This transcript was automatically generated and might contain errors.

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

[0:09] Gordon Cox: Your backstage paths to revealing conversations with stars, creators, and industry leaders.

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

[0:17] Gordon Cox: I'm Gordon Cox.

[0:19] Gordon Cox: One of my favorite TV shows of the last several years was Reservation Dogs, the ensemble comedy about a group of kids on a Native American reservation in Oklahoma.

[0:28] Gordon Cox: The show's co-creator and four of its writers were all members of the intertribal sketch comedy troupe the 1491s.

[0:35] Gordon Cox: And at the same time that Reservation Dogs was being developed, the 1491s were also premiering their first play.

[0:42] Gordon Cox: Now that play, Between Two Knees, is having a run at the new Proman Performing Arts Center in New York City.

[0:48] Gordon Cox: Commissioned by the Oregon Shakespeare Festival as part of its American Revolutions series of new plays about American history, Between Two Knees is a wild comedy that traces multiple generations of one Native American family from the Wounded Knee Massacre in 1890 to the American Indian Movement's occupation of Wounded Knee in 1973.

[1:08] Gordon Cox: Two of the play's writers, Reservation Dogs co-creator Sterlin Harjo, and fellow 1491 member Bobby Wilson, are in the virtual studio with me to talk about making comedy, making theater, and the great American drama that Harjo wants to make the next time he writes for the stage.

[1:25] Gordon Cox: Hi, Sterlin and Bobby, thanks for joining me.

[1:29] Sterlin Harjo: Hello.

[1:42] Sterlin Harjo: It was a cloudy day, thunderstruck.

[1:45] Sterlin Harjo: It was a cloudy day.

[1:46] Sterlin Harjo: I was in Santa Fe when Bobby met us.

[1:49] Sterlin Harjo: Or when Bobby met me.

[1:51] Bobby Wilson: Yeah.

[1:52] Sterlin Harjo: Well, actually, when I met Ryan Redcorn, I met you later.

[1:55] Bobby Wilson: Well, I met y'all at the same time.

[1:57] Sterlin Harjo: Yeah.

[1:57] Sterlin Harjo: Which is the thing.

[1:59] Sterlin Harjo: And Redcorn has that thing in his mind that makes him, you know, he trusts people right when he sees them.

[2:04] Sterlin Harjo: So Ryan brings a lot of bad people into our life that way.

[2:10] Sterlin Harjo: But in this case, he brought someone good, which was Bobby.

[2:13] Sterlin Harjo: But um, you know, Ryan and I had been, this is all kind of simultaneously happening.

[2:19] Sterlin Harjo: We're like Ryan and I, I had been making films.

[2:21] Sterlin Harjo: I was an independent filmmaker.

[2:23] Sterlin Harjo: Ryan was in my film, Barking Water.

[2:25] Sterlin Harjo: Um I cast Ryan because I heard him tell a funny story, and I wanted him to be in the movie.

[2:32] Sterlin Harjo: And um, and then we were in Santa Fe, Indian market, and we met Bobby, and Bobby was kind of bombing around and like carrying a graffiti pin, just like tagging shit everywhere, and uh kind of half homeless, it seemed like.

[2:32] Sterlin Harjo: And um how everyone ended up staying.

[2:53] Sterlin Harjo: I was the only one that was supposed to be there, but as Indians do, I ended up like having like six people staying in my hotel.

[3:02] Sterlin Harjo: And one of them was Bobby's.

[3:05] Sterlin Harjo: I end up I ended up getting like uh I didn't coming back to my hotel like 1 a.m.

[3:10] Sterlin Harjo: Maybe two, and um Bobby and Dallas are in my bed, or Bobby and Ryan are in my bed, and uh I was like fuck like and I just briefly met Bobby that day, and anyway, I just made him scoot over and the three of us slept together the first night, so it's really it's really how this was forged.

[3:36] Sterlin Harjo: Okay, um and then at the same time, so Bobby was living in Minneapolis.

[3:36] Sterlin Harjo: At the same time, Migazy and Dallas had been making funny videos.

[3:45] Sterlin Harjo: Ryan and I had been making some little videos on the side that weren't that funny because Ryan, you know, he's not that funny until we made him funny.

[3:53] Sterlin Harjo: But um he was really into earnest poetry at the time, and I was just like, let's do some cool shit, you know.

[4:00] Sterlin Harjo: And um and I wasn't making a lot of money as an independent filmmaker as you do, but they wanted to show my film to Minneapolis.

[4:09] Sterlin Harjo: And I asked Ryan if he wanted to go, and then we could link up with Megazi Dallas, do some funny videos, and then Bobby was there too, and we were like, Well, our new friend Bobby, and Dallas and Bobby happened to know each other.

[4:21] Sterlin Harjo: We needed a place to film the video, it ended up being where Bobby worked.

[4:25] Gordon Cox: Was there any inclination toward theater or writing a play before you started to work on?

[4:32] Bobby Wilson: Yeah, and so we knew that was possible.

[4:34] Bobby Wilson: We didn't know it was possible.

[4:36] Bobby Wilson: We uh was we were commissioned to do it, and we were like, I guess we're doing this now because there's no other way to make money.

[4:43] Bobby Wilson: Um and this we we'd been doing like uh skate on tour for like a decade at this point, right?

[4:54] Sterlin Harjo: Right, made a bunch of videos on YouTube, but we were probably making like 45 a year if we were lucky, you know, kind of breaking even.

[5:04] Bobby Wilson: Yeah, uh, so it was nice, but then we got the commission and had no idea that those existed out there, yeah.

[5:12] Bobby Wilson: Uh and Oregon Shakespeare Festival hooked it up super hard.

[5:15] Bobby Wilson: Uh, they knew we had never written a play before, but they were very familiar with our combined work as well as our individual work.

[5:24] Sterlin Harjo: And uh shit, uh Alison Carey, who used to work there, flew out to Tulsa, Oklahoma to see one of our fabulous live shows.

[5:35] Bobby Wilson: Yeah.

[5:35] Bobby Wilson: For the people of Tulsey Town.

[5:39] Gordon Cox: And was the commission with was it sort of free range, like create something?

[5:45] Bobby Wilson: Yeah, yeah.

[5:46] Bobby Wilson: Like we ended up getting flown out to the Oregon Shakespeare Festival.

[5:50] Bobby Wilson: It was beautiful.

[5:50] Bobby Wilson: Which is a beautiful place.

[5:51] Bobby Wilson: We sort of we'd never done plays, but we got to immerse ourselves and watch plays while we were writing this thing.

[5:58] Sterlin Harjo: And I don't think they expected us to do as much as we did.

[6:02] Sterlin Harjo: And basically the first day of working, we sat around in a classroom and drew dicks on a uh dry erase board for half the day.

[6:09] Bobby Wilson: Right.

[6:09] Bobby Wilson: And then and we also like were making a video for a Kickstarter for a feature film that we wanted to make.

[6:17] Bobby Wilson: So we did our first day, and then but like the last like maybe the next day or the last hour of that first day, I think that we really buckled down and like came up with an outline.

[6:28] Sterlin Harjo: And so we already had the play outlines, like day one or two.

[6:32] Bobby Wilson: Wow.

[6:32] Bobby Wilson: Um and we just were watching plays.

[6:35] Bobby Wilson: It was a pretty great experience.

[6:37] Sterlin Harjo: There was a thing about it too, like uh, so it was through the American Revolutions Commission that went on for quite some time.

[6:46] Sterlin Harjo: I can't I I can't say how long, but yeah, several years through the Oregon Shakespeare Festival, yeah, exactly.

[6:51] Bobby Wilson: Yeah, and they did this thing where they would bring all of their commissioned playwrights together in New York for like a day or two just to say hello, talk about what they're working on, and we were blown away by how many people had this really amazing commission and had done nothing with it for like 10 years.

[7:11] Sterlin Harjo: Some of them they were just sitting around.

[7:14] Sterlin Harjo: And you know, we're five of us.

[7:15] Sterlin Harjo: We've been making these sort of gorilla videos on reservations all across the land for a decade.

[7:21] Sterlin Harjo: And we were like, why are you guys taking so long?

[7:24] Sterlin Harjo: Like, this is fun.

[7:26] Sterlin Harjo: Like, just you know, get it going.

[7:28] Bobby Wilson: And Oregon Shakespeare Festival, I mean, holy shit, what a beautiful campus.

[7:32] Bobby Wilson: It's like a goddamn garden of Eden, you know.

[7:35] Bobby Wilson: I mean, you know, it used to be when the Indians had it.

[7:37] Bobby Wilson: Now it's pretty nice what the white folks have done with it with that theater and everything.

[7:42] Gordon Cox: And how was was the process of putting that play together?

[7:47] Gordon Cox: How was that different from working on the sketch comedy?

[7:50] Gordon Cox: Or was it very similar?

[7:51] Gordon Cox: Did you find?

[7:53] Sterlin Harjo: Well, uh there the differences were like the structuring of this piece.

[8:00] Sterlin Harjo: But uh, I would say the way that we came up with each of those scenes was very similar to the process that we had been using for years of like doing it on the fly, you know, kind of seeing what's funny to us, what sticks.

[8:14] Sterlin Harjo: And then we really got to build out the drama shit.

[8:17] Sterlin Harjo: That was what was so different about us working together in that capacity, was really building out uh and humanizing people in these dramatic ways, you know.

[8:30] Sterlin Harjo: That I don't want to say, I think that everyone besides me was pretty afraid of drama because I I'd like been making fucking dramas, you know.

[8:38] Sterlin Harjo: Yeah, but also like we were very much um sort of a balance and check for and for each other because like writing it, like all of our strengths and weaknesses we worked with, and you know, like um left to my own devices, like it's more like res dogs for me, where there's a lot of brooding and humor, but like you know it can go longer and that might not work for a play so like they you know there these guys have helped go ah we need some jokes in here you know or like this is too sad or whatever um or vice versa we would all you know we all kind of work like that anyway um and fill in gaps when needed but like um but you know we did it just like we did sketches I mean we just threw out ideas and it's kind of one big workshop you know and like the last thing that happens is like we actually write stuff down.

[9:29] Bobby Wilson: Yeah I was just gonna ask how how and when does that happen?

[9:32] Bobby Wilson: Is that one of you who sort of takes it all and or like watches and writes stuff down or how does that how does the actual first did it I mean we had a dry erase board for the outline.

[9:43] Sterlin Harjo: Yeah and but when we first did it I think we assigned each other sections of the play.

[9:49] Sterlin Harjo: Right.

[9:49] Sterlin Harjo: And then it would go through Bobby or Megazi kind of a overall sort of like kind of helping make it cohesive you know like get filtered through where one person can kind of attach the pieces together and sort of like you know make sure it flows and that process was sick too though on the rehearsal side like all the space that OAT probably did a lot of that working alongside Eric and the cast and the directory like every was fantastic getting to do the rewrites seeing what works in the room.

[10:26] Bobby Wilson: Theater's crazy it's crazy everybody's doing this, you know, and like uh for those runs, especially like at OSF shit.

[10:36] Bobby Wilson: Yeah, thing was like three month runs, yeah on it.

[10:39] Bobby Wilson: And some of those actors were in other plays as company actors, you know.

[10:44] Sterlin Harjo: Uh that was mind blowing that they could pull all that shit off, you know.

[10:48] Sterlin Harjo: Rachel Crowell, god dang, like she went into this Shakespeare one, and this is how you know I I wish I could tell you which one it was.

[10:55] Sterlin Harjo: I want to say 12th night, but I don't want to misquote it, but it was Henry.

[10:59] Bobby Wilson: It was Henry the Fifth.

[11:00] Sterlin Harjo: We went and watched her in Henry the Fifth, and uh and she um destroyed, and we were like, we gotta cast her, like somehow we gotta figure out a way to cast her.

[11:12] Gordon Cox: I'll have more with Sterlin and Bobby right after the break.

[11:32] Sterlin Harjo: Was the larger story something that emerged as you put together that group of scenes, or was it something that you went in with the arc and then you kind of broke it down into two scenes?

[11:45] Bobby Wilson: I mean, one of the things that we had structurally we were coming because we were supposed to have to do with history, right?

[11:51] Bobby Wilson: And we were kind of you know, far fucking around with like what parts of history should we hit, you know?

[12:00] Bobby Wilson: Um and then I forget what we were watching.

[12:04] Bobby Wilson: I think it might have been this play that was like some country bumpkin play that I walked out on because I was I was like I was like offended, and Bobby, and then we're just like, Oh, this is great, man.

[12:16] Sterlin Harjo: And uh Julie, this is your pink cool.

[12:18] Bobby Wilson: We're gonna stick her with it.

[12:20] Bobby Wilson: But I before I left, I remember thinking somehow like between two knees came in my head, and I ran up to them and I was like, maybe we should call it between two knees.

[12:30] Bobby Wilson: Because we've been talking about the wounded knee and whatever, but it was like making it in between two knees, wounded knee experiences could be a cool, it was a cool like structure, but also like a challenge, and like um it gave us parameters on what on what we could say and what we couldn't say, I guess.

[12:48] Sterlin Harjo: Yes, and it made us read a bunch of history shit.

[12:52] Bobby Wilson: Oh my god, all that reading.

[12:55] Sterlin Harjo: Right.

[12:57] Gordon Cox: Do you and uh the the play makes some comedy out of some you know, really dark things, these were super dark moments in the country's uh past.

[13:06] Gordon Cox: And do you and of course a lot of your sketchwork is like fueled by activism and pointing out injustice and all that stuff.

[13:12] Gordon Cox: Do you have a kind of philosophy of how comedy works to kind of affect change, either like in the people watching or in the systems around them, or like what how do you how do you think about how you take on like dark things and uh serious things with comedy?

[13:32] Sterlin Harjo: I mean, I think that we all have different opinions on that, you know, and and our strength as a group is our different opinions come together and work together.

[13:44] Sterlin Harjo: I don't have a philosophy on them. There's something about telling the truth that is like, you know, cuts through everything. I will say that like on the road, we did develop sort of a philosophy, not a philosophy, but like a way in, because we would bomb in front of wide audiences and or like more northern white audiences. For some reason, like southern whites like us or got the humor, but we noticed that they were afraid to laugh. I think that has to do with the idea that Native Americans are precious or whatever, you know, and like so we had to give them permission to laugh. So we started coming out in our intros and like making fun of ourselves and like really kind of getting them warmed up so they're ready to laugh and also kind of teaching them Native humor.

It's what Jud's character, the narrator, plays in the play, you know, he is the person that kind of welcomes everyone in and shows you what Native humor is and like it's okay to laugh. Similar to Reservation Dogs, Dallas's character who plays Spirit Set has the same function. So like that is a philosophy that I think we learned not just about history, how to talk about history, but how to also just share our humor, you know, that was one that we learned just on the road failing at it.

[15:15] Gordon Cox: Yeah, yeah. Bobby, do you have anything to add? I mean, you know, you're talking about activism. I don't know. It's funny because working together as five of us, there is a whole spectrum of that activism, you know, Dallas Gold to very much in the social media side of activism, very, you know, annoying.

[15:15] Bobby Wilson: Yeah, yeah. Also like showing up in person to places and wearing his cute little outfits and getting arrested and stuff, you know?

[15:51] Sterlin Harjo: Yeah, getting arrested.

[15:57] Bobby Wilson: Dallas got arrested in DC recently doing something.

[15:59] Sterlin Harjo: And he was released before the footage hit the internet, like before it was posted.

[16:07] Bobby Wilson: And so we were gonna make t-shirts that just said "Free Dot D A L dot dot."

[16:17] Sterlin Harjo: Yeah.

[16:20] Bobby Wilson: Um, how have you found, you were talking about audiences' responses when you were on the road? How have you found theater audiences as being sort of receptive to humor? Are they different at all from the folks who would come see your touring shows?

[16:35] Sterlin Harjo: Yeah, I mean, in Oregon it was pretty challenging, I think, and was very polarized. You know, sort of the intent is, you know, at least a lot of it when we went into the play because all this work that we've done over the years, we've been to every res that exists as a team, and the entertainment, the art that we were creating was largely for just Native folks, you know, right? And theater spaces are definitely not for Native folks, it's like quite the opposite, really. A lot of wine-drunk older whites, you know.

[17:12] Bobby Wilson: No, not knocking them, you know, they're gonna have a good time.

[17:15] Sterlin Harjo: I get it, but it's shit, like a lot of that stuff's inaccessible. I got to see Shakespeare stuff when I was a kid because my elementary school or my middle school, et cetera, et cetera, would make the trip, but really then you look at the ticket prices and you're like, dang, like nobody I grew up around is gonna, you know, be able to afford this.

[17:36] Bobby Wilson: That's why we gotta hook up those Indian tickets, though, you know.

[17:38] Sterlin Harjo: Yeah, yeah. So, how did you think about coming into this space? Did that like affect the kind of story you were telling, or how you told the story?

[17:42] Bobby Wilson: Yeah, yeah. Well, it affected how we told the story. The story is the story of Indians, at least our five memories, how it happened, right? But a lot of the humor comes from acknowledgment of where we're at, you know, and who's most likely in the crowd. Not to say that we wrote exclusively for, you know, those folks, because there's, you know, a bunch of Indian jokes in there too.

[18:14] Sterlin Harjo: Right. I think we were like writing for a Native audience what we would want to see, but also like knowing that we're letting a lot of non-natives in to see this. And it's like, how do we have convert? It's almost a conversation with non-natives, like expressing what we are and who we are and the humor and how messed up the history is, you know, like in a weird way. Reservation Dogs was very much for Native people, like, and if other people come, cool. This was more like we're gonna challenge non-native audiences because that's who's gonna see this, you know. Like, we have to do something, we have to talk to them, and we do throughout the play, I think.

[18:58] Gordon Cox: Yeah. Where, speaking of Reservation Dogs, where were you on the journey of making Reservation Dogs as you were working on this play?

[19:06] Sterlin Harjo: Actually, sold Reservation Dogs right before the play opened, like the day of, I think, and got the call that day and was just like, holy shit, got this show called Reservation Dogs. And everyone was like, great, congrats. You know, we were just doing the play that day. It was crazy.

[19:24] Gordon Cox: And so then how did you find, did you find that your experience working on the play informed how you worked on the show?

[19:33] Sterlin Harjo: Yeah, probably. I mean, but like more so 1491s helped inform how I worked on the show because I was a showrunner and I was running a writer's room now.

[19:44] Bobby Wilson: Right.

[19:45] Sterlin Harjo: And that's what we did. That's how we wrote our sketches, you know. But it's also how we wrote our play. So, like all of that together was very much like kind of I'm quarterbacking this group of people, and you know, even when we do our sketches, like I would always be the one, because I was a lot of times, like especially in the beginning, like I would be like, you know, the one with the camera or whatever. So I was always trying to think of the editing process that I had edited for a while at that point, like, you know, what is our ending? Like, what's our beginning? Like things like that. And so just trying the nature of trying to keep things to work, like I guess like quarterbacking a little bit, but like with the 1491s, it would, I don't know, it's funny because all of our dynamics shift, where like one day it'll be Bobby leading everything, or one day it'll be Dallas, and when Dallas does it, he does it like we're all students, like he's gotta have a pin and like is leading the class, you know, and then there's Ryan's usually there to just like disrupt everything and make you rethink your life, and then you get like a really cool thing out of what he just did to you, and you didn't realize it. And then Mig's very quiet until he had, but you realize he's been pondering this one thing for like five hours, and then he finally has a solution for it, you know.

[21:11] Bobby Wilson: And in the with the play, there was like when we're in a room together, there's so many different dynamics that play out, but that definitely informed how I ran the writer's room for Reservation Dogs.

[21:22] Gordon Cox: Right, yeah. And what is it like to come back to the show to sort of revisit the show now that Reservation Dogs has finished its run?

[21:33] Sterlin Harjo: Well, for me, the different like the first iteration of Between Two Knees at Oregon Shakespeare Festival was this really pivotal moment, you know, Reservation Dogs getting sold, maybe going off to be a set right, like cover set for some major crazy historical drama, like things were happening that were wild, and you know, all of that energy was going into the writing of this thing, right? Fast forward, you know, 2024 or whatever year this is now.

[22:08] Bobby Wilson: Yeah.

[22:09] Sterlin Harjo: And all of the things that we have learned in the writing process and the rooms and kind of what works, they've made us great editors, I think. So going into the script and working again with Eric Ting and Julie Dubner, our dramaturg, and having those conversations once again that poured so much magic into that first run. It's been really exciting, and I'm hyped to see what the cast is doing with it and the creative team going back. I think it's pretty rare. And I'm just assuming, I don't know, but like it feels pretty rare to have a cast sort of stick together like that for so long.

[22:56] Bobby Wilson: Yeah.

[22:56] Sterlin Harjo: It feels, you know, that the cast cares about it, but also like just being able to watch that group grow, you know. I'm so pumped to see that and to, you know, things have changed since Reservation Dogs. Like we all felt it, you know, as we were making it. And it'll be interesting to see now, like maybe audiences are even more sort of primed and ready to, you know, be in an audience and watching an absurd Native comedy on stage.

[23:27] Bobby Wilson: Yeah, yeah. Has the script changed at all since 2019? Have you done much tinkering?

[23:30] Sterlin Harjo: Yeah, yeah. We've moved some stuff around, opened up the opening of act two.

[23:37] Bobby Wilson: Uh huh.

[23:37] Sterlin Harjo: Replaced things, moved things back, put things back in.

[23:42] Bobby Wilson: Yeah, yeah.

[23:43] Sterlin Harjo: Right, yeah, yeah, yeah. And we got tied to foe too. It's some crazy shit too.

[23:49] Bobby Wilson: So that's a big difference.

[23:51] Sterlin Harjo: Right, yeah, yeah.

[23:53] Gordon Cox: And so the play is gonna be at the Pearlman Center in February. And what's L Razor Cube?

[24:00] Bobby Wilson: Yeah, never heard. That's actually kind of what it looks like.

[24:06] Sterlin Harjo: You're right.

[24:07] Gordon Cox: Um, and so what's next for you both? What, what's coming up next for you?

[24:13] Bobby Wilson: Uh, what next out on that prairie on that?

[24:18] Sterlin Harjo: I have Bobby and I have an animation that we're doing. We're hopefully developing with FX, and I think it's gonna happen. So yeah, there's that, and then Bobby's got other stuff, and I've got, I have a new show that I might be doing hopefully at FX as well. And then feature films for me. I definitely want to do some feature films now that people open their door and take a meeting with me about them, you know.

[24:44] Bobby Wilson: Now that Dog has come out.

[24:46] Sterlin Harjo: So, um, that you're turning down Bambi.

[24:50] Bobby Wilson: I turned Bambi down, I turned Hot Wheels down.

[24:57] Sterlin Harjo: It could have been the Native male Greta Gerwig. You know that?

[25:00] Bobby Wilson: I know it could have been.

[25:04] Gordon Cox: Would you be interested in writing other plays? Like is theater a thing that you would be interested in circling back to at any point?

[25:12] Sterlin Harjo: I would for sure. Yeah, I would probably make great American drama, you know, like with some humor. A family thing, you know. Like I would want to, you know, I'm going for the Pulitzer here.

[25:27] Bobby Wilson: Yeah.

[25:27] Sterlin Harjo: Oh, yeah, here it is.

[25:28] Bobby Wilson: Oh, yeah, that's the big one, isn't it?

[25:30] Sterlin Harjo: Yeah, I got that Peabody, the Pulitzer.

[25:36] Bobby Wilson: There's the Tonys too. You could go for the Tony.

[25:40] Sterlin Harjo: Go Egon.

[25:41] Bobby Wilson: He plays guitar.

[25:42] Sterlin Harjo: Yeah.

[25:43] Bobby Wilson: I'm sure it's really good.

[25:45] Sterlin Harjo: Yeah.

[25:49] Gordon Cox: Excellent. All right. Um, well, thank you both. It was great chatting with you. And enjoy the run of Between Two Knees next month.

[25:51] Bobby Wilson: Thank you.

[25:57] Sterlin Harjo: Yeah, thank you both.

[25:59] Gordon Cox: Let us know what you thought. No, just kidding.

[26:01] Sterlin Harjo: I will.

[26:07] Gordon Cox: That was Sterlin Harjo and Bobby Wilson, two of the members of the 1491s. Their play Between Two Knees runs at the Pearlman Performing Arts Center in New York, February 3rd through 24th. Their FX TV series Reservation Dogs wrapped up its third and final season last year. It's on Hulu. And if you haven't watched it yet, I cannot recommend it highly enough. It's great. 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 newsletter about international theater called JQeese. It's at GordonCox.com. Thanks for listening, and see you at the theater.