This transcript was automatically generated and might contain errors.

[0:01] Joshua Kobak: Samsung, stage manager. We need you on stage tonight.

[0:07] Jordan Chin: What?

[0:08] Joshua Kobak: Go to dressing room 1, the costumes won't last.

[0:12] Joshua Kobak: Super Swinging.

[0:17] Joshua Kobak: If you can understand me speaking now, as well as anyone can in real life, you've set a good volume. Thank you for providing the real...

[0:25] Joshua Kobak: Super Swinging.

[0:31] Joshua Kobak: Be advised, sounds are coming from all around you.

[0:35] Joshua Kobak: Super Swinging.

[0:40] Joshua Kobak: There you are. Welcome to Rialto.

[0:43] Joshua Kobak: Follow me, the show's about to start.

[0:46] Joshua Kobak: Keep your headphones on for the most immersive experience.

[0:49] Joshua Kobak: Super Swinging.

[0:53] Katy Pfaffl: Hi, I'm your host, Katy Pfaffl.

[0:55] Joshua Kobak: And I'm your co-host, Joshua Kobak.

[0:57] Katy Pfaffl: We're grateful that you're here with us to learn more about what makes a swing super.

[1:02] Joshua Kobak: And here we are. I'm very, very excited for this episode because we are with...

[1:07] Katy Pfaffl: Do you want to say your name?

[1:08] Jordan Chin: Hi, I'm Jordan Chin.

[1:09] Katy Pfaffl: And Jordan is one of my students and one of my favorite humans.

[1:13] Katy Pfaffl: And I'm very, very, very lucky to have you here with us today.

[1:16] Katy Pfaffl: Do you want to tell us a little bit about what show you're in?

[1:19] Jordan Chin: Yes. Okay. So I'm with The Outsiders.

[1:22] Jordan Chin: On Broadway. The hit. The Broadway hit. Tony Award winning Outsiders.

[1:27] Katy Pfaffl: That's the one.

[1:28] Katy Pfaffl: And original cast?

[1:29] Jordan Chin: Original cast.

[1:30] Katy Pfaffl: All right.

[1:31] Jordan Chin: Yes, two years I've been with the show.

[1:33] Katy Pfaffl: Wow.

[1:34] Jordan Chin: In developmental stage and then La Jolla.

[1:36] Katy Pfaffl: Oh, wow.

[1:37] Jordan Chin: Yeah.

[1:38] Katy Pfaffl: Developmental stage, did that include like start all the way at the hundred hour reading?

[1:44] Jordan Chin: Like just the reading?

[1:45] Jordan Chin: So it was, okay.

[1:46] Jordan Chin: So they've been developing it for like eight years before I joined, I believe.

[1:50] Jordan Chin: Or six years probably.

[1:51] Jordan Chin: And then they changed directors and choreographers.

[1:54] Jordan Chin: I was part of that iteration.

[1:56] Jordan Chin: So that was like the first, like building it from scratch.

[1:58] Katy Pfaffl: Yeah.

[1:59] Jordan Chin: Like they had the book and the music was the same, but the like staging changed and evolved.

[2:05] Katy Pfaffl: So.

[2:06] Katy Pfaffl: Okay.

[2:07] Katy Pfaffl: Our DNA is in that.

[2:08] Jordan Chin: Yeah.

[2:09] Katy Pfaffl: So cool.

[2:10] Katy Pfaffl: Yeah.

[2:11] Katy Pfaffl: So tell us about that.

[2:13] Katy Pfaffl: When you first got into this workshop, were you just thinking like, whatever, here's another weird workshop?

[2:17] Jordan Chin: Or were you like, this feels like it's something?

[2:21] Jordan Chin: Yeah.

[2:22] Jordan Chin: So when I auditioned, it was the most unique auditioning experience I've ever had.

[2:26] Jordan Chin: I mean, leading up to the final callback, they conducted it as if it was like an interview.

[2:31] Jordan Chin: Like I go in there ready to read my sides and do my song for the last time for the full creative team.

[2:38] Jordan Chin: It was like, they're sitting last supper style.

[2:40] Katy Pfaffl: Yes.

[2:41] Jordan Chin: That's such a good way to put it.

[2:42] Jordan Chin: You know what I mean?

[2:43] Jordan Chin: It feels like that intense.

[2:44] Jordan Chin: Yes.

[2:45] Jordan Chin: Mile long table.

[2:46] Jordan Chin: I'm like, okay, this is intimidating.

[2:47] Jordan Chin: It's the director, the choreographer, casting director pulls up the chair.

[2:48] Jordan Chin: He's like, have a seat.

[2:49] Jordan Chin: You know, everyone's there.

[2:50] Jordan Chin: The book writer, everyone.

[2:51] Jordan Chin: And they're like, tell me about the chorus line in China.

[2:52] Jordan Chin: How was that?

[2:53] Jordan Chin: And I was like, wait, wait, wait.

[2:54] Jordan Chin: We're just going to talk.

[2:55] Jordan Chin: So I quickly was like, okay.

[2:56] Jordan Chin: They're old friends.

[2:57] Jordan Chin: We're going to talk.

[2:58] Jordan Chin: And I was like, okay.

[2:59] Jordan Chin: And I was like, okay.

[3:00] Jordan Chin: And I was like, okay.

[3:01] Jordan Chin: And I was like, okay.

[3:02] Jordan Chin: And I was like, okay.

[3:03] Jordan Chin: And I was like, okay.

[3:05] Jordan Chin: about the chorus line in China.

[3:06] Jordan Chin: How was that?

[3:07] Jordan Chin: And I was like, wait, wait, we're just going to talk.

[3:10] Jordan Chin: So I quickly was like, okay, they're old friends.

[3:11] Jordan Chin: It disarmed me.

[3:14] Jordan Chin: I was so comfortable.

[3:15] Jordan Chin: I was like, oh yeah, I can talk about myself.

[3:18] Jordan Chin: It's just, you know, it was so easy.

[3:22] Jordan Chin: I was like, and it was just so warm and to feel like we're being valued for like our uniqueness and our authenticity.

[3:28] Katy Pfaffl: Yeah.

[3:29] Jordan Chin: Like they really, she really wanted to know who we were.

[3:32] Jordan Chin: And so from then, so then I did the scene and I did the song and I left feeling like, wait, I think I bugged it.

[3:39] Jordan Chin: But then they had the, uh, tier one workshop and it was only for like four days and I was not chosen for that.

[3:46] Jordan Chin: And I saw people on Instagram posting it like hashtag, I was like, dang, I felt it.

[3:51] Jordan Chin: Then they did the tier three like a week later and me along with two other people were added to the cast.

[3:57] Jordan Chin: And they were like, so I was like, yes, it worked out.

[4:02] Jordan Chin: Thank goodness.

[4:03] Katy Pfaffl: You can't trust those feelings.

[4:04] Jordan Chin: Yes.

[4:05] Katy Pfaffl: Yes.

[4:06] Katy Pfaffl: Oh, that's so exciting.

[4:07] Katy Pfaffl: So, so where did you do your first workshop?

[4:08] Jordan Chin: Here in the city?

[4:09] Jordan Chin: It was in the city.

[4:10] Jordan Chin: If I just think about those memories.

[4:11] Jordan Chin: I just think of like Palo Santo in the space because our director, she's very, you know, like earthy.

[4:17] Katy Pfaffl: Yeah.

[4:18] Jordan Chin: Like it's a new age.

[4:19] Jordan Chin: You could say witchy.

[4:20] Jordan Chin: Yeah.

[4:21] Jordan Chin: I mean, she's like, there were, there were crystals.

[4:25] Jordan Chin: She gifted us stones and crystals.

[4:28] Katy Pfaffl: Oh my God.

[4:29] Jordan Chin: She's very intentional.

[4:30] Katy Pfaffl: She sounds like her best friend.

[4:31] Jordan Chin: Yes.

[4:32] Jordan Chin: Yes.

[4:33] Jordan Chin: I mean, and hearing that makes perfect sense that you're very, she started off on a human foot.

[4:39] Katy Pfaffl: Right.

[4:40] Jordan Chin: And kept it.

[4:41] Jordan Chin: From there.

[4:43] Katy Pfaffl: Right.

[4:44] Katy Pfaffl: Because that's what this is about.

[4:45] Jordan Chin: Yes.

[4:46] Jordan Chin: You know, it's not about the lights.

[4:47] Katy Pfaffl: No.

[4:48] Jordan Chin: And it's not about money.

[4:49] Katy Pfaffl: That's so nice that it's not about money.

[4:50] Jordan Chin: Yeah.

[4:51] Jordan Chin: Well, in those moments, especially because it, you know, you're, you're creating life.

[4:56] Jordan Chin: You're bringing something to life.

[4:57] Jordan Chin: Yeah.

[4:58] Jordan Chin: It's a story.

[4:59] Jordan Chin: That's an idea.

[5:00] Jordan Chin: And you all are putting your hearts and souls into building this idea.

[5:03] Jordan Chin: And I was like, okay, I'm not being treated like a machine.

[5:06] Jordan Chin: Like, I'm, I'm a storyteller and like, although like we're in the ensemble, like our dance ability is what's allowing us to get here.

[5:14] Jordan Chin: Mostly they treated us each as like actors, like individual artists who have something to contribute.

[5:19] Jordan Chin: So we would have like a circle up each time we would do mirror work, we would have like this very like intentional warm up.

[5:26] Jordan Chin: We would do memory plays and we would discuss everything that like would come up or how we felt about it.

[5:34] Jordan Chin: And it felt very like grad school-esque.

[5:36] Katy Pfaffl: Just allowing that space.

[5:38] Jordan Chin: I mean, that's a gift in this industry because a lot of time it's just, you know, here's your mark.

[5:42] Jordan Chin: Make sure you're blocking.

[5:43] Jordan Chin: Go over there.

[5:45] Jordan Chin: Okay.

[5:46] Jordan Chin: That's the choreo.

[5:47] Jordan Chin: Great.

[5:48] Jordan Chin: Good job.

[5:49] Jordan Chin: This is a very famous book.

[5:50] Jordan Chin: Every kid in high school has to read this book.

[5:51] Jordan Chin: Usually, you know, this is a movie that was out.

[5:54] Jordan Chin: It's a well-known story.

[5:55] Jordan Chin: And when you have a well-known story, a lot of times they homogenize it.

[5:58] Jordan Chin: They're like, well, this is a story, this is how we all know it, so it'll just tell itself.

[6:02] Katy Pfaffl: Right.

[6:04] Jordan Chin: And so, and that's what's wrong with a lot of shows on Broadway.

[6:06] Jordan Chin: They don't have like, what is our version of this story?

[6:09] Katy Pfaffl: Yeah.

[6:10] Jordan Chin: And how do we create it in this time now, with these people?

[6:14] Jordan Chin: Which I think is so important when you're taking a story that people know and really bringing it to life in a time that's such a volatile time in the world.

[6:22] Katy Pfaffl: You couldn't just gloss over it because this story is still reflective of life now.

[6:28] Jordan Chin: Yeah.

[6:29] Jordan Chin: Yeah.

[6:30] Jordan Chin: And how people function and how they react to each other.

[6:32] Katy Pfaffl: Yeah.

[6:33] Katy Pfaffl: Did you guys talk a lot about that?

[6:34] Jordan Chin: We did.

[6:35] Jordan Chin: I mean, that is what, in our story, I mean, Ponyboy, the hero, he's like going through so much grief and it's like, we all have to be able to, like, how do you channel that?

[6:45] Jordan Chin: Because our hero is going through that journey and finding his way out of it and he's creating something out of it.

[6:53] Jordan Chin: And so it's like, okay, how can we do that in our own way?

[6:56] Katy Pfaffl: And I think that's the ding ding right there, right?

[6:58] Jordan Chin: That's what art is.

[7:01] Katy Pfaffl: I'm so excited for you to be there.

[7:04] Jordan Chin: Well, and you are a very big family, right?

[7:06] Jordan Chin: Yeah.

[7:07] Jordan Chin: It's really tight in it.

[7:08] Jordan Chin: It's a community.

[7:10] Jordan Chin: It's a collective.

[7:11] Jordan Chin: Like, we've been through a lot.

[7:13] Katy Pfaffl: Yeah.

[7:17] Jordan Chin: Well, I remember watching you sort of like musical theater more and more.

[7:19] Katy Pfaffl: Yeah.

[7:20] Katy Pfaffl: Through it.

[7:23] Jordan Chin: Oh, did you not like it at first?

[7:23] Jordan Chin: When I was a kid, I thought of like being an actor, like that was a dream I had.

[7:28] Jordan Chin: My parents are from Jamaica, so like I was like taught to like pick a traditional career, right?

[7:29] Jordan Chin: So like I fell into dance in college and then like, I was like, I could use dance to get to acting eventually.

[7:34] Jordan Chin: Once I knew, once I had like the wherewithal to be like, okay, wait, I can make this as a career.

[7:39] Jordan Chin: And so that's what I've kind of done.

[7:41] Jordan Chin: That's been my trajectory.

[7:42] Jordan Chin: And I was like, okay, let me pick up singing because I need to get, you know, into musicals.

[7:45] Jordan Chin: Now, I feel like if this is what theater, if this is what musical theater can be, and like, if it's ever evolving, I want to part in it.

[7:53] Jordan Chin: Like for sure.

[7:54] Katy Pfaffl: Yeah.

[7:55] Jordan Chin: And bringing this type of theater.

[7:56] Katy Pfaffl: Right.

[7:57] Jordan Chin: Yeah.

[7:58] Katy Pfaffl: Yeah.

[7:59] Jordan Chin: And I think that's what the audiences are feeling.

[8:00] Jordan Chin: Like the masses are like, it's like not only like critically, like in our industry, it's being respected, but like just the general public are like feeling that like divine masculine presence that is in this show that we kind of need.

[8:13] Jordan Chin: Like we don't really talk about like platonic intimacy between men and like brotherhood and boys like, and people being like, feel truly feeling the depths of their emotions and yeah.

[8:24] Jordan Chin: To promote vulnerability and to promote like having feelings and sharing your feelings and allowing other people to hold space for your feelings to lean on them and to show up for other people.

[8:35] Katy Pfaffl: Yeah.

[8:36] Jordan Chin: We have to remember that that's our purpose as human beings and it doesn't matter who you are.

[8:41] Jordan Chin: But to have that reflected through men is really important because I just don't think that that's like a message that we're seeing anywhere.

[8:44] Katy Pfaffl: No, it's rare.

[8:48] Jordan Chin: No.

[8:49] Katy Pfaffl: Yeah.

[8:50] Katy Pfaffl: So that's great.

[8:51] Jordan Chin: Yeah.

[8:52] Katy Pfaffl: All right.

[8:53] Katy Pfaffl: So then who do you cover?

[8:54] Jordan Chin: How many tracks?

[8:55] Jordan Chin: Okay.

[8:56] Jordan Chin: So I cover 2Bit, Ace, Steve, Joel and the Greasers.

[8:57] Katy Pfaffl: And then there's three booth singers that we cover as well.

[9:00] Jordan Chin: Okay.

[9:01] Jordan Chin: And then I cover.

[9:02] Katy Pfaffl: Okay.

[9:03] Jordan Chin: So there are moments in the show that we cover Greasers and Sochias in these like interstitial moments where it's not really distinguishable who we are.

[9:09] Jordan Chin: Like it's not just like set changes, but we are, maybe we're the fire in the fire scene.

[9:20] Jordan Chin: So there's that scene that we are, we're like moving and manipulating planks and lifting and it's a lot.

[9:28] Jordan Chin: And there's fabric.

[9:29] Jordan Chin: So there's like three social men and two social women that I have to know they're tracking for that.

[9:33] Jordan Chin: For that movement and all of those bits and pieces.

[9:35] Katy Pfaffl: Yes.

[9:36] Jordan Chin: No, wait.

[9:37] Jordan Chin: Alongside.

[9:38] Jordan Chin: Alongside the fabric.

[9:39] Katy Pfaffl: Can you see what they're doing under the fabric?

[9:40] Jordan Chin: Okay.

[9:41] Jordan Chin: It's like we're holding it on like the shout out to the projection designer, Hana Kim, Tony award winning.

[9:46] Katy Pfaffl: Yes.

[9:47] Jordan Chin: Yes.

[9:48] Jordan Chin: And Brian.

[9:49] Jordan Chin: A young designer.

[9:50] Jordan Chin: You can't really see through it, but it's like, yeah, they're using it as a projection sheet.

[9:54] Katy Pfaffl: Okay.

[9:56] Jordan Chin: So you could at least follow the movements that were happening under there because sometimes we can't and we have to get in rehearsal and know that, yeah, you have to be there in rehearsal watching.

[10:05] Jordan Chin: There's also that there's Run Run Brother where we're like, again, manipulating the world around them as they're fleeing the town and heading on the train and like we are the train.

[10:15] Jordan Chin: So there's all those roles I have to know, again, five socials.

[10:19] Jordan Chin: And the last one is in the concession stand, like during I could talk to you all night, which is Ponyboy and Cherry's song.

[10:28] Jordan Chin: We are building the concession stand and the two characters, Ponyboy and Cherry are like leaving the area.

[10:34] Jordan Chin: And so we are kind of like deconstructing the world and taking it away.

[10:38] Katy Pfaffl: Yes.

[10:39] Katy Pfaffl: Oh, that's cool.

[10:41] Jordan Chin: Yeah.

[10:42] Jordan Chin: I love that.

[10:43] Katy Pfaffl: Yeah.

[10:44] Katy Pfaffl: Well, okay.

[10:45] Katy Pfaffl: So that sounds really complicated.

[10:46] Katy Pfaffl: There's a lot that could go wrong.

[10:48] Jordan Chin: Absolutely.

[10:49] Jordan Chin: Right.

[10:50] Jordan Chin: If you forget who you are or which part you're doing.

[10:52] Jordan Chin: Yeah.

[10:53] Jordan Chin: That's a lot.

[10:54] Jordan Chin: And so people will come to the show.

[10:55] Jordan Chin: They've seen it multiple times.

[10:56] Jordan Chin: They know how it is and they see like a greaser on a different side or like doing a different thing.

[11:01] Jordan Chin: And they're like, wait a minute.

[11:03] Jordan Chin: What is Jordan doing?

[11:04] Katy Pfaffl: Right.

[11:05] Jordan Chin: Was Jordan always there?

[11:06] Jordan Chin: I teach in Turkey.

[11:07] Jordan Chin: I teach in Istanbul.

[11:08] Jordan Chin: And I teach a lot of high school kids in Istanbul.

[11:09] Jordan Chin: And one of my students, her name's Belize, I'm sure she'll listen to this episode because it's you.

[11:14] Jordan Chin: But Belize, her favorite show on the whole entire world is The Outsiders.

[11:20] Jordan Chin: She's obsessed in Turkey.

[11:21] Jordan Chin: Right.

[11:22] Jordan Chin: And she just loves, loves, loves.

[11:23] Jordan Chin: If she comes to New York, she sees it a hundred kajillion times.

[11:26] Jordan Chin: She's just obsessed with it.

[11:27] Katy Pfaffl: And like many kids are.

[11:29] Jordan Chin: She knew when I was telling her, I was like, yeah, I have a couple of students in The Outsiders.

[11:33] Jordan Chin: And she's like, who?

[11:34] Jordan Chin: And I told her, and she's like, oh my God, Jordan.

[11:36] Jordan Chin: And then she told me all this information about you and your life and Sarah Grace and her life.

[11:41] Jordan Chin: And she was like on it.

[11:44] Jordan Chin: So these fans are not only like, they know, they've researched your life.

[11:50] Jordan Chin: They know every time you go on, they are watching everything about, I mean, it's, it's mega fans.

[11:57] Jordan Chin: Yes.

[11:58] Jordan Chin: That's kind of cool.

[11:59] Jordan Chin: They're going to stick with you for your career.

[12:00] Jordan Chin: And as a swing.

[12:01] Jordan Chin: I love it.

[12:02] Jordan Chin: Yeah.

[12:03] Jordan Chin: As a swing.

[12:04] Jordan Chin: Yes.

[12:05] Jordan Chin: It's amazing.

[12:06] Jordan Chin: And I think that's a testament to like, again, our creative team for wanting to like include the swings and covers, like in all the press things we do, like at the Today Show, Good Morning America.

[12:13] Katy Pfaffl: That's crazy.

[12:15] Jordan Chin: Yeah.

[12:16] Jordan Chin: So you come to Broadway.

[12:17] Katy Pfaffl: Yeah.

[12:18] Jordan Chin: The show opens.

[12:19] Katy Pfaffl: How long is it between when that opens and when you're on?

[12:22] Jordan Chin: Or even in preview?

[12:23] Jordan Chin: My debut was the 16th of April and we opened on the 11th.

[12:27] Katy Pfaffl: Okay.

[12:28] Jordan Chin: Yeah.

[12:29] Jordan Chin: Yeah.

[12:30] Jordan Chin: So that's quick.

[12:31] Katy Pfaffl: And who'd you go in for?

[12:32] Jordan Chin: I went on for Steve first.

[12:33] Jordan Chin: And then the next day I went on as Two Bit with a split track as Steve.

[12:36] Katy Pfaffl: Wow.

[12:37] Jordan Chin: All right.

[12:38] Jordan Chin: Wow.

[12:39] Jordan Chin: So second time on, you're already a split track.

[12:41] Jordan Chin: Yes.

[12:42] Jordan Chin: Wow.

[12:43] Jordan Chin: And I'm like, who am I?

[12:44] Jordan Chin: I am two people.

[12:45] Katy Pfaffl: Yeah.

[12:46] Jordan Chin: I am one.

[12:47] Katy Pfaffl: Yeah.

[12:48] Jordan Chin: Were you nervous?

[12:49] Jordan Chin: Absolutely.

[12:50] Katy Pfaffl: Tell us the story.

[12:51] Jordan Chin: Oh man.

[12:52] Jordan Chin: So I make my debut, right, as Steve and I, that's the track I was prioritizing.

[12:56] Jordan Chin: You kind of have a sense as a swing, like who will be most likely to call out.

[12:59] Jordan Chin: Right.

[13:00] Jordan Chin: So I knew that front and back and I was prioritizing Two Bit next.

[13:05] Jordan Chin: And that's a principal role.

[13:06] Jordan Chin: And so, you know, there were like meteor scenes that he does.

[13:09] Jordan Chin: He sings like he has like a solo moment in Hoods Turned Heroes and he has a verse in another song.

[13:15] Jordan Chin: So he's like more featured in everything.

[13:17] Jordan Chin: There's like backstage choreography that we have for like props and okay.

[13:22] Jordan Chin: And yes, I hadn't trailed yet.

[13:25] Jordan Chin: Because like it's so early and that's on stage management to schedule you to like trail whenever, you know, so you can see everything that they do.

[13:30] Jordan Chin: And so I was like, okay, I'm going in blind, but we're doing this.

[13:36] Jordan Chin: And so I was telling one of the stage managers, okay, like, you know, I'm going to need you to have my back.

[13:39] Jordan Chin: Cause like, I don't know like where a lot of things are.

[13:42] Jordan Chin: Are you going to be off stage left when I come off stage?

[13:45] Katy Pfaffl: Do you know what I mean?

[13:46] Jordan Chin: Yeah.

[13:47] Jordan Chin: The customer.

[13:48] Jordan Chin: Exactly.

[13:49] Jordan Chin: Like I know my exits and that's it.

[13:50] Jordan Chin: I know everything I do on stage and I, but everything else I'm in the dark.

[13:53] Jordan Chin: And so it's like, can you know, please, I just like, I got it.

[13:56] Katy Pfaffl: Yeah.

[14:30] Jordan Chin: Here's the hubcap. And also I'm thinking about being Steve too.

[14:34] Katy Pfaffl: Right.

[14:34] Jordan Chin: Right.

[14:34] Katy Pfaffl: So I'm doing it too.

[14:35] Jordan Chin: Yeah.

[14:35] Katy Pfaffl: Because we're going to have to see him later.

[14:36] Jordan Chin: So they printed out all these sheets telling everyone like what are the changes.

[14:40] Katy Pfaffl: I'm remembering that as well because that's new information.

[14:42] Jordan Chin: So I'm looking at that. I go, I make my entrance. I'm like doing my lines, whatever. We're doing it.

[14:48] Jordan Chin: And I give the hubcap to Ponyboy. I walk over to the car. I'm looking for the can.

[14:53] Jordan Chin: Because as I, you know, I've watched the show many times now on preview and I know that he throws a can after this one line. I'm like, is it in the car?

[15:00] Katy Pfaffl: The can?

[15:01] Jordan Chin: Yeah.

[15:01] Katy Pfaffl: Oh no.

[15:01] Jordan Chin: The can of a can.

[15:03] Jordan Chin: It's like a, like a Murphy's tin can grease.

[15:05] Katy Pfaffl: Like, oh God. Yeah. Yeah. And it's like, I'm like, maybe it's by the wheel. Where is it?

[15:11] Jordan Chin: And I'm looking around and Dali's like, Tubi, you got your grease.

[15:16] Jordan Chin: And he's like, it's okay if you don't.

[15:19] Jordan Chin: And I'm like, no, no, I got it. I got it.

[15:22] Jordan Chin: And stage manager's like, I just hear like, and then scurry, scurry, scurry.

[15:25] Jordan Chin: Throw the grease can on the stage. And I'm like, and I catch it.

[15:28] Jordan Chin: And I'm like, yeah. And I give it to him. And I'm just like, one drop.

[15:34] Jordan Chin: Help me in my time of need.

[15:39] Jordan Chin: And then I get on the car. I'm on the hood. The whole, like the, the, the number starts.

[15:44] Jordan Chin: He's singing. I'm like, I don't have the keys either. Where are the keys now? I don't know where they're supposed to.

[15:49] Jordan Chin: So then I also see her. She throws the keys on stage.

[15:53] Jordan Chin: I catch it. I'm like, thank you. I catch the keys. I have them.

[15:57] Jordan Chin: I put in my pocket and we're doing the number.

[15:59] Jordan Chin: And so then while I'm doing my verse is when I throw the keys to Ponyboy from the car hood and like he catches, yeah.

[16:05] Jordan Chin: Just a lot of like moving parts. And so.

[16:07] Katy Pfaffl: And this is while you're performing.

[16:09] Jordan Chin: While I'm performing.

[16:09] Katy Pfaffl: Giving a performance.

[16:10] Jordan Chin: Giving a performance. Like, like Dali's like singing.

[16:13] Jordan Chin: There's stuff going around. And I was just like, catching things off.

[16:16] Jordan Chin: Like things were spawning from off stage.

[16:19] Jordan Chin: Yeah, it was, it was thrilling. It was terrifying.

[16:26] Katy Pfaffl: So what had happened where, where they on the props table, like usually there's a props table.

[16:29] Jordan Chin: They usually set out tape and little quadrants of where the each prop goes so that your eyes can go to where you need it quickly.

[16:38] Jordan Chin: So there's no prop table for us. It's such a tight space.

[16:40] Jordan Chin: It's kind of like in this small little corridor, like on the wall.

[16:44] Jordan Chin: Like, so as you enter, like you come up the stairs and that's like the exit to go to the stage door.

[16:50] Jordan Chin: You kind of go through this one door and now you're in the wings and it's tight.

[16:55] Jordan Chin: And it's like narrow, narrow, little slender of a hallway.

[16:58] Jordan Chin: And like, it's dark also. It's just like black.

[17:01] Jordan Chin: And there's like those blue, the UV lights.

[17:02] Katy Pfaffl: Those little blue lights.

[17:04] Jordan Chin: And so I'm, there's like all these like labels and stuff.

[17:06] Jordan Chin: And I'm just, I just saw the big hubcap and I was like, okay.

[17:09] Jordan Chin: And like just in my head about like the split tracking.

[17:12] Jordan Chin: And they're all like labeled and whatever.

[17:14] Jordan Chin: But they're just kind of like hanging.

[17:16] Jordan Chin: It's like, you have to be like knowing where to go.

[17:18] Jordan Chin: And so what they had told me afterwards is like, oh, we saw you take the hubcap and then leave.

[17:23] Jordan Chin: So we thought like you had all of your props because that's what Daryl does.

[17:26] Katy Pfaffl: Like, and I'm like, okay, but I'm not Daryl.

[17:29] Jordan Chin: Right. And you know, I don't know.

[17:30] Katy Pfaffl: I don't know what I'm doing.

[17:31] Jordan Chin: Right. Yeah.

[17:32] Jordan Chin: And like, I was like, should I talk to them?

[17:34] Jordan Chin: But I was just like, you know what? Like it's live theater, like, like let it wash off.

[17:37] Jordan Chin: Like it's not anyone's fault.

[17:39] Jordan Chin: Like this happened. It was a moment.

[17:41] Jordan Chin: We created a moment. It was a new moment and it's fine.

[17:43] Jordan Chin: You move on.

[17:44] Jordan Chin: But I was just like feeling like, oh man, I didn't feel as supportive as I could have been.

[17:48] Katy Pfaffl: Right. And that's hard.

[17:49] Jordan Chin: And sometimes it's also hard to feel how much of a voice am I allowed to have in these moments.

[17:55] Katy Pfaffl: Right. Yeah.

[17:56] Jordan Chin: That's amazing though. Kudos to you for pulling that off.

[17:59] Katy Pfaffl: Yeah. Thanks.

[18:00] Katy Pfaffl: And for being able to like, you know, not die.

[18:02] Jordan Chin: Because those are moments where you're like, it feels like you're dying in the moment.

[18:05] Jordan Chin: It does, yeah.

[18:06] Jordan Chin: You have to compartmentalize and just keep going.

[18:08] Jordan Chin: Because that's the second number in the show. You've got to keep moving.

[18:14] Jordan Chin: One story from my life that I will never forget is when I was in War Horse, there was a scene that was like a pivotal scene in the show where this scene has to happen in order for the entire rest of the show to happen.

[18:37] Jordan Chin: Right. This kid has to get this saddle on a horse and this horse to plow.

[18:42] Jordan Chin: If this doesn't happen, the whole story of the show doesn't happen.

[18:47] Jordan Chin: And in this, so the lead character of our show, they gave him a saddle that was the wrong saddle for this horse.

[18:53] Jordan Chin: And our horses are puppeteers. They're a puppet.

[18:55] Jordan Chin: There's people in the puppets and they give them the saddle to put it on.

[18:59] Jordan Chin: And it's the wrong saddle.

[19:02] Jordan Chin: So what that means is it's a puppet.

[19:04] Jordan Chin: So it's like wooden, right?

[19:06] Jordan Chin: So there's a way to put a saddle onto a wooden thing.

[19:09] Jordan Chin: It like fits into it in the groove.

[19:12] Jordan Chin: So he goes to put it on and it falls off.

[19:14] Jordan Chin: He goes to put it on and it falls off and then it falls apart.

[19:17] Jordan Chin: So while this is happening, the only other thing that's happening on stage is I am singing, playing violin and accompanying myself, telling the story of this guy getting the saddle on a horse and the horse plowing.

[19:28] Jordan Chin: That is not happening.

[19:29] Katy Pfaffl: Did you add music?

[19:30] Jordan Chin: So I'm singing and telling the story that is not happening.

[19:32] Jordan Chin: And I'm sure he'll remember this.

[19:34] Jordan Chin: He eventually like puts the saddle on the ground, sits down and puts his head in his hand and goes, Jesus, and just like gave up.

[19:42] Jordan Chin: And so at this point, I'm like, oh my God, this song's almost over. Nothing's really happened.

[19:48] Jordan Chin: He was like, he was like going home. I'm going to the subway. This shit is wrong.

[19:52] Jordan Chin: It's broken.

[19:53] Jordan Chin: So he takes it and gets walks off stage.

[19:55] Jordan Chin: And so I'm alone now on stage at Lincoln Center.

[19:58] Jordan Chin: And my song is over and it's just me.

[20:00] Jordan Chin: And the puppeteers in the horse are looking at me with terror.

[20:03] Jordan Chin: Like, what are you doing?

[20:05] Jordan Chin: And so I just made up a bunch of music.

[20:09] Jordan Chin: I just played violin and I was like playing and moving around.

[20:13] Katy Pfaffl: Did you sing too?

[20:14] Jordan Chin: Dancing?

[20:14] Jordan Chin: No, I was just like, this is my big dancy moment.

[20:17] Jordan Chin: You know, like all of this weird stuff from 1800s folk British music.

[20:22] Jordan Chin: Like I was just like pulling out of my ass on stage at Lincoln Center in front of 1300 people.

[20:27] Jordan Chin: And then eventually he came back on and then I had to play the whole song entirely over again.

[20:32] Jordan Chin: So that action, so it was like a six minute scene turned out into like a 14 minute scene.

[20:39] Jordan Chin: And crazy, crazy.

[20:41] Jordan Chin: And I will never forget that moment for the rest of my life.

[20:43] Jordan Chin: And my friend was actually in the audience.

[20:45] Jordan Chin: This is the amazing thing about theater.

[20:46] Jordan Chin: I was like, Hey, did you notice anything?

[20:48] Jordan Chin: And she's like, I remember it was kind of long, but it was, it was cool.

[20:51] Jordan Chin: And I was like, she didn't know.

[20:53] Katy Pfaffl: Right.

[20:54] Jordan Chin: That's amazing.

[20:54] Jordan Chin: She didn't notice.

[20:55] Jordan Chin: So a lot of the things also that feel like horribly horrifying to us, like people don't even know.

[21:01] Katy Pfaffl: Right.

[21:02] Jordan Chin: You know, like that's, that's just the thing, but I will never forget that moment for the rest of my life.

[21:07] Katy Pfaffl: Wow.

[21:11] Jordan Chin: And that was another thing where that was a stage management error.

[21:14] Katy Pfaffl: They gave him the wrong prop.

[21:15] Jordan Chin: Right.

[21:16] Jordan Chin: Yep.

[21:16] Jordan Chin: And so like those, they're people too, they're human.

[21:19] Jordan Chin: So like, could he be mad at them?

[21:21] Jordan Chin: But also that put him in like a horrible position.

[21:23] Katy Pfaffl: You know what I mean?

[21:24] Jordan Chin: That stuff happens.

[21:25] Katy Pfaffl: It does.

[21:26] Jordan Chin: But what's really interesting about the stage management dynamic is that they are in our actors' equity union, but they are, they're the conduit between the actors and the producers or the, and the creatives, and the creatives.

[21:33] Katy Pfaffl: So it can be really tricky for them.

[21:46] Jordan Chin: I can, I can only imagine I've never been a stage manager, but I have been left in the lurch a lot.

[21:53] Katy Pfaffl: He was in Spider-Man.

[21:55] Jordan Chin: Yeah, but I mean, I wasn't going to go there.

[21:58] Katy Pfaffl: That's the lurchiest lurch you could be.

[22:00] Jordan Chin: Yeah.

[22:01] Jordan Chin: But yeah, you've had, you've had some precarious things.

[22:03] Katy Pfaffl: It's really tricky.

[22:05] Jordan Chin: Right.

[22:05] Jordan Chin: Cause like, it's like, you're, you know, I know, you know the rules and I know, you know what my life is like, but you did kind of mess things up.

[22:16] Katy Pfaffl: And normally we don't give each other notes, but like.

[22:19] Jordan Chin: Who gives you notes?

[22:20] Katy Pfaffl: Exactly.

[22:21] Katy Pfaffl: I'm like, where is the quarterly?

[22:23] Jordan Chin: Right.

[22:25] Katy Pfaffl: Yeah, I mean, that being said, like at the same time, like another thing that we've never really said in our podcast is it's generally not a common practice or it's sort of frowned upon for an actor to give another actor notes.

[22:39] Jordan Chin: Yeah.

[22:39] Katy Pfaffl: What you generally do is like something funky just happened on stage.

[22:42] Katy Pfaffl: So I go to the stage manager and say, Hey, this happened.

[22:46] Katy Pfaffl: Do you want to talk about it?

[22:47] Katy Pfaffl: Can you let them know?

[22:48] Katy Pfaffl: Or I can be there.

[22:49] Katy Pfaffl: Or can you bring us together and we can all talk about it and fix the moment?

[22:52] Jordan Chin: Yeah.

[22:52] Katy Pfaffl: So, I mean, that being said, like, yeah.

[22:55] Jordan Chin: Who do you go to?

[22:56] Katy Pfaffl: Yeah, it's a tricky thing.

[22:58] Jordan Chin: It's a tricky thing.

[22:59] Jordan Chin: And some shows have amazing stage managers and sometimes shows have like tricky stage managers.

[23:05] Katy Pfaffl: It's a power position.

[23:07] Jordan Chin: So sometimes there's power dynamics, just like in anything, you know, so it's always, there's always this balancing act.

[23:13] Katy Pfaffl: It's such a tricky thing.

[23:15] Jordan Chin: And it's really tricky as a swing, especially on your first brand new show.

[23:20] Katy Pfaffl: Yeah.

[23:20] Jordan Chin: And when something like that happens, like my heart goes out to you because it's like, I just, I hope it doesn't happen again.

[23:25] Katy Pfaffl: Yeah.

[23:26] Jordan Chin: And then if it does, then you know exactly what to do.

[23:28] Katy Pfaffl: Exactly.

[23:29] Jordan Chin: And it's just like a learning lesson.

[23:30] Jordan Chin: I remember wanting to improv that moment, but in like not listening to my impulse or like my instincts and feeling like, Oh my gosh, like that's the exact moment.

[23:39] Jordan Chin: Like you should have those skills.

[23:41] Katy Pfaffl: Yes.

[23:42] Jordan Chin: You have those skills, like lean into it.

[23:43] Jordan Chin: Especially now that I, as I go on more, I'm definitely making more bolder choices and like creative team are like, they love it.

[23:51] Jordan Chin: Like, and I was, I was scared too, because I was like, Oh, like I have to within the confines of what I don't know.

[23:56] Jordan Chin: Like I'm making whatever this actor is.

[23:59] Katy Pfaffl: Yeah, exactly.

[24:00] Jordan Chin: But it's also, I'm my own person.

[24:03] Katy Pfaffl: You are not that person.

[24:04] Jordan Chin: I'm not that person.

[24:05] Jordan Chin: And it's not going to be the same.

[24:05] Katy Pfaffl: I don't interpret the character the same way.

[24:07] Jordan Chin: Yes.

[24:08] Jordan Chin: Of that actor.

[24:09] Katy Pfaffl: I'm not donning the mask of that.

[24:11] Jordan Chin: You know what I mean?

[24:12] Jordan Chin: This is your interpretation.

[24:13] Katy Pfaffl: Yes.

[24:13] Jordan Chin: And so like, once I started doing that, I felt so free and I was like, Oh wait, okay, this is good.

[24:17] Jordan Chin: I'm in the groove now.

[24:19] Katy Pfaffl: Like, you know, you are actually expressing your heart.

[24:22] Jordan Chin: Exactly.

[24:23] Jordan Chin: Trying to refabricate something.

[24:25] Katy Pfaffl: Yes.

[24:25] Jordan Chin: Because this also is a chance for you to perform.

[24:28] Katy Pfaffl: Yeah.

[24:28] Jordan Chin: Like 100% as a swing, you don't get to perform all the time and it's different.

[24:32] Katy Pfaffl: So when you do get on stage, you want to be able to actually do the thing that you do.

[24:36] Jordan Chin: Yeah.

[24:36] Katy Pfaffl: Right.

[24:36] Jordan Chin: That you love doing.

[24:38] Katy Pfaffl: And it takes a bit of time.

[24:39] Jordan Chin: Right.

[24:39] Katy Pfaffl: Because you're thinking about all these million things.

[24:41] Jordan Chin: Right.

[24:41] Katy Pfaffl: Disclaimer, we do have the best stage managers in our industry.

[24:45] Jordan Chin: Oh, I'm sure.

[24:45] Jordan Chin: We have a Tony award-winning production stage manager.

[24:48] Katy Pfaffl: She is great.

[24:49] Jordan Chin: And they all have their strengths.

[24:51] Katy Pfaffl: But it's like you said, we're all human.

[24:53] Jordan Chin: Well, that's just it.

[24:53] Jordan Chin: You know, everybody gets their day where they make a mistake.

[24:56] Katy Pfaffl: Yes.

[24:56] Jordan Chin: They forget a thing.

[24:57] Katy Pfaffl: Yeah.

[24:58] Jordan Chin: And we talk about this in almost every episode about how a great part of being in theater, but especially being swing, is grace.

[25:05] Katy Pfaffl: Giving yourself grace.

[25:06] Jordan Chin: Yeah.

[25:07] Katy Pfaffl: Other people giving you grace.

[25:08] Jordan Chin: Yeah.

[25:09] Katy Pfaffl: And I think it's just an important thing that we also have to remember.

[25:12] Jordan Chin: And everybody gets a little grace, you know?

[25:15] Jordan Chin: So I learned...

[25:16] Katy Pfaffl: Research.

[25:17] Jordan Chin: You have to deal with rain on stage.

[25:19] Katy Pfaffl: Yes.

[25:20] Jordan Chin: I learned that on your stage floor, there's rubber pellets.

[25:25] Katy Pfaffl: Yeah.

[25:25] Jordan Chin: It's called EPDM.

[25:26] Jordan Chin: They're like rubber tire, like minced up.

[25:29] Katy Pfaffl: Okay, cool.

[25:30] Jordan Chin: Cool.

[25:30] Katy Pfaffl: To resemble gravel.

[25:32] Jordan Chin: Of course.

[25:32] Katy Pfaffl: Yes.

[25:33] Jordan Chin: So you guys do a slide.

[25:34] Katy Pfaffl: We do.

[25:35] Jordan Chin: And then pieces of that go out.

[25:38] Katy Pfaffl: It's fun.

[25:40] Jordan Chin: So firstly, as you, is there an enjoyment in kicking a lot of it out?

[25:44] Katy Pfaffl: In spraying the audience?

[25:45] Jordan Chin: I mean, come on.

[25:50] Katy Pfaffl: It's an interactive experience.

[25:52] Jordan Chin: Yeah, yeah.

[25:53] Katy Pfaffl: It's a 4D immersive experience.

[25:55] Jordan Chin: Do most people know that's going to happen or do you see the surprise?

[25:59] Jordan Chin: We do see the surprise and the reactions are hilarious.

[26:01] Jordan Chin: But they do give them a disclaimer when you buy those tickets.

[26:04] Katy Pfaffl: Okay.

[26:04] Jordan Chin: There's a splash zone essentially and they tell you like, you know.

[26:08] Katy Pfaffl: Sure.

[26:08] Jordan Chin: Oh, is there then water also that gets on them?

[26:11] Jordan Chin: Yes.

[26:11] Jordan Chin: Water, blood, prop blood.

[26:14] Katy Pfaffl: So you're also talking to someone who's had to deal with injury.

[26:18] Jordan Chin: So a question I'd have then is like, what is it like with the rain coming down and the stuff?

[26:25] Jordan Chin: And you have to get up on a car, you said?

[26:28] Jordan Chin: I do, yeah.

[26:29] Katy Pfaffl: So is there anything done to the hood of that car or is it slippery?

[26:33] Jordan Chin: It can be slippery for sure.

[26:33] Katy Pfaffl: It can.

[26:35] Jordan Chin: Also footwear, all these things.

[26:37] Katy Pfaffl: All those questions go.

[26:38] Jordan Chin: Okay, so shout out to our costume designer, Serafina.

[26:41] Jordan Chin: Oh, a lot of like heavy duty boots, like work boots or cowboy boots.

[26:45] Jordan Chin: And a lot of them, I don't know if they like sanded the bottom, but like.

[26:50] Jordan Chin: They're a little grippy.

[26:51] Katy Pfaffl: Yeah, there are things they've done with like grips that help us and keep us safe.

[26:55] Jordan Chin: But like they are slippery.

[26:57] Jordan Chin: Like it's a jungle gym essentially and it's such a dangerous show.

[27:01] Katy Pfaffl: Yeah.

[27:01] Jordan Chin: And like, as you know, with Spider-Man, I mean, it like, it is so costly to the body.

[27:08] Katy Pfaffl: I mean, the EPDM alone, like the uneven terrain that it creates, you can, people have gotten injured for sure.

[27:15] Jordan Chin: We've had broken noses.

[27:17] Jordan Chin: We've had dislocated shoulders.

[27:18] Jordan Chin: We've had herniated discs.

[27:21] Jordan Chin: So we've had like people getting cut so they get stitches.

[27:25] Jordan Chin: Like it is.

[27:28] Katy Pfaffl: Yeah.

[27:28] Jordan Chin: I don't think that people fully realize that, you know, when you are doing a show like this, that you are really putting your body through it to the max.

[27:39] Katy Pfaffl: Yeah.

[27:39] Jordan Chin: And to do it because we, you know, you think about every sport, you think about everything, even ballet, opera, you do not do shows every day or two in one day.

[27:52] Katy Pfaffl: Right.

[27:52] Jordan Chin: So like, because of that, you know, there's a chance for your body to actually rest.

[27:56] Katy Pfaffl: And even when you work out really, really hard, you need those rest days for your muscles to be able to recover.

[28:01] Jordan Chin: Right.

[28:02] Jordan Chin: So we don't get those rest days.

[28:04] Jordan Chin: And so when you're doing things that are precarious and you're repeating them, your body just wears down over time or you're just tired.

[28:12] Katy Pfaffl: Yeah.

[28:12] Jordan Chin: Right.

[28:12] Jordan Chin: Yeah.

[28:12] Jordan Chin: You're just tired one day and you're like, I didn't have the wherewithal to really notice that thing that I have to be really super careful of.

[28:20] Katy Pfaffl: And then one day that I just slipped on it.

[28:22] Jordan Chin: Right.

[28:22] Jordan Chin: Yeah.

[28:23] Jordan Chin: Our set designers are brilliant.

[28:25] Jordan Chin: They've added the glow tape and the grip tape and everything.

[28:29] Jordan Chin: I mean, our set alone is just so beautiful.

[28:32] Katy Pfaffl: Is it fun?

[28:32] Jordan Chin: Yeah, it's so fun.

[28:34] Katy Pfaffl: But wait, also, I want to ask more about the rain.

[28:37] Jordan Chin: Okay, yeah.

[28:40] Katy Pfaffl: Is it always the same temperature?

[28:42] Jordan Chin: It varies.

[28:43] Jordan Chin: There was a day where they, all over the intercom, were like, just warning, the rain today is going to be cold.

[28:49] Katy Pfaffl: Oh, that's funny.

[28:52] Jordan Chin: It's over.

[28:52] Jordan Chin: And it's like, it's a freezing day.

[28:54] Jordan Chin: It was like, this is like a week of touring.

[28:56] Katy Pfaffl: Of course.

[28:56] Jordan Chin: Oh no.

[28:57] Katy Pfaffl: And we're like, okay, buckle up.

[29:00] Jordan Chin: So hypothermic. But it was, uh, it's usually warm. There's some, it's like different lanes, and some of them are like hot. Oh wow. Yeah, some of them are cooler. Depends where you are in the space, so whenever I'm like a certain temperature, I'm like really warm. Because it's like really warm. Yeah. And so when, like on those cold days, um, they have towels for you? They do, yeah, they have towels. So some people, so the greasers, when they finish the rumble, you're still wet, and you go into the hospital scene, and you're still wet, and you do "Little Brother," and you're being a whole number wet, and then you don't get off the stage until after "Little Brother." We run into, and the Socs, they help build the hospital, and then they exit after the rumble, and they get to like dry up a little bit, and so, but they're still in their wet clothes.

Right. So then they, they just come back on in their wet clothes, and finish. In their weather. And then they leave, and then we all change together under the stage, or like in the wings for some people. And they have everything set up for us, where we're taken care of, but like it is that sense of like, okay, I'm ready, you can select it. But it's also, it just like helps you as an actor. Of course, you feel it, you're uncomfortable. You're feeling it, you're, yeah, you're, yes, you know, you're trembling, you're witnessing this death, like it's like, oh my, you know, and so it's, you just feel so vulnerable in it, yeah, and just, oh man, I don't know. It is. And with things like this, so as a swing, like I know we've worked on, you know, the number that you have to do, where you've been dancing on the cars, and we've done it in this room.

Yes. Having me dance full out in this room, and saying that's stuff that you need to train your body to be able to do. People don't think about that. Yeah. But that coordination, stamina. Yeah. You get to do, if you do that, yeah, if you do that character every night, your body builds that endurance, but if you don't, that's something that you have to keep up. Yeah. So how often do you actually get to, like, rehearse on the car, or things like that? Like, how often do you really get to, or is it more like you get thrown on, and then you're on the car? Yes. Yeah. It's more like that. Yeah. And so it's tough. Because that's the thing, shout out to everybody, whoever sees "The Outsiders," and you see a swing on.

Yeah. If they think about those things, that might happen. Do the Lord's work. Right. You're dancing on a car, out of nothing. Nothing. And let me tell you, when I went on as Two-Bit for my debut, I had done, I have never had done the entire show. Yep. Like, I never rehearsed some of the fights. Like, I was learning it, but like, the moment before, like, in the intermission, the moment before we do it, because like, I had watched it in rehearsal, but we've never done it. We don't really put my body in, like, let me, like, what am I actually doing? And that's different. That's different. As a dancer. Yeah. Yeah. You put dancers at the top. Yeah. That's like the skill that I've, like, done the most.

Right. I mean, so that is your artistic interface. Right. So you need to really know what your body's gonna do. To feel like you know something. Yes. Super swinging. Super swinging. Do you, I was so curious as to how you learn. Okay. So, yeah, we've noticed that different people learn slightly different ways. Can you describe, like, also, like, you didn't know everything before the first time you went on. So in rehearsals, you're, like, sitting on the sidelines, you're watching the entire process unfold. You're getting up when they're teaching choreography that we all need to know. So, you know, you go to the back. Like, yeah, like, you're like, I don't want to take up too much space. But also, like, it's like, speaking of this new era of theater, like, there is no, like, inferiority complex, like, as swing.

That's good. No, I'm not apologizing for being here. Like, I was here two years, damn it. Like, you know what I mean? Like, I built this shit. And you need me. Yeah, you need me. And, like, some of y'all are new, so. But it really, I, like, it's just that space where, like, they empower you, like, you're all here for a reason. That's so great. That's so different than what he went through. I'm sure. Well, that's one of the reasons that I really, really wanted to have you on the show, because I love that about you as a person, and I love that you really do advocate for yourself, and that you stand fearlessly in this industry as a person that you are. You don't sway, and I feel like you are a representation of this up-and-coming generation.

I really wanted to hear what it's like for you to have your Broadway debut in this show at this time as the person that you are, because, you know, not everybody would stand back there and have that energy either. Yeah. But you do, and that you're paving the way, then, for other swings to come into your company and feel like they can take up space, too. Yeah. And that's, like, very powerful and beautiful. Yeah. Yeah. I think, like, being a part of this just feels like we're emerging, or we're becoming these, like, emerging leaders in our community, because, like, because of what this show, like, stands for and, like, how it was cultivated, like, the culture, like, the company culture, and how unique that was.

We are going to be able to bring that into other spaces, and we're going to be able to demand that kind of, like, treatment or that respect, because that was our first experience where it's, like, I'm not willing to put myself through something that is not going to see me fully as a human or value me for everything that I am, and if that's the case, I will remove myself from that. We know, it's like we, like, know our worth now, and, like, our, like, our inherent worth, and it's not because we're part of this show. It's, like, we are all human beings. Right, right. This isn't, like, an extra thing that we're just, like, lucky to have. I just think there is this shift from, like, hierarchical power.

I told them, like, I don't have this inferiority complex about being a swing, and so it's, like, because on the day of the meet and greet when we were at Ailey, there was, like, a co-producer, I guess. She was, like, oh, my god, like, she was so excited and just talking to me, and, like, who are you? And I told her, like, yeah, I'm Jordan, and I'm a swing, and I could see the light lose her, like, escape from her eyes. Yes. Okay. And I'm, like, yeah, and I'm, like, 100 percent. Okay, no. Yeah, yeah, okay, I see you now. Yeah, and she was asking me other things, and I just was thinking, like, wow, like, that is how some people see us, but, like, I don't see myself that way. And that is most important.

That is so important, because you will bring yourself back in, and people will have to see you. Right. You're a strong, strong person. Yeah. Not everybody has that strength. Yeah, yeah. They would feel left and kicked. That could hurt. Yes. That could really wound somebody. Yeah, yeah. You know, feeling that. I'm glad that you are who you are. Right. And I hope that she noticed in the moment. I was just, like, because I kept carrying on, and we were talking, and I was just, like, no, I'm not gonna, like, I'll be, like, oh, sorry, and excuse myself, like, I. It's a you problem and not a me problem. What? Yeah. I'm making my Broadway debut, whether or not, like, you, like, you know. Well, and let's talk about this Broadway debut.

So you, did you perform at the Tonys? I did. How was that? Nice. Lincoln Center. I know. Okay, so it was my second time performing at the Tonys, because I did the opening number in 2017. Okay. Oh, so that was at Radio City, the first time I did it. Now we're at Lincoln Center. It's way more intimate. Yeah, smaller, way smaller. Yes, and, like, I wasn't as nervous as I was, because that was the first time I did it was my first televised performance, live televised. Yeah. And so, and it's, like, 6,000 seats in Radio City. Massive. Terrified, you know? Right, yeah. I'm young. I was, like, 23 or something. Anyway, so now, as coming back as an outsider, being a part of the show, knowing what it is that we're doing, like, having built it, feeling like we just get to share this with the world now.

Like, we do the camera blocking. It's all, like, glitz and glam. Like, you see all these, like, celebrities. But again, it just feels like I've arrived. Like, you don't feel like, oh my god, this is, like, above me, right? You know, you're not like... You're like, this is my moment. Yeah, we're like, this is here. Like, it's another day. Like, we're doing the show, and it's a commercial for the show, essentially, because we're selling the show. Well, and let's explain that a little bit. So, for Tony performances, you don't do the pieces as they are in the show often. Exactly. You do sort of tailored versions of things. Sometimes they do a little mash-up. Yeah, a little medley. Yeah, like, best of.

Yeah, the highlight reel. Yeah, so I think that's why we're able to allow the swings and covers to be a part of it, because it's like this new mash-up kind of performance. So, you do a bunch of, like, camera blocking rehearsals, and, like, rehearsals in the space the day of, in the morning. Early, right? Early. Early. Then you go back to the theater. You have, like, time off, like, to do whatever you want. So, I'm, like, resting, eating, chilling. Go back to the theater to change, get ready to do it, where we tape it. All I remember is that we're in costume. We are about to leave our theater to go to the, to go to Lincoln Center to actually do it live now, and they announce best director, and it's our director, Danya Tamer.

Yeah. Crazy. And we're freaking out. We're riding that energy. We're bringing that in. Of course. We're like, wait, we could actually win. And they had announced sound design and, like, design that we won, and we were like, we could actually win this thing. Like, oh my god. But we were just, like, already just so happy that she won. Right. That we were like, we don't have to prove anything. Like, we're here. Like, dang. Like, let's do it. And so, we were doing the show. Everything goes well. We were bused back to the theater to get out of costume. We're dressing up into our outfits for the Tony party. Yeah. Tony party. Tony party. And as we are waiting to be bused to our party venue, they announce best musical.

And we're in the, like, basement under the stage. Wow. And we're just, it's like a pit. Like, they're, it's the two Alphabas. Like, Cynthia Erivo. Right. Right. Yeah. They're announcing, like, who, it's like, it's quiet. Like, eerily quiet. To the outside. It's like a war. Like, oh, we're so drunk. Like, I could feel, like, horsey glue right now. And it's just so electric in the space. And we're all just, like, in disbelief. Like, what is this? Oh my god. Like, all our hard work is so rewarded. And, like, oh, it's felt. And now, this will only, like, allow for more people to see the show. Right. Like, and we had already did the performance. Like, we, like, good job. We already did that. And now, this is, like, the cherry on top.

Oh my gosh. Well, and then to have the night where you get to celebrate. Celebrate. Because then you're, like, we won. We won the Tony. Like, we swum around. Yeah. You're, like, this is heavy. And I filmed it. Yeah. So, we're, like, in the era of social media. Yeah. So, everything is, like, like, because I was, like, one of the cast ambassadors for the social media team at the time. And so, like, we were able to, like, capture content for them. That's so great. They'd give us, like, different things to do. And I think that's what is also helping with the fan base. Because now, it's just a different generation where they are seeing more intimate parts of our lives. Because we are, like. What's up?

It's Jordan Shin. Today is our first rehearsals with Just The Honor Studies and Swings. Let's meet them. And they get to know you on a deeper level. Because, like, they can see your personality shine through these videos. And so, I just, like, I'll always have that video. That is amazing. Of, like, just us screaming. And, like, someone's head, like, knocked my phone out. Oh, no. Yeah. And then, like, I picked it up. Perfect. Because they ended the video and I started again. It was, like, so real. And it's just, like, chaos. And when we, when Danya had won, when our director won, like, we were, I was filming my dressing room roommate, like, as he's watching the Tony Awards on his phone. They announce the name.

But also, you hear, like, the seconds before you hear screams from the neighboring dressing room. Because they, their streamer, like, they heard it earlier. They guys were, they guys were, like, buffering. Oh, wow. Buffering. It's crazy. What? So, they're screaming. Then, he, we learn of it on our phone. And we scream. I'm, like, running down through the, through the hallways, down the stairs. And we're all, like, Danya won. Danya won. And everyone's coming out of the dressing room, like, wait, what? And it's just, like, the town village, like, it's like. You know? And that, that, to capture that was really special. That is so cool. And that's, that's when you really feel, like, the community you built.

You're, like, this is what it is. We're all one and for all. Yeah. Yeah. I'm so happy that you had that experience. And I love that they let you all perform as a part of it. Did you get to do the Macy's parade? We did. You did? Yes. Oh, that's so awesome. Yeah. I was there in the rain. I was going to say, how cold and miserable was it? Cold rain. It was cold, but not miserable. I felt, like, I was a kid again. Again, this, like, process, like, a lot of us feel, like, our inner children have been healed. Yeah. Because, just, like. That's beautiful. You know, and we're playing these teenagers, these children. So, it's, like, you get in touch with that, for sure. But dancing in the rain, like. And, okay, this was my third Macy's parade.

Look at you. You're, like, whatever. It was my third. No, no, but it was, yeah. It was my third, but it was, because of the first two, I was all, like, floats. And, like, doing it with, like, Jimmy Fallon. Like, it's fun. It's great. Yeah. But, like, to be, to do this as, like, the Broadway shows. Like, that's, like, the iconic, like, performances they do. Right. That's what everybody watches around the world. Exactly. I used to watch that as a kid in Milwaukee, Wisconsin. Yes. To be doing it this way was, like, oh. Again, just, like, just, like, so affirming. And. And what is that experience? Like, you're on the street. You're on the street. We rehearse it there, like, a few times at, like, 730-ish in the freezing rain.

And, like, we're in our coats because it's. Cold. Yeah. So, then, okay. So, then, the last time we do it as a rehearsal is in our full costumes and, you know, we take off our jackets. And that, again, is the fail safe. Like, learning with TV. Like, they love to just capture something just in case things go wrong. Right. Because we'll have to. Yep. Yeah. And, so, then, we go back to the bus. And we're, like, sitting there in our cold clothes. Like, we put our jackets back on. And there's, like, some towels. And, like, we're just, like, wet. And, like, our wigs are destroyed. So, they're, like, doing their hair again. Because, obviously, they didn't account for, like, rain. Right. And, so, yeah.

We're trying to, like, amend everything. And, you know, there's, like, some, like, snacks and stuff. And we're just hanging out. And we're tired. And then, we go back out. And we do it for the audience. Now, there's an audience. And it's just live. You get one shot. And. Yeah. And it's a fast moment. It's raining. Yeah. It's a fast moment. And you have to just, like, capture. Like, I was kind of, like, breathing. Like, looking around. Like, let me let everything sink in. Yeah. Take this in. Take it in. Because this is just water.

[43:31] Jordan Chin: Yes, yeah, and just be like, there's the crowd, there's the crowd, and this is what this is. And like, allow yourself that, because things go by in a blink of an eye. Yeah, TV's quick, so you really, yeah, this is a gift. Like, we're coming into special effects now, we're bringing it in, and I'm like, if we do it, if we really like, knock this out of the park, like, it will be even that much more like, wow, because we did it in the rain, despite it all, you know what I mean?

[44:00] Katy Pfaffl: Yeah, yeah, yeah, the show must go on.

[44:02] Jordan Chin: Yeah, it's like, well, and it's more so like, I can do hard things. Like, you tell yourself, like, yeah, like, okay, I did that, and I succeeded doing it, and it's like, okay, I can continue, what else can I put my mind to?

[44:13] Katy Pfaffl: Well, and I think that's the ultimate thing about, like, being a performer, and being, you know, it's not about being comfortable, is it? It's always about going, okay, well, this is the thing that I can do, and now I'm going to challenge myself to do this thing I don't know that I can do.

[44:26] Jordan Chin: Yes.

[44:27] Katy Pfaffl: But then when I do it, I'm going to learn that I can do that, and I'm farther than I was before.

[44:31] Jordan Chin: In man's life skills.

[44:32] Katy Pfaffl: Yeah, yeah, and it's stepping into that uncomfortableness of yourself to go like, I'm going to be in this free fall for a minute, you know, but that's where you really grow.

[44:41] Jordan Chin: You do.

[44:42] Katy Pfaffl: You do.

[44:45] Jordan Chin: Super swinging.

[44:49] Katy Pfaffl: Super swinging.

[44:56] Jordan Chin: Well, so that brings me to, like, okay, swinging. It's hard.

[45:00] Katy Pfaffl: It's hard.

[45:01] Jordan Chin: Yeah, yeah.

[45:02] Katy Pfaffl: Yeah, what's your process?

[45:05] Jordan Chin: I love, so when I'm there in rehearsals, I love writing things down as they occur with the script. So I'm writing, I'm watching, so if it's three on stage, like, if I'm just prioritizing the greasers, because I label them all as it goes. Like, I'm watching them all, like, being, and just, like, jotting down, like, stream of conscious, like, as it happens, like, just things I can grab. And then later on, compiling it into, like, a document, like, typing. Like, so I'm writing it by, like, my hand first to, like, help integrate that, and then I'm writing it down in a document, well, once everything's done, once all the tracks are covered, and I'm re-watching videos of rehearsals. You know, or some days I'll just watch one person, and I'm always, like, oscillating between different techniques.

So then I'll compile it into a document, word document, and I will, as if it's the script, like, so I know when each thing is happening in accordance to the lines and the music, and then getting up, doing it on my feet. I don't really use, like, note cards or anything. Honestly, that's, like, I write it, I type it, and then I have a really good memory, so, like, I'll be able to, like, I'll be able to, like, download it.

[46:14] Katy Pfaffl: Do you have, like, a physical memory?

[46:16] Jordan Chin: Yeah.

[46:17] Katy Pfaffl: Like, you watch it, and you can feel it in your body?

[46:18] Jordan Chin: Yeah.

[46:19] Jordan Chin: Like, oh, well, it's, like, I see them, I see how it's done, and then I'll do it myself, but then, like, that's why it could be easy for me to, like, be thrown into space, because I'm, like, okay, and then I'm watching the show ad nauseum, so I'm, like, I know each little moment. As I'm watching them, I'm thinking of the word document in my mind, like, going through each beat, and I'm, like, yeah, that's what it is.

[46:39] Katy Pfaffl: You just, like, review?

[46:40] Jordan Chin: Yeah.

[46:41] Katy Pfaffl: So you don't have, like, a little cheat sheet?

[46:43] Jordan Chin: Do you cheat sheets?

[46:44] Jordan Chin: I mean, like, so when I am initially, oh, sometimes what I used to do, like, I had, like, three grids in my notebook, and I would write, which is what I would basically be doing in a script, but I would just put it in a journal, and, like, it would be, like, the number, Greece Gotta Hold, and I would just start, like, with their entrance and their exit and go through each little thing in, like, all shorthand, like, speech.

[47:07] Katy Pfaffl: Yeah, and I'm doing USL.

[47:09] Jordan Chin: Right, right.

[47:10] Jordan Chin: Yeah, and I'm, like, and then they do the Tilly choreo here or whatever. Like, you know, and I know what that means.

[47:14] Katy Pfaffl: Right, right, right.

[47:15] Jordan Chin: Yeah, it's like.

[47:16] Katy Pfaffl: Yeah.

[47:17] Jordan Chin: Yeah, so it's, like, hieroglyphics and stuff.

[47:19] Katy Pfaffl: So hard.

[47:20] Jordan Chin: So hard.

[47:21] Katy Pfaffl: Another contract as a swing ever, do you think?

[47:23] Jordan Chin: Oh, I mean, I don't know. I never say never, I guess, but I think in my mind, I don't know, because, again, the show is very physical, and it could be dangerous on the body that it is a gift that I'm not doing every night, but then I do get to go on more than a usual swing because people are calling out. So then I get Best of Both Worlds where it's, like, it's enough. It's enough for me where, like, sometimes I'll have strings of weeks where I'm, like, going, going, going, or, like, people are on vacation, so then I'm into it, and I'm, like, you know, and I'm, like, growing in the role, and I'm, like, feeling it, and then there are, like, periods of, like, drought, I would say, where you're, like, I have my reading list, like, I'm trying to, like, stay productive with my time because, again, it feels like our time is escaping us because you're always at the theater, you know?

[48:07] Katy Pfaffl: And so there have been some, like, really deep, deep lows where, like, I have had to, like, just make sure I'm okay.

[48:15] Jordan Chin: I don't, it's because I don't know. I'm just really curious, like, 12 years, like, as a swing, and I know you become so valuable when you have your stuff. Like, people know that, and it's, like, it gets around, and you can work, and I remember we talked about that, like, I could easily just do that.

[48:29] Katy Pfaffl: Yeah, as a swing, and it's, like, it is a gift.

[48:32] Jordan Chin: It is a superpower. I guess my question is just, like, like, what did you enjoy about swinging?

[48:39] Jordan Chin: Well, let's see. Even though there is anxiety, once you know all your parts and you feel comfortable in them, which takes time, I enjoyed the variation. I'm also a creator. Aside from being a performer, I'm also, I like to be on the other side of the table, too. And so that afforded me the time to do that within an environment where all those juices are all over the place, the whole building. It kind of helps cultivate that creative, inspiring part.

[49:15] Katy Pfaffl: Yeah, those are the things that I liked about it.

[49:18] Jordan Chin: Like, when I was, I started in Rent, I knew six parts, including Mark and Roger. So I got to go on as both leads, opposite parts, and that was great. Rent really shaped me as a person because of the mantras in it.

[49:32] Katy Pfaffl: Yeah, the values.

[49:33] Jordan Chin: Speaking of values, that show really, like, helped me cultivate the things that were important to me and learn and further cultivate the things that I didn't know about enough that I knew I needed to.

[49:49] Katy Pfaffl: Learn about.

[49:50] Jordan Chin: Learn about.

[49:51] Katy Pfaffl: In all aspects of life.

[49:53] Jordan Chin: I wanted to ask you one last thing about the paradigm shift of, like, being a part of Rent. Like, how it shifts culture. Like, being a part of a show that does that.

[50:01] Jordan Chin: Yeah.

[50:02] Katy Pfaffl: And, like, what was that felt like? Because it's like, I'm living through that now.

[50:06] Jordan Chin: That's a good question.

[50:07] Jordan Chin: What did it do to you in terms of your artistry or just, like, how you saw yourself?

[50:13] Jordan Chin: That's a great question. And the first thing that comes to mind is I think we were one of the first shows, aside from probably Chicago, to bring in a celebrity, which was Joey Fatone.

[50:22] Katy Pfaffl: They started it.

[50:27] Jordan Chin: Oh, that's the first time casting. In 2004, they brought Joey Fatone from NSYNC into the show.

[50:33] Katy Pfaffl: Yeah.

[50:34] Jordan Chin: And he was fantastic and amazing. Surprise, surprise, right? He came in as Mark, yeah.

[50:39] Katy Pfaffl: And it was a shock to all of us because we were like, wait, what?

[50:46] Jordan Chin: It's a different world.

[50:47] Katy Pfaffl: Yeah, it's like, oh, you're going to bring in – you know, he was in a boy band. He's not an actor.

[50:53] Jordan Chin: Right, right, right.

[50:54] Katy Pfaffl: What are you doing?

[50:55] Jordan Chin: Highbrow, lowbrow.

[50:56] Katy Pfaffl: Right.

[50:57] Jordan Chin: It was like that's how we all felt.

[50:58] Katy Pfaffl: And then Jeffrey Seller came in and he was like, you guys, you've seen the house. We're actually going to be able to bring in a lot more people to Rent.

[51:05] Jordan Chin: Right.

[51:07] Katy Pfaffl: And when he put it in that perspective, it was like, cool, okay.

[51:10] Jordan Chin: But when I got into rehearsals as Roger with Joey, I did not treat him like anyone but another actor.

[51:17] Katy Pfaffl: Exactly right.

[51:18] Jordan Chin: And I think he respected that too. But in other ways, with other shows and stuff like that, that's a celebrity, so that's kind of like a specific thing.

[51:27] Katy Pfaffl: But did you feel like, you know, the show itself held him?

[51:33] Jordan Chin: Yes, yes.

[51:34] Katy Pfaffl: And because of what it was?

[51:35] Jordan Chin: It's because of the show.

[51:36] Katy Pfaffl: Right.

[51:37] Jordan Chin: But it's not only because of the show. It's because of the love that produces that show every night.

[51:44] Katy Pfaffl: Right.

[51:45] Jordan Chin: And so it doesn't matter who you are when you walk into that. You have a collective. You're all in the same team, the team that wants to tell the story, the team that suddenly falls in love with that story or that character that they are or the character that their castmate is.

[52:02] Katy Pfaffl: And when that castmate changes, you just have to be open to it being a new expression of that character.

[52:11] Jordan Chin: Right, right.

[52:12] Katy Pfaffl: It's still the character.

[52:13] Jordan Chin: It's the expression of the character.

[52:14] Katy Pfaffl: Well, and you still take a lot of those life lessons from Rent into your own life as a person all the time.

[52:20] Jordan Chin: I've known Josh for a really long time, and those mantras are in there and how he lives as a person. And I think that's how you carry that on.

[52:29] Jordan Chin: That legacy of the show is those things that mean something to you, you live them actively in your life.

[52:36] Katy Pfaffl: Yeah.

[52:37] Jordan Chin: Not just in this show.

[52:38] Katy Pfaffl: Yeah.

[52:39] Jordan Chin: They become a part of who you are.

[52:40] Katy Pfaffl: And when you live what you believe, right, that's how we become change.

[52:44] Jordan Chin: Yeah.

[52:45] Jordan Chin: It's sort of like I'm just getting this image in my mind. It's like when you're starting out in a cast, you're a bunch of sapling trees and the wind blows you. But when the cast grows older, the tree gets bigger and broader and stronger.

[52:58] Katy Pfaffl: And so when the change, which is the wind, comes in, you're rooted.

[53:02] Jordan Chin: Right.

[53:03] Katy Pfaffl: You're going to flow with it.

[53:05] Jordan Chin: Yeah.

[53:06] Katy Pfaffl: But you're rooted.

[53:07] Jordan Chin: You're not going to get pulled up.

[53:08] Katy Pfaffl: Yeah.

[53:09] Jordan Chin: Oof.

[53:10] Katy Pfaffl: Yeah.

[53:11] Jordan Chin: That's what you are.

[53:12] Katy Pfaffl: That's what you are.

[53:13] Jordan Chin: You get to take with you.

[53:14] Katy Pfaffl: Yes.

[53:15] Jordan Chin: Yeah.

[53:16] Katy Pfaffl: We all grow together.

[53:17] Jordan Chin: Yeah.

[53:18] Katy Pfaffl: Yes.

[53:19] Katy Pfaffl: Has The Outsiders ever gone dark?

[53:20] Jordan Chin: We have never canceled a show.

[53:21] Katy Pfaffl: Wow.

[53:22] Jordan Chin: And that is a testament to all the coverage in that building, to our dance captains, our fight captains who work tirelessly to come up with a plan alongside stage management. And they are printing pages after pages because we're splitting tracks amongst multiple people, even people who aren't swings.

[53:40] Katy Pfaffl: Wow.

[53:41] Jordan Chin: They're in for their understudy. So if they understudy one of the principals, but they also do an ensemble track every night, sometimes they're doing both.

[53:50] Katy Pfaffl: Like they're doing the principal role, but then in the rumble they'll be doing their ensemble track because we don't have enough bodies.

[53:56] Jordan Chin: Wow.

[53:57] Katy Pfaffl: We don't have enough coverage.

[53:58] Jordan Chin: Wow.

[53:59] Katy Pfaffl: We don't have enough people in the building to put into the show.

[54:02] Jordan Chin: And so we're doing a lot here where we're mixing and matching.

[54:07] Katy Pfaffl: And everyone's holding the weight.

[54:09] Jordan Chin: Yeah.

[54:10] Jordan Chin: And it's such a team endeavor.

[54:11] Katy Pfaffl: Right.

[54:12] Jordan Chin: But it breaks us down physically.

[54:14] Katy Pfaffl: Of course.

[54:15] Jordan Chin: Yeah.

[54:16] Katy Pfaffl: Yeah.

[54:17] Jordan Chin: You might not have the day off after that.

[54:19] Katy Pfaffl: No.

[54:20] Jordan Chin: And you're doing three people's role. You're doing more now on top of what your responsibilities are.

[54:23] Katy Pfaffl: Right.

[54:24] Jordan Chin: And so it's like to cover the show, to make sure that it's running, we're like, and again, the show is dangerous.

[54:31] Katy Pfaffl: Yeah.

[54:32] Jordan Chin: It's even more risky now because now new people are in this spot that normally don't do this scene change or partnering.

[54:39] Katy Pfaffl: Right.

[54:40] Jordan Chin: Yeah.

[54:41] Jordan Chin: But we're saving the show.

[54:42] Katy Pfaffl: But you're making it work.

[54:43] Jordan Chin: Yes, you are making it work.

[54:44] Katy Pfaffl: Super swing, saving the show.

[54:45] Jordan Chin: So yeah, it's funny when you're doing a principal role, but then you have to split as some other ensemble thing and so many things are going on in your mind.

[54:53] Katy Pfaffl: So many things can go wrong.

[54:54] Jordan Chin: And it's just having the temperament, having the grace, having the fortitude to be like, okay, and carry through and the show is like seamless.

[55:00] Katy Pfaffl: Right.

[55:01] Jordan Chin: That should be rewarded.

[55:02] Katy Pfaffl: Yeah.

[55:03] Jordan Chin: A hundred percent.

[55:04] Katy Pfaffl: I agree.

[55:05] Jordan Chin: I know that there's some new swings that have come into Outsiders and how does it feel like being the veteran swing who can kind of show them the ropes a little bit?

[55:12] Jordan Chin: It's a nice way to kind of like allow them to be seen because they are thrown into like the deep end. And it's such like an insurmountable task for some of them because they, some of them cover more roles than I do. And so we can be there as a, as like a place of like, hey, like if you need to just confide or like you need to, you know, just to talk to because we are sharing this experience and now you're a part of this like culture or this legacy lineage of swings for the Outsiders, you know, and you, you get it, like, you know what we do. And so like only we will know this on this level.

[55:48] Katy Pfaffl: You're doing that.

[55:49] Jordan Chin: What are you sharing? You know? And so we're here for you. And so, but again, it's like, things are so fast moving and that it's hard to find that time. But I remember speaking to one of them who just arrived, who's replacing someone on the medical leave. And I was like, yeah, because I know you're busy learning all your tracks and I'm trying not to like, you know, take up your time and energy because it's a lot, but let's talk.

[56:11] Katy Pfaffl: Yeah.

[56:12] Jordan Chin: Let's like, let me be a person for you.

[56:14] Katy Pfaffl: Yeah.

[56:15] Jordan Chin: Exactly.

[56:16] Katy Pfaffl: Yeah.

[56:17] Jordan Chin: So I watched the show Ad Nauseam.

[56:18] Katy Pfaffl: So yeah.

[56:19] Jordan Chin: Can you just watch it as many times as you want?

[56:21] Katy Pfaffl: Oh yeah.

[56:22] Jordan Chin: So we have like a, a little pass, all access pass that we wear, like a little badge. So then when we go into the house, like the ushers are really familiar with us as well.

[56:31] Katy Pfaffl: And like, I love front of the house. They're, they're so lovely.

[56:34] Jordan Chin: That's awesome.

[56:35] Jordan Chin: Yeah. And I made sure I was like, I want to know these people. Like they're part of this machine, this union.

[56:39] Katy Pfaffl: That is a team.

[56:40] Jordan Chin: You know?

[56:41] Katy Pfaffl: That's a cool thing that swings get to do.

[56:42] Jordan Chin: We get to do that. We get to meet all the people that work there.

[56:44] Katy Pfaffl: And that means so much to them.

[56:45] Jordan Chin: Yeah, it really does. Like to those ushers. I have a lot of students who are ushers and they'll be like, these people are nice to me.

[56:51] Katy Pfaffl: So I want to just, how can people find you?

[56:54] Jordan Chin: Oh, okay. Um, on Instagram, I guess.

[56:56] Katy Pfaffl: Yeah.

[56:57] Jordan Chin: What's your Instagram handle?

[56:58] Jordan Chin: So it's Jordan Chin, but J the number zero, R-D-A-N-C-H-I-N.

[57:05] Katy Pfaffl: Great.

[57:06] Jordan Chin: Awesome.

[57:07] Katy Pfaffl: Yeah.

[57:08] Jordan Chin: And so, you know, everybody, whenever you go to see the show, just, you know, we'll hope that we get lucky enough to see Jordan.

[57:14] Katy Pfaffl: Yes.

[57:15] Jordan Chin: And I'm honored to meet you.

[57:16] Katy Pfaffl: Yes.

[57:17] Jordan Chin: Thank you so much for being here with us.

[57:18] Katy Pfaffl: Yes.

[57:19] Jordan Chin: Thank you so much.

[57:20] Katy Pfaffl: I can't wait to see you in the show.

[57:21] Jordan Chin: Yeah.

[57:22] Katy Pfaffl: Yeah.

[57:23] Jordan Chin: Thank you.

[57:24] Katy Pfaffl: I love you.

[57:25] Jordan Chin: Yeah.

[57:26] Katy Pfaffl: It's just such a pleasure to spend time with you.

[57:27] Jordan Chin: Likewise.

[57:28] Katy Pfaffl: Yeah.

[57:29] Jordan Chin: I'm very, very, very honored.

[57:30] Katy Pfaffl: Super swinging, saving the show.

[57:37] Katy Pfaffl: Thanks so much for staying with us all the way to the end of the episode. Make sure to tune in to our next episode coming out in a few weeks. Check us out on Instagram at Super Swings Broadway. And if there's any super swings out there that you think we should interview, please drop into our DMs and let us know and we will reach out to them because we want to have as many super swings out there in the spotlight as we possibly can. Thanks so much.