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[0:01] Eli Tokash: Hello everyone and welcome to episode 173 of Take A Bow. I'm your host, Eli Tokash, and this week we have another great episode for all of you folks. We have a guest that I met at BroadwayCon. And uh now she's coming on the podcast and she's gonna talk to us about Phantom of the Opera and talking about the opera world and musical theater, how it correlates. Uh we have some very uh interesting conversations. I'm really excited for you all to listen to it. And of course, you know, we had Sarah Essie on uh after they announced the uh closing of Phantom of the Opera, but the show hadn't closed quite yet. So it was really interesting talking about that final performance, you know, that final performance where it was going viral all over social media and then and through the news and all these things where they were literally like the audience just wouldn't leave the theater, and uh the cast members literally were able to get changed, and people are still there, and they were uh like singing for them, like still uh in their like street clothes because the audience just refused to leave.

So it was a wild time. Uh, and our wonderful guest this week, raquel suarez groen, uh, talks to us through all about it. And now she's honestly, she's also doing something really cool where she's keeping Phantom's Legacy alive through jewelry. So you could literally wear a piece of Broadway's most historic musical uh and other musicals she has, um, right on like you can keep it with you, like throughout your entire day. It's awesome. Uh, and I just find it all so interesting, and that's how we met. So, anyways, long story short, we have a really fun time on this episode today, so y'all are really gonna love it. But before we turn it over to that, we gotta talk about some Broadway news because you know, that's just what we do here at Take A Bow.

Um, first off, I want to talk about some shows that I saw, some shows that I actually fell in love with. I was blessed to see two shows on a Saturday. I saw El Megopop, which y'all, that show is unbelievable. Like, I was blown away. Uh, just absolutely loved everything about it, did not want to leave, could have watched my uh Antonio Diaz, who uh is the magician, uh uh the I guess his like magician name is El Megopop. So um that's obviously why the show is called Omega Pop. But he is unbelievable. It's on Broadway literally for 10 days for all of 10 days. Uh, but now it's you only have till Sunday to see it. So uh we were actually able to attend the opening night as well. So those are fun videos that's gonna come out very soon on YouTube.

Um he does m c a card trick on me right at the red carpet. So uh it was kind of awesome. This guy's unbelievable, and it was the best 70 minutes of my life. Literally, you're in and out of the theater. What more could you ask for? Uh, you're entertained the entire time. Um, and it's just a a really good time. Like for anyone, like I don't know, like I never really thought about it, but I guess I'd never gone to like a magic show, and like I don't know, when you say that it's kind of like, oh, like a magic show, like, oh, I don't know, like a little school talent show. But like this is like this is just nuts. Next level stuff, y'all are gonna fall in love. Highly recommend it. And then uh, so that's where I started my day, and then at night I was able to see Here Lies Love.

Y'all, Here Lies Love is unreal. Talking all about the you know, kind of the politics uh in the Philippines, um and everything going on. Like it's crazy how just the government all over and just politics in general are just so, you know, shitty for lack of a better term. Um just so they're just it's kind of uh a mess everywhere and you know, not everyone's gonna love everyone in power. Um and you have people that you root for and it doesn't always pan out, and it's just like it's just wild in how relatable it is to the politics over here, especially um in the past uh presidency and and the past few years here in America of how politics has kind of divided our world a bit. Um and it's kind of just crazy to to see a show of that and and to see a show full of these wonderful um performers who all come from Philippine descent and um it's just something that you don't see on Broadway and it's something really special.

Um I wasn't able to well I wasn't invited to this opening night, um, so I didn't get to see it earlier, but uh thrilled that I did I was able to see it now and I I do hope that like you know, sometime soon we can get some sort of content with that show because I I just loved it and the music's great and and the way that they've just restructured that entire theater i is brilliant. Um, it really is. It's really beautiful. Um, and then of course, like they just keep you like in it, you know. Like, like you just fall in love with with the show, and the second it starts to like you're kind of like, oh, like where is this going or whatever, they just pull you right back in and they make you stand up and they like kind of let you take a dance break and and it kind of wake wakes you back up and you're just like, oh yeah, I'm ready to go.

Like, this is a party. It's just it's really, really neat. Um, especially if you're on the floor, you know, you're standing the whole time in the orchestra and you gotta move around with the set. It's just wild. It's an unbelievable experience, and it's something that you should definitely experience um, you know, once. So uh yeah, anyways, that that was that's my those are the shows that I was seeing. Um I I had a blast seeing seeing shows this week, and then hopefully uh this weekend actually I'm seeing um I'm seeing the Mercy immersive uh Great Gatsby, uh, which I'm very excited about happening over like Central Park area, uh not the Great Gatsby that's about to be at Paper Mill, although I really want to see that.

This one's at Central Park. Uh can't wait for it. So I'll have a review for that uh next week, and hopefully I will also be seeing uh Goodnight Oscar as well, because that closes on Sunday. So congrats to uh both El Magopop for an incredible run uh and of course the whole company and cast of Goodnight Oscar, which closes this Sunday as well. So I hope to know I don't really I really really really don't want to miss Goodnight Oscar. So I'm gonna try to make it uh before it closes on Sunday. Um, all right, moving on.

[7:01] Eli Tokash: Uh into the real news here. Uh once upon a one more time, it announced its closing September 3rd. This is heartbreaking. I mean, this is something that um I think was inevitable and that people saw, especially like for those of you like who are actually like interested in like what shows close and what shows don't, and like all of that, like it's really interesting looking at uh the weekly Broadway grosses that come out. Um both like Playbill, Broadway World, they'll all post it. And uh it's a really telling sign of like what Broadway shows are like gonna you know, open or close, uh or if they're gonna stay open or if they're gonna close soon. Um according to those grosses, you know, there's one show that's gonna close very soon here.

Hopefully it doesn't, but if it keeps the trajectory, they're changing their schedule around. I'll I'll say it, it's beautiful noise. Um I mean the the numbers are out there. It's just selling at just over 50% capacity. And it's a show that I love. Um and it's a show that I've had a few uh cast members on. So uh I really do hope that it continues to succeed and find its success. Uh, but they're actually changing to more matinee is because they notice that their audience is a bit older and they sell better for the matinee because like eight o'clock performances are simply too late for this older generation. Um, so I hope it works out and I appreciate them like, you know, taking the opportunity to kind of take the risk and and and do the study.

Um, even if it means, you know, losing losing money, you know. Uh because the shows like once upon a one more time, like this two week notice nonsense has to stop here on Broadway. I mean, these guys got two weeks' notice uh that they're out of a job. Um, and and that's usually like I guess in the corporate world, that's like you know, that's pretty standard. But um in Broadway in our in our industry, it's it's kind of hard to find a job of two weeks. So, uh, but shout out to all of them. You know, I loved the show. I hope to see it before it closes again. I don't think I will be able to. Um, but who knows, maybe I have a couple weeks, I have two weeks, so um I'll try to get there. I want to see Salisha and Nathan Levy um back in the show again.

Um, so that would be great. And hopefully you all enjoy it. Honestly, like the people I talked to actually had a good time at the show. It's just like could not find its audience, you know. Um, and there's a lot of shows like that right now on Broadway, unfortunately, like the Anne Juliet's The World, the Sixes of the World, um, and all of that. So it's just it was a tricky time for Once Upon a One More Time. And um, for those of you who are interested in this little tick bit, it's really hard for a show to succeed in the Mary Out Marquee Theater. If you look at its history, there haven't been many shows that it's have that have succeeded. A lot of it is because of how the capacity of the theater, it's one of the biggest houses on Broadway.

And that's partially because it's one of the newer theaters. Um, but because it's a big house, um, you know, it's it's hard to harder to sell those tickets because in in a theater where it's like a thousand seats, you know, that's pretty easy to to keep the tickets in demand. Especially like a show like Hamilton or Sweeney Todd, like the Lumpfontaine, uh or Deer of Enhancing for reason for um example, you know, the music box uh holds I can't imagine more than eleven hundred people. I obviously performed there in Pippin and and it was just easier to run, you know, it's a smaller theater, so you don't have to spend as much money in in the production and all of that. Uh and then of course, uh you know, you you can if you're selling out, well then it it looks good.

You know. So when the show isn't selling well and there's all these tickets available, then people go online and they're like, oh, well, if it's not selling, it may not be that good, and they'll look at a new, you know, a new s uh show. So um that's kind of that's a thing. Like Beetlejuice didn't have a great afterlife, you know, Margaritaville, all of these shows like on your feet had a good run, but it's just it's hard for a show to succeed there. But uh anyways, my heart goes out to all of those uh, you know, the companying cast of Once Upon a One More Time because um, you know, it's a great cast and it's a they really did work their booties off for the past few weeks. Uh it's been a it was a hard show as we learned uh in our episode with the cast.

Um and uh they've just gone through it. So um shout out to all of them on a a great and unforgettable, in many senses, uh run over there at the Marion Marquis Theater once upon a one more time. Go see it before September 3rd. Um speaking of Here Lies Love, I obviously saw it as I gave my review. Uh Leah Salonga played her final performance in Here Lies Love uh this past Saturday. So I didn't get to see her as um, you know, as in the show. So I was super bummed. Her last show was Saturday matinee, and I went Saturday night, you know, shocker. That's how things turn out here. I'm very uh upset about that, but it's okay. Uh, she's obviously staying on as one of the producers, so she's gonna be very involved, and I wouldn't be surprised if she comes back to the show at some point.

[12:23] Eli Tokash: Um, but for now, Vina Morales will be coming in from September twenty second through October 22nd. So a one-month stint um to be playing the role. So uh that's very exciting. And uh shout out to Vina uh for for coming in. I'm excited to to see how that goes. Um all right, moving on. The last piece of news I'll leave you all with the outsiders will begin performances on Broadway starting March 16th of 2024. And uh it's gonna be opening on April 11th at the Bernard Jacobs Theater. So parade is no longer around, and the outsiders were swooping right in, um, not wasting any time on getting their theater uh with parades closing. Uh shout out to them. Obviously, like Angelina Jolie was the final piece there for getting the show to Broadway, but uh good for them, and I can't wait to see the show.

The music in this show, man, is just uh people are gonna fall in love, so I can't wait to see the show and see it on Broadway, and hopefully, I don't know, we'll be a part of it. But uh wishful thinking. Anyways, moving on. Oh, that's all I have for you folks this week. Uh that's all the news I have. Uh with that being said, I'm just gonna turn it over to Raquel. Um, I've spoken enough here, uh, and I'll turn it over to our fabulous guest about all things. Uh, you know, Phantom of the Opera, really. Without further ado, raquel suarez groen.

[14:10] raquel suarez groen: Okay, this week's guest is known for the role of Carlotta in The Phantom of the Opera, where she performed over a thousand performances in five years with the company. Insane. Nowadays, she is keeping Phantom's Legacy alive by creating jewelry made out of the costume pieces, set pieces, sheet music, I mean you name it, all from the Broadway production of Phantom, which is the coolest thing ever. Her shop is called These Blings Do Happen. And I'm literally obsessed. So welcome to Take A Bow, raquel suarez groen.

[14:45] raquel suarez groen: Hi.

[14:46] Eli Tokash: Hi, Raquel, thank you.

[14:48] raquel suarez groen: Oh my god, this is so exciting. I love everything that's happening.

[14:53] Eli Tokash: Oh, well, I'm so glad. I mean, thank God it's actually, you know, become more fun than I could have ever imagined, which is pretty cool.

[15:01] raquel suarez groen: Yeah, it's great. No, we so we met at BroadwayCon. Um, and I saw your booth that you had there, and I was like, oh my god, these pieces of jewelry are so beautiful and so festive. And then you were like, they're all made from the Phantom of the Opera production. I was like, what? The coolest thing. So how did this whole thing start for you? Like, how did what made you want to start making jewelry?

[15:26] raquel suarez groen: You know, um, to be honest, I think it was something that kind of fell into my lap in a weird way. So when the show closed a couple weeks before, the warehouse was giving away pieces of fabric. And oddly enough, I didn't go to the fabrics, like, whatever, because I was like, well, I don't sew, I don't do any like like I'm not crafty, like I am, but I'm not like you know, I think of fabric as being for more like the people who worked in wardrobe, and because like my dresser Rory, who you met, like she makes the most gorgeous costumes, and I'm like, I can't do that. So I was like, I don't need any fabric, what am I gonna do with it? So um, it was a two-show day. I came back that night, and Rory had actually grabbed me some Carlotta fabric, and she was like, Listen, like this may just be fun for you to have, you know, it could be something that, like, you know, I don't know, like you put in a shadow box or whatever.

So yeah, a couple weeks later, she was actually selling like pieces of fabric in little vials, and Trista Muldervan, who was my cover for Carlotta was also making these beautiful cards with fabric, and I was like, you know what? Like, people are asking me if they can have a piece of the show, but like I don't want to do what they're doing. Like, what could I do where they have something that they could have all the time and wear, you know? And so I got the idea of jewelry and saw that you could buy these beautiful like bezels and put fabric in it and put glass over top, and it was just like this beautiful um way to carry the show with you. And later I even got crystals from the chandelier, um, which I still have.

Those are so popular, so it's like you get to like wear a piece of history around your neck, you know. And I was like, Yeah, I want to wear this, and so I kind of put it out there for the fans and was like, is anybody interested? I was like, maybe even like if five people are interested, that would be cool. Um, and then it just kind of like went crazy, and people were like buying rings and necklaces and you know, bracelets and all sorts of different things. Um, people were like, you know, there's some people who are like, I don't wear jewelry. So somebody asked for me to make a magnet, or somebody else asked for me to like frame a piece of the fabric, you know. So I'm now making bow ties. It's kind of fun because it's like an infinite amount of possibilities when it comes to what you can make with jewelry.

So it's been really cool. And now I'm also um kind of expanding into other shows as well. Like I've got some Wicked stuff. I have the original bees from Beauty and the Beast. Um, so I'm making things with that. I have um some things from Anne Juliet, and and so it's like, you know, I'm hoping at one point it's gonna kind of be this this array of different shows.

[18:06] Eli Tokash: Right. So yeah, it's the coolest. Do you I feel like though, like, so I have like set pieces or like costume pieces or whatever from like shows that I've done, but I've I was like, I feel like it'd be so hard to like give those away. Do you ever get those moments?

[18:22] raquel suarez groen: Yeah, I mean, you know, I definitely kept some things for myself, you know, and the things that I really want to keep. I made like a beautiful shadow box with our final program, one of the brushes I used to use to put on my like Hannibal makeup, um and things like that. I did keep some fabric for myself in a sense, like with you know, the jewelry. Um, but at some point, you know, the rest of it kind of sits in a drawer and it's like I can hold on to it, but why not share that joy with so many people? Because Phantom goes so far beyond the show. You know, people have really like a huge sentimental value um to that production, and so it was it's like really cool. And people write to me and they're like, oh my god, I saw you in the production when it closed, and this was you know, the show that got me into singing, and I mean it's just like another way, I think, to connect with fans, um, on a different level and for them to have something tangible to take with them, you know, with this yeah, a really sad time of the show closing.

[19:20] Eli Tokash: Totally. Well, well, let's talk about Phantom then some more because I mean, literally the most historic show on Broadway, you know, that that will probably ever be on Broadway, like for real. Uh and you got to be a part of that and you got to close it. So what what does it mean to you just to like be a part of uh such a special show, especially with your background in opera?

[19:44] raquel suarez groen: You know, I think that sometimes it's still not complete, like it still doesn't feel like it really happened. Like it's like so crazy to me that it's like, wait, did I really do that? Um it's such an honor, you know, and it's like it's one of those things that I think um I'll I mean it's just the great part is nobody can ever take it away from me, you know, which is amazing. Um being a part of that final show was unbelievable. Our second to last show that in fact our last show for the audience. I mean, people didn't leave, you know. It was like the audience for 30, 40, 50 minutes. We were all like ready to go and leaving, and we'd get on stage and people would start clapping and um I think in that moment I was like, Oh my god, this show is much more than just a musical.

You know, the show is much more than like a big production. This show like means a lot to a lot of different people. Um so it kind of, you know, put everything into perspective, but it still doesn't totally feel real. You know, it's like, wait, did that happen? Was that part of the last show? You know, and then of course like Judy Kay was there, who was the original Carlotta and Sarah Brightman, you know, the original Christine. And I mean, it was like unbelievable just to stand on stage with all these people who had been in the very first production. One of our conductors had been there the entire time. Actually, two of them. Kristen Belloggy had been there from the beginning and David Caddock, and it was like, wow. People have had like whole families and you know babies and marriages and grandkids and yeah it's incredible.

[21:21] Eli Tokash: Yeah. It's in it really is. And I mean for you, you you were kind of part of two closings with one show, which is also something that rarely happened. I mean was there ever like a scare like I don't want to say like a scare but like was there ever like oh boy like I hope we come back after the pandemic or was it like already known that like you were gonna come back?

[21:43] raquel suarez groen: You know I think we were all kind of in that mindset of like if any show is gonna come back it's gonna be Phantom. But then I know. But then when London shut down and like their entire cast was pretty much let go you know it was kind of one of those things that was like ooh like we could be next you know um and so yeah it was definitely scary. I mean I think we all were positive but of course there is that little thing in the back of your mind saying well if this goes on any longer like we could all be out of a job the show could close and it was sad because there were some people who you know one of our Christines and one of our Megs it was like they were supposed to be done let's say in May um and so their final show was just like done you know it was like well your last show is today you know um and you kind of you guys did that like I guess that first closing before the pandemic not knowing it was gonna be the last show of the pandemic or did you already know that Broadway would be shutting down?

[22:41] raquel suarez groen: No, not at all. I mean it was weird because we were the last show on Broadway that afternoon. It was like a Thursday afternoon and um we had just done Hannibal, and I was underneath, you know, the opera box with Pianji. And somebody said, um, one of the stage hands actually was like, hey, like, that's it. Like tonight, we're not gonna be on tonight. Um, and so on intermission, they said, you know, we're gonna be closing for two weeks due to the pandemic. Please pack up all your things. I was like taking my plants home and my snacks, you know. But the rest I left everything there. I took Alexa, of course. No, I didn't. I left Alexa at the theater. So um, you know, I have conversations with my Alexa in my dressing room and I I left her.

Um, but you know, we all thought two weeks and two weeks seemed like a long time. You know, I was like, wow, two weeks, and then it turned into a month, and then it turned into several months, and then it turned into a year and a half, you know. But I have to say that coming back was so cool because I think that we were almost stronger than ever, you know. Like we all being in a show where you're kind of like entering this uh this hamster wheel, you know, like you never really get a rehearsal with like everybody, you know, because there's people who've been there for five years and some for ten and some for three. So even when I came into the show, it was kind of like I got slotted in, right?

And you know, my rehearsals were with the understudies, and then I had one rehearsal with the cast and the the principal cast, and then Carl and I did our Broadway debut for the first time, like all the way through with the orchestra with an entire audience. Um and so when we came back, it was like everybody was rehearsing again together, and that was really cool. And I think we even made like closer friendships. I think we all appreciated the show even more. Um, and also just seeing like small changes that had happened, like the show just looked so fresh. Um, so it was really it was really cool. And of course, like DJ, you know, Andrew Lloyd Webber was outside with his, you know, with a street party. So it was pretty, it was pretty epic.

[24:44] Eli Tokash: Yeah Lloyd Webber I can't so I mean DJ yes well I'm curious because like obviously you guys didn't know that you were shutting down before the pandemic and then like lately I feel like it's just been like a trend lately on Broadway which I I'm not a huge fan of but these shows are closing with like a week or two notice and y'all were able to have a couple months notice and to really kind of you know give its respect and then of course you guys extended a little bit the show and everything like that um your closing so w how how did that kind of help you prepare for like what's to come next as a performer?

[25:28] raquel suarez groen: It definitely was very positive in the sense that we all kind of grew towards the closing. In another way, it also felt like slow torture because you knew that it was gonna happen, you know, but it's like you were like, it was like the anticipation of like, oh my goodness, what's that last show gonna feel like? You know, and people are like 200 shows left, 100, like it kind of felt like this funeral that was like, you know, it was kind of sad, but at the same time it gave us enough time to get used to the idea to look for other kind of work. At the same time, like some people left the show early because they went to different shows, some of us really decided to stay on until the end. You know, those were hard decisions too. Do you stay until the end to be part of the closing or do you like jump ship and go to another show but miss out on, you know, being a part of the final cast.

[26:15] raquel suarez groen: And so, um, yeah, I would say that it was like kind of a roller coaster of emotions, honestly. Like, you know, at first you're like, oh, it's so far away. And then as it was happening, getting closer and closer and closer, um, reality really set in, and um, yeah, everything became more nostalgic. It was like, oh god, now it's Laird's final performance. Oh god, now it's Julia's final performance again, you know, and so it was kind of like you had these kind of goodbyes along the way. So it was, you know, it was sad, and at the same time it also gave us time to adjust. So bittersweet.

[26:50] raquel suarez groen: Bittersweet. Absolutely. Yeah, those are always tricky, you know, shows closing. No, you never want it to happen. But with a show like Phantom, it was like, I don't know, like it came, like I'll never forget where I was when I saw the announcement, you know, of like the show is closing. I was in a Walmart parking lot, by the way.

[27:07] Eli Tokash: Oh my god!

[27:09] raquel suarez groen: We were in rehearsal for Nahal's put in. Yes, it was horrible, like none of us knew um until it came out on the news, on the like, you know, uh the New York Post. Like we had no idea. And I remember we were doing our put in for Nahal, who was Andre, and um somebody texted me, was like, wait, is Phantom closing? And I thought, oh my god, like one of these stupid rumors again, you know, and it's like the New York Post, so who knows?

[27:35] raquel suarez groen: Yeah, um, and so I was like, no, there's no way, there's no way. And then we started asking around, and the weird part was that normally if something like that came out, they would say, you know, don't listen, don't listen to that, blah, blah, blah, blah. And in this case, they were like, um, we're gonna have a meeting at four o'clock. So we were all in rehearsal for two hours, like not knowing what was gonna happen. And then literally they put us into the hall and um they put on like a little computer, put up a computer, and we all sat around the computer and they, you know, told us that the show was gonna be closing. I mean, it was like unbelievable, it was like one of those moments where you're like, what? Phantom?

[28:13] raquel suarez groen: Yeah, this show's gonna go on for another hundred years. But um, yeah, I mean, people were bawling, you know. Um especially people who've been there for, I mean, there were some people there who, you know, had been there 20 years, who like one person started when she was 16, she was the youngest person to join the cast. Like, this has been her entire adult life.

[28:35] Eli Tokash: Right.

[28:36] raquel suarez groen: You know, it's like this is your home. These are, these people are like your family, you know. For some people, it was like, oh my god, like I am putting my kids through college thinking I had this secure job, and now what? You know, so it was like it was different for everybody, but yeah, we didn't find out until you guys all found out.

[28:56] Eli Tokash: Wow, that's crazy.

[28:58] raquel suarez groen: Yeah, it was special. Gotta love that.

[29:01] Eli Tokash: Yeah, I was just gonna say, what a wild.

[29:04] raquel suarez groen: Yeah, right.

[29:05] Eli Tokash: As yeah, it's crazy.

[29:05] raquel suarez groen: And I mean, as you know, like you're a performer too, shows close, like they close, you know, and it's part of what we do, and we know that. And um, it just felt like this was different. You know, it's kind of like if Wicked were to close, or it's just like, you know, Lion King or Chicago. I mean, it's like one of those things where it's like we all just think of Broadway as those kind of, you know, Phantom is like a part of the Broadway.

[29:29] Eli Tokash: Right.

[29:30] raquel suarez groen: Like, honestly God, like I haven't been alive, well now I have, where Phantom hasn't been on Broadway. So like I think of Broadway and I think of like Phantom, and I was like, oh, like you that could never leave, you know.

[29:41] Eli Tokash: Yeah, it's here to stay.

[29:43] raquel suarez groen: Um and of course the rumors would always come around of like, oh, is it gonna close? Blah, blah, blah. And now, since it is closed, there's been rumors that it's gonna open back up and like all of these things. And so, like, it just never stops, you know.

[29:56] Eli Tokash: It never stops.

[29:57] raquel suarez groen: And like, you know, the thing is everybody thinks we have like the inside info, and I'm like, we don't have to know it was closing until you guys found out, you know.

[30:04] Eli Tokash: Real absolutely, yeah, it was weird.

[30:08] raquel suarez groen: Yeah, well, I'm curious for you because this obviously was your Broadway debut, as you mentioned.

[30:14] raquel suarez groen: Yeah, um, and you have a background in the opera, you know, and this is a Broadway show about putting on an opera almost. So, like, how, how like from your personal experience, you know, like were there any major differences, or were you just really able to relate to this show in particular?

[30:33] raquel suarez groen: Like, what was this just experience like for you? I mean, as far as like the opera diva went, I mean, I was able to pull from like every person I ever studied with in my life and everybody I ever worked with. I was like, this is too real. Um, and you know, the role was also based on Maria Callas, who was like known for being an incredible artist and singer, one of the best in history, but she was extremely difficult to work with.

[30:58] raquel suarez groen: Um, you know, and so I was like, you know, even just watching the master class, you know, um, you could see how she was, and so yeah, in that way, it was like this is very familiar. I know these people, I have worked with these people, I've gone to therapy because of these people.

[31:16] raquel suarez groen: Um, but as far as like the reality of eight shows a week, that was very new to me. So in opera, you maybe do like three shows or two shows a week. Um, you're not, like, the rehearsal process is much longer for Broadway, it was two weeks for opera, it's like six weeks.

[31:33] raquel suarez groen: Um, you know, so it was kind of this, uh, yeah, like I said, the first time that Carlotta and I did our first show, it was in front of an audience, you know. We had never done it in like full costume with the entire cast with the orchestra. I mean, it was like they just kind of threw you into the deep end.

[31:50] raquel suarez groen: But the cool part was, you know, it felt like, well, if they trust me to do it, then I should be able to trust myself. Um, so that whole night just kind of felt like crazy. Like, I think I only remember like two parts.

[32:02] Eli Tokash: Yeah, one part in managers and then like the battle.

[32:05] raquel suarez groen: Yeah. Um, but it was very, uh, it was very, very cool. But yeah, that's what's different.

[32:10] raquel suarez groen: Um, style-wise, too, you know, in musical theater, there's a lot more speech involved. Um, everything is very much very sung.

[32:22] raquel suarez groen: So that was something I had to get used to too, where it was like, oh, you don't have to do so much here. Oh, don't sing so much here, you know. But in other ways, it was like, you know, Carlotta has this huge range, it's very rangy, it's very high, it's very low.

[32:33] raquel suarez groen: Um, and so having to know how to sing eight shows a week and have a life was something that took me a while to figure out. You know, like I could do the eight shows a week, but I had no life.

[32:44] raquel suarez groen: So it wasn't until after the pandemic that I was like, oh wait, like I can be social in a normal way, I can have dinner with friends, I can, you know, uh yeah, have a life outside the show. Whereas in opera, you're very much told that performance days are like sacred, you don't talk to people, you don't do anything.

[33:02] raquel suarez groen: So that's the life I lived for the first couple of years. Um, and then when the pandemic happened, I was like, wait, I can like still have a life.

[33:11] raquel suarez groen: And it did make me much more balanced human being. So now I say to opera singers, like you don't have to be silent the whole day. In fact, I don't think it helps.

[33:20] raquel suarez groen: Um, you don't need as much preparation as you think you do. Um, when you do eight shows a week, anything that you could possibly think could go wrong has gone wrong.

[33:28] raquel suarez groen: Um, and so it's really good for your confidence, I think, as a person because it's not about, you know, in opera, if you do, if only like three shows, you only have those three shows to really show what you got.

[33:40] Eli Tokash: Right.

[33:40] raquel suarez groen: When you do a show eight times a week for five years, um, in fact, I did almost 1300 shows in those five years. It was like, uh, you know, you just learn that you're capable of so much more than you think you can do.

[33:54] Eli Tokash: Absolutely, and I feel like that's pretty new for like any type of performer that's like trying to get into this industry of like the fear of doing eight shows a week, you know? And I feel like there's a lot of hesitance of like, oh, can my voice sustain it?

[34:10] raquel suarez groen: You know, like what should I eat? What should I not eat? How do I warm up? How do I do all this?

[34:14] Eli Tokash: Do you feel like your background in opera kind of like settled all of those kind of questions and nerves?

[34:22] raquel suarez groen: Um, it settled it literally. I would say it settled it after the pandemic because what I started doing is sort of teaching full-time on Zoom, and I was like having time with my family, and I was eating what I wanted and drinking what I wanted, and I was drinking dairy and coffee, and I was like, wait, I'm actually sound like singing better than ever.

[34:41] raquel suarez groen: I realized that a lot of those fears were in my head, in my mind, you know. Um, and so it was kind of like I had to let go. Because I think what happens is we're like, if I eat dairy, I'm gonna have fun. Okay, if I do this, I'm gonna be dry. If I have a lot, and so it's all these like self-fulfilling prophecies and anxiety that come along with performing.

[34:58] raquel suarez groen: Um, and ultimately, like when you go see a show, you're not sitting there like, ooh, does that person have phlegm? Does that person, you just want people to do well and tell a story?

[35:07] raquel suarez groen: Um, yeah, and so I think opera actually was the opposite. It made me very scared of damaging my voice. And um, as I was more in this musical theater world, I was like, hey, you can do this.

[35:20] raquel suarez groen: And guess what? If there's a day where you can't do it, that's okay too. Like, you take the day off, you rest, and you come back, even if you need two days, right? It's a marathon, not a sprint.

[35:28] raquel suarez groen: So you need to be very aware of what you can handle and what you can't.

[35:34] Eli Tokash: Yeah.

[35:34] raquel suarez groen: Yeah.

[35:35] Eli Tokash: So how just live your life in a, you know, healthy, balanced way. Don't go out partying and screaming or smoking, right?

[35:43] raquel suarez groen: But at the same time, like do have time with your friends and your family, so you stay balanced.

[35:49] Eli Tokash: Of course. The things that matter.

[35:51] raquel suarez groen: Um, well, I'm curious to ask you because, like, you know, I've heard a lot, like, as a performer, like, opera is kind of like the ballet of the voice, you know, in terms of like fundamentals and all of that.

[36:03] raquel suarez groen: So, like, for all performers, like, not just opera like singers or any of that, like music theater performers, how much do you kind of um encourage opera training and and stuff like that?

[36:15] raquel suarez groen: Um, honestly, I think studying both opera and belting, you know, even just classical doesn't even have to be necessarily opera, but just classical music and belting together is so great because belting taught has taught me how to be free in the top of my voice, and the classical stuff has taught me how to be free and chesty in the bottom of my voice.

[36:36] raquel suarez groen: And so, you know, belting and classical are actually a lot closer together than we think. It's more about colors that we're creating, um, than like a totally different technique.

[36:48] raquel suarez groen: Um, so I think it's important, you know. You know, I study with uh Joan later, and she has all of her belters in classical and all of her classical singers' belt, um, and it's a really great way to train the voice, and ultimately we want to be flexible in what we do.

[37:02] raquel suarez groen: You know, I may not be like my main, you know, income may not come from belting a show, but at least like I know what to do, you know.

[37:12] raquel suarez groen: So we're always gonna have what we're best at. Um, and then you know, like trying different styles, and it just makes you a more flexible performer, um, and a more well-rounded artist.

[37:24] Eli Tokash: Yeah. Did you like did you like as a kid, did you just like know that you wanted to be a singer? Like, was opera something that kind of came like this beautiful voice. You have a wild range, you know. Is it something you built up or did it was it kind of just always in you?

[37:40] raquel suarez groen: Oh, well, that's very nice that you say that. But if you listen to my tapes when I was 16, I sounded like a dying fly. No, I I, you know, I always wanted to sing and perform. I think I was kind of an attention whore, like in general. So I was like, look at me. Um, but you know, when I was 16, I started musical theater, and um I ended up working with this one teacher who who said like you need to study classical. And I literally, I mean, I sounded like my proper auto was like that. It was like so fast, and I don't know, the sound was so dark. I was trying to like be an opera singer, and I mean it was terrible. I ended up getting nodes and you know, the whole shebang. So then I had to kind of relearn how to sing.

Um, so yeah, I mean, I always loved singing. My whole family always sang, they still do, um, in the sense of like in the car and at home. None of them are professional singers, but um, you know, my dad's Spanish, so we would sing a lot of like the kind of Spanish gypsy music, and my mom's Dutch, and um, you know, it was there was always music in her house. Yeah, um, but like my sister sings pop, and my other sister sings more like Latin music, and um then I went into opera, but I also sing like pop in musical theater, and so um, yeah, I always knew I wanted to be a performer, um, but I didn't know it was necessarily gonna be opera um in the beginning.

[39:01] Eli Tokash: Yeah, interesting. Yeah, and it kind of just life kind of took you away.

[39:06] raquel suarez groen: Life took yeah, I mean, I you know, I went I went for classical music to Manhattan School Music and did my master's there, and then I did an audition for an opera company, and they were like, You seem like you'd be so great for musical theater. And I was like, What? You know, because I thought it was just gonna be an opera singer. Um, and then I realized like, you know, how small-minded that was because musical theater I think is like a whole another beast, right? You know, I wouldn't say opera singers are generally known for their acting, you know. Um, and so they're much more focused on the voice, and but to be able to do it eight times a week and to uh it's it's a different beast. So I'm really glad to live in both worlds. Um, because yeah, I love both of it, and I think it makes me a well-rounded artist.

[39:52] Eli Tokash: Absolutely, and that's what I was just gonna say, like it's it's nice having both of those skill sets and to be able to be like, oh, what's next? Well, I could audition for musical theater, I could audition for you know the Metropolitan Opera, you know, like Yeah, that's the next goal.

[39:59] raquel suarez groen: That's the next goal. I'm like, come on, that's Metropolitan Opera with her.

[40:11] Eli Tokash: Yeah, exactly. Peter Gelb, I'm available.

[40:13] raquel suarez groen: Yes, I'm a huge believer in manifesting. In fact, I have, you know, all sorts of manifesting things around my apartment, and that was a huge part of my journey with Phantom. I had a program with like my name in it, and oh yeah, vision boarding, do it. It works, it works, it works, yeah.

[40:29] Eli Tokash: Yes, I love it. Um well it's great because you do all of these wonderful things. You have all these wonderful skills. You know, you've you've learned how to make jewelry and all these things. And then you also, like you mentioned or just a little bit ago, like you teach on the sides and you've created this thing called Empower Voices. And it's like a uh a program offering like master classes and all these things for aspiring artists who uh can come work with Broadway professionals. So uh why don't you talk to uh a little bit about that and like where they can find you if they're interested in finding some training and stuff?

[41:02] raquel suarez groen: Yeah. So during the pandemic, I met um a therapist. Her name was Data Guerrero, because she asked me to come onto her kind of group, you know, where it was about like sharing inspirational stories, and I thought, well, I can't say I'm busy because she knows I'm stuck in my house. So we started, you know, I talked um on her, it wasn't a podcast, but it was kind of like this private Zoom group, and um then realized I really loved being there because I was being so inspired by other by other people in different fields, and I said, you know, I think what's missing in our field is the idea of dealing with nerves and anxiety and stage fright. And you know, sometimes the older we get, the more we deal with it because we have all this baggage of performing, or people have maybe said to us, like, well, you can't do that, or your voice is this, or your voice isn't big enough.

So we started adding um psychology into performance, you know, like what goes through your mind when you go into an audition? Why why is a self-sabotage happen? Why is my leg shaking? Why, you know, and so um Empower Voices really deals with the psychology of performing, but then also working with Broadway's best. So you work with casting directors and casting teams and different Broadway performers from all the shows. Um and it's a really beautiful and safe environment to work with people in the top of the field, but then also to work with um, you know, the nerves that come along with performing. I mean, I still get nervous when I perform, and you know, I've done it a lot of times, but it just means that you care.

It's a part of being human. You know, imagine if you got up there and you didn't give a crap, like that would be horrible, you know. So it's just about learning how to control that energy um and to stop those negative voices in your head. So um you can find more information at Empower Voices Now.com. Um, and I do teach privately as well. I love teaching people um classical, musical theater, pop, country, um, yeah, come on. It all yeah, the secret case. She said versatile. Yeah, so um, you know, obviously uh musical theater and classical is is kind of my forte, but I love I love all of it and coming from Calgary, Canada, country's in there. It's in there, it's actually very close to opera. So yeah.

[43:18] Eli Tokash: I well, I love what you guys are doing over there at Empower Voices, because I literally just last week I had a friend of mine, we were both on Broadway as like teenagers, like little preteens, I guess.

[43:28] raquel suarez groen: That's so cool.

[43:29] Eli Tokash: Yeah, but then like nowadays we're like, why are we so much like more nervous about like doing everything? Like we actually like care now and and the psychology of it, we beat ourselves up way more than we used to as like children. Um so that is so real and uh big fan of that and very much needed because you don't find a lot of that uh in our experience.

[43:51] raquel suarez groen: No, and it's like you know, you we all deal with it, people just don't talk about it. Really? You know, it's kind of like vocal issues, like everybody has dealt with it at some point, most likely. You know, it's like why isn't it more more talked about?

[44:03] Eli Tokash: Yeah. Absolutely. Well, shout out to you guys, and where can they follow you on on social media and uh I don't know, keep keep up on your journey throughout the Yeah.

[44:14] raquel suarez groen: So they can follow me at Quelly2000 Q-U-E-L-L-Y 2000 or at these blings do happen. Um, and then also follow me at Empower Voices Now. Um you can either go online at Power Voices Now Um dot com or on Instagram, it's at Empower Voices Now.

[44:33] Eli Tokash: Love it. I love it so much. All of these things are so great. And the blings the these blings do happen uh is on Etsy too. So go visit the Etsy shop. I I'm obsessed. Uh so many cool items. And if you love Broadway and you want a piece of Broadway in your home, well, go go check it out. And I think customize things. So if there's something that you're like, oh my god, I want this, but I want it to look like blah, like, talk to me, we can make anything happen.

[44:58] raquel suarez groen: Oh my god, obsessed. Even bow ties, phantom bow ties. I'm just saying.

[45:02] Eli Tokash: I love it. Well, you have you're doing so much, and you're so so like, I don't know, like a multi-hyphenate inspiration. So uh yeah, of course. So thank you for coming on, and you have so much to take a bow for. So thank you so much, Raquel.

[45:18] raquel suarez groen: Thank you, Eli.

[45:21] Eli Tokash: Take a bow, raquel suarez groen.

[45:24] raquel suarez groen: Oh my gosh. That was awesome. I am obsessed with everything happening over there. To talk about someone who's like in the opera world and to talk about like Phantom with was kind of like cool for me. I don't know. Like, it's just an interesting topic just to see, you know, what is it similar? Uh and and her response is kind of interesting. So uh shout out to Raquel for coming on here and being candid with me. You know, we had a great conversation. And uh for those of you who like have been in shows or even if you're just like a big fan of Broadway like six and and fan of the opera and all these shows, and Juliet, uh, you know, go check out her store because her her pieces are beautiful. Like that's how I met her.

She was at the booths at uh BroadwayCon selling her jewelry, and I just was like, these are incredible. And and then she went into the like what they really were, and I was just like, this is the coolest thing ever. And um obviously what I was getting to earlier, like I want to give her some of my Finding Neverland stuff so that I could just wear around because I just think that's awesome. Um and I can have it. I mean, not just Finding Neverland, but like Pippin and like all my stuff from shows, like I'd love to do like a one big piece of jewelry. And she was saying that like she could do that. So um if you've been in shows or you've been in originally like school show, whatever, and you just had the time of your life and you just want to remember it and carry it with you, you know, reach out.

Uh she's a sweetheart. I just DM'd her, so she's she's responsive. Uh she's a sweetheart, and uh definitely follow along her journey and check out her Etsy shop because uh we definitely want to keep uh uh the magic of Broadway and Phantom and the legacy uh of these beautiful shows alive uh and supporting you know artists while they don't have a job and and they're they're kind of doing their side gig. So uh shout out to her. And um, yeah, I just had I I love this episode. So thank you all for listening to this week's episode. Next week we have uh uh a multiple Broadway show uh veteran on the podcast. Very excited to talk to our our fabulous guests uh on next week's episode. And then we have some very exciting stuff happening um post-September.

So we will be releasing all of that very soon. Stay tuned for all of it. I can't wait to share with you and uh check out our YouTube page. You know, we've got a lot of content coming out here very, very soon. Uh YouTube and TikTok. We're gonna be cranking stuff out because we have been super busy on that front. Um, you know, collecting content and uh creating the content. So uh thank you so much for all your support. I can't wait to see you all next week. Until then, bye everyone. Have a great week.

[48:16] 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 Dori Barenstein, Alan Seals, Kimberly Garrett, and the team at the Broadway Podcast Network. 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. And how about a bow for our executive producer, Chris Grimer? And our final bow are extra special to the patrons Brian Thompson, Pat McNamara, the listeners at PCC, as well as all of the other patrons for their continued support. 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. 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 About Podcast across all social media platforms. 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. 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.