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[0:06] Gordon Cox: Welcome to Stagecraft, Variety's Theater Podcast.

[0:10] Gordon Cox: Your backstage pass to revealing conversations with stars, creators, and industry leaders.

[0:15] Gordon Cox: On Broadway, off Broadway, and beyond.

[0:18] Gordon Cox: I'm Gordon Cox.

[0:20] Gordon Cox: On this episode of Stagecraft, I'm talking to the actress Sierra Boggess and the director, choreographer, Warren Carlyle.

[0:27] Gordon Cox: Theater fans will know Boggess from her breakout role as the title character in Disney's stage adaptation of The Little Mermaid.

[0:34] Gordon Cox: And from the parts she's played since, starring in The Phantom of the Opera, its sequel, Love Never Dies, and a recent LA revival of The Secret Garden.

[0:43] Gordon Cox: That production of The Secret Garden earlier this year was staged by Carlyle, who's directed and choreographed Broadway shows, including After Midnight, and choreographed The Music Man with Hugh Jackman, Hello Dolly with Bette Midler, and more.

[0:55] Gordon Cox: Now he and Boggess have reunited for Harmony, the new Broadway musical by hitmakers Barry Manilow and Bruce Sussman.

[1:03] Gordon Cox: The show tells the true story of the Comedian Harmonists, the wildly popular group of German performers, half of whom were Jewish, who rose to stardom in their homeland and around the world in the early 1930s, until their trajectory was cut short by the rise of anti-Semitism and the Nazi Party.

[1:21] Gordon Cox: After a long 20-plus years in development, Harmony comes to Broadway following an off-Broadway production last year.

[1:27] Gordon Cox: Now Boggess and Carlyle are with me in the virtual studio to talk history and harmony, working with Barry, and the rarity of duets for a soprano and a belter.

[1:39] Gordon Cox: Hello, Sierra and Warren. Thanks for joining me.

[1:41] Sierra Boggess: Thanks for having me.

[1:42] Warren Carlyle: Hi, good morning.

[1:43] Sierra Boggess: Good morning.

[1:44] Gordon Cox: Um, so before we talk about Harmony, let's talk about how you, like, and before you even got involved in the project, what was your relationship to Barry Manilow's music? Tell me.

[1:55] Gordon Cox: Go on, Sierra, you go first.

[1:56] Sierra Boggess: Yeah, when Sierra's nodding, yeah. I mean, not huge.

[2:01] Sierra Boggess: It really wasn't. It's like, obviously I knew "Copa Cabana" and all these famous songs that he did.

[2:08] Sierra Boggess: And my biggest story about him is that my sister, my older sister Summer, who had just moved to New York, her very first job was to play for him, play cello in his orchestra at Madison Square Garden.

[2:24] Sierra Boggess: So it was like I knew it was a big deal that she had this job at that venue with that icon.

[2:32] Sierra Boggess: And so it's always just been that—that's my knowledge. Very, like, I was very removed and he was very much just like a very famous person, you know, and just an icon and a name that I knew.

[2:46] Sierra Boggess: But um, that's that was my limited really, you know, knowledge of Barry.

[2:53] Warren Carlyle: Yeah.

[2:54] Gordon Cox: And Warren, what about for you? Did you grow up?

[2:57] Warren Carlyle: That's an amazing—I have an amazing Barry and Bruce Sussman's story too. So thirty years ago, they premiered a little-known musical called Copa Cabana, and they didn't premiere it in America, they premiered it in the West End of London.

[3:11] Warren Carlyle: And in my previous life, I was the lead Bolero dancer in that production.

[3:16] Gordon Cox: Oh, I was not aware of that.

[3:18] Warren Carlyle: So my introduction to Bruce and to Barry was actually I was a dancer in the West End show and I was in the rehearsal room with them. They were actually very friendly. We were close even back then, and over the last 30 years, they've both stayed in touch. They've been kind of miraculous friends in and out of my life, and then finally, four years ago, here comes Harmony.

[3:40] Warren Carlyle: So I've always, you know, for thirty years, I've known Bruce and Barry, and of course, you know, no one writes a melody quite like Barry, and no one writes a scene quite like Bruce. I mean, they're just extraordinary fellas.

[3:51] Gordon Cox: And then together, for them to come together and write Harmony is really kind of wonderful.

[3:55] Sierra Boggess: Yeah.

[3:56] Gordon Cox: And so what's it, Sierra, for you as you're getting to know his music through this new, new to most people stuff that you're singing? Um, but tell me about kind of what you've gotten to know about him and his music.

[4:08] Sierra Boggess: Well, I honestly think he's a genius. In our show in particular, every song is different.

[4:16] Sierra Boggess: So it's like 20 different styles of music in one show. And for those that are thinking, well, that sounds disjointed. I wouldn't want that. It's quite the opposite. You can never get bored, and you are always on your toes, and everyone gets to sing.

[4:35] Sierra Boggess: Like we all talk about that we want shows for people who can sing. It's what we trained for. And Barry writes music that you must be able to know how to sing, and so you get to use your full instrument. So I honestly love it, and I love hearing what everyone gets to sing in this show.

[4:58] Sierra Boggess: And the harmonies that he wrote, it's, you know, it's called Harmony, but it really is. They sing in harmony the entire show. It's so it's really special, and there's no sound like it on Broadway right now.

[5:11] Gordon Cox: And so, Warren, so I, as you say, you knew Barry and Bruce, but at what point did you become aware of the project? And then at what point, because the project has been around for a while, did it become a discussion for you to get involved?

[5:26] Warren Carlyle: It's interesting. So, about four years ago, about four years ago, Bruce and Barry sent it to me and just said, what do you think? Would you ever be interested?

[5:35] Warren Carlyle: Had you heard of it before then? Did you know it had happened?

[5:36] Warren Carlyle: I mean, maybe a little bit. I don't really remember to be honest, but you know, it's a very easy thing to look up, of course. As soon as they said, what about Harmony, of course, I was able to Google and look back at La Jolla, look back at Atlanta and the Amundsen.

[5:51] Warren Carlyle: But I really didn't—I didn't look at any images. What I did, I read the script very carefully and listened to the music very carefully. And I just, you know, it's a beautiful marriage. Barry is so emotional. He writes these beautiful, emotional melodies, and Bruce is like a scalpel. He's so sharp and so concise and so focused on story. It's like the marriage of this kind of very, very intelligent writing and this very emotional music, it just really grabbed me, I have to say.

[6:23] Gordon Cox: Yeah. And so Sierra, you signed on just before the off-Broadway production at the Museum of Jewish Heritage, is that right?

[6:30] Sierra Boggess: Yeah.

[6:31] Gordon Cox: And so this is a show that revolves largely around the men. And so what got you interested in playing, you know, one of the two really major female roles in the show?

[6:41] Sierra Boggess: I think I'm getting this timeline right, but Warren, we had just done Secret Garden first, right?

[6:49] Sierra Boggess: So that began—you and Warren, we should clarify.

[6:52] Warren Carlyle: Yeah.

[6:53] Sierra Boggess: This was in LA, yeah. Uh, no, before then, we had just done a workshop of Secret Garden.

[6:58] Sierra Boggess: Uh, Warren—Oh, okay, got it, got it.

[7:00] Sierra Boggess: So Warren was directing this, and that was our first time working together. And then this came around, then Harmony came around.

[7:07] Sierra Boggess: This new—I had also never heard of it. Um, and then this came around to be a part of the beginning of this version of this production. And I wanted, honestly, I wanted to work with Warren again. I'm like, yeah, Warren's directing this. I feel safe about stepping in.

[7:26] Sierra Boggess: Um, and then like just spiritually, I once I realized what this show was, I learned Rebecca Luker had originated the role of Mary in the very first iteration of Harmony. And I'm like, oh, there's something to this.

[7:45] Sierra Boggess: And I have fallen really in love with this character that I play called Mary. Um, it is—we've talked about that the women in this show, it is about the six guys. So when the women are there, we are helping tell their story, but we're also helping tell the story of what that time was like to be German in the 1920s, 1930s, and my character is not Jewish until I convert to Judaism in order to marry the love of my life, and so what that means for her.

[7:57] Sierra Boggess: And I've just had this whole new respect for especially the women in that time, um, and how brave you have to be, how unbelievably brave. Um, and that has been something that's just like, I don't know, I've been really enjoying finding that through line of I don't know what it's like to be in that time and the type of woman that Mary was.

[8:50] Gordon Cox: One of the other prominent women in the show is played by Julie Benko, who was just in Funny Girl. She had a kind of breakout performance as kind of the alternate in Funny Girl. And the two of you get a really good song, a really good duet. Um, what's it like to sort of sing the—you were talking about the fact that these are songs for real singers. What's it like to sort of sing these songs with, you know, do like your solos and then with Julie and others?

[9:14] Sierra Boggess: Yeah, that second act duet is certainly like a gift, and we'll probably be on the do not sing list like pretty soon because everybody has fallen in love with it. Um, and it's so great that there is another duet that is soprano and belter, you know, that's like we have very few of those things, and people look for that, and especially there's so many women in our industry. There's so many.

[9:38] Sierra Boggess: Um, right, there's like tons more than there are men in our industry. So there's—we're always looking for things to sing together. And I honestly think this is gonna be one of those songs that people do, and it is such a gift to get to sing with another artist who I think is really fabulous, and we both are—we're so determined to tell their stories. They're such different women in this show.

[10:08] Sierra Boggess: And we talked about like the stuff that you wouldn't—that you don't see, so the scenes that aren't there, the things that, which you know, as any good actor does, you think, okay, what's happened right before that I've come into this.

[10:23] Sierra Boggess: And um, for example, Mary's a seamstress. Um, she is not out on the front line, she is not marching, she is not um handing out flyers. She is not lighting things on fire. And Julie's character of Ruth is. They're a complete opposites, but they love each other so much. They are supporting each other. And what can Mary do? Okay, I'm can make you a coat because I see you don't have you only have a red beret on. And you said that you have to wear red if you're a Bolshevik. So I'm gonna make you a whole red coat. You know, I'm gonna rip the fabric off this couch I found. Isn't this so cool? And now you have a red coat and go and do your thing. That's what I can do. Um, and that has been really fun for us, and it's it's um it's melded their journeys together, and uh it makes it more about just they're the wives of, you know, we are.

But we also are these separate people that um that also love each other. And I I always think it's so good to people love to pit women against each other, and so I love a story where the women are not pitted against each other.

[11:30] Gordon Cox: Yeah, yeah. Uh as you mentioned, uh it's the your big duet is a is a for a soprano and a belter, and I was thinking as I was listening to it, I was like, wow, you never hear that combination. Like it just doesn't happen that much, and it's it's it's fun to hear it. It's great.

[11:45] Sierra Boggess: Yeah. Um so I wonder if you could both also talk me through kind of your research process for this. How how much did kind of historical information inform both of your processes? I guess Warren, let's start with you in terms of how did you how did how did your research into the time and to the real life stories that inspired this show influence what we see on stage?

[12:07] Warren Carlyle: It's interesting. I I listened a lot. It's funny, I listened a lot to the music, and then of course I realized that Barry had beautifully done his homework, of course. It's like it's beautifully period, it's beautifully researched. The harmonies uh really period correct. I did a ton of research about how the world how the world looked, you know, what was what was going on at that time, what did it, what did it look like, what did the streets look like? What did what did a marriage look like? We have a beautiful uh I have a Jewish consultant called Dr. Irving Berkowitz. He's been very helpful in making sure that I'm correct with with all of my Jewish um language with my relationships with what's going on in the world, even with some of the design elements.

He's been a really good resource for me. But then my challenge, of course, is to take something real and then make it theatrical. You know, turn turn a real person into a puppet in Act Two. You know, it's like, how do you how do you take a real story, make three-dimensional, believable characters, but also allow this thing to kind of take off when you need it to take off? So I I did a lot, and I would say always inspired by period, not bound by period. Like I don't want to do a museum piece. I don't want to teach a history class. I would I would like to entertain, and then I would like to terrify, and then I would like to entertain, and then I would like to terrify. So that was that's been my that was that's the way I I look at it.

[13:32] Gordon Cox: Yeah. And how much material still exists from the comedian harmonists? Were you able to, is there anything that you could even look at?

[13:41] Warren Carlyle: Yeah, tell me about that. I mean, this there's maybe two minutes, there's maybe two minutes of movie footage at most. The movies really have disappeared. And the recordings, there you can get your hands on recordings. There are some albums floating around that you can get. And of course, people in Germany uh are still huge fans of comedian harmonists. There are, you know, there are like tribute bands or like tribute groups that have formed that continue to sing in that style, that continue to sing that material and continue to honor these six lives. And so all the sequences then that we see of them performing, those are entirely original. They are, you know, directed and choreographed by you and written by Barry and Bruce. And how did you what was the spirit that you aimed to capture in those pieces that uh you felt like was inspired by what you knew of the historical comedian harmony?

[14:29] Warren Carlyle: It's funny, you know, Barry Barry says this really beautifully. He said it's a cross between the Manhattan Transfer and the Marx brothers. And that's what I that's what I took away from it, actually. It's like, God, I have to make something that sounds really extraordinary, and I have to maintain the integrity of that. But God, I better also get some laughs because they are called the comedian harmonists. Right. You know, so that that was my that was that was on my desk as I created it. It's like, God, I have to do something that's really beautiful musically, but I also gotta I also have to entertain.

[14:58] Gordon Cox: Yeah, yeah. And then Sierra, for you, how did you go about researching it? I'm assuming the character you're playing it was a real person, and so how do how much did you investigate her life and then the kind of as warranted, the kind of you know, the situation in which she lived?

[15:13] Sierra Boggess: Yeah. I was always a really terrible student, like terrible. Like I'm really not a cerebral book smart like person at all. So I'm very much go on feeling, and I'm not like a research, I gotta get my hands on history books. Like our leading man, Chip Zion, he was a history major, so like, you know, it's it's different things like that. So I really learned from from reading my script, my own feeling, and then I would look for, because I'm very visual, I would look for things. There's what's tricky is the time that we're in is pre-crazy Nazi power and Hitler fully. And it's hard. There's not a lot of that because once it hits like all the concentration camps and and the full war, it's there's tons because it's so it's so insane and so just pure evil.

But what's interesting psychologically is that we're in the beginning of that, and also what's interesting, and Warren has talked with us uh so much about you the characters in this piece can't know what the audience knows, which is how bad it gets. So part of me is like, well, I don't want to know too much, and I want to feel as we are in the room and we're developing our own language of what this is. I want to feel this, which makes my process take l longer than some, but it worked, it's how I always work. Um, and then uh Warren talked about um briefly about Dr. Berkowitz, who Warren then brought in for us so that he could talk to us for two solid hours, and it was like we could have gone for an entire day with this man because it was so helpful.

And for me to be able to ask a question about what the non-Jewish people are doing who are in love with that I'm in love with a Jewish man, my best friend is Jewish, what would I be doing? And he said something so powerful that I'll never forget about he's he said you would like to think that you would not give up your Jewish friends, you would like to think, and then that got into a way more intense discussion about, and that's why I say brave, because those that didn't give up their best friends or or um loves or any of this, like that because that they were being offered power, they were being offered money, they were being offered um safety for their family. Like it was so like just and that set for me just the intensity of the feeling of what's going on because something else about Mary is that that is that she sees everything.

So she's kind of the only one in this piece that sort of is allowed to um show that something is wrong when everybody else around her is maybe reacting more positively or thinking that it's gonna be okay. Um and so, and that's what you ask about my my uh first song that I sing. It's literally called What Do You See? And I am I feel it as a responsibility almost as a challenge to the audience as well. What do you see in this time when there is, you know, you're coming to watch a musical and feel joy and hope. But also, what do you see that's out there? And the, you know, the war going on right now and all of this stuff. It's just all I guess all of this to say the research, yes, happened, but now isn't it interesting how the show grows? You don't have to research, it's happening right now.

[19:01] Gordon Cox: I'll have more with Sierra and Warren right after the break.

[19:14] Gordon Cox: And now here's more with the actor Sierra Boggess and the director, choreographer, Warren Carlyle. Harmony in some version, in one version or another, has been around for a long time. It's a project that Barry and Bruce have been very committed to. What for each of you is the core of the story? And what what kind of ex what explains for you their uh their passion for it? Warren, let's start with you.

[19:37] Warren Carlyle: Yeah, you know, it's interesting. I think, I don't know, I think what what I do for a living has saved me so many times over the years. And the thought of going into a room with a group of people and creating harmony when the world around us is so chaotic, that appeals to me over and over and over again. And I can apply it to many projects, not just not just harmony. And I wonder if for Bruce and Barry too, this has been such a when they're in the room, I gotta say it's such a safe, happy, wonderful thing. When the family's all together and we're all just in that rehearsal room, make making stories, making each other laugh, making each other cry, searching for the truth. That is a really happy, that's a happy time. That's a happy place. And and the rest of the world kind of recedes in those moments. And I I would be I would if I had to hazard a guess, that's what I would guess as to why they've never given up.

[20:31] Warren Carlyle: Because it's just, it's just worth, it's worth our time. This particular story is really worth all of our time and all of our efforts in bringing it to life. But it's a happy that rehearsal room is a really, really happy place.

[20:46] Gordon Cox: Well, so tell me about um how the show uh moves, Warren, because you're not only the director, you're also the choreographer. Just tell me about your thinking about how you thought about the movement vocabulary of the show.

[20:58] Warren Carlyle: It's tricky, you know. It's called harmony. So it's you know, it's like, oh, believe me, I gotta deal with the music first, and then the dancing is like fifth on the list. So that's it's it's actually been a bigger challenge. Making the show move has been a much bigger challenge than the music man or Hello Dolly or Kiss Me Kate. Like those those shows dance and move very easily. Harmony is really a puzzle for me as a choreographer because I uh our leading men, our six guys, our six harmonists, are fantastic. They are not born dancers, they are not dancers first. You know, so it's to find a way, and also they're real, they're real men, like they're real guys. It's not they're not like some fantasy, it's not a fantasy man who's who jumps up and dances.

So it's finding a vocabulary that's that they're able to do, that they're able to execute well, that's got imagination to it and theatricality to it, but without having a kind of New York City ballet rigor or technique to it. And I think that's that's the challenge, but that's also the opportunity. Things like the come to the fatherland, the puppet number. It's like it forced me to have an even bigger, braver idea because I'm not working at New York City Ballet. You know, it's like that, even the movement in the subway in the opening sequence was it's like I wanted those Krupa drums, I wanted 1930s, I wanted rhythm because we've been in melody so long. I wanted something percussive, I wanted something athletic.

Um, how can I serve you? Which is the waiters and all that stuff. That just had to become, I had to get a laugh. No matter how I did it, I had to get a laugh. And that became through the movement and through a high speed kind of meal that should feel improvised. You know, that's that was the other challenge. Is like it should I shouldn't have a visible hand in this evening. It shouldn't look like it was directed or choreographed by Warren Carlyle. It should look like it was, it should look like these guys are coming up with it in the moment. So that was that was another big mission of mine was to try and make it look improvised, very much in the moment. But the choreography, yeah, this is this is one of the most finding a way to make this move and make it dance has been one of the biggest challenges.

[23:09] Sierra Boggess: And then uh Sierra, you mentioned that Chip Zion is uh in the show. He is uh a storied musical theater performer, he's uh known to many. Um and uh it's my understanding that his character is a relatively recent addition to uh to the story. What do you feel like he is he is for people who haven't seen the show yet, he is an older character who is looking back on these events. Um what do you feel like his interplay with the story uh brings to it?

[23:37] Warren Carlyle: I think it changed everything when Chip was added to the show because Sierra and I did the reading go, yeah. Go on, Warren.

[23:45] Warren Carlyle: I was gonna say, Gordon, this is a this is a brilliant question because Sierra and I did a very early reading four years ago. We did a very early reading that did not have the character of Chip in it, it didn't have the older rabbi. We hadn't yet split that character into two parts. So I was gonna ask Sierra the that exact question, like what what changed between our very first reading and then during the pandemic, of course, Bruce Sussman comes with this genius idea of splitting a character in half. I'm so curious, Sierra, on your take on it. But do you remember?

[24:14] Sierra Boggess: So my favorite story is Warren called me just to talk about that we're you know, that Harmony is moving forward, and and then, but I didn't know yet about Chip, and he said, So I still think it's the script that we did, and Warren says to me he we're just talking, and then he said, you know, it's good. The lines are gonna hit so much more when you know, Chip Zion says, and I was like, I was like, oh ha ha. And then I realized, and then he kept going, and I realized, like, wait, I was like, Warren, are you do you mean that Chip Zion is doing this? And he was like, Yes, yeah. And Warren didn't know at that point. Chip's one of my best friends. Chip and I've worked together probably five different shows.

He was my father in should have been you. Um we've we did a thing, he I was Julie Andrews and he was uh Frederick Lowe. Um I was his trophy wife in one of the early versions of this new Sondheim piece. Like we've and then we live a block from each other, so we're con it's I couldn't, and I asked Warren, I said, please can I call him? Does he know yet? Does he know? And it was like we didn't know how just everything for it was just the best. It was the best. And so and I personally think Chip is one of the greatest actors of our time. And he is so like beautifully complex and so fucking honest on stage. It's just like it's another level, and he's a master class, he just is.

[25:48] Warren Carlyle: It's interesting, Gordon. From my point of view, you know, adding adding the character of older Rabbi or Chip really changed the whole production. Because, you know, before that, I was kind of looking at these six guys in a kind of wide shot and trying to tell six stories. And that's that's a six-headed dragon that's kind of impossible to slay. But once you once we added Chip, then suddenly my whole point of view shifted. Now I know the lens through which I'm telling the story, and it's like, well, how does the set look? Well, what does Rabbi see? Well, how does Mary look? What does Rabbi see? How does Mary sound? What does he remember? So I suddenly had this beautiful memory play, all from a very specific point of view. So Chip actually, you know, the addition of Chip gave me the whole thing, it unlocked the whole the whole thing, including all the design of it.

[26:33] Gordon Cox: Yeah, yeah. So you are in previews right now as we are talking. Um tell me about what you've learned about the show uh in front of now Broadway audiences.

[26:42] Warren Carlyle: It's interesting. I've learned that audiences get information very quickly. People understand things. Like they have like 10 seconds. Like you what you watch YouTube for 10 seconds and then you go to the next thing. So I've learned that my rate of new ideas, especially in act one, my rate of new ideas has to go as fast as I can possibly go. Because the audience actually already know how the story ends. They don't know how I'm gonna get there, they don't know how I'm gonna journey, but they do know where it ends. So in Act One, especially my my rate of new ideas has got to go as fast as I can. I have to try and stay ahead of the audience. And any of the kind of banter, that's what we've learned with the fellas.

Anything that isn't story has got to go. And that's all that's what we've learned. We've probably taken four minutes out of act one, this go around. Downtown, we took 26 minutes out. Oh wow. You know, we've been we've been paring away, and Bruce, you know, Bruce Sussman has been rigorous with it too. He's been rigorous with this story, and like what's the most economical way to tell it? What's the most theatrical way to tell it? So audiences are very they don't lie. If I see a thousand people turning through their playbills, I know I gotta get on with it. I know I can get on with it. So that I watch the audience actually almost as much as I watched the actors in previews.

[27:56] Sierra Boggess: Yeah. And Sierra, are you enjoying being back on Broadway?

[27:59] Sierra Boggess: Yeah, I uh honestly I really am. If I I feel like this isn't just like some cheesy thing to say, but it feels like coming home. It really does. And um, and also just I feel so excited about telling this story, that this is the thing I get to come back with. It's like returning home with a story that's like that really, really means something and that's that is so relevant to what's going on in the world today. Um, I I just feel really honored to be telling this story and to be, and I'm grateful to be a part of this piece.

[28:36] Gordon Cox: Yeah, yeah. Um Sierra, you are in uh you're in the show for the foreseeable future. But do you have anything else on your plate that we should be aware of coming up for you?

[28:46] Sierra Boggess: Always that's it.

[28:50] Gordon Cox: That's all you got.

[28:51] Sierra Boggess: Okay, that's all you can tell us.

[28:52] Gordon Cox: All right.

[28:53] Warren Carlyle: Um Warren, what's next for you?

[28:55] Warren Carlyle: So, you know, Sierra and I have for about how many years? Five years? I feel like at least a lot of years. I mean, Secret Garden. So Secret Garden is a certainly a I can speak for myself. I won't speak for Sierra, but for me has been a passion project for the last couple of years. That we I continue to work on that and work on that and work on that. And that's that's something that I'm that I'm making for Sierra. Like I'm I would want to make that production for her. And I and I hope one one year, sooner rather than later, it will be in New York. So I I'm focused on that. I have a project for roundabout two that's coming up. Um what is that? Do we know what that is? No, we don't know what that is. Okay, great, got it. Didn't think so. All right, I'll keep that. Uh we'll be on the lookout. We'll be on the lookout for that uh and for the secret garden, but first we'll uh we'll be on the lookout for harmony. Um thank you both. Thank you both for joining me.

[29:44] Sierra Boggess: Thank you.

[29:45] Warren Carlyle: Thank you.

[29:49] Gordon Cox: That was Sierra Boggess and Warren Carlyle of the Broadway musical Harmony, now playing at the Ethel Barrymore Theatre. If you enjoyed this conversation here on Stagecraft, I'd really appreciate it if you took the time to rate and review us wherever you listen to podcasts. It really does help. Or tell a friend about Stagecraft. Find past episodes and subscribe at all the places you get your pods, including Apple Podcasts, Spotify, and on the Broadway Podcast Network, a great place to find more theater for your ears. Until next episode, find me on Instagram and Twitter at Gordon B. Cox. You can also check out my new newsletter about international theater. It's called Jakewee's, and it's at Gordoncox.com. Thanks for listening, and see you at the theater.