This transcript was automatically generated and might contain errors.

[0:00] Eli Tokash: Hello everyone and welcome to episode 141 of Take A Bow.

[0:05] Eli Tokash: I'm your host, Eli Tokash, and we are here today on Friday, February 10th, coming at you with a new episode. Very exciting stuff.

[0:14] Eli Tokash: As always, we have an incredible episode ready for you guys. Bonnie Milligan is joining the podcast.

[0:22] Eli Tokash: I'm obsessed with her. Uh, you all are gonna absolutely love this interview. And if you haven't already, you have to see her in Kimberly Akimbo because she freaking steals the show.

[0:35] Eli Tokash: And uh she's an absolute talent. I mean, you may know her from Head Over Heels. Uh, for those of you who haven't seen uh Kimberly Akimbo yet, because it is still like a newer show, you probably know her for that, or you've probably heard her sing before because her voice is just so good that she's always popping in and out to sing and doing fun things uh where she's singing.

[0:56] Eli Tokash: So thrilled to talk to her today and kind of talk to her a lot about the acting side of her craft and her toolbox because this episode, I mean, y'all are just gonna really, really want to listen to these stories carefully because the way that she kind of gives us all a lesson, like literally a whole lesson on table work and breaking down a scene and all of the things.

[1:25] Eli Tokash: Like, I couldn't have asked for a better episode in an episode that has it all, literally. Uh, it's got entertainment, it's got fun stories from her career, um, and then it's just got like a full of little lessons, and it's just absolutely brilliant.

[1:40] Eli Tokash: So, um, shout out Bonnie Milligan, seriously, for coming on and uh, you know, having some fun with us today at Take A Bow. Uh, but before we get to that, as always, gotta talk about some Broadway news.

[1:53] Eli Tokash: There's lots going on. Uh, first of all, happy opening to Pictures from Home, a new Broadway show that includes Danny Burstein, Nathan Lane.

[2:03] Eli Tokash: Um, it's got all the faves in the show. So check that out for sure. I actually really want to go see that.

[2:10] Eli Tokash: It's over at the 54 Below Theater over there. Um, it's like right next to 54 Below.

[2:13] Eli Tokash: Um, I can't remember the name of the off my top of my head, but uh, I think it's something along the lines of that. And uh, yeah, very exciting stuff.

[2:23] Eli Tokash: Also uh making a debut, an opening night, so to say. Maud Apatow's stage debut was this week on Tuesday.

[2:33] Eli Tokash: And word on the street is she's absolutely incredible. This is wild to be making your stage debut in such a hit show like Little Shop of Horrors over off Broadway.

[2:45] Eli Tokash: I mean, Little Shop of Horrors, I yeah, I would say it's a hit show, but certainly this production of it has been an absolute hit while it's been here.

[2:53] Eli Tokash: Uh, while it's had its little stint off Broadway uh 43rd Street. But uh you can go see her and Matt Doyle in the show.

[3:01] Eli Tokash: Matt Doyle's back from COVID starting today, Friday, February 10th. So very exciting stuff.

[3:07] Eli Tokash: Yeah, everyone should go check that out. I'll probably be checking both of those out. So very exciting stuff for Broadway and uh in terms of new things opening or new things happening, that's kind of the latest.

[3:19] Eli Tokash: Also, some more things that are happening. La La Land is working on a musical adaptation, which is so freaking exciting.

[3:27] Eli Tokash: Um listen, maybe a hot take, but I can't see a Broadway for the next I don't know, maybe 20 years. What where we're gonna see a Pasek and Paul show not on Broadway for more than like two years.

[3:44] Eli Tokash: Pasek and Paul have to be like one of the greatest songwriting tandems in our generation, you know. You know, that they had the Stephen Sondheim times, they had the Andrew Lloyd Webber generation type of thing.

[3:59] Eli Tokash: Well, I believe, I truly believe it. It's not because I worked with them, but it's a large part of just what they've done and their history already.

[4:09] Eli Tokash: Like, and they're still very young, you know, like they're not going away. So uh Pasek and Paul is gonna be on Broadway very soon.

[4:16] Eli Tokash: When Dear Evan Hansen closed, I was like, hmm, what are they gonna do next? And I thought it was gonna be The Greatest Showman that was first, but La La Land also makes sense, and it's uh Bartlett Sher is attached to it, who is uh ridiculous and one of uh the most famous directors on Broadway.

[4:33] Eli Tokash: Um, he's an absolute talent as well that I've had the pleasure of working with. So hopefully we can get one of those folks on the show and kind of talk to us about this recent news with uh La La Land becoming a musical adaptation.

[4:45] Eli Tokash: I think that would be super fun, super cool. Uh, something that would sell a lot of tickets and bring a new audience to Broadway, which is great, but there's always that side of me.

[4:55] Eli Tokash: You know what I'm gonna say, not original. I mean, it was original in the movie, but now it's being adapted into a musical, so I don't know. We'll see what happens.

[5:05] Eli Tokash: Some of the movies I'm like, okay, I could get with it, but some of them are forced, so um, I think I can get with this one. I mean, it's a movie musical for heaven's sake.

[5:14] Eli Tokash: Okay, moving on. Miscast, we gotta talk about it. This Miscast uh 23 lineup is ridiculous.

[5:22] Eli Tokash: Who's working over at MCC? Because they absolutely need a raise. First of all, Vanessa Williams is hosting the event, you know, casually an Emmy, a Grammy, and a Tony nominee performer who was just recently in POTUS, you know, no big deal.

[5:39] Eli Tokash: And then you got the performances by Annaleigh Ashford, Danae Benton, you got Josh Groban, you've got Lorna Courtney, you got André De Shields, you got Sean, you got Bonnie Milligan, our guest this week.

[5:55] Eli Tokash: Uh, you got Ben Platt. I mean, listen, these are just, I mean, it's not fair. I mean, how can you look at that lineup and not just be in awe?

[6:07] Eli Tokash: You know, it's a ridiculous lineup, right? I'm so excited. I've never actually been or attended a Miscast, but uh, you know, I think this year is the year that uh I go and uh go experience a Miscast because I've always wanted to.

[6:25] Eli Tokash: They seem so fun, and this lineup is just incredible. So I think it's something that Take A Bow's gonna be doing.

[6:31] Eli Tokash: Uh, and hopefully we'll be checking that out and keeping you all posted, like giving you all like a review and fun stuff like that.

[6:39] Eli Tokash: Um, okay. Now, I know that um these intros can get a little long, but this week it may be an extra long, and I'm sorry about it because I've got two things to rant about this week, and you all can agree it's another hot, this intro is actually full of hot takes.

[7:00] Eli Tokash: Listen, I don't even know where to begin. I'll begin with maybe the controversial one. The other one's really not controversial.

[7:09] Eli Tokash: Into the Woods, the Broadway, the 2022 Broadway cast recording won the Grammy. For those of you who don't know, the Grammys happened on Sunday.

[7:17] Eli Tokash: Congratulations to everyone involved in Into the Woods and all the things. That's honestly huge. You can now say that you're a Grammy winner, which is uh an incredible uh honor and an incredible thing to have on your resume.

[7:29] Eli Tokash: But come on, like I don't understand how a revival can win a Grammy. Like, that's not new music.

[7:40] Eli Tokash: That would be like Adele releasing a song, and then Alicia Keys comes out and sings a cover of it and she wins a Grammy for it. Like, I don't get it.

[7:55] Eli Tokash: Like Adele's not gonna release a song and Alicia Keys isn't gonna come out. I say Alicia Keys because she actually has a musical in the work, so it relates and everyone's a big Adele fan.

[8:05] Eli Tokash: So yeah, it just like doesn't work. She's not gonna win Song of the Year for doing a cover of Adele, you know, a song that was written 60 years ago.

[8:14] Eli Tokash: Not that Adele wrote a song 60 years ago, but like Into the Woods was written many, many years ago, and now it's like I just don't, I can't grasp my head around it when you had, and listen, I would have been saying the same thing had MJ won.

[8:29] Eli Tokash: I did not want MJ to win a Grammy. Michael Jackson's won enough Grammys. I'm thrilled for everyone involved on, you know, the cast recording, uh everyone in the original cast, you know, and some of the cast that's been on here, part of the family, but it's not like a new song.

[8:48] Eli Tokash: The Grammys are all about best new song, best new album, best this, best this. And you know, like it's not a new album.

[8:57] Eli Tokash: If you really boil it down, you have six. You have A Strange Loop. Mr. Saturday Night was nominated. I didn't, I don't know the album very well.

[9:07] Eli Tokash: But you have these shows that are deserving, I guess you could say, like, you know, these shows are capable of winning a Grammy.

[9:17] Eli Tokash: So why have those other ones, these revivals and these songs that are very famous, you know, be in this? I don't, I just don't get it.

[9:27] Eli Tokash: Listen, maybe a hot take, and I'm sorry, but I had to come on here and say my piece because when I saw it, I was just like, I don't, I don't get it.

[9:38] Eli Tokash: Anyways, that's one rant, and I'm sorry if you don't agree with it, but uh I don't know. Maybe hopefully you can see both sides.

[9:46] Eli Tokash: Um, and then my rant that if there's anyone who's gonna, you know, disagree with this statement. I don't know, man. I don't know.

[9:59] Eli Tokash: But the Tony Awards came out and said that the Tony voters this year don't have to see every Broadway show. I'm sorry. What do you mean you don't have to see every Broadway show and you're gonna vote for the Tony?

[10:15] Eli Tokash: You're gonna win. I mean, the Tonys, I hate to say it, the Tonys are becoming a joke, you know, and it's so sad to say because you know, the Tonys are a theater kid Super Bowl, no doubt about it.

[10:27] Eli Tokash: I love the Tonys, I look forward to the Tonys every year. How can you have the Tony voters? They could go see one show and they're gonna vote for all the things in that show.

[10:39] Eli Tokash: You didn't even see any everyone else. Everyone who is completely deserving. Everyone who's put in the same amount of blood, sweat, and tears into that show, into that performance, and to that they're nominated.

[10:51] Eli Tokash: It's just, this is blasphemy to me, y'all. And I'm sorry, like you, I don't think that anyone can agree with this statement.

[11:01] Eli Tokash: I don't understand what the Tony Awards are doing. If it's a, you know, the Tony Award voters are too old and they can't get out as often, or they're very mindful with the COVID pandemic.

[11:14] Eli Tokash: Well then I hate to say it, but it's time to move on, and it's time to hand it off to that next generation. There are plenty of people capable, I mean, they go see these shows for free.

[11:26] Eli Tokash: Like, come on. There's gotta be something there, there's gotta be a better system. Or, like, you know, these shows are filming themselves nowadays with how Hamilton just capitalized off of doing that off of Disney Plus or for the public library or something.

[11:45] Eli Tokash: Get the Tony voters to watch that. I mean, they've gotta do something because not seeing all the shows is extremely unfair.

[11:55] Eli Tokash: Mind you, they have to take some like unbiased test to be a Tony voter anyway. So what, how can you be unbiased if you're not seeing every show and everyone who is deservingly nominated in each specific category?

[12:11] Eli Tokash: I can't wrap my head around it. I'm sorry. Listen, that may be, I don't know. I don't like to come on here and get controversial and speak my mind about these things, but these two things are just huge things, they're award-winning things.

[12:26] Eli Tokash: The Tonys and the Grammys, and honestly, it could bolster someone's career. And like awards aren't everything by any means.

[12:38] Eli Tokash: And as a performer, you know, it's not the most fulfilling thing that we do. We don't perform to win an award.

[12:46] Eli Tokash: But these awards can be pivotal for jumpstarting a career or for having a career. You know? Like it could make or break your career just by saying, oh, you're a Tony winner, or oh, you're a Grammy winner.

[13:03] Eli Tokash: It's a major award. So I don't know. I again, I can't see many people disagreeing with me.

[13:13] Eli Tokash: If you do disagree, please. I would love to open this conversation and see what everyone's thoughts are about this because I just can't grasp my head around it.

[13:23] Eli Tokash: And I get even more fueled up because you know, I'm talking to the people around me in the industry that are feeling the exact same way.

[13:31] Eli Tokash: And you know, it probably adds fuel to the fire. So uh I'm curious to see what y'all's thoughts are. Please reach out to me, post about it, do whatever.

[13:42] Eli Tokash: But I just, I can't wrap my head around it, and I hope I, I like I want to see both sides, and I'm trying to have an open mind about it, but uh, you know, as you can tell, it hasn't been too successful.

[13:42] Eli Tokash: Anyways, that's all I'm gonna stop ranting and I'm gonna remind you all that today, February 10th, Kimberly Akimbo at uh Woman Rink in Central Park.

[14:02] Eli Tokash: They are doing a full album release party while skating at Skater Planet, aka Woman Rink for the night. Everyone go check it out because it's gonna be something you don't want to miss.

[14:13] Eli Tokash: And then the full album comes out Tuesday on Valentine's Day, February 14th. So everyone go check that out right now.

[14:21] Eli Tokash: And uh yeah, I think with that, with all that being said, and I'm catching my breath, I think we should just turn it over to Bonnie Milligan for some lighter conversation.

[14:31] Eli Tokash: Without further ado, Bonnie Milligan, curtain up.

[14:38] Eli Tokash: Okay. This week we have a show-stopping guest about to take a bow.

[14:44] Eli Tokash: I mean, I'm so excited for this one. You all know her. We all love her from the moment that she took her Broadway debut. We all fell in love in Head Over Heels. And now she's literally making you cry of laughter for about two hours straight in Kimberly Akimbo as Aunt Deborah. So everyone, welcome to Take a Bow, Bonnie Milligan.

[15:02] Bonnie Milligan: Hi!

[15:03] Eli Tokash: Hi, how are you?

[15:05] Bonnie Milligan: Oh, I'm so good. How are you?

[15:06] Eli Tokash: I'm good.

[15:07] Bonnie Milligan: I'm great. Happy to be here on this fabulous Thursday after a two show day yesterday and a show tonight.

[15:17] Eli Tokash: Oh my god, busy girl. Thank you so much for doing this.

[15:20] Bonnie Milligan: I'm so excited.

[15:19] Eli Tokash: Yeah. So let's start at the beginning. You know, talk to me about why we're here today. What made you want to become a performer? Like what inspired you to want to tell stories and stuff like that.

[15:33] Bonnie Milligan: Uh, well, I guess it's kind of in my DNA. My parents were musicians and in the church, but I grew up singing as soon as I could talk, and there's a fair amount of storytelling there. And um, I loved movie musicals. Like I loved the Carol Burnett, Tim Curry Burnett Peters, Annie, obviously. My grandma used to say I would watch it. Like there was one day I watched it like five times in a row at her house. I was like, again. Um as one does, you know.

[16:04] Eli Tokash: Everyone does.

[16:05] Bonnie Milligan: I grew up on those and like the old Hollywood musicals like Widor's Day or you know, Singing in the Rain and all that kind of stuff. King and I. And so I grew up loving it for forever. And then when I was 10, I got in the fifth grade like Christmas play, and I got to act for the first time. And it wasn't just me singing as myself, you know, telling a story on stage, which was already what I was used to. I was actually becoming someone else, and that's when I was like truly hooked to be like, oh, okay, I want to do this. Like it marries both parts of me, like the very dramatic part and the singing part. Um, but I get to then become someone else was just like so enticing. So um, I mean, I have like journal entries from when I was 10 years old, being like, I know what I want to do now. I'm gonna be an actress, like it's so dramatic, also at high road. I was just like, okay, girl.

[17:02] Eli Tokash: Yeah, that's literally the cutest thing in the world. Um so how did we get to Broadway? Talk to me about your journey through Head Over Heels because you were in it from like the very beginning, right?

[17:15] Bonnie Milligan: Yeah, from the very beginning. Um, I was performing down um off Broadway at the Flea Theater down in Tribeca, and I was doing these epic shows that um Ed Sylvanas Iskandar was a guest director who was directing, and so they would literally be like a four and a half hour show of Greek tragedy, but they added singers to it. And it was Sean Granny's adaptation of These Seven Sicknesses, which was all of Sophocles' shows from um oh Lord, how's it start, Oedipus Rex down to Antigone? So it's seven shows in one night, and the way they utilized the Greek chorus, they set it all in like a hospital and go figure you can do that with Greek tragedy. And uh the Greek chorus became these six singing nurses, and so that's how I started was doing that, and um Ed, a big part of his idea and mission was the idea of community with theater, and so a big thing was mingling with the audience.

So when you came in, you were greeted. I would be there in my costume, but I would say I'm Bonnie, not like I'm nurse six or whichever one. Um how are you? Thanks for coming. Can I help you to your seat? And then because they were so long that we had two intermissions, and the first one we gave you dinner, and the second one we gave you dessert. So the food was also served to you by the actors. Um about the mingling aspect, and you know, to be young, and so we kind of taught about networking and making connections with human beings, um, and how vital that was was incredibly vital to my career and how I kind of got going.

[19:03] Bonnie Milligan: And in that setting, um I met Jeff Whitty, who it was his first idea to do Head Over Heels. And so when they went to do the first reading of it in 2014, I had I did not have an equity card, I did not have an agent. And he and Ed said, Bonnie should do this reading. And so I got to do this reading with like Broadway stars. And I was like, whoa, what's happening? And um over the years, many things changed and many people sort of uh left the project, but I was like the one person who stayed. Well, me and the Go-Go's, um, who weren't always involved. But um kind of crazy. So that it that took from 2014, then we went to the uh the Oregon Shakespeare Festival in 2015. That was the world premiere of that, and then they sort of decided to wipe the slate clean and do with a whole new creative team and a whole new cast, and I stayed, and that was a really crazy emotional process and like a weird survivor's guilt kind of a thing.

[20:14] Eli Tokash: Sure.

[20:15] Bonnie Milligan: Um that you're like, wait, what? Um, and then it, you know, through when Michael Mayer took over in 2016, and then slowly some workshops and labs. We finally landed on Broadway in summer of 2018.

[20:29] Eli Tokash: Oh my god, what an iconic show. I literally could not imagine anyone else playing Pamela, and then I saw that a production of Montclair State University was doing Head Over Heels, and I literally went to see it because I was like, I just can't see anyone else doing this show, like that entire cast. It seemed like the show was written for you guys, literally.

[20:52] Bonnie Milligan: Uh, especially you in your role. Like it was just your voice is incredible. And when we can get into that, like, did you always have that voice from like a very young age, or is that something that you kind of grew into?

[21:04] Bonnie Milligan: It definitely like changed over the years. I um always sang, I think it was a much more sort of like mixy sweet in genuine kind of placement when I was younger. Really? But then when I would sing along to the radio, I would mimic that. So I did try to sing like Celine Dion and Mariah Carey and Whitney Houston and Reba McIntyre. So a bigger voice did come out of me. But like if you gave me a sheet of music, I kind of thought, well, I'm supposed to sing a different way. So I didn't necessarily like put the two parts of my voice together until um I got into college and I was doing a Kristen Linklater voice class just for acting, like, you know, just as an actor, not singing. And sure when I was learning about my resonators, is when I started being like, wait, this kind of sounds like singing, and wait, I can.

And so I sort of then developed my own way of marrying those parts of myself um in my 20s and being like, oh, this is okay, this is how I can sound. And so my voice absolutely evolved um over the years. Uh, but I also was always, you know, it was always kind of there, but I I guess I didn't have the confidence in it until much later.

[22:24] Eli Tokash: Sure. And that's so interesting that you say that, you know, like because I mean, everyone grows up, you know, just listening to cast albums or pop songs on the radio or whatever, and just singing along to it. Did you ever like, you know, listen to the Go-Go's before Head Over Heels? Or was that like introduced to you?

[22:41] Bonnie Milligan: I knew like the popular songs, but I didn't know a lot of the Go-Go's catalog until that, and some songs I'd known, but I had no idea they were from the Go-Go's that I'd be like, oh, that song. Oh, okay. Um, because it was a little before my generation. So I just I didn't grow up with them. And then, but then the more I learned about their history as a group and how groundbreaking they were as women in the music industry and everything they did they were kind of the first group of women that wrote and played their own music like they it wasn't men writing for them it was like they did it themselves they were this punk group of people that like were like we're gonna say what we gotta say and um it's it's amazing um like even I think Good Girl was this beautiful ballad and Head Over Heels like it became a trio you know but the words themselves are like really intense when you think about it that it's just like oh good girl good dog got it like I'm just doing I'll just do what I'm told and here on my epitaph like it's so dramatic like I hope my gravestone reads that I was a good girl like it's like badass um but like it's great you're totally fine it's amazing that um that that is who they were they were so groundbreaking the fact that it took I was it last year the year before it's been in the recent three years that they finally got inducted into Rock and Roll Hall of Fame and in my opinion it took way too long they were such groundbreakers um absolutely and then to get to meet them as human beings and hear about their story they're so down to earth like every single one of them is truly unreal.

[24:33] Eli Tokash: So um getting to really learn about their catalog, learn about their history as who they are in the music world was like such a gift.

[24:41] Bonnie Milligan: So cool.

[24:42] Eli Tokash: That's so freaking cool. Yeah, literally. Well, what about like when you're like, you know, handed this music, you know, and it's that kind of mix of you know, getting that cheap music, and then of course that pop funk song. I don't know. And like, you know, were you given that freedom to like discover where your voice sits in that? Was that kind of written for you? Like, did you have that freedom to play? What was that like?

[25:07] Bonnie Milligan: That was definitely like we found, I think we found our own sound with it. It was definitely huge on I got to really develop what that would be. I honestly early on, I just wanted to keep the job. Because again, like I said, when I started, I didn't have any representation, I didn't have anything, I didn't have any credits. And so I'm like, they're gonna uh replace me and be like, Adele, do you want to do Broadway? You know what I mean? Like it could be anything. And so I wanted to make it as personal to my voice and my capabilities as possible, so that it could feel really hard for somebody else to just swoop in and be better. Um so some things like how much more when I'm tearing apart the room and there's like four key changes, those key changes were my idea.

I was like, what if we just keep going up? And they're like, Yes, you know, and then um, and then later when you're like, why did I do that to myself when I'm doing this eight times a week? But like it's great storytelling and it makes sense. She's losing her mind, or her voice getting higher and higher. Um, and then, but then I was also able to say between our out of town run or between all the workshops, and then actually getting ready for Broadway, knowing it's my Broadway debut. I was on tour with Kinky Boots, so I had experienced a long time in a show. But I was like, eight shows a week, I know is hard. I just did that with Kinky Boots, and um, I don't want to like kill myself. So then that could be like in this song, like in Good Girl, can I not always be on the top part?

Can I do some alto? Can I can I switch it up vocally in the group numbers when we have more people? Like, can I just not have to like live in this crazy high place all the time? So I had a lot of say in that.

[27:05] Bonnie Milligan: Um I don't honestly remember how much like whose decision it was about style of singing. I think it was definitely like, you know, in talks with Michael Mayer and talks with Tom Kitt, who um music supervised everything, that it would be like, well, I want to sound a little more Go-Go's here. So I'm gonna straight tone more than I normally would if I was singing musical theater. You know what I mean? Like when I sing beautiful, it's not gonna be like fuck. It's you know what I mean? Like, I'm gonna switch it off.

[27:40] Eli Tokash: Oh my gosh, she's warm.

[27:41] Bonnie Milligan: Yeah. Well, we'll talk about it. Amazing.

[27:47] Bonnie Milligan: So yeah, so it's very collaborative. And then like Michael Mayer's the one who said Automatic Rainy Day, he wanted it to become a riff off. So it was him being like, Oh, yeah, uh, what let's go crazy. And then as the actor, you're like, oh, absolutely. And when Taylor Mon Jones and I were playing around, it became like, well, Pamela cannot be one upped because I'm on the defense here. I'm the one that's freaking out. I don't know what's going on inside of me emotionally, and all I know is I have to win this fight. And that Mopsa is in a place where she's like, fine. You know what I mean? That like dramaturgically, we're like, we're gonna go back and forth, and then Pamela's just gonna be so out of control that Mopsa just stops.

And like, okay, look at it. Okay, yes. Um, so that became a collaboration in the room of you have Tom and Michael saying things, then me and Taylor coming up with things, and then that's how it was set. So it was all um, yeah, very collaborative.

[28:47] Eli Tokash: Yeah, I mean, that's huge. And and I just want to talk really quickly, like about you know, this is your first credit, I guess you could say, like Broadway credit, in the sense that when you're a young person entering this industry, it's so easy to sell yourself short and say yes to everything, and like just kind of, you know, throw away of like, what about my health, you know, kind of thing, and just like do it to impress. So, like, kudos to you, uh and kind of taking that liberty of for yourself and and being mindful of that. That's huge. And for a lot of people listening to, you know, really hopefully take that advice because it's much easier said than done for sure.

[29:28] Bonnie Milligan: Yeah, um, but that's awesome. And it's still made for a perfect product. So you I mean, what you guys did in that show was just ridiculous, and uh to do it in a healthy way is even better. So that's amazing to hear.

[29:41] Eli Tokash: So talk to me about Kimberly Akinbo, because you know, that's currently what you're in. And it's literally like one of the most beautiful Broadway shows I've ever seen. And especially in this kind of world that we're living in now, this world of Broadway, there's just not there's not anything like it. Um so talk to me about what it's like to be a part of such a unique story and um a unique show and in a new show in this kind of day and age of Broadway.

[30:15] Bonnie Milligan: It feels like a gift, like a really special gift. This came, you know, this was the first thing I did post-pandemic. This is when theater was really coming back when we did it at the Atlantic back in 2022. When 21, my God, time. I don't even know time anymore. Um It's not a thing. It's not a thing. Um, you know, I got the role over the pandemic of a self-tape in May of 2020, and we started rehearsals in September of 21. So it was a long time to be like, is this show gonna happen? I don't know. I think I have a show when we're out of this thing, but who knows? And time was really a black hole. And so to be back in a room collaborating with like the most brilliant creators and artists just a dream, like a dream on so many levels.

[31:13] Bonnie Milligan: And David Lindsay Bear and Janine Chessori are writers, are the most, first of all, iconic people. Their list of what they have done is unbelievable that you're like that could be super intimidating. Yeah. They're the smartest, they're the smartest people, and they're the most wonderfully collaborative. They are not super precious about things that if you're like, I have an idea I want to go with, like, they're like, okay, great. Oh, great. And then they go with it. And then, you know, some things would change or some things would adjust to my take on the character or or Vicky's take. You know, like they were in the room and it was so collaborative. So that was incredible.

[32:00] Bonnie Milligan: You know, uh, Janine said she wrote the top of act two, the how to wash a check, specifically for me because of the energy I had brought to Deborah. Which was a very different energy than they had seen before. And she's like, it was it's much more sly, it's much more all these things unassuming. And you're like, okay, great. So and better shifted a lot from that was one of the things I auditioned with where I got like a little MIDI file, an email, um, you know, to learn the track to sing to for myself tape. And it, you know, ended on a C C note, like a C5. Wow. And now it ends on a G five. And it's just like that's a fifth up. And um for the music lovers out there.

[32:47] Bonnie Milligan: Oh my god. And it it's just it was something that like became collaborative in the room, but also like Janine Tassori is so brilliant and so smart, she's such a storyteller. That at one point I felt when we were rehearsing between off and on Broadway, I'd said, because we'd switched a few things around uh with other characters, not necessarily my own, but because other people had changed in the scene, it absolutely changed how I would react and how I would feel. And I said, Well, now I just feel like I'm singing to sing at the end, like riffing to riff. And I'm I don't love that. Like I I want intention behind what I'm singing, and she's like, Oh my gosh, I'm so glad you said it. I fully agree, riffing just to riff or just to hear yourself sing is not storytelling. And let's find cause for it.

[33:37] Bonnie Milligan: And I was like, okay, great. And so we could talk it out that it's like still an obstacle to get Kemi on board before she gets on board. So it's like it it becomes storytelling with the person who wrote it right in front of you. And um creating it. I mean, during previews, we were switching the song, and she's like, it's not quite enough. And I remember going down to the lobby with her and our music director to change something at the end of better. And she's like, Can you can I write on you? And that was like the most iconic thing to hear J Janin Jessori say that out loud to you. And you're like, absolutely. And so she would say, Can you sing this like this? And I would do it. And she's like, now can you try this? Okay, I like that. And then you're like, what did I just do?

[34:19] Bonnie Milligan: Um so it became like this thing of um, yeah, absolutely. Let's write on this on me. Okay, cool. Um and it it was that so honestly, this was full dreams on every level, so collaborative, and to have done it in a period after having not done anything was just dreamy, and then to share a stage with Victoria Clark, Stephen Boyer, Allie Monsey, like and all these brilliant newcomers, like it's ideal in every way.

[34:54] Eli Tokash: Yeah, no, it that cast is absurd, and I'm obsessed with like how intimate of a cast it is, you know, like they're not like the stage doesn't fill up, but you all fill it up, you know. Like, you know what I mean? And it's brilliant. Like, like everything just comes together so beautifully. And I saw it in it at Atlantic, and like right then and there, you just knew like from the beginning that like this was gonna be something special, you know, like there was something here, you know. It was it was really just from the beginning, and that obviously has a lot to do with the creative team and just the writing of it all and how they did it. They're just absolutely brilliant. So it's really cool to hear, you know, that process that you kind of went through with them. It's really cool.

[35:38] Bonnie Milligan: Um, what's it like, you know, with like these newcomers? You know, you're kind of the vet here. Um is that kind of fun? And like you are you kind of given advice, or like are you still kind of starstrucked from Vicky?

[35:50] Bonnie Milligan: I mean, it's hard not to be. Um what is that like? It's so interesting. I'm like the middle child of the cast, age wise. I don't you know what I mean? Like they're like, okay, and I'm like, I'm so used to always playing like a younger person, and so I'm like, oh, actually playing someone in their 30s. How exciting. Um it's it's amazing. I mean, the kids, I feel very I call them kids, they're not kids, they're young adults, they're professionals, but um I feel so protective of them, and I'll say things like I know you didn't ask my advice, but I would just like to give you some.

[36:29] Bonnie Milligan: And they're like, No, no, no, I'll take it, thank you. Cause I like I'm worried for I'm like, if you can't speak up about this, let me speak up for you, or like what's going on? And I try to check in and make sure um the vibes around me are happening, and I do that with the adults as well. You know, I'm like, are you doing okay? Like, what's going on? Um, but the kids have started calling me uh Bonte instead of aunt, you know, Auntie Bonty. Um so I am Bonte to them. I said, if you ever need anything, you let me know. I will, you know, as Deborah yells at um Seth in the library, I will F you up. And I was like, I'll do that to someone for you if you need me to. Like, I will F C E up. Let's go.

[37:13] Bonnie Milligan: And um I'm not condoning violence, listeners. I'm not condoning violence. Um, but I'm like, you know, we're all in this together, and I and I've tried to share wisdom when I felt like they want it. And you know, again, when someone was not feeling well, I I texted her that night and I said, I know you didn't ask for my advice, but here it is. And you know, that I'm like, it's okay if you need to call out, if you need to go to a doctor, your health is what's most important. No one here is judging. And she was like, Well, I just you know, I feel like a failure. And I was like, I felt the same way when I was in my Broadway debut because you want to be there all the time. And I know you, I know your heart.

[37:56] Bonnie Milligan: And well, also we are human, we are not robots. We can't we're we can't be perfect. Not every night can be perfect, not every show can be perfect, and we do the best we can, and she always did. So I'm like, I just want to like say, like, I just think, in my opinion, but I know, and we're going back first. She's like, No, I really appreciate it. Thank you. And um there's stuff like that that like I I do my best to just be a friend to everyone around me. Um never, you know, hopefully, hopefully not giving out advice that is not warranted or wanted. Um just say I'm here if you need me.

[38:36] Bonnie Milligan: And um, I'm also the equity deputy on the show, so I can sometimes say I'm your deputy. So if you need me to take this up to somebody, you can be anonymous. Well, what do we need? What do we need?

[38:46] Eli Tokash: It's so funny you say that. That was literally gonna be my next question because I was like, it literally sounds like you'd be perfect for it.

[38:52] Bonnie Milligan: Yeah, that's hilarious. Oh my god, we all need a Bonti in our life.

[38:57] Eli Tokash: There you go, find a Bonti.

[38:59] Bonnie Milligan: Yeah, you know, speaking of like I don't know, kind of like taking on that ant role, like backstage and everything. Is there like I don't know? Aunt Deborah's just like so such a character and so much to work with. Is there anything that like you know you find yourself relating to to her? Like, how do you how do you do this eight shows a week? You know, bring this like you know, badass and up on stage, you know?

[39:26] Bonnie Milligan: I think um, you know, my way in with her has been um a deep love of Kimmy of Victoria Clark, which tracks, and now we are very good friends, so um it's easy can to connect with her in that way and to bring a fierce love. Now, Deborah is also incredibly flawed, and she is a survivor, and she does some very questionable things in order to survive. And I've known people in my life um that have done the same that have done incredibly questionable things who I don't look at as villains, I don't look at as bad people. I look at, I know somebody that is like an eternal victim.

[40:16] Bonnie Milligan: And it's just like, but she also had really treacherous beginnings, and so on paper, you can be like, I get it. And um, but then she's done awful things, and you're like, but that's can you tell that that's bad? And we're an adult now, and you don't have to, but she can't. And so that's where I take Deborah from that is how I connect with her to make her as human as possible, to make her not just some bad guy. But like when I I say to Justin, uh, I'm sorry, Seth, at one point in the show, um, you need to stop worrying about other people and start taking care of yourself.

[40:55] Bonnie Milligan: In the end, it's all that matters. And I don't take, I don't read that off as a mean thing. I look at it, I look at it as an incredibly generous piece of advice. And that's like kind of a crazy, like you're saying something awful because he's worried about something, and I'm like, stop. But it's more like, hey, babe, like this is gonna be painful for you because people are gonna let you down all the time. You only need to worry about this, and I think that is her way of like actually being helpful and being generous, and um it's not a generous statement to people in general, like you should like care about others, but like in Deb's mind, it's like nobody's looked out for me, nobody has I've looked out for myself for probably a really long time, yeah.

[41:47] Bonnie Milligan: At least that's my characterization, um, my own tablework of it all. Um, that she comes from a lonely, kind of dark place, and she uses humor and she uses her charisma to get people on her side and hopefully get them to do what she wants. But at the end of the day, I probably care most about Kimberly. That's a genuine love, and I have my own issues with my sister, Ali Mazzi, and definitely issues with my brother-in-law, Steven Boyer. And uh it that's how I dialed my way in to try to find the most human approach to someone who does some awful things as possible is to make her a fully rounded human who is not malicious or evil intended.

[42:35] Eli Tokash: Right. It totally makes sense. I mean, especially with that line, like you're just protecting Seth at the end of the day. Like you're trying to help him, you know, you're not trying to help anyone else. And it's cool to see, you know, that shift in Deborah where she starts kind of protecting these kids, you know, that because she does only worry about herself, you know, like for so long.

[42:58] Bonnie Milligan: I don't uh well, I don't want to give any spoiler alerts, but there is something that happens in act two where it's like I need to shift the plan. Um and I'm gonna shift it because it's in Kimberly's best interest, and Seth still agrees to go with it. And I think in Deborah's book, that earns her respect for him. And so I do treat Seth a little differently in the last two scenes, and that's the shift for me, is because he has agreed to go forward. And that's the other kids have too. And wow, I I I kinda because I kind of don't care about them that much. Definitely the beginning, like the beginning act two, all that stuff. Like, they're strangers, who cares?

[43:44] Bonnie Milligan: Um, right, but that has shifted something for me that their care of Kimberly or their care of something else has let them still go in on this scheme. And so that is why I'm a little more ginger with him than I was at the end of the first scene of Act Two. When I'm like, decide what you want to do, because I'm over it. To seeing him again, don't want to spoil alert in a certain place.

[44:13] Bonnie Milligan: And um and being a little joky with him and being a little side with him, because our relationship has shifted off stage. The audience doesn't see it, but that's part of table work, knowing where you get from one place to the other. So when he and I were talking one day, we went to lunch, we were doing rehearsals, and I said, But I do look at you differently because of there's been three days where this has happened. And he was like, Oh yeah, yeah. And I'm like, so that is why I do have a shift in how I look at you. And um that it always cut you gotta know where you're coming from at all places. So um that is Deborah's way of love of this kid who was gonna do something nice for her.

[44:55] Bonnie Milligan: Yeah. That was unexpected. And you're like, okay, well, then let me help you out, babe. You're worried, right?

[45:01] Eli Tokash: That's so interesting to hear because it's like as an audience member, I'll never forget like the first time I ever saw it. I mean, like and Deborah was literally one of my favorite characters. And I went home and I was like, like, why was I rooting for her? Like she's literally like the villain, you know. And and but then you you somehow just like I mean, you you win us over. You just win the audience over it, and we fall in love with you like from the moment you walk on stage. Heck, you walk on stage in this show with you get an entrance applause. How cool is that?

[45:37] Bonnie Milligan: I mean, it doesn't happen every night, but like about half the week, and it's every time I'm kind of surprised by it. It's really beautiful and really lovely.

[45:46] Bonnie Milligan: And the theater nerd in me is like every time. It's really awesome.

[45:50] Eli Tokash: That's yeah, that's freaking crazy. Like, literally, like the legends get the entrance applause, and you are one of them.

[46:00] Bonnie Milligan: So come on.

[46:02] Bonnie Milligan: Get it too. That's just insane.

[46:05] Bonnie Milligan: Well, so this week, uh it's Tuesday, actually, so not too far away. The cast album for Kimberly Akimbo's coming out.

[46:13] Bonnie Milligan: Yes. Yay!

[46:14] Bonnie Milligan: Which is so exciting. Uh, and we can actually listen to like one of your iconic songs better already.

[46:21] Bonnie Milligan: It's already released on all the streaming platforms, but the full album comes out Tuesday. Talk to me about you know, this is your second cast album. How cool is that to you know be a part of a cast album number one, but also you know, share this score and kind of the story with everyone around the world.

[46:38] Bonnie Milligan: It is iconic. I mean, it is like something you dream of. I mean, you know, I was that kid that loved getting cast albums, and you would get the little CD booklets and read about the show in the book because we weren't like hardcore. I mean, I'm not that old, but you know, that's just what we did.

[46:56] Bonnie Milligan: And I remember after Head Over Heels, I had done a video message and I sent it to my friend, and because I wanted to remember how I felt, and it was so it was two days in a row. We were like, you know, busy in shows. I was also doing a reading. I mean, I was doing so much, and I said I did it, and I'm really proud of myself, and that I've never been so tired, and this was really hard, and I started crying, and I was like, but I'm really proud.

[47:22] Bonnie Milligan: And that I love that I have that clip to remember, and um this one, they spread out our recording days. So we did half when we had just started tech, and then we did a few songs that they're like, these probably won't change. And then we did the other half in more than half in December.

[47:44] Bonnie Milligan: Um wow. And they wanted us just to be rested and stuff. And there was something like, even if you watch that video of better, the video they released before they released the number, the riffs are different in the end. Because by the time they were like, let's record, I said, could I re-record my riffs in the end? And Jeanine Tesori was like, but I love them.

[48:03] Bonnie Milligan: That's so great. And I was like, I know, but I changed those before our first audience of previews because of the storytelling. We had really focused in, like I said, I feel like I'm singing to sing, and I want to set what I'm actually doing.

[48:21] Bonnie Milligan: And it's not written in the score, so it's like up to me. So I said, if Kim, she was kind of on board a lot earlier at the Atlantic. So it's what they kind of refocused was her not being so on board for during the song, which is great because that gives me something to do with the song.

[48:38] Bonnie Milligan: And after the kids and I are like, we did we do a like a little dance down the stage together, and I turn and she's still not on board, is what motivates my like G, like well, come on, Kimmy, you know, looking at her, like, come on, and then she starts to dance.

[48:55] Bonnie Milligan: So the next riff is lower because I got her. I'm like, you gotta make it alive. That it's like so much more cooler because I know I've got her.

[49:03] Bonnie Milligan: And then at the end, it's celebratory, and so it's a little different on the first take that we did in October. And so I said, I set my riffs like by the first audience. And that's what I always do.

[49:17] Bonnie Milligan: And I would like that to reflect on the album if we can. And so I was like, okay. So they let me like redo just literally two riffs. But I was like, I would like to redo those because I would like the album to sound like what I do, you know.

[49:32] Eli Tokash: Right.

[49:33] Bonnie Milligan: And it was just so interesting hearing kind of a time capsule on something that had did shift with audiences. You know what I mean? Like I hadn't had an audience yet.

[49:44] Bonnie Milligan: And um, but I'm so excited to hear all of it, like in my headphones, like being surrounded. Like, you know, I listen to this show eight times a week, and yet I can't wait for the album. It's ridiculous.

[49:56] Eli Tokash: Um, you are someone that can listen to it.

[50:01] Bonnie Milligan: Oh, yeah, definitely.

[50:01] Eli Tokash: You can do you listen to yourself and things.

[50:06] Bonnie Milligan: I can, yeah.

[50:06] Eli Tokash: Oh my god, just for you.

[50:07] Bonnie Milligan: Uh I mean.

[50:10] Bonnie Milligan: Like watching myself sing. I don't necessarily love that. But like I'm not like, yeah, take it in again.

[50:17] Bonnie Milligan: No, no, no, no.

[50:18] Bonnie Milligan: Um, I'm more excited to hear everybody else's numbers, is what I mean to say. Like, make a wish, let me listen to it on a loop. Father time, let's go. You know, I can't wait to hear how it all comes together.

[50:31] Eli Tokash: Um, even though again, I hear these shows through the speakers.

[50:35] Bonnie Milligan: If I'm changing, you know what I mean? It's very different than um in the background than in my hair in my earphones.

[50:41] Eli Tokash: Absolutely.

[50:42] Eli Tokash: Well, do you have a favorite song in the show?

[50:45] Bonnie Milligan: I know that's a really hard question.

[50:47] Bonnie Milligan: Oh wow. Is there gonna be one that's on repeat?

[50:50] Bonnie Milligan: I really do love Make a Wish, which is Vicky's first like solo. I think it's so beautiful. She's such a genius, and her acting, the longing and her voice is just like perfect.

[51:06] Bonnie Milligan: And so I I'm ready for that. I'm also really excited to hear uh Skater Planet, the first song, the first song of the show with all the kids. I love that song. I love the orchestrations, and so I can't I'm really excited to hear those in my like headphones.

[51:24] Bonnie Milligan: Yeah, yeah. I think those are my I'm most looking forward to those.

[51:30] Eli Tokash: Yay, I love that. And then I mean, I I everyone go listen to this album because I mean, like you said, David Lindsay-Abaire and uh, you know, Jeanine Tesori writing the album, it's bound to be an amazing score and everything.

[51:43] Eli Tokash: So everyone go check that out. It literally comes out Tuesday, so mark it on your calendars.

[51:47] Eli Tokash: Um, and then I have one last question for you, and then I'm I'm gonna let you go because I'm just so interested in asking you. It's very rare that you know, I've talked to 140 people, you're gonna be like one of the like 140 first episode or whatever.

[52:01] Eli Tokash: And it's very rare to have someone that's only done original Broadway shows or like roles of that are so you've created these roles. Is there a role that you would want to play on Broadway that like already exists?

[52:16] Bonnie Milligan: I mean, I know it's like a dream role kind of question and it's cliche, but it is there.

[52:21] Bonnie Milligan: I would love to do any Sondheim show. I've always said, you know, I'd love to get my hand. She's doing it this season.

[52:28] Bonnie Milligan: Uh Mrs. Lovett, I would love to do one day.

[52:31] Bonnie Milligan: Um, down the line, I think for me.

[52:33] Bonnie Milligan: Um, Mama Rose down the line. Like most of my dream roles are for like when I'm in my 50s.

[52:39] Bonnie Milligan: Um, and uh, I just would love to do Sondheim because the work is so what I love so much about Kimberly Akimbo between David and Janine is it's so deep, it's so rich.

[52:52] Bonnie Milligan: The work is there. You just get to show up and like make your imaginary circumstances for like your backstories or whatever, but like it's there, and so it's delightful work. You don't have to, you know.

[53:04] Bonnie Milligan: I've done some readings where there's not a lot to mine, and so there is so much. So I would love to do any Stephen Sondheim.

[53:15] Bonnie Milligan: Um hundred percent.

[53:18] Bonnie Milligan: And um, you know, I I've done some like readings of revivals. I had a great time doing the Full Monty.

[53:26] Bonnie Milligan: We did a reading of that a few years back. I don't know if that'll ever come back, but that was a good time.

[53:32] Bonnie Milligan: Um yeah, anything.

[53:35] Eli Tokash: Listen, I want to be on the producing team that has you as Mrs. Lovett in Sweeney Todd because I think that would be absolutely iconic.

[53:42] Bonnie Milligan: We're gonna make it happen 2035.

[53:45] Eli Tokash: There we go.

[53:47] Eli Tokash: Yeah.

[53:48] Eli Tokash: Oh my god. Well, Bonnie, this is so wonderful. Seriously, this has been an absolute treat, and it's such a pleasure talking to you. You have so much to you know be proud of with your young career. Like, I literally, it's gonna be amazing, and we're gonna be seeing you on Broadway for years to come. So I can't wait to see.

[54:07] Bonnie Milligan: Yeah, of course.

[54:08] Eli Tokash: Everyone go see Kimberly Akimbo, everyone go check out the album. You're an absolute treat. You're an absolute talent. Uh so everyone will fall in love.

[54:17] Eli Tokash: And uh, yeah, you definitely deserve to take a bow. So thank you, Bonnie. I appreciate it.

[54:23] Bonnie Milligan: Excellent.

[54:24] Eli Tokash: Take a bow, Bonnie Milligan. I mean, come on, that that episode, I said it in the intro, it had it all.

[54:26] Eli Tokash: It had it all. From incredible stories from learning more about Bonnie. You know, I don't know how you can't be a fan of Bonnie. Bonnie is such a sweetheart. Bonnie is such a talent.

[54:44] Eli Tokash: I mean, her voice is ridiculous. She's known for her voice. There's no doubt about it. But to, you know, have the conversation with her about the other sides and like really going into the acting and how much work and thought goes into her performance as an actor, it's kind of amazing because it's definitely not something that uh you think about when going to see her perform, but it's real.

[55:08] Eli Tokash: And for those of you who are, you know, performers and all the things, and including myself, it's a great reminder for me, even, you know, how important it is to put in the time and effort to really hone in on your craft and really understand the character that you're becoming, or what you're trying to get out of each scene, and and why you start to you know befriend your your scene partner, or why you start to hate your scene partner, you know, like there's there's all these shifts that are written, and it's very easy for us to be like, okay, yeah, but we don't justify it.

[55:47] Eli Tokash: And because we don't justify it, it doesn't come across that way in our performance. Well, Bonnie to basically reminded and told us exactly how to do that, and uh what's worked so successfully for her, um, that I think everyone should be taking notes.

[56:03] Eli Tokash: So thank you, Bonnie. Thank you for sharing uh this wonderful advice with us here today and this week on Take A Bow.

[56:10] Eli Tokash: Everyone go check out Kimberly Akimbo. Her performance in the show is absolutely ridiculous. You know, I love Kimberly Akimbo. I don't even get like paid to say that or anything.

[56:19] Eli Tokash: It's literally just a genuine thing. I I do have friends in the show, so obviously I'll root for it. But uh, you know, Kimberly Akimbo is one of my favorites, and Bonnie's performance is one of the reasons that it's just that incredible.

[56:32] Eli Tokash: I have no doubt that we will probably be seeing her and the Tonys this year, you know, in a category. She should definitely be nominated. And if not, I'm sure they'll do her literally like powerhouse song.

[56:44] Eli Tokash: Like what it's arguably the best song in the show at the Tony Award. So I'm sure she'll perform and do something fun.

[56:52] Eli Tokash: So very exciting stuff. Very cool to hear about her journey as a singer and all the things. So hopefully you all enjoyed this episode. Hopefully, you all learned something. Hopefully, you just had a good time.

[57:03] Eli Tokash: And as always, I appreciate you all listening. I hope you come back to listen to next week's episode with another fabulous guest who may or may not be from Kimberly Akimbo. Just saying, I didn't say it. I didn't say it. Did you hear me directly say it? Could have been taken multiple ways. No, I'm just kidding. But may or may not be.

[57:23] Eli Tokash: And uh yeah, come back for more.

[57:26] Eli Tokash: All right. Bye, everyone. Have a great week.

[57:34] Eli Tokash: For this episode's current call, I would like to recognize a few people who also deserve to take a bow. This podcast would not be possible without the help of Dory Barrenstein, Alan Seales, Kimberly Garrett, and the team at the Broadway Podcast Network.

[57:46] Eli Tokash: Next in line to Take A Bow are our fabulous editors, Jessica Warren, who edits the audio of the podcast that you just listened to, and Tessie Tokash, who edits the videos and visuals for this podcast.

[57:57] Eli Tokash: And how about a bow for our executive producer, Chris Greiner? And our final bow are extra special to the patrons Brian Thompson, Pat McNamara, the listeners of PCC, as well as all of the other patrons for their continued support.

[58:10] Eli Tokash: If you're interested in becoming a patron, go to patreon.com slash TAB. If you enjoyed this week's episode, make sure to subscribe on the platform that you are currently listening to this on, or go check out our YouTube where you can watch the episode.

[58:23] Eli Tokash: You can also subscribe, like, and comment on there as well. If you're more into the regular social media and want to follow us, you can do that at Take A Bow Podcast across all social media platforms.

[58:33] Eli Tokash: The music of this podcast was made by Nikki Torsha and Cormac Collinon, and the logo was created by Giselle Bustos. And that wraps up this episode's curtain call.

[58:42] Eli Tokash: Thank you all again for listening to this week's episode, and I can't wait to see you next week. Bye everyone. Have a great week.