This transcript was automatically generated and might contain errors.

[0:00] Eli Tokash: Hello everyone and welcome to episode 149 of Take A Bow.

[0:04] Eli Tokash: I'm your host, Eli Tokash, and this week we have a fun episode for you folks. This guest this week is an adult now performing off Broadway at the moment, actually, after doing a Broadway show recently as an adult for the first time. And uh so a newly new adult, uh, and we talk a lot about you know being a Broadway uh child actor and being a child actor in general and being on Broadway at such a young age and kind of how that lifestyle is different. We have some conversations that have never been had before on the podcast. So we have such a fun episode with Trevor Braun, who was a part of three Broadway shows by the time he was 11. Incredible stuff, incredible conversations, an incredible career.

Um, and now you can currently see him in The Play That Goes Wrong off Broadway, uh, in a show that is just one of the funniest shows that you will ever see at a theater at any time. So uh go check that out. Go check out Trevor uh as he's currently starring in The Play That Goes Wrong. Fun stuff, but before we get into all of that, and before we share uh all of these wonderful stories that I can't wait for you all to listen to, we gotta talk about some Broadway news because there's a good bit going on this week.

[1:16] Eli Tokash: First of all, I want to start out by saying congratulations and happy opening to the wonderful cast, creative teams and uh families to everyone involved in Shucked, the musical, which is honestly like I'm really excited for this show because this is really the only true original musical of this season. You know, Robert Horn has literally written this just out of thin air. You know, Some Like It Hot was a movie, and Juliet's uh a jukebox musical based on the Romeo and Juliet tale. Kimberly Akimbo is uh originally like adapted from something else or some other idea that I can't remember off the top of my head. So this is really the only true like original idea, story, blah blah uh music, all the things.

So um I'm so excited to see the show. I was able to attend the opening night. I had so much fun with the cast and creatives. They are such wonderful people, and everyone is just so excited for the show, and it's gotten some incredible news, which is so exciting to hear as an original uh musical on Broadway because you know I feel like people are starting to I don't want to say shy away, but in a way, shy away because we talk about it actually on the red carpet of how you know there's not a developed fan base for this musical already because it's not based off of anything else, and it didn't have a London run or a run uh they had a quick run in Utah in Salt Lake City. So they don't have like that, you know, following that you know one may have when coming to Broadway.

And uh I'm just so excited to hear that they're doing well and that they're uh getting the reviews that they're getting because everyone is talking so highly about it, and um, it's really exciting to see, and I cannot wait to just see it for myself. So I'll be going sometime this week. So hopefully by the time you listen to the next week's episode, I will have seen Shucked and I will have a review for you folks.

[3:12] Eli Tokash: And uh, we will be dropping the red carpet content actually uh as a podcast episode as well as a YouTube montage. So we're gonna try out how that works so that we can get both video and audio content for you all. And hopefully that'll drop on Monday. But we will keep you posted because Take A Bow has been pretty busy lately attending all kinds of opening night and creating so much content to continue to push out content that uh hopefully you guys find entertaining. So um, yeah, that's what's going on. Happy opening once again to all of you over at Shucked, and uh just can't wait to see the show.

[3:47] Eli Tokash: So, moving on, we have some uh departures and debuts coming to Broadway that I wanted to just quickly shout out to for, especially for like my generation, like theater fans and and just child, I guess I don't know, growing up in in this 2003 babies, I guess. Um, okay. Well, Olivia Holt on Monday is making her Broadway debut in Chicago the Musical, which is so exciting for any of us, you know, Disney kids, I guess you could say, huge fan of Olivia Holt and all of that and her music and all the things. So now she's gonna be making her Broadway debut as Roxy Hart in Chicago, which is super exciting. And then, of course, on this past Sunday, unfortunately, Miles Frost departed MJ the Musical, which is so sad because I mean his performance is just absurd.

So, with that being said, I just wanted to wish Miles Frost a happy trails, and uh hopefully we don't see him off Broadway for too long because that man deserves to be entertaining for a living uh at all hours of the day, but he also deserves his rest because what he did in that show was just ridiculous. And uh huge congrats on an incredible run, and you know, that that casual Tony Award win that he had for his performance in the role of Michael Jackson in MJ the Musical. So congrats again and happy trails, Miles Frost.

[5:15] Eli Tokash: Um, fun stuff happening here. We have Neil Patrick Harris joining the cast of Peter Pan Goes Wrong. Uh, he will be joining the cast for about three weeks from April 11th through the 30th. Very excited. So uh the show opens on April 19th, so he will be a part of that, which is kind of crazy. Like they're literally kind of changing the show for literally three weeks so that Neil Patrick Harris can come to the show. It's just a chaotic thing that's happening, and uh they're making sure they do it the week before opening night, so that on opening night it's not an entirely different show, and it's like, what is happening? And uh, you know, this was like a two-week thing that they're getting ready to mount this new type type of show, and then they're gonna have to go back to their regularly scheduled show that they've been working on uh throughout the tech and all the rehearsal process as of you know just this past week when they announced Neil Patrick Harris was gonna be joining them.

So that's very exciting. I'm excited to see Neil Patrick Harris back on Broadway, and I'm excited to see this Peter Pan Goes Wrong. You know, I have that special relationship with Neverland and the J.M. Barrie story. So I guess to see all of that stuff back on Broadway in in a new way is gonna be super fun, and I cannot wait to see it and hopefully attend the opening night.

[6:31] Eli Tokash: More exciting news, The Sign in Sidney Brewstein's Window is going to be coming to Broadway. I'm actually really excited for this. They're sneaking this in before the April 27th, I believe, deadline that you have to make and make that cutoff to open so that you could be considered in this year's Tony season and Broadway's season. Craziness, because they're about to mount a full Broadway, you know, play that uh is happening with uh some incredible people. Rachel Brosnahan's gonna be in it. And just to let you all know that this is going into the James Earl Jones Theater, which is where Room was gonna be in. And for those of you who didn't get a chance to listen to or watch, I guess, the opening night of Bad Cinderella, that's up on our Take A Bow YouTube.

I highly recommend going and watching that video because we actually speak to a cast member of The Room, and he kind of talks to us about that, you know, what went down kind of thing and what we can expect moving forward, if anything. And it was kind of he was getting really emotional, and we were both kind of crying uh talking about it because he was not ready to to talk about it. Uh, and it was really interesting. So go check that out if you're interested in really finding out what happened and what's going on with that show in particular. And uh obviously, you know, the theater, it's a business, and they were not gonna wait for some angel investor to come in at any time to mount this show.

They said, Oh, we have an opening, and they took it. Uh, James Earl Jones Theater is now gonna be the home of The Sign in Sidney Brewstein's Window. So uh pretty interesting stuff here. Crazy and another reminder that, you know, this industry is a business and an industry, and it's not all fun and games. Um and some people have to get sad, but you know, some people get employed and are super happy. So it's crazy uh, you know, how it all works. But um, yeah, that's gonna be exciting for The Sign in Sidney Brewstein's Window.

[8:43] Eli Tokash: Um, Shmigadoon or Schmikago, uh, as they're calling this season, is now available to watch on Apple TV Plus. I'm excited about this. I cannot wait to catch up on it all. You want to talk about bringing Broadway into our homes. I mean, you can't really ask for much more when it comes to this. Because when I say like Broadway, I mean Broadway. You know, we don't have, you know, these movie stars about to do a movie musical like we've seen in the past. We have these legit Broadway stars, or we have these turned movie slash TV stars coming back to their Broadway roots to shine on television in this Shmikago Shmigadoon world, which is just so exciting, and I can't wait to continue to watch this show.

And uh, you know, I love this show. All the theater fans love this show. So if you can check it out on Apple TV Plus, and if you celebrate, happy Shmicago Day, everyone. It's now Wednesday, April 5th. You know, the whole season is out today. So can't wait to catch up and talk to y'all about that soon.

[9:49] Eli Tokash: One more thing before I turn it over to our interview with the lovely Trevor Braun. We have a piece of news coming from Moana, which is super exciting for me. Honestly, I was expecting them to turn Moana into a musical before they did anything else with it, but it was announced that we are getting a live action movie of Moana. So we're getting another movie musical, as I just mentioned. Uh, and luckily enough, I mean, The Rock doesn't have any Broadway background, I don't believe, unless I'm like hiding living under a rock. But we uh will be getting uh the original voices of the animated versions of Moana and Maui uh returning for this live action version. So, yes, you heard that correct. We are getting The Rock, Dwayne The Rock Johnson as Maui in the live action, along with Auli'i Cravalho as Moana in this live action.

So very exciting stuff. Um, and I cannot wait to see what they do here. And maybe in a couple more years, Moana will be coming to Broadway. I really think that could be like the next Aladdin or like Frozen or whatever. And you know, we're getting a Coco, so maybe we just do a full Disney on Broadway turnaround, I guess, and bring in those two because I could see both of those doing really well, both Moana and Coco. Uh, anyways, moving on, we're gonna turn it over because I've kept you long enough to Trevor Braun, who's gonna be talking to us about all kinds of incredible things and shining a light on what it's like to be a child actor in the industry from a new perspective, which is very exciting. So, with that being said, without further ado, Trevor Braun, curtain up.

[11:32] Eli Tokash: All right. This week's guest is currently making everything go wrong, but in the best way possible. You can currently see him as Dennis in The Play That Goes Wrong at the New World Stages, but you may know him from being a kid on Broadway, performing in Beauty and the Beast, Little Mermaid, Billy Elliott, or even more recently in The Ferryman on Broadway. So everything's going on, plus he's been in A Marvelous Mrs. Maisel, Dash and Lily and Curb Your Enthusiasm, switching to TV over here, mixing things up. Everyone, welcome to Take A Bow, Trevor Braun. How are you doing, Trevor?

[12:06] Trevor Braun: I'm good, I'm good. How are you? Thanks for having me.

[12:10] Eli Tokash: Oh my god. No, this is gonna be a treat. Uh, I feel like we have lots to talk about, and uh, I think it's gonna be a very cool conversation.

[12:20] Trevor Braun: This is great. I mean, you I are someone that had found so much success as a kid, you know, three Broadway shows before you were 11, and now here you are doing the thing as an adult, even after college. So, like huge kudos to you for just like, you know, figuring the thing out. Like it's so much harder, I feel like, from working as a kid and then like becoming an adult. And it's like, okay, great, now what? Like, how does this work? Like it's like a whole new world.

[12:47] Eli Tokash: So before we get into that, I guess, because we will talk I want to talk to you about it. Um, I like to start with my first question being like, How did you get into this whole thing? Like, what made you it get inspired to tell stories and perform?

[13:04] Trevor Braun: Hmm. Yeah, I mean, I I've been acting and and doing theater since I was uh around three, three, four years old. Um, and I always say it's kind of like in my in my blood, because like my mom actually had d did theater when she was a kid as well. And so I grew up kind of just in in that world. Um she was doing community theater when she was a teenager, and then when she met my dad, he kind of got drawn into the world and he was doing like crew and tech and he was doing lighting and building sets, and then they brought my sister in on it and she started to enjoy it, and then eventually uh, you know, I was born and I was like, this also looks fun. So so I also, you know, got into it. So it really was like a family endeavor.

And it was it's nice because it almost made it feel because I was constantly doing it with my family. That almost became a second home to me. And now when I am in a theater, I just feel really comfortable and I I find myself just, you know, reverting to this like state of, you know, feeling just very safe. And so uh I've been doing it for for a while and I've always I've always really loved it.

[14:16] Trevor Braun: I mean, three years old, you and you're still going. Good for you. Um what do you think it is about like the theater that like even now, you know, you've been doing it for probably I mean, I don't know your like actual age, but probably like 20 plus years. Like what what what is that? I don't know, like what is that about theater that like continues to light that flame of like this is what I want to do?

[14:40] Trevor Braun: Yeah, I mean, uh everything, um something that's just coming to mind now is just the aspect of something being live and something existing in a in a in a space for only that one moment, and I think that that's what is constantly exciting for me, especially with uh the play that goes wrong right now, but with with any piece of theater, I think it's just like stepping into the room and you know, telling stories, making people feel things, but also only then and there can that happen, you know. Nothing nothing that you experience outside of that moment can ever really be replicated, and so I think that just keeps it fresh all the time, and every time I get on a stage, I I can't be bored and I can't, you know, not enjoy it because it's like you never know what's gonna happen, and and it's always just it just really makes me feel present, you know. It's it's one of those spaces that I feel most um here, sure. Uh so in that way, I I I don't think it's ever gonna be something that I'm not extremely passionate about being a part of in any way.

[15:47] Eli Tokash: Right. And do you think that's because you you know it's kind of like all you know in a way, like it is your second home?

[15:55] Trevor Braun: Yeah, I mean, for sure. It it's it's I mean, I I j I love it. I I I really do feel so safe in any theater. It just feels like feels like walking into like a nice warm bed.

[16:10] Eli Tokash: Yeah. That's awesome. Honestly, because like the shows that I've done, you know, like there's and I did a lot of shows with other kids, and there's only like three or four of us that are like actually still doing this and like actually want to pursue it. So I feel like it's kind of like a rare thing for a child actor to really continue to fall in love with it as they get older, I guess.

[16:35] Trevor Braun: Totally, yeah, for sure. I I I know a ton of people also who've kind of uh you know decided that they wanna, you know, go go into another industry. And it's especially as a kid, I think it's hard growing up and like dealing with the, you know, just you know, having to deal with adult problems, like things that the same exact things that adults deal with, and that can really like grind you down and and make you jaded. Um, there are of course times where I am a little bit jaded, of course, uh doing this funny year. But for the most part, I I I don't, you know, that doesn't matter to me so much as like doing the thing, uh, you know, actually, you know, doing the performing and stuff.

[17:11] Eli Tokash: Um sorry, there's sure there's a I think there's a you know, an ambulance.

[17:16] Trevor Braun: It's okay.

[17:17] Eli Tokash: We're we're in New York here.

[17:19] Trevor Braun: It's all good. Um, yeah, it's you're totally it's you like everything you're saying makes total sense. Uh and you know, in I guess figuring these things out, you know, like being living in that adulthood kind of space, and as a kid, you know, like we forget that it's a job, you know. Like we kind of like everyone like at the stage door is like, wow, this is so cool that you're doing this for like your job, and it's like in your career, and we're like, I'm sorry, like what does that even mean? Like, you know, it's so like it's so like second nature, like I don't know, it's like not even a thought for us that like, oh, this is like something that people do at like to pay rent and do all these things, you know.

[17:26] Trevor Braun: As a kid, you kind of just live in the moment of like the oh my god, this is so fun. And I think when adulthood comes, it kind of just like gets scary because then it's like you know, like reality sets in almost. So it's kind of like as a kid at performing on Broadway, you're kind of living in this fantasy, you know. So does that make sense? Is that an accurate description? Maybe you can help me out.

[18:25] Trevor Braun: No, a hundred percent. I think it's true because you don't have you know, necessarily, you know, now I'm an adult, I guess. I don't know.

[18:31] Eli Tokash: Right.

[18:32] Trevor Braun: Uh no, you totally are grown men here. But but to be an adult now to have to worry about things like you said, like rent and you know, eating food and myself like just like financially and and uh spiritually and health, you know, health-wise, everything. Whereas before, all I had to focus on was like doing this thing, you know, doing it well enough that you know I'm not messing everything up, and also just like getting to enjoy that. And I think that maybe contributes to a sense of like because I had the experience growing up of just being able to enjoy it. I think I that almost has like given me this sort of like little nugget of like being like, Oh, I can always return to that because I know I remember what that was like.

I remember what it was like to not have to, you know, have to get the job to to pay rent, and although I still, you know, now I still have those needs. Right. At the same time, I can there's always a part of me that's like, remember why you're doing this. Because remember that little kid, you know, remember that little like six, seven-year-old who just loved to do this. That that person still exists inside of me. So I'm very grateful that I had the opportunity to work as a kid because it allowed me to kind of see this thing I'm doing in an unencumbered, you know, fresh, like youthful way. So I I do know what you mean. It is a fantasy. It's it's it's not real. And sometimes I look back and I'm like, was that real? Was I dreaming? Or is that real? Am I still dreaming? I don't know, maybe.

[20:06] Trevor Braun: Literally, it's totally an ode to, you know, like our parents, you know, like they never once like look made it that it's like, oh my god, there's like this is like real life, and this has happened. And you know, like they they do everything in their power to just like allow you to live your dream. Because like at the end of the day, like it looking back was a dream. Like you said, you know, like it was I dreaming. So theater, like being like a kid in the industry would not happen without all the wonderful parents out there. So shout out to all of you.

[20:42] Eli Tokash: Shout out to the parents.

[20:44] Trevor Braun: Um they are amazing, literally actually unreal what they what they do. Yeah, and the fact that they like put up with us, you know, it's it's it's that's a whole job in itself. So um kudos to them. Not even like taking us to rehearsals and shows and all the things, but also just like, you know, theater kids, they can be they can be menaces. So um shout out to dealing with us.

[21:10] Eli Tokash: Well, I'm curious because I mean, you I mean, you were so young when you had your Broadway debut. Um, but I love to go back in time and just, you know, you you made your Broadway debut in Beauty and the Beast. Um, and I I I want to ask you about it. Like, do you what do you remember from your Broadway debut? Do you remember taking your first bow on Broadway?

[21:30] Trevor Braun: Honestly, no. That's like not to get the point. I I was almost so young that that I don't I don't really remember it. I and I have memories from you know doing Beauty and the Beast, but I was, you know, it it was it was so long ago part of it feels like um, you know, like subconscious, like it like it's in there, but there's no sense of like my memory where where I can like recall like sense memory, just pull it out of me because it was so you know, I was just so I was so young. It which which also you know leads itself back to what I was saying at the beginning in the way that it like it does feel like part of this is like in my blood because it just has been there since before I can remember. Um so I know that's kind of a uh like a sad answer to give to be like, no, I I I don't remember it, but I I'm just you know, honestly is about politics.

[22:25] Eli Tokash: Yeah, exactly. You're not gonna make it up.

[22:27] Trevor Braun: Well, I mean, that's kind of cra like that that's just like an unreal story, you know. The fact that you don't remember it is kind of like crazy and it's uh it's you very unique, you know. Like who who has that story that they could tell? Like, hey, I was on Broadway at like five years old, uh and uh don't even like really remember it. Like that's that's like one of those stories where you're like at a bar when you're like 60 and you're you they're like okay, whatever, sure, sure, sure. And uh they're like you're delusional. And then you're like, no, like this is like life, like life is wild, you know, it's like that kind of thing.

[23:04] Trevor Braun: Um that's it's so funny because your first two roles, you weren't even playing humans, um you were playing a cup and you're playing a fish. Um like just like for I mean I'm sure now as like an actor in the way that you've grown and everything, like you kind of like look back and understand it. But like as a kid, are those even things that you think about like, oh my god, I'm gonna be a fish tonight, or is it kind of just like I'm just gonna do what they tell me to do and yeah. Like what's the process there?

[23:35] Trevor Braun: Yeah, I mean, I think it's like a little bit of both in a way. I mean, I think the good thing is having grown up, you know, watching those movies, I did have a sense of of who these people were, you know, because I grew up, you know, watching Beauty and the Beast Little Mermaid. I I knew those stories very well. Um, and uh yeah, I th uh I think part of it was understanding the character, like what what existed beneath, you know, how how do you play a cup? How do you play a fish? But I but I know I I understood who these these people were, you know, who their personalities were, what their relationships were. I think a big thing for me was at the time is like understanding my relationship with my fellow actors, you know, because so much of when I was in Beauty and the Beast, Chip is, you know, relating to his mother, his you know, the Mrs. Potts.

So uh for me, you know, having a maternal figure around me on stage and speaking to her was something that I could focus on more rather than being like, how would a cup respond to this? And then, you know, for for Little Mermaid, you know, having a a a a female friend who's like your best bud. Like, I grew up with a lot of female friends, so it was easy to me to be like, oh, cool, let me just like have a conversation with my friend. Oh, she happens to be half fish, and I happen to be a fish as well. Let me just not think about that part too much.

[24:52] Eli Tokash: Right.

[24:53] Trevor Braun: Um, and then so I think that that was sort of my my way in to understanding those characters. But also part of it just felt um, because I was so young, just felt sort of uh innate. Like it was just like, oh yeah, you know, you know, they tell me where to stand and what to do it, and then I'm like, okay, and then I'm just like doing the scene because you don't one of the blessings I think for child actors, and and I'm sure you can relate to is that it's like you you uh you don't really think about things as much. I feel like as we get older, we start to like overthink things a little more. And if you're a kid, you're just it just kind of comes naturally, strangely enough. And so uh in that way it was uh it was cool and it it was a blessing to just get to you know speak lines and and and feel things and not have to be like, well, let me, you know, have to worry about you know what my intention was.

Um sometimes I do that because I'm just crazy and anxious all the time. But for the most part, it's just yeah, well, I think it's interesting because like you know, I've always said that like as a kid, you don't really have these like insecurities that you kind of start to develop as an adult because you go through life and you go through these experiences that like make these things form. And so, like when we're kids, like who doesn't go in their backyard and go play like you know, pirates or whatever it is, you know, like or or like princesses in the dollhouse, you know, like whatever it is, there's something there, and there's always some sort of like imagination kind of happening between maybe you and your siblings or you at the playground at school, you know, whatever it is.

And so when you know it came to being a child actor, it's kind of just like put you in that mode, and you didn't even think that there was an adult in the room, you know. Like you were just like, oh, we're playing like mermaids right now. Okay, cool. Like, let's go be a fish, you know. Like, who like do we do that in swimming pools and stuff? Sure.

[26:54] Trevor Braun: Totally. We we get to do what all kids do, except we got to do it with just like a little higher budget.

[27:00] Eli Tokash: Yeah, it exactly. Like it's not in the backyard on a stage with like costumes and lights and stuff, but like basically the same thing that every kid's doing.

[27:08] Trevor Braun: Yeah, we can do literally. And we get paid, but like we don't even see it. So like we don't even care about that much. We yeah, like it's literally just having fun. Um no, it's it's I I'm obsessed with it. And it's crazy because I feel like that has to be that that's something that I I find reminding myself more than anything, you know, kind of just like where is that like kid, you know, at now as an adult. It's like going back to that sort of thing of just playing and like throw away silence the brain because there is nothing there as a kid, you know and you're just having fun, and that's what worked, you know.

[27:48] Trevor Braun: Yeah, so very interesting. It's a whole like I mean it I feel like there's like a whole psychology lesson that we could like have together, but we're not doing that. We're just talking, talking chop. Um I'm curious, cause like, you know, when I was on Broadway, so I we were just talking, I don't recall any overlapping with you, and I don't think there was. Um, but I'm curious to know, like, w what was the Broadway kid like routine w through your seasons, you know, like what'd you guys do in between shows? Was it kind of show to show or was it like throughout the other Broadway shows? Like what was that like? Yeah, I mean, so I started when I was like uh five, six, um, and then I I I was kind of you know, working consistently through there.

[28:37] Trevor Braun: I closed out Beauty and the Beast, and then I went to Little Mermaid and then went straight from Mermaid to Billy Elliott. Um, and it was kind of um for most of it, I was still going to school. Um, we had a tutor at the beginning of Little Mermaid before we opened because we had so many rehearsals throughout the day. Um, but I was, you know, for the most part through my first two shows, I was going to school during the day. Um, and then I'd come home, I'd maybe have a little bit of dinner, do some of my homework, and then I'd go into the city, um, do that, and then on Wednesdays, obviously with matinees, I would get out of school early, but because noon was counted as a full day, if I left the school at noon, it would count.

So it wasn't like I was like racking up absences, which was nice. Um, and then you know, between shows, I would, uh it depended. We when the weather was nice, we'd go to the park. Um, if not, I'd stay in the theater and I had we had it. I remember during Little Mermaid, um my guardian, John Mara, got people in the world. Love it. John's our manager now. Yeah. Oh yes. John is literally one of my favorite people in the entire world.

[29:51] Trevor Braun: Yeah. Um, but I remember we had this big like black chest just full of DVDs of like TV shows and movies. So, you know, when I when I wasn't on when I was understudying, uh when I was on standby, I would just watch movies, I'd watch TV shows, and so between shows sometimes I do that. I remember I would, uh I would always get Empin on a mama. Like I still to this day, it's actually so bad because New World Stages is right by Empin on a Mama, so it's really a challenge to not just have it all the time. But I would constantly have that. Um, but I was also part of uh Broadway Kids Care, BKC.

[30:26] Trevor Braun: Yeah. Uh which was like a, you know, a group of uh kids, like Broadway kids throughout the community that would come together often between shows on Wednesdays and Saturdays, and then we'd also we'd have this spot to hang out, but it was actually a charity organization, and it would kind of encourage a lot of the kids to give back. So that was something that I would kind of do often to keep me busy. But it it's crazy to think that just so much of my routine as a kid was like there there were times there are times as an adult when I'm less busy than I was as a child, especially when the pandemic hit. Like I was like my life, I'm 22 years old, and somehow there's less to do, and everyone was doing less, but it's just weird to think that there was more on my plate as a kid than there have been times as an adult.

[31:19] Trevor Braun: That's just a weird sort of concept because you think kids, it's just like having you know, you go to school and then you just like play, and it's like no, no, no. I have school, then I have work, and it's yeah, work. What does that even mean? Um, but I don't know if that answered the the question. I kind of just in the memories.

[31:35] Eli Tokash: I love I love it. We love uh a trip back through memory lane and all the things. So uh but yeah, it's cute. I'm I was curious because you know, like I've had kids on throughout my like seasons, I guess, uh, who I've like become friends with, and like, you know, we kind of did the same stuff, and I was curious to know, like now it seems like it's shifted a bit, and there's not as much community.

[31:58] Trevor Braun: Uh, but that also may be with the fact that like there's not as many kid shows on Broadway right now, which is so unfortunate and should not be the case because it's a dream. Um I think we were really we were part of like a uh a renaissance like truth. For sure. I feel like there was so many shows that had opportunities to give kids, you know, you know, parts and and like it was just it was wild compared to now.

[32:27] Trevor Braun: And there's still some shows, of course. You know, you still have like Lion King, but it was a renaissance, truly. Yeah, the way that we can only name one. Um it's like I can't think of anything else. I mean, MJ it has it like two, I guess. Oh, okay, okay. But like I yeah, it's just so bizarre because there were times, you know, like I mean, there was Billy Elliott, there was Annie, then there was Matilda, like there were shows going that like not didn't have like kids in it, but like literally was basically the whole cast of kids, you know, like there were just so many kids.

[33:03] Trevor Braun: So I don't know, it was just like, yeah, it would we're very lucky to to grow up at the time, like you know, that we did, because you know, those opportunities just wouldn't have have been there now, you know. Um, I mean, music man had a bunch of kids, but that's obviously done. But uh, anyways, um, but yeah, it's curious because that's what we always say, like, you know, we went to the park, you know, the the park on 43rd Street, whatever.

[33:28] Eli Tokash: Oh, I know that park was called it the Broadway park, and we were like, that's just not what it's called, but it's uh it's like where we all went in between shows. Grab the slice of Dollar Pizza on the way, you know, like that whole thing.

[33:42] Trevor Braun: Um my god, so much fun. Played on the swings, did whatever. Um, but yeah, no, it was a blast. And then like even afterwards, like I guess now I guess the kids go bowling.

[33:55] Trevor Braun: And I was like, Oh, it's a little bougie. That's a little bougie. But I guess since there's not many of them, they're able to like all go bowling, you know. I feel like if that's the time we went, we'd have to like rent out the whole freaking place.

[34:07] Eli Tokash: Um it was just crazy.

[34:08] Trevor Braun: That would be chaos.

[34:10] Eli Tokash: Yeah, for sure.

[34:10] Trevor Braun: They would be like, no, you guys are cut off.

[34:13] Eli Tokash: Um we're just like, one more Coke. No, it's okay.

[34:16] Trevor Braun: Um but okay, so going back to Little Bird Maid, I guess we could shift gears to, and uh I'm curious because you know, I remember growing up and I remember just like loving Heelys and just thought like they were the coolest thing in the world. Like if you did have a pair of Heelys, like if and you weren't healing down the hallway, like were you cool?

[34:39] Trevor Braun: No, I'm just kidding. You were of course cool, but like that was like kind of the vibes, and so you had to do that like on stage, like on a Broadway stage, nonetheless. Like, how cool was that? You know, like just being able to just you know heal around a stage and kind of just like have fun and play a fish.

[34:58] Trevor Braun: Yeah, um, I it was awesome. It it it's actually funny because I'm I'm a rather uh anxious person. Uh which comes, you know, I'm I'm just a little a bit neurotic. Uh, but I actually didn't know how to use healy's, at least for the audition.

[35:12] Trevor Braun: Oh my gosh. So I had to like train myself to learn how to do them. And I and a lot of my house was carpeted. So I just remember there was this strip of, you know, not carpeted ground in my house that was maybe like two feet by four feet. And I just remember like holding my dad's hands and just like teaching myself to healy on this tiny little piece of you know, linoleum or whatever.

[35:36] Trevor Braun: Oh my god. And then just telling myself I remember in the callback being like, Don't fall, don't fall. And of course I fell right on my audit.

[35:45] Trevor Braun: Um But I I I I guess they saw the recover I got right back up, so I guess the recovery was like what got me the job. I don't know.

[35:52] Eli Tokash: A professional.

[35:54] Trevor Braun: Yeah, exactly. You know, show must go on.

[35:57] Eli Tokash: Yeah.

[35:57] Trevor Braun: So uh bruised coxic and all. Uh so uh so I I do remember that really well, but then eventually I really got the hang of it, of course, doing it four times a week or whatever.

[36:08] Trevor Braun: So I eventually got used to to doing it. And then it then it became a blast, and I remember I I think I would wear them even outside of the show.

[36:16] Trevor Braun: Um obviously there was the costume pair that I had, but I'd like, you know, be in school and and still doing it. So I guess I was on wheels more than on foot most of you know, a age nine.

[36:28] Eli Tokash: Yeah.

[36:29] Trevor Braun: That is awesome. I'm curious, like, you know, we talk about these Beauty and the Beast and Little Mermaid. Um, did you like know the shows before you like started them?

[36:40] Trevor Braun: Like, or was it kind of like, oh, I watched a movie because I was auditioning or because I got the role like kind of thing? Were you fans, I guess?

[36:49] Trevor Braun: Oh, yeah, I mean, of course. Uh all both of them, specifically Little Mermaid. Uh it's actually funny. I I had originally auditioned for it when they were doing their out-of-town tryout in Denver, and uh I didn't get it because I was uh too young at the time.

[37:04] Trevor Braun: But then when they brought the the transfer over to Broadway, they the the two boys who were in it at the time had started to age up, and so they're like, Okay, we need more like we need to get two younger kids. But I remember for the audition, Ariel was always my favorite princess.

[37:17] Trevor Braun: I was like obsessed with Little Mermaid as a kid, absolutely obsessed. So I remember when I didn't get the job going out to Denver, I was absolutely heartbroken.

[37:26] Trevor Braun: Uh it was really it was one of those one of those ones that sticks in your mind. You know how like you know, I mean you you go on so many auditions as a kid, and most of them most of them kind of just you let them you get you know, you get that thick skin that they always talk about.

[37:39] Trevor Braun: But that was one of the ones where I was like, really just broke my heart. But thankfully it came back and my heart was healed.

[37:46] Eli Tokash: Uh your heart knew what it wanted.

[37:49] Trevor Braun: Exactly. And it got it. It was that ambition. Always.

[37:53] Eli Tokash: I love that. That's awesome. Uh yeah, so I was I was huge fans uh of of both of them and and it was really, you know, it was great to get to be a part of that.

[38:02] Trevor Braun: And even more so than that, I think one of the things I was really grateful for at the time and even now looking forward is that you know, for a lot of kids, those types of shows are their first introductions to theater.

[38:13] Trevor Braun: So the fact that I could be a part of someone's, you know, that there might be like a kid who had never seen a show before and was visiting New York for the first time, and I could be part of what you know, sparked their love of theater is really special for me, because I know how much how important theater is in my life.

[38:34] Trevor Braun: And I I to even be a small part of, you know, introducing someone to theater was was a pleasure. And I don't know if maybe I wasn't conscious of that at the time, but looking back now, I think it's it's something that I'm I'm very grateful for, and I think is really special because you know, I don't know how many times do you get to see your first Broadway show once.

[38:57] Trevor Braun: And that's really a moment that I think a lot of people hold really near and dear to their hearts. Uh so I'm just grateful that I could be a part of it.

[39:06] Eli Tokash: Yeah, exactly. It's so cool. Um I'm sure you still like, you know, have people that I guess I don't know, that are like that saw their first show and still like follow you or like reach out or whatever it may be.

[39:21] Trevor Braun: Um just because you were like a part of that like monumental like moment in their life of like, oh, you may have found like I I remember the first time that I fell in love with theater was seeing a show for the first time.

[39:34] Trevor Braun: You know, and so like so many other people could have had that experience and you were able to be a part of it. And that honestly may be the coolest thing about just being a performer.

[39:44] Trevor Braun: You know, you get to share your love with someone that then you can pass it on to them, you know.

[39:51] Eli Tokash: So yeah, I I think I I love I love everything about it. It's obsessed with being uh take me back.

[39:58] Trevor Braun: Literally take me back to those days.

[40:00] Eli Tokash: Um I'm a I just miss it all so much. But uh, you know, it happens and we'll see what's down the pipeline.

[40:07] Eli Tokash: And I mean uh we won't get there quite yet because I do want to talk to you about Billy Elliott since we're I guess we're going in chronological order.

[40:14] Trevor Braun: Um just worked out, I guess.

[40:17] Eli Tokash: Uh I'm curious, you know, like Billy Elliott is like uh you were starting to, I mean, you already had two Broadway shows under your belt and everything, and you're starting to get older and everything, but like it's a whole like I feel like different world from the other shows that you did.

[40:32] Trevor Braun: Um definitely.

[40:33] Eli Tokash: Yeah.

[40:34] Trevor Braun: So especially with the character that you were playing. I mean, you played Michael and Billy Elliott, um, which is like not an easy role.

[40:41] Trevor Braun: Um it's not a role that was very like common for like kids, like that were written for kids. Um and so like I'm curious to know like what was that whole process like for you, not only as like a performer, but also like a person and like allowing to dive into this character as another person and not like a Fisher Cup, even though you humanize them beautifully.

[41:07] Trevor Braun: Um But like what was that, you know, and and especially like as you kind of got older and you started to like learn things from Beauty and the Beast and Little Mermaid, like how did this process kind of like change for you as a performer and a person?

[41:22] Trevor Braun: Yeah, I mean hugely, honestly. Like I I look back on that show and it was really kind of a formative like uh like fulcrum. It w it was really like a shifting point for me in terms of uh, you know, how I saw the my job, my career, the my my craft, like the art of acting.

[41:42] Trevor Braun: Um you know, working with uh the Brits, because they they brought the show over, and so a lot of them, you know, were from over there. They had just a very different method in terms of how we uh how they taught things.

[41:55] Trevor Braun: I remember learning my first, you know, I remember on my script, I still have in my or my mom rather has in in our basement, like my Billy Elliott script. And it was the first time that I'd actually taken notes on a script.

[42:07] Trevor Braun: And I I could smack myself because I wrote it in pencil. Oh so over the years it's kind of smudged, so a lot of it's hard to read. But I I remember like learning things about like intentions and creating like imaginary as-ifs and and different sort of techniques on how to act in in ways that uh felt a little more concrete and and honestly in ways that I I still use to this day.

[42:35] Trevor Braun: Um so I think it was a really big turning point for me to, you know, to go from doing things that felt a little, you know, felt a little more uh uh presentational and less sort of internal, if that makes any sense.

[42:56] Trevor Braun: Um and then on top of that, of course, there was the just the aspect of uh the discipline of it all. I mean, Billy Elliott was uh, I don't know if you've heard stories about just like the discipline that they would, you know, keep the kids under, and it was you know, it was severe in a really great way. We were constantly, you know, we didn't rehearse and then do the show. We would constantly be in rehearsal, we were constantly fine-tuning. I mean, the Billy's, the kids that played Billy's were uh I have so much respect for how much work went into doing that. They were spending hours and hours a week going to aerial training, doing ballet, tap, and we were, you know, we would constantly have those rehearsals as well, which is why I actually for Billy Elliott, I we started uh I didn't go to sixth grade because I was being tutored during that time because we couldn't, you know, we would be missing out on too much school because we were constantly in rehearsals.

Um, so in that way, I think what I'm really grateful for for Billy Elliott, uh, even to this day is how much it taught me discipline and how much it taught me how, you know, if you want to yield certain results, if you want to get things to look a certain way, to feel a certain way, then you have to put in the hours and you have to put in the work and sometimes it's gonna hurt and sometimes it's gonna, you know, it's sometimes you're gonna sweat and sometimes you're gonna, you know, be sore. But you know, you have to get there. Um, you have to put in that work. Um, so I really I learned I can't put into words how much I learned from doing Billy Elliott. Um and I'm it really shaped me into the to the man I am today.

Um on top of that, just getting to uh getting to play Michael, who's a queer character, and you know, being a kid, uh, you know, a queer kid who still, you know, it's 2000 and I'm so bad. I I was 11. I'm so much I'm I'm bad at years, I'm so much better at like how old I was. I was like 10, 11, and still, you know, sort of figuring out my identity. So getting to do that in a space, even though it was public, getting to that in a in a safe space and getting to do that in in the theater where you feel so supported and where you know I was surrounded by by people who were so supportive, actually I think also helped me uh, you know, feel more comfortable with who I am. Uh so in that way I'm also grateful. Uh yeah, Billy Elliott really really changed my life.

[45:16] Trevor Braun: They all did. Um, but Billy Elliott in a way where I felt like I was really coming into my own.

[45:20] Eli Tokash: Stop. That I love that so much. Everything about that. Cause like your whole process as an actor and like growing in that sort of sense is is one thing, but the way that you kind of shared that story of like Michael being a cute queer character and you know, just going through that journey with him and forming that relationship with your character and figuring that out and exploring that that's awesome. And I'm that's I'm thrilled that you were able to have that experience because you know, like if you don't have that experience, it's like, well then like you know, life could be completely different, you know, in so many ways. That's that's wonderful. It's really great to hear because not often do um you know theater kids have you know, some of them can have troubling stories. So the fact that like you were able to find this kind of like revelation uh in and during Billy Elliott was wonderful.

[46:10] Trevor Braun: I'm curious, like you you talk about the whole like discipline thing, and it just I mean it of course my mind goes to like Matilda. I don't know if you know about like their craziness that they went through every day, but uh was it like kind of that thing where you had to be at the theater like two hours before call time and like you had these lift calls and you had this and that uh the whatever was it kind of like that or was it kind of just a whole thing literally throughout the entire day with rehearsals and stuff?

[46:38] Trevor Braun: Yeah, I mean I don't know the specifics of Matilda, but I know that a lot of um I believe the choreographer and our associate choreographer was shared between the two shows. So I would imagine that a lot of yeah, I I I had just kind of missed the Matilda sort of era. Um but I I do like a lot of my friends from Billy Elliott had moved on to Matilda, some of the kids that were younger than me. Um, and I do even like I I did get a sense that it was like, oh, this is sort of like the Billy Elliott with like this is like the Raw doll Billy Elliot.

[47:12] Eli Tokash: Yeah.

[47:13] Trevor Braun: It felt like the s the same sort of uh the the same sort of vibes. Uh sure.

[47:17] Eli Tokash: Sure, sure.

[47:17] Trevor Braun: So even though I wasn't in Matilda, I feel like anyone who's in Matilda, even if I don't know them, I'm like, we we get each other. We we we understand that that's what that was like. I can't imagine. First of all, because I can't dance. Second of all, because I mean it's just wild. Like that's a whole other process in itself. Like there's not any other show that like does that. You know, so I I just couldn't imagine and uh you know the stories that I hear is just like you said like I respect the crap out of you, you know, like kind of thing.

[47:50] Eli Tokash: Well I I want to talk to you because uh a very common thing through a child actor and especially with the guys as they go through voice changes and stuff like that. There is such thing as like aging out of a role. And I I believe if I like if I read that properly you you had that experience with Billy right.

[48:12] Trevor Braun: Yeah yeah yeah talk to me about that yeah.

[48:16] Trevor Braun: So yeah so I I was around like 11, 12 and like you know as people do I started you know to go through puberty and you know my voice dropped and and I remember I remember really trying to like convince I was in such denial just trying to you know I I really had convinced myself it was a cold. And then I was like a month it was like I don't think this is a cold but you know really trying to convince myself that I I you know I wasn't getting older.

[48:43] Eli Tokash: Yeah.

[48:43] Trevor Braun: And you know I think it in a weird way maybe subconsciously it had to do with uh you know fear of mortality and maybe that's me being kind of uh melodramatic but you know I think we're all afraid a little bit of getting older and so you know losing a part of ourselves losing things so I think uh as that was happening, it was it was very scary. And then I I was joke around and call the time in between that like the dark ages. And of course it wasn't, and I I continued to do theater. I it maybe even was doing more theater.

[49:14] Trevor Braun: Um because the you know the runs were so limited, obviously. Uh no, you're not doing a year and a half on a show, rather you're doing like a weekend or two. Um but I I was still constantly the I I think literally the minute I finished Billy Elliott, I hopped into a theater camp that I did like two, three weeks after I knew was gonna be my closing day to sort of like fill that void inside of me.

[49:41] Eli Tokash: Yeah.

[49:43] Trevor Braun: Uh and so uh despite the fact that I wasn't, you know, working and despite the fact that you know I was continuing with audition and I wasn't really finding a lot of success there, I was still learning, I was still honing my craft, I was still constantly you know, pushing myself and putting myself in keeping myself active in the world of theater so that those much muscles didn't like atrophy or anything because that you know that would have been my biggest fear because it was losing the thing that I cared most about, and to me it didn't matter whether I was doing it, you know, on a Broadway stage in front of 1500, 2000 people, or if I was doing it, you know, in front of a my high school auditorium, or if I was doing it in a basement with a couple of people because I just really liked doing it.

[50:24] Trevor Braun: So I just it it was a rough transition for sure. I'm not gonna, you know, sugarcoat it, but at the same time, I I pushed through it and I made it work because I m I cared more about doing it than I wanted to like let myself sink into that hole.

[50:41] Eli Tokash: Yeah, for sure. And I I'm curious, like that's great because literally your experience was completely different to mine. I was totally like on your side where it was like, you know, I convinced myself it wasn't happening or like because mine I actually like didn't happen until like I was 14, 15. So I was like late.

[51:01] Eli Tokash: And so it was kind of just in my head that like, you know, it was coming. And then it kind of just happened overnight. You know, and it never like really went through a change of breaking or whatever. But like when it happened overnight, like I didn't sing for a year or two. You know, like I didn't put myself out there at all.

[51:25] Eli Tokash: Like I tried in like my room and I just like you know couldn't get used to it. You know, and so I was just like I like barely sang around my family. I like I was just like it was not a thing. Uh and I just like it was one of those things where I you know, I wish going back I had stayed in touch with theater and and explored the different things and explored my voice a little bit more and to force myself to do that um because I feel like maybe I would be like further along with my voice and learn because I feel like I'm still learning it like today and like here I am at 19 learning my voice still and I know like it's always gonna change and whatnot but you know it it's nice it like as a theater kid you're just like where did it go?

[52:11] Trevor Braun: You know like this was always something that I could rely on and wasn't even something that I had to think about and now it's something that I have to think about.

[52:19] Eli Tokash: You know so like going back I was always like I wish that I stayed in it because there was like a time where like I said like I shut down and I just said like I don't like it anymore, you know, kind of thing.

[52:33] Trevor Braun: Yeah so um yeah.

[52:35] Trevor Braun: Well, it's it it's yeah I think it's easy in that situation to to to get that way because it, you know, unfortunately, and as they, you know, as they have to, it's you know, it's it's they gotta let you go, and there's no sort of like there's no, you know, they cut you loose and that's it because they have it's a job, and that and like we were saying before, like unfortunately, because it is a job, you can't you can't, you know, of course they're nice to the kids, but at the same time you have to when the time is done, the time is done, and they let you go, and that can really it can feel like a personal affront.

[53:09] Trevor Braun: And I remember there there was times, even though I was still doing it that I felt like, you know, am I worthy? Am I enough? Like, what's wrong with me? And that's just such a strange way to feel, and then to add that on to just the the hormones and the normal feelings of inadequacy when we're a teenager. Um so it it was it's it's it was tough, you know.

[53:28] Eli Tokash: It's it's tough being a teenager and and to not only go from not to only go from being a kid to being a teenager, but to go from being like a kid who's also an adult to being a teenager who was a kid who was an adult, it's just this huge sort of mind weird, strange thing.

[53:47] Trevor Braun: For sure.

[53:48] Trevor Braun: And and bringing that up, like kind of brought me to like, you know, it's weird because like I don't know even like how to describe this right now, but it's as a kid, you get and and I guess just in the industry as jet in general, like sometimes you know, you take the auditions personally and you're like, oh, like what did I do wrong? Or why don't I look like the part, or like, why don't I do that? Like, and you start to like personalize that a little bit. So then, like, once you get the opportunity to get the job, and then you're told like you're not right for it anymore. And it's just like what did I like? It's it's a whole like other it's like a mental game that you kind of have to like overcome and and navigate in uh a unique way, and it it like in the end of the day, it's not personal, you know.

[54:49] Trevor Braun: Yeah, of course.

[54:50] Eli Tokash: And it's hard, but it's hard like wrapped up in the moment to like remember that. I don't know if I worded that probably like I didn't want to like I don't know.

[54:59] Trevor Braun: No, I know what you mean.

[55:00] Trevor Braun: Yeah, it it's really I and I think that's a challenge that you you even deal with as an adult. Um it's this constant renegotiation of like you know, you know, our our body, our our who we are is our instrument and our tool. So when people go, no no no, it's not you. It's it's hard not to just be like, so I'm wrong, and it's like no, you're you're just not right, which is like very different.

[55:27] Eli Tokash: So yeah, and it and it's hard to like get past that, you know, and and figure that out for for I mean yourself, and then when it becomes like coming into your job, and it's just like wow, like it's like okay, sure, yep, okay. Um kind of just gotta accept it and and work twice as hard to get the next thing.

[55:48] Trevor Braun: Um but I it's crazy, it's always a grind.

[55:52] Eli Tokash: This industry. I don't know why it's not like just called the grind, anyways.

[55:57] Trevor Braun: Well, let's talk about the play that goes wrong. I mean, you were also in Ferryman, and uh I have uh I could talk to you about that forever because what a beautiful show that is.

[56:05] Eli Tokash: Um, but I don't want Love Us.

[56:08] Trevor Braun: Literally, okay.

[56:09] Trevor Braun: Well, let's we'll do a quick little like recap of it. Talk to me about it because this is like the first time that like you know, I mean for like technically you're an adult, you know, like you you were kind of like one of the older cast members, and I'm sure you like there were like of course other kids on stage, and I'm sure they were like, like the middle the middle cast members.

[56:31] Eli Tokash: Sure.

[56:31] Trevor Braun: Sure, the middle cast members. Um but like that had to be such a cool experience for you to like now work with like kids, and I mean like we'll always be kids, but like like actual kids. And uh so like what was that experience like kind of being like the veteran veteran and and kind of you know, having that older brother kind of relationship, maybe uh amongst the cast, where you may have been just like the little brother.

[57:10] Trevor Braun: The dark ages, yes, of course. Uh and I was doing it while I was in school, so I was, you know, still in college and I was doing that. And uh first of all, I mean, I just want to shout out that show because that is one of my, I think it's one of the greatest plays ever in. It's unbelievable. Um could not agree. But getting to work with the kids was cool because like I said, we were sort of like the middle group, so there was, you know, I mean, that show ranged in age literally from the 80s to six months. So we had the full spectrum of the human experience there. Um but we did get the chance to get really close to the kids, especially because um as understudies we spend a lot of time, uh we have dressing room all the way on the fifth floor, as you know, Broadway Theatre is a very tall.

Oh yeah. Um and they always stick the young ones on the highest floors because they think we can do it. Yeah, our little legs can handle it, apparently. And and they can, but the guardians, I remember just the organization like, okay, uh but uh oh, so we would spend a lot of time in that basement kind of watching the monitor, and just you know, there was a goose and a rabbit, so it's a lot of fun in the basement. Um, but because of that, we got to spend a lot of time with the kids. And uh me and the two other uh sort of like middle understudies uh that were my age, the two of them were older and I was younger. So I almost became it was just this weird, uh strange sensation of being, you know, older than the youngest kids, and and like you said, having that sort of like big brother mentality, and yet at the same time having the two older middle understudies uh feeling like the younger brother to them.

So kind of feeling like this sort of like gateway between the two, feeling like I could um, you know, there were even times when I, you know, I could relate to the kids in certain ways uh that the other ones couldn't, and and you know, they could advise me. I learned a lot from uh the two understudies on that show. I learned a ton from them. They were only two years older than me, but they were so, you know, they gave me so much that I am still, you know, that's still a part of me to this day. And so I really, it was a cool, it was a cool transition because I, it didn't feel quite as stark, I think, as coming into a show and being like, oh now I'm an adult. Because I was an adult, but at the same time I got, you know, I got to see these kids, I got to see my own experiences, myself reflected in them, you know, to kind of like I don't want to say guide them through it because that's giving myself a lot of credit, but you know, to like you know, to see that with them and to be able to relate on a level that I think a lot of people couldn't, you know, not many people can you know know what it's like to be eight, nine, ten years old and working on Broadway.

So I so I got to um, you know share that experience with them. Um and it was kind of the it was it was the perfect way to sort of come back to this world that I'd stepped away from for a while. Uh uh, especially as an understudy, honestly. I feel that was something that I hadn't, you know, I'd been under I mean, you know, I we'd we'd alternated, so I'd been in understudy, I'd been on standby half, you know, half time when I was a kid. But to be a full-time, you know, standby cover um was actually cool because it gave me this this instead of pushing me into the deep end, I had this opportunity after, you know, not doing uh like professional Broadway theater for a while to kind of step back into it while still having a sort of omnipresent perspective on on looking at things outside. So in every way that experience was uh just a really nice um portal into this this this place that felt familiar but also felt uh distant.

[1:00:52] Eli Tokash: Yeah, absolutely. And it it it must be different too, like it and maybe this kind of was part of this portal and everything, in the fact that like, you know, this is also your first play on Broadway. And I'm sure, you know, that that whole like dynamic kind of changes with the material that you're doing because plays tend to be a little bit more like you know, real instead of like fantastical, you know, like kind of thing. Um so I'm sure maybe that was a part of like you know, accessing that portal, I guess, and and really like learning more about it all I mean if acting you know uh if every if not even acting if life is just about kind of exposing yourself to experiences that you know make you a more well-rounded person yeah then you know if I've chosen this field then in that way all of these things have given me an opportunity to to broaden my perspective of what it means to be an actor and so yeah I totally I totally agree with what you're saying like getting to do a play that was you know three and a half hours long that was an irate like drama was so different than playing a cup.

So I really I got to be like oh cool this is like another part of my industry that I didn't even know about and now I now I do so it was you know it was jarring but it was uh it was cool I feel like all of a sudden I was like oh wow this is a whole nother thing I didn't even think about you just like I I loved you that you just like kind of like slid in the little cup because like the diversity the the versatileness of the uh the acting of your repertoire is so um go off uh that's uh hilarious um I have to talk to you okay let's talk about the play that goes wrong because the I mean I could talk to you about literally the ferryman and everything that this conversation is wonderful I could talk to you forever um but I want to talk yeah seriously but I want to talk about the play that goes wrong before I let you go and give it its justice because there's something about this show that is literally just so brilliant.

You know like it's so simple yet so detailed you know like it's it's very interesting, and it's like it it honestly if I saw it, I've seen it like nine times. And so yeah no there's there a friend of mine is like literally obsessed with the show. He's probably watching, he's seen it probably over a hundred times, and um he is obsessed, and he always is like, I'm going, let's go. And I'm like, you got it. And um we love the show, and it honestly brings me back. So I'm from West Virginia, and it honestly, and my my siblings were part of like the drama club in their high school, and it honestly like feels like a high school drama club in West Virginia that just like everything goes wrong, but like it's not supposed to go wrong back in West Virginia, where here it like is, and that's kind of what it's spoofing.

Um so I'm obsessed with the show and can feel it and feel like I can like personally relate to it. So I'm curious, like, have you ever had like experiences that like with the comedy of the show that's like actually happened in like real life without it like meaning to go wrong or like any like you talk to me about it.

[1:04:11] Trevor Braun: For sure. I mean, I think one of my favorite things about doing this show is that I uh, you know, I think everyone who's done theater, you know, who maybe done high school theater can relate. And I always say that if you know, if if you are like a theater person, I have like friends that I did theater with in high school and middle school that have come to see the show and their parents come to see the show, and I'm like, this is for me, it's nice because I almost get to like exercise those demons because so much of the stuff that does go wrong has happened to me, like you said, in in ways where it wasn't supposed to, whereas here it is. So to get to like kind of like reclaim control over it is really nice.

Like I feel like it's almost like therapy. Like it's like I get to like look back on these traumatic experiences and be like, no, I I I I meant for this to happen. Uh so in that way it's almost therapeutic, uh, which I'm grateful for. Um, but that's why I I like like you said, I think that's why this show's so brilliant because it's like you've seen this before. I've seen this before. It's not as wild as this I mean, it's wild what happens, and and and yet at the same time you can look at like the core of what it is and you're like, oh, I've seen this before. I like I I know this. This this is not as extreme as we uh as we think it is. It gets to a point where it is, but at the same time, it's actually quite grounded.

It's quite grounded in in in a reality because theater, you know, the reality of theater is sort of this like heightened world, and so uh you know, getting to be a part of that is is a blast. I mean, it it's some of the most fun I've ever had in my entire life.

[1:05:43] Eli Tokash: I can't imagine. I mean, it honestly, like you you saying it being therapeutic for you as an actor, it's honestly therapeutic as an actor to watch too, because it's kind of like look at the success that this show is having, because like you know, the this is theater. I mean, like, we're watching theater and audiences love that. So, like, it's kind of like a reminder that it's okay to like mess up and like it's okay to like things can go wrong, and and you know, as actors we probably beat ourselves up for it, but it's a great reminder of like, no, just like it's live theater, like things happen and you just gotta roll with it.

[1:06:19] Trevor Braun: Yeah. Yeah, and and to like it's just been great because I've I've just been reminded because also between you know, because of the pandemic, uh from Ferryman to now to when I started Play That Goes Wrong was the longest I'd ever gone without doing theater since I was like three years old. Right. So to I you know I missed it so much and to come back to it now in a show that feels so theatrical, it's just really reminded me how much I love the the you know the art the the the beauty of theater it's it's it's it's been such a blessing because I I you know I missed it and like we like to do go full circle like uh back to the beginning uh it feels like home and and so not only spending so much time away from home but getting to come back to it feels uh you know it's just been a nice reminder of like why why I love it so much and it and it was it was so easy to be reminded of that.

[1:07:25] Eli Tokash: Oh to get to be reminded of it every night is just so wonderful, and I'm just so grateful. And I'm and I'm in awe, you know. I'm constantly in awe of what people are able to you know make happen in a theater every day, eight shows a week. It is it is a feat, and to every show everywhere across the whole world, you know, and any venue, it's it's it's it's a miracle. Doing theater is is a miracle, and and I'm just so I'm could keep labbing on it. I'm getting like it's just I love it.

[1:08:01] Trevor Braun: You're such a theater kid, it's so cute. It's great. I'm curious, like with the play that goes wrong. I mean, you said everything about it, like it's literally like a theater person, like anyone who's ever done theater, everyone anyone who's ever seen a piece of theater? Like everybody, it's for everybody.

[1:08:24] Eli Tokash: Yeah.

[1:08:24] Trevor Braun: Um, and I think that it like there's nothing out there like it. And with that being said, like I bet you there's no other show like the last show. Like I'm sure like every show with play that goes wrong is completely different.

[1:08:39] Eli Tokash: Right.

[1:08:39] Trevor Braun: Like it seems like some of it is even improvised. Like, is that the case? Like, w what is it like just with audience reactions or like with all the technical things that go wrong? Like I'm sure there's even like, you know, things that actually go wrong that aren't supposed to go wrong, you know, like it's just things happen.

[1:08:57] Eli Tokash: So talk to me about like, you know, that a new show every night.

[1:09:02] Trevor Braun: It's it's constantly new. Th things do go wrong. We have like contingency plans in case like really big moments uh go wrong, just to make sure because a lot of a lot of it is about safety, you know, making sure that everyone on stage is is safe. Uh sure. And and like you said, the audience it become we always say that there are like there are eight characters in the show, right?

[1:09:23] Eli Tokash: Eight?

[1:09:23] Trevor Braun: Yeah, there are eight, and then the ninth characters are set, and then I almost feel like the tenth character is the audience. Like so much of um so much of the show changes based on how the vibe of the audience is, you know, we really kind of like use them, uh not use them, but what but but but they become such an integral part of of who the show is and how the show takes shape. Um and so every night is so different. And I'm sure you've gotten this question a lot, and people, you know, people always constantly asking, like, do you get bored doing the same thing every night?

[1:09:59] Eli Tokash: Um people always ask that question.

[1:10:01] Trevor Braun: Um, which I think if you do theater, you understand that like it doesn't um specifically with this with this show, um, it's always like you know, I'm never not excited to go into work, even when you know things do actually go wrong, or when you know audiences aren't as quite reactive, it's just like it they just become new challenges to overcome and new things to sort of like maneuver around and figure out. So it's constantly fresh. Every night is something new. Just the other night, literally on Monday, uh, there's something going around, and uh someone's sick and someone's on vacation, and I'm the second cover for a role, and the first cover was already on, and so I had to go on in a in a different role that I understudy that had almost never rehearsed. And I was literally walking off stage, and someone like had a script and was like, okay, now you're gonna do this and this and this and this and this.

[1:10:54] Trevor Braun: Wow. So just, you know, two nights ago, I totally had a new perspective and a new way of looking at things, and that's what's so great about theater is as much as, you know, as much as you do want consistency, of course, and you always, you know, strive for consistency in any show. That's also, like I said at the beginning, I feel like I'm just like repeating myself.

[1:11:16] Trevor Braun: Oh sorry.

[1:11:17] Eli Tokash: No, it's you're mine.

[1:11:19] Trevor Braun: But it feels like um you're you know, you're constantly it is new, it's always fresh.

[1:11:28] Trevor Braun: Uh no matter what to do theater, because it only exists in that moment, you know.

[1:11:32] Trevor Braun: That night, whatever happens that night in those two hours, there's an Arthur Miller quote, and it's like a huge big quote.

[1:11:38] Trevor Braun: So I can't quote it exactly, but uh, and he probably is gonna phrase it much better, but I highly recommend you look up this quote because it's one of my favorite quotes of all time.

[1:11:45] Trevor Braun: But it's something about how you know what's magic about theater is that you know, this moment will only ever exist now.

[1:11:52] Trevor Braun: Only the people right here, right there, sitting in the audience backstage on stage, and then after that it disappears.

[1:12:00] Trevor Braun: It evaporates into the ether, and yet everyone who is there got to like see that time bottled, like time in a bottle, and just this magic, this magic moment that is you know up in the air and is gone forever.

[1:12:20] Trevor Braun: And so I can never be bored because that's the only time that's gonna happen.

[1:12:24] Eli Tokash: That's so exciting to think about.

[1:12:26] Trevor Braun: Absolutely, and honestly, like I think that you know, I mentioned I saw the show many a times, and I have a friend that's seen it many a time.

[1:12:34] Trevor Braun: I think that's what keeps people coming back, is that you know, you know, like in this show, it's just not the same.

[1:12:42] Trevor Braun: It will not be the same, you know.

[1:12:45] Trevor Braun: It is a completely different show every night.

[1:12:47] Trevor Braun: Whether it is because there is like audience interaction with the show, like a big piece is like the audience kind of yelling to you guys, like to y'all on stage, and you know, the timing is different and the filling is different, you know, like every night.

[1:13:04] Trevor Braun: So um I just think it's, I don't know.

[1:13:08] Trevor Braun: I just think I think it's brilliant.

[1:13:09] Trevor Braun: I think this show is absolutely brilliant.

[1:13:11] Trevor Braun: I'm in love with the show.

[1:13:12] Trevor Braun: Um, and it's so cool that you're a part of it.

[1:13:15] Eli Tokash: Yeah, yeah.

[1:13:16] Eli Tokash: Like any like theater kid could like totally or like theater lover could like geek about this show for sure.

[1:13:22] Eli Tokash: Well, I'm curious, you know, like I don't know.

[1:13:24] Eli Tokash: When I saw the show, I was like, this comedy feels like it's so physical.

[1:13:30] Eli Tokash: Um, it feels like it's a physical comedy type of show.

[1:13:33] Eli Tokash: Um, and it's not like uh, you know, character.

[1:13:37] Eli Tokash: Like, I mean, I guess there are character comedy, but like you know what I mean.

[1:13:40] Eli Tokash: There is like a lot of physical comedy in the show.

[1:13:42] Eli Tokash: So I'm curious, you know, like, especially as of late, like with all these auditions kind of being like self-tapes and everything, like what is the audition process for a show like the play that goes wrong?

[1:13:53] Trevor Braun: Because I'm sure it's kind of unique from say Billy Elliott.

[1:13:57] Trevor Braun: Totally, yeah.

[1:13:58] Trevor Braun: The audition process is really cool.

[1:14:00] Trevor Braun: I mean, we had uh initially there was a round of self-tapes uh to start it off.

[1:14:05] Trevor Braun: Um and I remember them giving specific directions because I think what's hard also about the play that goes wrong is the sort of uh the comedy of it.

[1:14:12] Trevor Braun: Because as soon as you start playing it bad, then it kind of loses its funny.

[1:14:17] Trevor Braun: It's no longer funny because you don't want to see people trying to be bad, and rather you're trying to fight exactly against that.

[1:14:25] Trevor Braun: You everyone's trying to make sure things don't go wrong.

[1:14:30] Trevor Braun: Everyone's trying to make sure this is the best production ever.

[1:14:33] Trevor Braun: Um so I remember for the initial round of auditions, they they uh they were their self-tape, they gave two scenes, three scenes, and they made sure to give uh notes, which was really helpful because one of the things I think that's really hard about self-tapes in general is that so much of the time you're kind of just, you know, you get your lines and you get a character breakdown, but you don't really get a lot of uh you don't really have an idea of the specifics of tonality or uh you know what what direction they're looking for.

[1:15:02] Trevor Braun: And so it was super helpful to sort of get a baseline of what they were looking for and some advice, and I was really grateful for that.

[1:15:09] Trevor Braun: Uh and then it was one round of self-tapes, and then I'm trying to remember there might have been one more round of self-tapes, and then they brought in everyone for group auditions, and then we had three or four rounds of in-person group auditions, which was the first in-person audition I'd had since pre-pandemic, which was amazing.

[1:15:28] Eli Tokash: Yes.

[1:15:30] Trevor Braun: Big five.

[1:15:31] Trevor Braun: No self-taperson auditions.

[1:15:32] Trevor Braun: Yes, please.

[1:15:34] Eli Tokash: I totally agree.

[1:15:36] Trevor Braun: I don't I did not want to act in a vacuum.

[1:15:38] Eli Tokash: Right.

[1:15:39] Trevor Braun: Right.

[1:15:41] Trevor Braun: So they yeah, they brought us in in groups of like uh 15, 20, and they would have us do like improv exercises, and then we'd uh we'd do the scenes in front of each other and and they'd mix up groupings and pairings.

[1:15:52] Trevor Braun: And it really was nice because it felt um, you know, uh besides being a little terrifying, as all auditions are, uh it it was nice because we got to to feel like we were really, you know, like in an improv class or uh, you know, I feel like I was back in uh drama school, like just getting to to be in a room with a bunch of people, um, high stakes, but also you know, kind of pretending and fooling ourselves into believing it's low stakes.

[1:16:16] Trevor Braun: Uh and just getting to like play around, that was really, really a blast.

[1:16:21] Trevor Braun: Um and and then in terms of like a physical comedy, some of the stuff it it's that you know, they didn't even really prepare us too much uh for that in there.

[1:16:31] Trevor Braun: So that's kind of been a journey learning uh as I go along and and getting to integrate those parts of my life uh with the physical aspects of it.

[1:16:39] Trevor Braun: Uh, you know, because they weren't having me lift up certain objects in the audition because they didn't have them.

[1:16:45] Trevor Braun: I'm not gonna give any spoilers.

[1:16:46] Trevor Braun: Uh but you know, because you know, lifting up objects and and falling over and jumping on top of stuff.

[1:16:51] Trevor Braun: And obviously, if you're in a room in an audition room, you don't really get to do that.

[1:16:55] Trevor Braun: So some of that stuff I was like, once I got it, they were like, okay, here we go.

[1:16:59] Trevor Braun: And I was like, let's do it.

[1:17:01] Eli Tokash: That's totally what I was alluding to in regards to like what is an audition process look like?

[1:17:06] Eli Tokash: Because I feel like I I don't know, like if for a self-tape or something, like I was curious, like, did you break a shelf?

[1:17:13] Eli Tokash: Like, did you like what did you unscrew something?

[1:17:17] Eli Tokash: Like and like have something loose.

[1:17:18] Eli Tokash: So like something could go wrong, you know.

[1:17:20] Eli Tokash: Like, it's just such a just it's a different like beast, I guess, to attack it as an actor.

[1:17:28] Eli Tokash: And so I was curious, you know, like if there was anything like that happens within like the rehearsal area, even when they bring you into the room, if they let you work with that or not.

[1:17:37] Trevor Braun: That because that is such a big part of the show, you know.

[1:17:39] Trevor Braun: So um that's pretty cool though.

[1:17:42] Trevor Braun: I love that process of like you know, coming in and the way that you can like work with like other actors auditioning.

[1:17:48] Eli Tokash: I feel like is literally the best audition process any actor could ask for.

[1:17:53] Trevor Braun: Totally.

[1:17:54] Eli Tokash: Yeah, okay.

[1:17:55] Eli Tokash: I uh I think that's like all I have.

[1:17:58] Eli Tokash: I mean, you now you're a TV star and now you're all doing all the things, and it's it's awesome just to like be able to follow you now.

[1:18:07] Eli Tokash: Speaking of that, why don't you shout out your social media so that people listening can can follow you in your next journeys, I guess, all your uh future endeavors.

[1:18:17] Trevor Braun: Yeah, you can my my Instagram is at Trevor Braun, which is my full name.

[1:18:22] Trevor Braun: Uh so it's pretty easy.

[1:18:23] Trevor Braun: That's uh that's yeah, that's my Instagram.

[1:18:26] Trevor Braun: So you can you can follow me there, and and that's where I put uh you know, that's where I keep myself updated.

[1:18:31] Trevor Braun: I just posted about the scissor concert because I took a day once I never do, but I took off one moments because I had to see Scizor in concert.

[1:18:39] Trevor Braun: Uh so you can see me talking about Sizza, follow me at Trevor Braun.

[1:18:44] Eli Tokash: That is iconic.

[1:18:46] Eli Tokash: I am obsessed.

[1:18:46] Eli Tokash: That's hilarious.

[1:18:47] Eli Tokash: Um, no, seriously, and you can also go check Trevor out at New World Stages, currently at the Play that goes wrong.

[1:18:55] Eli Tokash: And he's playing Dennis, and he's absolutely he will literally I mean, he and the entire cast is just gonna make you cry.

[1:19:04] Eli Tokash: Like tears of laughter in the best ways.

[1:19:06] Eli Tokash: Um during the show.

[1:19:08] Eli Tokash: So everyone go check it out.

[1:19:49] Eli Tokash: Trevor Braun, thank you for coming on here.

[1:19:49] Trevor Braun: Yeah, yeah, totally.

[1:19:49] Eli Tokash: Oh my god, this was an absolute blast.

[1:19:49] Eli Tokash: We had like a full I I feel like I talked to you forever.

[1:19:49] Eli Tokash: This is like maybe the longest time I've talked to someone.

[1:19:49] Eli Tokash: So uh I appreciate you doing that.

[1:19:49] Trevor Braun: Are you kidding?

[1:19:49] Trevor Braun: No, no, no, no.

[1:19:49] Trevor Braun: I do too, don't worry.

[1:19:49] Trevor Braun: But there was just so much to talk about, and I loved hearing your stories, and I know that everyone listening will too.

[1:19:49] Eli Tokash: So um I am thrilled that we were able to do this.

[1:19:49] Eli Tokash: And uh, you know, we share a second home of the Luntfontaine, so it's it's good to like finally meet someone that uh, you know, we could share that with.

[1:19:49] Eli Tokash: So it was a pleasure meeting you, and I really you have a lot to take about for.

[1:19:49] Trevor Braun: So take about Trevor Braun.

[1:21:52] Eli Tokash: Thank you so much.

[1:21:52] Trevor Braun: Thank you.

[1:21:52] Eli Tokash: Of course.

[1:21:52] Eli Tokash: Take about Trevor Braun, it was really cool to get that new perspective.

[1:21:52] Eli Tokash: You know, we've had a couple friends like Annalise Carpacci, uh, who just like was a child actress, and then she was in Mrs. Doubtfire, so she kind of like got the experience as an adult and all the things, but uh, you know, it's always refreshing to get those perspectives because we don't get that on here a lot.

[1:21:52] Eli Tokash: So uh to talk to Trevor and Trevor was a part of like a whole different kind of generation of shows on Broadway.

[1:21:52] Eli Tokash: So it was kind of cool to hear, you know, what they did and and kind of like the traditions that they did, or even kind of like started or slowly started in a way.

[1:21:52] Eli Tokash: It was pretty neat to revisit all of it and kind of reminisce about you know those days of doing school in Broadway theaters.

[1:21:52] Eli Tokash: Uh, you know, literally like every time I walk past the Luntfontaine or even the music box, like I don't look at it anymore as dancing or Dear Evan Hansen.

[1:21:52] Eli Tokash: I still see Pippin there and I still see Neverland outside the Luntfontaine because you know, they were literally my homes for so long.

[1:21:52] Eli Tokash: Uh I would literally live there and do school there and uh rehearsals and like literally spent more time there than I did at my apartment uh living.

[1:21:52] Eli Tokash: So um craziness there and always fun times to to discuss all of that and to talk and and kind of relate to have a conversation relating to something like that.

[1:21:52] Eli Tokash: Um so hopefully you all enjoyed that episode.

[1:21:52] Eli Tokash: Hopefully you all um kind of learned a little bit more about how it all works and what it life is like.

[1:21:52] Eli Tokash: And uh yeah, hopefully you all enjoyed it and uh hopefully you're inspired to, you know, either do the same or you know, take whatever it is, uh hopefully you were able to take something away from this episode as always.

[1:21:52] Eli Tokash: So um thank you so much for listening to this week's episode with Trevor Braun.

[1:21:57] Eli Tokash: Stay tuned for Monday because we're gonna have a fun episode with Shucked to remind y'all what those opening nights are like, uh, which is super exciting.

[1:22:06] Eli Tokash: And hopefully you guys will check out the YouTube channel uh at Take A Bow Podcast.

[1:22:12] Eli Tokash: Uh, you can also uh subscribe and like and comment or whatever you want to do on those videos to make sure that you're getting those updates of when we're dropping new content, because we're doing it a lot multiple times a day because we're kind of like catching up with all of the uh episodes.

[1:22:29] Eli Tokash: We have a lot of video episodes.

[1:22:31] Eli Tokash: So if you want to go back and like actually watch episodes of podcasts, you now can, which is super fun.

[1:22:37] Eli Tokash: And we're doing extra content with red carpet and content uh around New York City uh that we're gonna be posting here shortly.

[1:22:46] Eli Tokash: So stay tuned, subscribe and do all the things so that you can get all those updates and see what we're up to, or as well, follow us on Instagram as always for Broadway news and updates on Take A Bow and opening night content and all the things, so very exciting stuff and a reminder.

[1:23:03] Eli Tokash: Actually, we're actually doing more exclusive content up on Patreon.

[1:23:08] Eli Tokash: So you can also go check that out.

[1:23:10] Eli Tokash: Highly recommend that.

[1:23:11] Eli Tokash: We've been pretty active on there as of late, and we're doing it literally content only for Patreon, and we're doing some fun things coming up that we have in the pipeline, like trivia nights, we're gonna have game nights, and we're gonna have I'm gonna be sending some Broadway merchandise to people, surprise boxes for the first couple people that you know subscribe to Patreon.

[1:23:35] Eli Tokash: I don't even know if that's the right word, but we're doing some fun things and doing exclusive video and fun content, special episodes, all the things for those people uh who subscribe and become a patron of Take A Bow.

[1:23:48] Eli Tokash: So thank you again for listening.

[1:23:50] Eli Tokash: Thank you for all the support.

[1:23:52] Eli Tokash: I love doing this, so thank you for allowing me to continue doing this by just simply listening.

[1:23:57] Eli Tokash: And uh, we here at Take A Bow always thank you.

[1:24:00] Eli Tokash: So we hope you all have a great week, and uh we hope to see you next week.

[1:24:00] Eli Tokash: Bye everyone.

[1:24:00] Eli Tokash: Have a great week.

[1:24:11] Eli Tokash: For this episode's current call, I would like to recognize a few people who also deserve to take a bow.

[1:24:16] Eli Tokash: This podcast would not be possible without the help of Dory Barenstein, Alan Seales, Kimberly Garrett, and the team at the Broadway Podcast Network.

[1:24:24] 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.

[1:24:34] Eli Tokash: And how about a bow for our executive producer, Chris Greiner?

[1:24:38] Eli Tokash: 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.

[1:24:47] Eli Tokash: If you're interested in becoming a patron, go to patreon.com slash TAB.

[1:24:52] Eli Tokash: 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.

[1:25:00] Eli Tokash: You can also subscribe, like, and comment on there as well.

[1:25:03] Eli Tokash: 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.

[1:25:10] Eli Tokash: The music of this podcast was made by Nikki Torsha and Cormac Collinon, and the logo was created by Giselle Bustos.

[1:25:17] Eli Tokash: And that wraps up this episode's curtain call.

[1:25:19] Eli Tokash: Thank you all again for listening to this week's episode, and I can't wait to see you next week.

[1:25:24] Eli Tokash: Bye everyone.

[1:25:25] Eli Tokash: Have a great week.