] Jaquez: Ooh because I still intellect still want to be a news anchor, low-key.

[21:35] Jaquez: Oh my god. That's what I wanted to do for the longest time.

[21:38] Jaquez: Since maybe sixth grade.

[21:42] Jaquez: Oh my god.

[21:43] Jaquez: Like I would always me and my girlfriend Tiffany, uh one of my close friends in grade school, we used to always like, It's the first day of school and already children have died.

[21:56] Jaquez: We would always say that phrase to each other.

[22:00] Jaquez: Already children have died.

[22:02] Jaquez: For some reason.

[22:03] Jaquez: Uh oh, that's sad, actually.

[22:04] Jaquez: That's that's kind of sad.

[22:06] Jaquez: No, it's literally incredible. Did you ever have when I was in middle school we had um like the morning announcements where it was filmed?

[22:13] Jaquez: It was like like a live TV show, and I would always volunteer.

[22:16] Jaquez: I was probably being made fun of uh up and down the hallway, but I was like, I'm on TV I wish we did, no, we didn't.

[22:24] Jaquez: Oh, I would have been on that.

[22:26] Jaquez: Of course.

[22:26] Jaquez: Hands down Daily Host, yes.

[22:29] Jayke Workman: Love.

[22:29] Jaquez: So did you know when you were um training uh in a dance major?

[22:34] Jaquez: Was it um the type of thing where you were like, I'm gonna go into the world of concert dance, or were did you know musical theater was the sort of path for you?

[22:44] Jaquez: So musical theater was um always like uh if this doesn't work out or I can do both.

[22:51] Jaquez: Always saw like um uh who do I think?

[22:55] Jaquez: Uh Hinton Battle or um why is her name escaping me?

[23:00] Jaquez: She's my spirit animal.

[23:02] Jaquez: Uh uh uh shit sweet charity woman, no not Debbie Allen, no not Debbie Allen, uh uh uh Paula Kelly.

[23:14] Jaquez: My god, okay Paula Kelly, Paula Kelly, Debbie Allen, Hinton Battle, uh even Ben Vereen, like uh always saw myself in a theatrical sense, but I wanted I love dance and I want to be in like Bill T. Jones's company at the time Cedar Lake was uh was like my dream, and I did make it one time to uh costumes, they were seeing a few costumes, so that was a big thing.

[23:40] Jaquez: Wow, um yeah, but I always took private voice at NYU because I wanted to keep on my my vocals because I always thought Broadway was there, but I felt like concert dance was what I wanted at that moment, and then I towards the end of my college career, I saw that a lot of dance companies were uh downsizing and disbanding and knowing and and seeing how much work and second jobs they have to do on top of rehearsals and something like I think I'm gonna have to try this musical theater thing a little more, you know.

[24:20] Jaquez: I could do both, but yeah, um, and I and I love the trifecta of the storytelling and singing and dancing.

[24:29] Jaquez: Um I thought that was just the the best display of live theater.

[24:35] Jayke Workman: Um yeah.

[24:36] Jaquez: Love, yeah.

[24:38] Jayke Workman: So what was your first um sort of like big foray into the world of musical theater?

[24:43] Jaquez: Was it touring first or or did you make your Broadway debut before you did Miss Matilda?

[24:50] Jaquez: So immediately after graduating uh college, I went back to Chicago and was a chaperone of the Joffrey Ballet Summer Intensive.

[24:59] Jayke Workman: Oh and then what I would have given to have Jaquez as a fucking chaperone.

[25:06] Jaquez: It was their inaugural hydro liquor.

[25:08] Jayke Workman: Right.

[25:09] Jaquez: Oh my gosh. I was an RA too at MOU as well.

[25:13] Jaquez: Um but it was their inaugural year and they didn't know what they wanted to do. But they was like, you can take class and just you know, since they're in class, you can take class.

[25:22] Jaquez: And I ended up taking class and they started trying to put me in pieces, and I was like, okay.

[25:28] Jaquez: I'm a chaperon.

[25:29] Jaquez: I'm a chaperone, you can do that.

[25:31] Jaquez: So I did that, and um, they ended up firing me because they felt like I was not in it as a chaperone more than my career.

[25:42] Jaquez: Period.

[25:42] Jaquez: So I'm like, uh And you were like, well, I mean, you're not that wrong.

[25:46] Jayke Workman: Yeah.

[25:46] Jaquez: But I'm not destined to be a chaperone forever.

[25:50] Jaquez: Sorry.

[25:51] Jaquez: Right, right. I'm just trying to make a coin.

[25:53] Jaquez: Right.

[25:54] Jaquez: And take class.

[25:55] Jaquez: Um so I got fired from there, then I worked at Lululemon as a seasonal hire.

[25:58] Jaquez: Love.

[25:59] Jaquez: And I got fired from there.

[26:00] Jaquez: Right.

[26:00] Jaquez: Because I was late the second time.

[26:03] Jaquez: Two times, and then that's it.

[26:05] Jaquez: And they said you're done.

[26:06] Jaquez: Yeah, and that's their policy.

[26:07] Jaquez: But the second time, this is Chicago, mind you, in the winter.

[26:10] Jaquez: It was one of the biggest snowstorms they had in a long time.

[26:13] Jaquez: Of course.

[26:13] Jaquez: It took me three and a half hours to get there, which usually takes me 45 minutes, and I got there eight minutes late.

[26:20] Jaquez: Oh wow.

[26:21] Jaquez: And I worked almost a whole shift.

[26:24] Jaquez: And they called me in the office.

[26:25] Jaquez: No.

[26:26] Jaquez: They made you work a whole shift.

[26:27] Jaquez: Yep, we floor set and they smiled on my face all day.

[26:30] Jaquez: We floor set for the next day.

[26:31] Jaquez: They were like, hey Jeff West, come to the office.

[26:32] Jaquez: I was like, okay, great, blah blah blah.

[26:34] Jaquez: So you know, you know, our policy about two latenesses, no termination.

[26:39] Jaquez: Your determination.

[26:39] Jaquez: I was like, ah.

[26:41] Jaquez: So y'all wanna laugh and and and be all authentic in my face.

[26:46] Jaquez: Okay, great.

[26:47] Jaquez: All right. Well, thank you.

[26:48] Jaquez: On my way out, I looked at this beautifully set store.

[26:56] Jaquez: Flamethrowers. Sorry, I was like, well, you know what? Merry Christmas to you all. Have fun picking this up. Thanks for being authentic. Oh. Have a good holiday. When life gives you Lululemons. You throw them on the floor.

[27:15] Jaquez: Oh my God. Okay. And then after that. Hilarious. I was like, I saved money. I moved back to New York and I stayed in Skytown with three women in a three and a half bedroom apartment. Worked at David Barton, and I booked my first cruise ship.

[27:34] Jaquez: Love. In the Mediterranean. Period. Which was everything. Yeah. Um, so that was my first like big job.

[27:41] Jayke Workman: Was it a book show or were you doing like reviews?

[27:43] Jaquez: This was we did three different shows. One was a Broadway review. Uh-huh. Um, the second was like a Cirque du Soleil style show, and the other one was like a pop show.

[27:52] Jaquez: And I was hired as a specialty dancer. So I did like aerial uh silks and dance.

[28:00] Jaquez: Come on. I don't really sing. I only sang like at the piano bars on my off time.

[28:06] Jaquez: Crew bar. Crew bar. I was singing there. I was singing like the little like dress up on formal night and be like, hey, can I uh sing something with you? And he's like, Yeah, yeah, what you got? So I would do that.

[28:16] Jayke Workman: That's so fun.

[28:17] Jaquez: My downtime. So what was your Broadway debut experience like?

[28:22] Jaquez: My Broadway debut was Motown the Musical.

[28:26] Jayke Workman: Yes.

[28:27] Jaquez: And at the time, a lot of people don't know this. You know those Chicago girls that are outside that flyer?

[28:33] Jayke Workman: Of course.

[28:34] Jaquez: I wasn't one of them per se, but I did fly her.

[28:37] Jayke Workman: Love.

[28:38] Jaquez: You didn't have the red tights on?

[28:39] Jaquez: No. Oh no, you did. You did have the red tights on. But for other reasons.

[28:42] Jayke Workman: Right, for other reasons.

[28:43] Jaquez: Not to uh, you know, not for shell shows.

[28:46] Jayke Workman: Right.

[28:46] Jaquez: So I worked at TKTS and I worked um a couple of shows um as a flyer.

[28:51] Jaquez: Love. And it was good pay. And you know, they also worked around my schedule.

[28:56] Jayke Workman: Yeah.

[28:56] Jaquez: So at the time, um, I had a callback for Motown. Immediate replacement for a swing.

[29:04] Jaquez: Had that and I had a shift the next day. Um, I get the call that, hey, your callback was fantastic. Could you come by the lunch and do a fitting? This doesn't mean you have the job, but we just want to see, you know, if you can fit, because I have to where his clothes bring a lot of, and then yeah, I had to swing a lot of people in the show.

[29:25] Jaquez: So they had to see if they can, you know.

[29:27] Jayke Workman: Good lord.

[29:28] Jaquez: So I go there on my lunch break in my I was um flying for beautiful the musical at the time.

[29:34] Jaquez: In my yellow ass t-shirt.

[29:36] Jayke Workman: Yeah.

[29:37] Jaquez: So I show up and I have a meet, uh, I have a little fitting, and Augram. I love her so much. She was like, We're gonna get you in the show. We're gonna find we're gonna she started pulling stuff.

[29:46] Jaquez: Since cinch. Since cinch cinch cinch this. Oh, yeah, we can let that out. Oh yeah, you tall, okay. Love so we did that. She's like, doesn't mean you got it, but I have a feeling you're gonna be in it. I'm like, okay, great, okay, cool.

[29:57] Jaquez: Um, so long story short, I go back to my shift, and then I have a lunch break. I get a call. This is April 1st, by the way.

[30:05] Jaquez: Um, I get a phone call from my agent saying, Hey, uh, so remember uh we were gonna probably call, I was doing dirty dancing. I had got booked for dirty dancing tour.

[30:17] Jaquez: Love. But we was holding off for Motown. Let's see if we can get that. He's like, you know, we got to make that phone call that you can't do dirty dancing, and you're gonna be making your Broadway debut tomorrow.

[30:28] Jaquez: Tomorrow. This was this was like literally right in front of Hole Fast on 46th Street. Walking to take a break to eat.

[30:36] Jaquez: And yeah, that and I started the next day. Went back to my job, gave him my t-shirt, gave him my shit. I was like, look, I'm out. I start rehearsal tomorrow.

[30:46] Jayke Workman: Um Wow.

[30:48] Jaquez: That's kind of what happened to me with Chicago.

[30:51] Jayke Workman: Yeah, and I auditioned for Motown a million times.

[30:53] Jaquez: Sure.

[30:53] Jaquez: Wearing the same orange tank top, black Lululemon pants that I got from where I got fired.

[31:00] Jaquez: Um, and my silver Laduca character shoes.

[31:04] Jayke Workman: Love Dorothy from Frizz.

[31:08] Jaquez: But I wore the outfit every time I auditioned, every time. And it was the same tank top as my headshot.

[31:13] Jaquez: I was like, you know what? Consistency is gonna see the same thing.

[31:17] Jayke Workman: Right.

[31:18] Jaquez: Nothing less. Um, and that's yeah.

[31:21] Jayke Workman: Wow.

[31:21] Jaquez: So how long did you do that show?

[31:24] Jaquez: Um, so I initially did it for four months as a swing, and that was my contract.

[31:30] Jaquez: And then towards that time, sadly, one of my friends in the show got injured, so he left the show.

[31:34] Jaquez: Um, and they brought me to his track for the remaining five months.

[31:38] Jaquez: So it was uh the last nine and a half months.

[31:40] Jayke Workman: Wow.

[31:40] Jaquez: of the show before it closed. Wild.

[31:43] Jaquez: Yeah, and it was so much fun. I had the best time.

[31:46] Jaquez: I mean working with Brandon Victor Dixon, right? Michael Kilgore, my music, like come on.

[31:52] Jaquez: I feel like you can't beat. And I was in a cast full of fools, like everybody I do love is off, but in the best way.

[32:03] Jayke Workman: Yes.

[32:04] Jaquez: So talk to me about your experience working with children in the world of Matilda.

[32:14] Jaquez: I feel like that is a different beast entirely as a grown musical theater performer.

[32:24] Jayke Workman: Right.

[32:25] Jaquez: Being what, like, what was it like 23, 24?

[32:28] Jaquez: Yeah.

[32:29] Jaquez: Um, so me and the other adults in the show were like, yeah, we we were a little worried about all these kids, and like but honestly, I would say all but one kid were wonderful.

[32:45] Jaquez: Amazing. They were amazing and respectful and so talented.

[32:51] Jaquez: Um, and to be honest, luckily, it was clock in at half hour. The we're kind of, I feel like we're like second aunts and and uncles.

[33:00] Jaquez: Just to make sure, you know, they're taken care of and totally.

[33:05] Jaquez: Um, but they take care of themselves and they have wranglers.

[33:08] Jayke Workman: Yes.

[33:08] Jaquez: Yeah, yeah, yeah.

[33:08] Jaquez: Um, but they were lovely. They were lovely.

[33:12] Jaquez: But I love one of my favorite things is coming out of the stage door after uh and seeing their moms ready in their freaking dresses.

[33:25] Jaquez: About to go for a night out.

[33:27] Jaquez: Oh, yeah. And it was like, Oh, you having a sleepover. Wait. You sleeping over.

[33:31] Jaquez: Iconic. Yes. And I'll and sometimes I would go out, I would go out for a drink with them.

[33:35] Jayke Workman: Oh yeah.

[33:35] Jaquez: Yeah.

[33:36] Jaquez: But yeah, they'd be. You could see them done up, freak them dressed on heels, hair up, bop, bop.

[33:42] Jayke Workman: Wait, that's hilarious.

[33:44] Jaquez: Like, yeah.

[33:46] Jaquez: Have a good sleepover.

[33:47] Jayke Workman: Right.

[33:48] Jaquez: Yeah.

[33:50] Jaquez: Oh my god. And so you played Rudolfo.

[33:53] Jayke Workman: Yeah, I played Rodolfo.

[33:54] Jaquez: Who was your Mrs. Wormwood?

[33:56] Jaquez: Um Cassie Silva.

[33:58] Jayke Workman: Love.

[33:59] Jaquez: Yes, my girl.

[34:00] Jaquez: So you guys, I mean, that that number loud is like a fucking five-minute marathon.

[34:07] Jaquez: A beast. Was that something that, like, did you know going in, like, even auditioning for it, that like you were going to be dancing like that?

[34:17] Jaquez: Yes. The audition was no joke.

[34:20] Jaquez: It was no joke. That audition was no joke.

[34:23] Jaquez: Um, and my final callback actually was uh I think was it between shows? It was before before my matinee doing Motown.

[34:33] Jayke Workman: Good lord.

[34:34] Jaquez: And like we they danced us down. Like Ellen and Peter Darling are no joke.

[34:41] Jaquez: I love them to death, but they're you know, geniuses are a little off.

[34:45] Jaquez: Yeah, like they're like I'm like, woo, okay. I here we go.

[34:50] Jaquez: Here we go, let's go. I wish Celsius was around right.

[34:55] Jaquez: Crazy.

[34:56] Jaquez: Yeah, I knew I was gonna be, and honestly, it's just that one number.

[34:59] Jaquez: Yeah, that one number where we're dancing crazy, and like choreographed stagger breaths, like singing and dancing, and her throwing over my back and the the hair and oh don't give me no I loved it.

[35:18] Jaquez: That's why I had the choreography, it was the hair that gave me neck problems.

[35:22] Jayke Workman: Right.

[35:22] Jaquez: Neck problems are notorious when Matilda.

[35:26] Jaquez: But yeah, that was a blast.

[35:28] Jaquez: But I'll tell you, in Denver, um, you know, they have the oxygen.

[35:32] Jayke Workman: Oh my god, yes.

[35:34] Jaquez: So, you know, I was just doing it preventatively.

[35:35] Jaquez: I was like, okay, great. And there's one show that's like, I'm good, I'm good, I'm good. I don't need no oxygen.

[35:39] Jaquez: So we do the number, I'm like taking her staggered breath, my staggered breath.

[35:49] Jaquez: No stagger. Not staggered at all.

[35:52] Jaquez: We're just breathing. Woo!

[35:53] Jaquez: Yeah. Woo! Never again.

[35:57] Jayke Workman: Oh my god.

[35:58] Jaquez: I I uh know it well. I performed in Aspen Summers in a row, and it was like that.

[36:03] Jaquez: I did Chicago in Aspen.

[36:05] Jaquez: And I remember th the first time I did the Mary Sunshine song, I was like, what has happened?

[36:10] Jaquez: What what's going on? Like I've never had an issue with this.

[36:13] Jaquez: And I was like, I can barely get through the damn song.

[36:16] Jaquez: I couldn't breathe.

[36:19] Jaquez: Yeah, I went to the store and I bought cans of oxygen to carry with me.

[36:22] Jaquez: I was like, we're not doing this anymore.

[36:25] Jaquez: Yeah, it was it was that was a doozy.

[36:27] Jayke Workman: Wild.

[36:28] Jaquez: Do you enjoy touring?

[36:30] Jaquez: I did. I endure I enjoy touring.

[36:33] Jaquez: I did.

[36:33] Jaquez: Um, but after a while it does get kind of kind of old with uh the moving.

[36:38] Jayke Workman: Right.

[36:39] Jaquez: And some weeks, uh thankfully, like they were like first nationals, so we had longer sit downs.

[36:46] Jaquez: Yeah.

[36:46] Jaquez: In the beginning, but towards the end, we would get into one weekers, which means your off day is your travel day.

[36:53] Jayke Workman: Yes.

[36:54] Jaquez: And sometimes they would push it to the limit where we'll be getting in around like, I don't know, six or seven PM.

[37:01] Jaquez: And I'm like, I've been traveling all day.

[37:04] Jaquez: Uh-huh. And now we have to do it?

[37:06] Jaquez: And now I have to do it tomorrow.

[37:08] Jaquez: I just okay. Craziness.

[37:10] Jaquez: Um, but uh I did I like going to different places and also seeing a lot of my friends who either don't live in New York City, who have moved, relocated, or family who were in town, so they got to see me perform.

[37:23] Jaquez: Yeah.

[37:23] Jaquez: Um I really enjoyed that.

[37:25] Jaquez: And also having some cute Airbnbs.

[37:27] Jaquez: Oh yes.

[37:29] Jaquez: Take a little buyout and get yourself a cute little house.

[37:32] Jaquez: Love that. Yes, we had a cute little penthouse in um Nashville.

[37:36] Jaquez: Oh, love Nashville.

[37:37] Jaquez: Oh, it was everything.

[37:38] Jaquez: Oh, I had such a good time.

[37:40] Jaquez: I ate a lot of food.

[37:42] Jaquez: Stormies.

[37:43] Jayke Workman: Well, okay, so I have to ask, we I've spoken to many people on the pod about this specific like ideology and this like sort of issue in the world of current musical theater, which is that of um the like hit commercial hit, the success versus like the flop of it all.

[38:05] Jaquez: And you have been in shows that have have flop, not even well, because I hate the term flop.

[38:12] Jaquez: No, but right, but shows that have been ridiculed down.

[38:16] Jaquez: Yes.

[38:17] Jaquez: And I'd love to know you were in King Kong, mm-hmm, which like was one of those most like notorious, like iconic reviews ever in the New York Times, which was like absolutely insane.

[38:27] Jaquez: And then also, um, you were in Bad Cinderella.

[38:30] Jayke Workman: I saw both.

[38:32] Jaquez: I loved both.

[38:33] Jaquez: I had a great time.

[38:33] Jaquez: And Doubtfire.

[38:34] Jaquez: Yes.

[38:36] Jayke Workman: Which was also highly scrutinized.

[38:38] Jaquez: It was.

[38:39] Jaquez: So tell me about the, or if you would be willing to share.

[38:43] Jaquez: About um auditioning, getting cast and working on these things and and pouring your heart and energy into things that are met with scrutiny.

[38:54] Jaquez: How do you, as a as a performer, as like one tiny cog in a large, large machine, how do you deal with that?

[39:02] Jaquez: Okay, so I'll start with King Kong.

[39:04] Jaquez: King Kong, um, I just really love the people so much, and I love Drew McGoney with his choreography and his vision.

[39:16] Jaquez: Um, I love the choreography. And the story was nice, but it was kind of cliche.

[39:23] Jaquez: But there were so many technical elements that were stunning and beautiful that you've never seen anywhere before.

[39:29] Jaquez: Of course.

[39:30] Jaquez: And also the movement, which I feel like should have gotten more um acclaim.

[39:35] Jaquez: The choreography was beautiful, yeah, lovely and full, and and everybody was able to shine, and we had such a diverse group of dancers.

[39:44] Jaquez: We had B-boys, we had uh aerialists, we had classically trained like Trinas, yeah.

[39:51] Jaquez: Uh hip hop dancers.

[39:53] Jaquez: Like, and we got really close, I think trauma bonding, probably.

[39:58] Jaquez: Because it was a lot.

[39:59] Jaquez: I didn't have to do any puppeteering.

[40:01] Jaquez: I don't think I would have accepted the contract if I had to.

[40:05] Jaquez: I'm just the type of guy that if I'm doing the work, I need to be seen.

[40:08] Jaquez: I can't be in the shadows.

[40:10] Jaquez: I'm sorry. I need to be seen.

[40:13] Jaquez: I would be a horrible trash person if I'm not seen doing all this work. But God bless y'all. I give you, I'll bring you some extra water of Celsius, but that is not my journey. Um, but I loved the people so much, and I loved just the honestly the building at the Broadway Theater, from anywhere from spot offs to everybody. Everybody was just so loving and it was fun. Oh my god, how good we want it to be or not. We should have had baby. We were everybody. No choice. Sickening. If you're doing a show, you just had like a three-gem session. Yeah, it just falls off of it. It just falls off. That's crazy. Um, I just I kind of don't really read reviews too much. Um, I might read like the opening night reviews, but like I don't subscribe to like people talking crap on social media.

I have a love-hate relationship with social media, of course. Um, and like just people's opinions about shows or personal opinions, and also the type of people who are giving their opinion on a platform like New York Times or something. Like, where what of your life experience would be represented in this show where you have something to say about it? Right, you know, so like you have our credentials. What are your credentials? Yeah, what is your taste? Like because it's all subjective. It's subjective. So I'm like, okay, that's your opinion. So it doesn't really phase me with King Kong. I know with Bad Cinderella, there's a lot of debuts. Yes. Um, and a lot of people were young too, so they were very in the social media thing.

I feel like I'm on the cusp of like social media being a huge thing, and yeah, um less conservative. They kind of took on, I feel like a lot of people took on what the trash talking and really it affected them. Took it to heart. And but I don't, I was only a temporary replacement for the last month of the run. So I wasn't there for opening or anything like that. So I was already kind of like, okay, I just I'm just here to do this show. The show is fun. I love Joanne Hunter. Like it was the Andrew Lloyd Webber show. It was fun costumes and music's quirky and um and my best friends were in the show too. So I was having a blast, but they were like, Oh, you see what they said about this was like I I don't care.

You know? I wasn't I was like, stop reading it. Stop reading it. Right, right, right. Cause whether it's on social media or not, people are gonna have their opinions about it. And it's so strange. I just think I mean, again, I've I've like said this so many times on the podcast, but like we uh we as artists forget often that it is entirely about business.

[43:03] Jayke Workman: Yeah.

[43:04] Jaquez: And entirely about money. And you can take that any direction that you want, but like at the end of the day, if it's not gonna make money for those six people at the top, right? It's not gonna be produced. So or it's not gonna continue to be produced and continue to run. And so I think people are quick to jump on the train of like, oh, I heard this is really bad. It's gonna close, so it must be really bad. Yeah. And it's like, but so many other factors go into a show being able to maintain a Broadway run. Yeah. And then the longevity of like touring after, and then it trickles into like the regional world, and that's where people really get to like do their thing and make things their own because they don't have those six people at the top with the money being like, You have to do it the way that I want it, or it's not gonna be.

It's just crazy. But and also like timing. So with um Doubtfire, so we were in our third preview um when we shut down, uh was that March twelfth, thirteenth, yeah, when we shut down. So and you know, Jerry Zaks was the director and the show was huge, and Rob McClure is yeah, is uh Mrs. Doubtfire, like it was the show was perfect, it was so funny, so great. But then, you know, we went through the pandemic and um like raising, I guess, the shade on um gender politics and identity and and pronouns and all of that, and a lot of people before seeing the show had their opinion about Doubtfire from the movie, which is kind of controversial, but like it was in the 90s, yeah. So, but they had their opinions about the gender politics in our show before seeing it and not knowing that we went through lots of um meetings and stuff with GLAD and making sure this is uh inclusive and not you know not you know transphobic or anything like that, but people made up their mind that it was because it was a man in a dress in what they saw from the movie, right? So a lot of people didn't see I feel like a lot of people didn't give it a chance. Um and they had that entire like year basically to continue to solidify that thought in their mind.

[45:25] Jayke Workman: Yeah.

[45:25] Jaquez: Of like, well, when it comes back, yeah, it's we're not gonna see it because that's so we had that against us, and we also had uh COVID going against us. We opened in uh November or December at our opening night party masked and then Omicron took us out. My brother got COVID coming to uh New York. Omicron, you guys. Omicron got my brother when he came to our opening night. He took it back to Chicago. Um we had to we had to shut down our show, uh 10 shows because every day somebody was getting COVID. It was like saying, Will I get the letter from Santa Claus? Who's out today? I don't feel right. Like every day, a new cast member. I'm like, can we stop this? Can we just stop? That was when I first did Chicago, it was because everyone was out because of Omicron.

I had no cover. They were like, You are the last person. Can you please be here at 6 p.m. and do the show? And I did 14 shows, and then the day that I was set to be done and the regular people were supposed to be back, I tested positive for COVID. And I was like, you cannot make this up. Like it is, I mean, I got so lucky that I didn't test positive before then, but I was like, everybody's going down. We're we're all right. I was one of the four who didn't get it. Wild uh everybody got it. And I'm like, I still gotta come to work. He was just here. Can you disinfect a stage? And we used to spit test like twice a day. We used to go in on the test. Yeah. Um, and I hated the whole like mask off stage when you get on stage.

Horrible. And you just projectile sang to me into my mouth. Into my mouth. Absolutely. Yeah. I have Billy Flynn kissing me on the hands, on the cheek, everything, and then I'm supposed to put a mask on over my lipstick. I said, oh hell no. No.

[47:31] Jayke Workman: So well, Jaquez, you are just an absolute dream. Before I let you go, I have a series of musical theater rapid-fire questions that I ask every single guest. Are you ready? This is not trivia. This is these are opinion questions.

[47:47] Jaquez: Oh, just time or Andrew Lloyd Webber.

[47:52] Jaquez: Sometime.

[47:54] Jayke Workman: Sweatpants or jeans?

[47:56] Jaquez: Sweatpants.

[47:57] Jayke Workman: Do you have a favorite musical?

[48:02] Jaquez: No.

[48:03] Jayke Workman: Great. Do you have a least favorite musical?

[48:07] Jaquez: Uh, the least one I didn't like. The one I saw was Dr. Zhivago.

[48:12] Jayke Workman: Oh, Dr. Chivago.

[48:14] Jaquez: Yeah. It's the only one I left. It was the only one I think. The only one I left. Intermission. Iconic. Oops, sorry. I was like, where's the snow? You keep talking about this. Snow. Where is the snow? Sorry. Okay. That's my least favorite.

[48:28] Jayke Workman: Um, would you ever like to do a Broadway play?

[48:30] Jaquez: Oh, yes, absolutely. Actually, I want to get into more plays. Honestly, I want there to be more plays with music. Not so much a full-fledged musical, but like plays with a soundtrack. Yes. I think that because music informs mood and vibe and tone. Uh I think that would be great. I would love to do more plays, though. Love it.

[48:52] Jayke Workman: I'm so sad. Not that it's a play, but I didn't see Illinois, and I'm so sad to be a good one.

[48:56] Jaquez: I know. It was sold out every time I was trying to get out of here.

[48:59] Jayke Workman: Exactly. And then it closed so quickly.

[49:01] Jayke Workman: Um, are you a morning person or a night owl?

[49:04] Jaquez: Ooh, shnap. Both. Period. Wait, wait, wait. I'm a morning person by myself.

[49:10] Jayke Workman: What does that mean?

[49:11] Jaquez: Um, I have my morning hello.

[49:14] Jayke Workman: Oh.

[49:15] Jaquez: No one talks about it. I'm not like, hey, good morning, I understand. No, no, no. I'll be up, you know, get my mushroom coffee and music, light incense, but about alone. Alone. Yeah, I'm up late. I'm a big star. I'm up. Singles. Single. It's not personal. Up late. For sure. Oh yeah, up late.

[49:35] Jayke Workman: Um, could you think of the craziest thing a director has ever asked you to do, either in a show or in an audition room?

[49:47] Jaquez: He didn't say it per se. I paraphrased for this director. He was like, could you give it a little more? You know, uh, more black. Black it up. I knew yeah, for lack of a he said for lack of a better word. Fuck no.

[50:10] Jayke Workman: Which uh Yeah, I'm like, okay. I think that's the only thing that comes to mind.

[50:15] Jaquez: That's ridiculous.

[50:16] Jayke Workman: Yeah.

[50:17] Jaquez: Um, Golden Age or Contemporary.

[50:20] Jayke Workman: Oof now.

[50:22] Jaquez: Ooh. Contemporary.

[50:25] Jayke Workman: Do you have a favorite role you've ever played?

[50:30] Jaquez: Yeah. Um, so I did an out-of-town trial of Soul Train Musical playing Jeffrey Daniel is my favorite to date, and that was this past summer. God willing, it will come abroad.

[50:40] Jayke Workman: Yes. Where was the out of town?

[50:41] Jaquez: Uh, it was at the ACT theater at the um Tony Rembay Theater in San Francisco.

[50:50] Jayke Workman: Love. Coffee or tea?

[50:52] Jaquez: Coffee.

[50:54] Jayke Workman: What is the hardest show you've ever done?

[50:59] Jaquez: King Kong slash Soul Train.

[51:03] Jayke Workman: Uh, could you name all of the Broadway theaters that you've performed in?

[51:07] Jaquez: Yes. The Lunt Fontanne. The Broadway Theater. The Stephen Sondheim Theater. Tontheim. Tondheim. The Imperial Theater. And now the Ambassador Theatre.

[51:26] Jayke Workman: Love. Do you have a favorite costume you've ever worn?

[51:31] Jaquez: Ooh, it's usually one when I'm not wearing a lot of anything. Ooh. I mean, you look damn good in the Chicago costume.

[51:42] Jaquez: I kind of liked the uh Rodolfo costume.

[51:45] Jayke Workman: Oh yes.

[51:46] Jaquez: With those tight ass jazz pants. Flared ass pants with rosette. The bell bottom. But the V was down to below my belly button. And you had the wig.

[51:56] Jayke Workman: Oh, and the wig.

[51:57] Jaquez: So yeah, I think Rodolfo was. It was just fun and ridiculous.

[52:01] Jayke Workman: Um, who would you say is the silliest cast member of Chicago the musical?

[52:07] Jaquez: Oh, silly. Ooh, silly. And might it just be Miss Alyssa Milano?

[52:14] Jayke Workman: It might be Alyssa.

[52:17] Jaquez: It was Robin Herter.

[52:18] Jayke Workman: Oh, yes, of course.

[52:20] Jaquez: But um right now I will say it's Alyssa.

[52:25] Jayke Workman: Yeah.

[52:27] Jaquez: Well, my last question for you is a question I ask every guest, which is what is one thing you would tell baby Jaquez?

[52:35] Jaquez: Baby Jaquez, don't hide. Baby Jaquez, like, just be your weird self. Your interests are not strange. Somebody else likes them too. Period.

[52:48] Jayke Workman: Yeah.

[52:49] Jaquez: Love. Well, thank you so so much for coming on the pod. Would you tell the listeners where they can follow you on socials to keep up with all of your shenanigans?

[52:57] Jaquez: You can follow me at just Jaquez at Instagram.

[53:03] Jaquez: The Instawebs. Just J-U-S-T J-A-Q-U-E-Z, as the Canadian folks and Canadians say.

[53:13] Jayke Workman: Yeah.

[53:14] Jaquez: That's what they find me.

[53:17] 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 ohmypoduguys. Thank you so so much for listening. Talk soon. Bye.