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[0:00] Eli Tokash: Hello everyone and welcome to episode 177 of Take A Bow. I'm your host Eli Tokash and this week's, oh my goodness, this week's episode I am so excited for. We have one of Broadway's princesses, a sparkling diamond, I mean you name it. This guest this week is just, she's done it all and you know, a big fan of her. I got to see a show this weekend and it was obviously the show that our fabulous guest is in this week. And it was Moulin Rouge and for those of you who don't know, Courtney Reed is joining us on the podcast today. And like, I don't know, like I didn't, I was never fully like on the Moulin Rouge fan base, like their fans are just incredible and so dedicated and all the things. And I don't know, like I don't remember loving Moulin Rouge as much as I did when I just saw it this past weekend.

I don't know why. I've been trying to like dissect it. And honestly, I really do think that like a large part of it has to do with the current stars in the show. And that's not to take anything away from the people that I did see in the show. I saw Aaron Tveit in the show and it was just after COVID. So I'm not 100% sure who Arsatine was. But Aaron Tveit as Christian, he's so phenomenal and he's so talented. But there's something about Casey Cott in this role that everything just makes sense. And of course, the performance that Courtney Reed does to complement like the two leads, their chemistry and their dynamic and everything was just, it was so prevalent when I saw it this weekend. And it made the show that much better that I'm fully on board with the Moulin Rouge hype train.

I am obsessed. I'm in my Moulin Rouge era, you may say. But honestly, like I just fell in love and Casey Cott's version of Christian is like, it's so unbelievably difficult not to fall in love with him. And let me tell you something. It's not to fall in love with Aaron Tveit where, oh my God, he's so beautiful and everything. Not that Casey Cott's not beautiful because he is. But it's a, you like, you fall in love with him for the cutesy, like awkwardly and all the like, fun little things. Like you fall in love with the personality. Like you totally are just like, oh my God, this boy is just madly in love and you root for it that much more. And those two together are just so perfect that I'm so thrilled that I'm able to have Courtney on the podcast today to talk about all of it.

Okay, so before we get into all of that, we got to talk about some Broadway news. As I mentioned, we'll start off a little bit with the Moulin Rouge. I know I'm already chatting about it a little bit, but I also want to go further in saying that this time, I noticed that Moulin Rouge is semi-related to Finding Neverland. And I also think that that added another level of enjoyment. So any of you Finding Neverland fans out there, which there may be a lot of you out there because if you're listening to this, you're probably a Finding Neverland fan. So there is a show within a show happening in Moulin Rouge, similar to how J.M. Barrie was literally writing Peter Pan and then we did a show within a show in our production of Finding Neverland.

So it was interesting to kind of see that journey and play with it through that and watch it unfold as Moulin Rouge wrote their show that they were putting on in the Moulin Rouge about what was playing out. So that was a very interesting factor. And then of course, there was the added level of, okay, Satine gets sick during all of this craziness and passes away, similar to how Sylvia, the love interest of the writer, Christian, who's the composer, Sylvia falls in love with J.M. Barrie, who is the writer of Peter Pan, and she gets sick, coughing up blood and all the things that Satine is doing. And that is the inspiration for these characters and this ride that happens. And then unfortunately, they both pass away.

And there's a beautiful scene for both of them to do so and to tell that moment in the story. So there was so many levels that I was watching from it this weekend and just fell in love with it. You guys can call me crazy or whatever, because they, at the same time, couldn't be polar opposites. But when you look at it through that lens, there is that relatability. And it was just really, really cool for me to see it from that perspective. And I think I started to fall in love with it even more on top of the current stars that are in the show and giving it their all eight times a week over at the Al Hirschfeld Theatre and the 2020 or 2021 Tony Awards, like leading musical for the Tonys for all the Tony Award winnings.

So congratulations to all of them. And this cast is incredible. So diverse, so inclusive. And it's really, really beautiful what they do over at the Moulin Rouge every night. So we're going to talk about a lot of that today. And other news, I just want to say happy first preview to Merrily We Roll Along and Gutenberg. Very exciting stuff for both of them. I literally can't wait for either of those shows. Hopefully I get to see them. But, you know, they're a hot commodity. But very excited nonetheless. So we'll see how that goes. And then I also want to shout out Kelly O'Hara and Brian Darcy James. Kelly O'Hara, Take A Bow family member. She's coming back to Broadway with, of course, Brian Darcy James in Days of Wine and Roses.

And that's coming this season on January 28th, 2024. So that's very exciting. They obviously just finished up a run off Broadway. Huge success. Now they're coming to Broadway. And it's just, I mean, these two are like, they belong on Broadway. I mean, they are, this is their home. I feel like when you think of those two, you just think of Broadway and Broadway royalty. So it's just like, it makes sense. And then of course, to like, have them in the same show playing love interest. Like, I'm just so excited for it because I didn't get to see it off Broadway. So I'm so excited to see it. And hopefully more people continue to have the chance to see it when it comes to Broadway. So shout out and congrats to you guys.

I also, this is a little bit of a sad moment of the podcast episode. I want to give my condolences to Michael McGrath. For those of you listening, our community, our theater community, lost a true titan of a performer and a leader in our community. I personally never got the chance to fully work with Michael McGrath. I have met him before, but he was Frohman in Finding Neverland when it was at ART. And so he is someone that I've heard about all the times I've heard all of his wonderful stories. And he passed away this past week and to see the community, you know, share their stories and share their experiences working with Michael and how he touched every person's life that he like, had the honor of meeting him, you know, including myself and the stories that I continue to hear about him and the information that I continue to soak up and how he taught so much and how so much of his leadership, you know, is in every leader of Broadway show right now from Betsy Wolfe, who wrote a wonderful message to Carolee Carmelo and all of these.

So it's wonderful to see. It's so sad to see him go, but it's wonderful to see this, his legacy live on through all of the people that have gotten the honor of working with him and meeting him and be graced with his presence, to be completely honest. So my deepest condolences to all of the, you know, family, friends, cast members, anyone who knew Michael and fans of Michael, you know, like this entire community, like we truly lost a good one. And I'm like, sorry to all of you, but you know, it's, again, his legacy will continue through everyone. And it's just so sad to see him go. So shout out to Michael McGrath for an incredible career. I mean, he's literally been in a million Broadway shows and beyond that, he was an integral part of bringing shows to Broadway.

So thank you for everything that you've done for our community and for the people in our community and your leadership in our community. You will be very missed. So moving on, we're going to talk about Tia Nonman. It was announced, you know, I said a couple of weeks ago, Zachary Noah Pizer, he stepped out of the company for Tia Nonman for personal reasons. It wasn't aligning with his, you know, personal beliefs or there was like, there was things going on and he felt like it was best to step away. So it was announced that the lead for the show, he will be replaced by Kennedy Kanagawa, which I am so excited about. Take a Bow family member. For those of you who don't know or are like, oh my God, I know that name.

Yes, you do. He played Milky White in Into the Woods, both on Broadway and on tour. And he came on here to talk to us about his experience playing Milky White and being on Broadway and all the things and touring because we had him while he was touring. So an incredible full circle moment. He is so excited to be a part of the show and be able to have the opportunity to lead a production. So best of luck to him and the entire cast that's opening up in Phoenix this, I guess, fall that we're in now. Yeah. So very exciting stuff for Kennedy and that cast because they will be led by, you know, just a wonderful human being and a wonderful performer. So I can't wait to see how that goes and to follow that show.

I also, last thing I want to mention, this is craziness, y'all. There has been a lot of audience just like off the walls lately. And there is just like, what is happening, folks? Right now I'm talking about a congresswoman, Maureen Boebert, who was in the audience during a Beetlejuice show on tour. And they are sharing all of these videos with her. And they have her vaping and taking flash photography and video. And they also have videos of, you know, a little touchy stuff going on. And it's like, what is happening? It's wild. I mean, you do you. And I don't know, she eventually got kicked out of Beetlejuice, for those of you who don't know. And it was because of she was being disruptive and the audience members and everything.

And Beetlejuice is like a family show, you know, it's very kid oriented, especially with how it took off on TikTok and all of the things. So it's like a weird show to like, I don't know, get freaky in. And I don't know. And so, yeah, that was a very interesting thing. She was getting thrown out. And she was like, do you know who I am? And she was causing a scene. And then she later took to Twitter and was like,

[12:36] Eli Tokash: I had a wonderful time for the parts that I saw. I hope that anyone goes can let me know like how the whole show is and like she was nice about it. Kind of in her tweet. But it was also like, Oh my god, like whatever. So why old stuff going on here at Broadway shows and like, I haven't really talked about it on here because it's just like a weird thing to talk about, especially like as a performer to talk about audience members and everything. Like the whole thing with Lea Salonga in Here Lies Love with the audience member coming into her dressing room and the fan or whatever, like all of it. It's so bizarre. Like at the end of the day, like, these are people doing a job like imagine if a like, I mean, now I'm gonna I'm I may get a little political here.

But imagine like Congresswoman Bobert has been very outwardly rude to members of our theater community, you know, from drag queens to she made homophobic remarks and all the things. So like, imagine, you know, us like the theater community, like showing up and taking like flash photography during one of her like, I don't know, big, big things that her press conference or whatever it is, or started to like, I don't know, touch a partner like or anything like it's just so it's so bizarre and so like unprofessional that like, these things can happen. Like we're here to do a job. We're here to perform and to entertain others. And when people are being distracting, like we can't do that. Like we can't do our job.

And I don't know like it's just at the end of the day, like we're human. Can you respect us in our work and we will do the same to you and making sure that you are respected and thanking like you for spending the money to keep us keep our jobs alive, you know, like, keep food on our table, like all of these things. It's just such a it's such a wild thing. And it's such a wild thing to bring up and to talk about. But it's just like, what is happening? Everyone as audience members, all of you listening to this, please get taken to consideration what is happening. But please, you know, don't harass performers or take flash photography or any of that. And we talk a little bit about that with Courtney, in the sense that like, you know, Roxanne is always always filmed somehow, where Moulin Rouge is super strict to like the ushers there.

Right before the show, they were very strict about like, oh, right now, you can't take photos of the stage actually, like when you try to get your like little playbill picture, the cast was literally coming out slowly onto the stage, and they have this little pre show moment. So it's just like, it's wild. And people just still like won't respect that. And it's just so unfortunate to see. So for everyone, I'm doing a little call out, please, please, please respect the performers. And you can always take a picture at intermission or after the show, like there are times and at stage doors, then we're all human, we'll get to you, like we'll do things, we'll figure it out. And it's certainly not like your last opportunity to do this ever.

So I don't know, just try to, let's all try to be a little bit more mindful and all that. Okay, moving on, because I could talk about that for way too long, and I'm rambling. And I think that's all I have for you folks this week. So let's turn it over to our fabulous interview this week with the lovely and comparable Courtney Reed.

[16:17] Eli Tokash: Courtney Reed, curtain up. This week's guest is a Grammy nominated queen coming straight from originating the role of Satine on the first national tour of Moulin Rouge, where she currently also stars on Broadway as Satine. Craziness, what a transition, what a whirlwind, can't wait to talk about it. You may also know this fabulous performer from originating the role of Princess Jasmine in Disney's Aladdin, or even from shows such as In the Heights and Mamma Mia. So everyone, welcome to Take a Bow, Courtney Reed. Hi, Courtney.

[17:00] Courtney Reed: What's up?

[17:02] Eli Tokash: Oh my god, I'm so excited. As I told you, I saw the show this weekend, obsessed. And now I'm on the Moulin Rouge train. I am in my fanboy phase of the show. So this is going to be very exciting for me.

[17:16] Courtney Reed: Oh my god, that's hilarious. You're hilarious. What an intro, thank you for that.

[17:21] Eli Tokash: Thank you, thank you. I love the intros. I love hyping people up. It's my favorite thing to do. So it's one of my favorite parts of doing this podcast here. So the way I usually like to start these things out is just to get to know how did we get here? Why did you want to become a performer? What inspired you to become a performer and entertain others?

[17:42] Courtney Reed: My sister's three years older than me, and she was totally into dance and taking classes and doing the community theater and all that kind of stuff. And I just wanted to do everything she did. So I started doing community theater when I was like six and just fell in love. And then, you know, from there went to a performing arts high school and then a theater conservatory. And then after that, I booked my first Broadway show like five months out of college. And then just like that rest is history. I know, like so cash. Like what was I giving? I don't know.

[18:27] Eli Tokash: Stop it. I'm dead. That's so iconic, though. It's like it's so I'm such a believer in like the universe has like a plan for you and like things work out at the timing it works out. It's just like everything happens for a reason. So it's really cool to hear that it kind of came from your sister. That's how it happened for me. That's really cool.

[18:44] Courtney Reed: Really? Oh cool. I didn't know that.

[18:47] Eli Tokash: Yeah. So I don't know. She doesn't do it anymore, which is upsetting to me, but it's fine. Because I do. I'll do it. I'll do it for us. So so yeah, of course. And your first Broadway show, it was Mamma Mia or was it in the Heights?

[19:03] Courtney Reed: It was it was Mamma Mia. Yeah. So I I had never been to New York City and I'd never seen a Broadway show. And it was like, yeah, I auditioned in Chicago. And I thought it was for the national tour. And turns out actually another there were two tracks that they were casting. I'm pretty positive. And one track was open for Broadway and one track was open for Vegas. It was a Vegas company at the time. And the girl that went in like right before me got the Vegas company and I got the Broadway company. And I was just like, wow, that's so crazy to think like, what my life would have been if I would have gone to Vegas and like, are you like, who knows? Right? Who knows?

[19:44] Eli Tokash: And now here you are, you know, four Broadway shows under your belt later. Not a big deal. And yeah, we're here on Broadway. And the thing is, like now you literally just came off the road with Moulin Rouge! And then you went right into Broadway, you know, like, what what was that like? Is that something like, I don't know, because it's not like you are coming to a new show and but you're coming to a new company and you're coming to Broadway where you're not like traveling every so often every couple of weeks. Like it was there an adjustment or was there kind of like, oh, I kind of already know what I'm doing since I've been on Broadway and I've done the show.

[20:19] Courtney Reed: It was a little bit of both, actually. I think like, you know, it's interesting. I had never. Well, no, I had done this before. So when I was in the Broadway company of Aladdin, I had always wanted to play L.A. And so I was able to, um, in my final five weeks, this was so crazy, able to go to the national tour and was able to switch with. So Izzy McCallow was doing it on the tour and I was doing it on Broadway. We got to switch for five weeks while she was on the tour. She got to come to Broadway and I got to go to the tour and finish off my run with my original Aladdin, Adam Jacobs and the original standby stand by Michael James Scott. It was so crazy. And so going into that, I had like kind of had that experience before going to a different company.

It's like crazy. It's like the same show essentially, but like everyone's different, but they're like in the same costumes. So like if you just like squint your eyes a little bit, it's like kind of the same, just different bodies. And sometimes for, and so for me, it was, was really insane for going from the tour to Broadway was there were similar people from the tour. So I had had like the same LeTrek, the same Duke, but they had left several months prior. So like they had new bits and I was like, okay, so now we're having like new bits and so familiar faces, unfamiliar faces. Then like some people in the ensemble who were in different costumes that I'm used to seeing them in on the tour. It was like, it was crazy.

But the biggest difference is there, there's a Passerelle on Broadway and there wasn't on the tour. It's like where the, where it's kind of like that runway in the front where you see it on Broadway, but you don't see it on the tours because you can't like, you know, change every theater that you go to. And so that was maybe one of the biggest changes for me. It was like, oh my gosh, okay, now this is where I'm on the Passerelle. Okay. I'm like descending down onto the Passerelle instead of like on the stage when I make my entrance. So like little things like that, but really like I would say it probably took like a week and I was like, okay. Yeah. I'm like, and then you, it was in my body.

[22:38] Eli Tokash: Yeah. Yeah. Cool. That's so interesting. Cause we had John Cardozo on, is that how you say it?

[22:45] Courtney Reed: I know, yeah. John Cardozo, yeah. My king.

[22:52] Eli Tokash: And he was talking about how like the set and everything, it's like, it's not a traditional tour where you were like going to a new city every week just because of how big our set is. And you're like, totally forget like when you go to Broadway, it's like, I mean, they got giant elephants. They've got the, the part of the stage where it literally is in the audience, you know, like it's madness. So it makes sense that, you know, there was some sort of adjustment and you're not able to do that in every theater that you travel to because that would be insane work for the crew members and all of the, all the theaters involved.

[23:21] Courtney Reed: Oh my gosh. Absolutely insane. No insane.

[23:28] Eli Tokash: Yeah. John actually kind of remind me of each other. Like, I don't know.

[23:35] Courtney Reed: Yeah. I don't know you. I just feel like you two were like, you made my day just now. We have a lot of the same friends and I feel like we have a lot of the same friends just because we remind them of each other. So that's good to hear that. I'm glad to hear that. He's a star.

[23:45] Eli Tokash: So, so yeah. Well, it's interesting because we're talking about him, right. And, and we talk about, you know, having different cast members, but also having the same cast members and all the things, but the person that you kind of, you know, share the stage with the most is obviously John and now Casey. So I'm curious for you, like, how does that kind of change your perspective on Satine or how does that change your show at all? Finding, you know, the different chemistry or as you mentioned, like the little bits or whatever it may be.

[24:13] Courtney Reed: Yeah. It's so it's, it's, it's vastly different. I mean, the show is like, it's like, I mean, it's a totally different show depending on who is on as the Christian and the Satine there. It's just like, it's insane to think of. I've never played a role where she has so much stage time and she has so much stage time with one specific person and a lot of it rides on their chemistry. Like the story is either like, it's either like a, um, a heartbreaking, beautiful love story, or it's just like a beautiful, spectacular show. You know, it's like, it's, it's, it could be, it could be all of those things, but it could also be like, depending on the chemistry or depending on like how well the two get along, like it could, it could really make or break the show. And I think like, you know,

[25:12] Courtney Reed: When John came in, he was a replacement and so it was like, you know, we had to like have instant chemistry, you know, and I think that what is amazing is that he was totally open and willing to like build our chemistry offstage as well, like hanging out and like getting to know each other. I think like the more we got to know each other and the stronger our bond became offstage, it was stronger on stage. You start to feel that safety on the stage and like, you know that person sort of like intimately and you know them like so well that you're not afraid to go there, you know? And so then when Casey joined, it was great because I knew when Casey and I joined the Broadway company together, I knew him previously.

So it was like we had that, it was like, okay, we know each other and I knew his brother and like we had known each other for years but like had never worked together. And so it was like, and Casey is just like, he is so easy to work with. He's just so chill, he's so fun and like is just like hilarious and amazing and like they're both like the easiest best people to work with. I'm like, I'm just like myself, I'm so lucky to have that because you don't always have it, you know? Like it could be bad.

[26:39] Eli Tokash: I'm curious though, 'cause like in my experience, I've done both touring and Broadway and from my experience, I feel like it was easier, I don't know about easier, but maybe like quicker to establish a relationship on the road than it was on Broadway because it seems like you're always together. You have to travel together, you have to do all of these things together, you maybe even live in the same like hotel or whatever so you could walk home together. But like when you go to Broadway, it's like you come in, you do the show and then you go home. Do you kind of feel that dynamic as well? And did the road kind of help you and John kind of create that chemistry quicker, I guess?

[27:18] Courtney Reed: Oh, absolutely. Yeah, for sure because you're like when you're in Cleveland, Ohio, you're like, well, what else are we gonna do today? Let's just like go like let's get to the theater early and like hang out. You know, like right when you're on tour, like you really like you're there to do the show and so you don't have a, but nothing against Cleveland, like I had a great time in Cleveland, but we were like dang, like what do we do today? Let's just like hang out. And New York is different. I'm so lucky that Casey is like, because Casey actually like, so when he finished Riverdale, he was living in Vancouver and then he got a house in Nashville. And so then like really like, so he's kind of like almost like on tour in New York, you know?

And like for me coming from off tour, I'm like I'm subletting here until we find a place that's more permanent. So I still feel a little bit like I'm on tour. So we're able to both, we're both like, hey, you want to hang out, you know? And like, right, my fiancé and his wife and like we'll just be like, hey, should we just like have dinner together? Like all of us? Like so we kind of still treat it like tour life a little bit, which is really fun. But no, you're so right, like the New York life is very like go, go, go and it's a lot of people have their own lives to go to, so it's not like you depend on each other to like entertain.

[28:36] Eli Tokash: Well, yeah, absolutely. And especially performers because like, you know, in New York, like for Broadway at least, it's the hub. So like during the day, you're probably doing a reading for a different show. Like you don't even have time to do that when you're on tour, like you can't even do that.

[29:00] Courtney Reed: Yeah, so there's always added layers in New York. We love, we love, and we love, but it's madness at the same time. And that's great. And I'm obsessed that you kind of, I don't know, kind of adapted that to the Broadway and carried it over with Casey. I was literally like, when I saw the show this weekend, I was like, you know, it's crazy. Like you guys have, I mean, you've been on Broadway performing the show for two weeks now, three weeks going on?

[29:23] Eli Tokash: Yeah, it's been, oh, well, no longer. So we started on first.

[29:29] Courtney Reed: Oh my god, wait, I didn't do my research right?

[29:32] Eli Tokash: No, you're fine. No, but like also like I joined, we joined August 1st and then my fiancé and I went to Tokyo for like 10 days at the beginning of September. So it honestly does feel like I just joined.

[29:46] Courtney Reed: Yeah, it really feels like I just joined. It feels like that too. And maybe time just moves very fast and I was like, it's crazy how you guys' bond is already there 'cause like you said, so much of it relies on that chemistry. And from an audience perspective, like it was there, you know? Like you both very much cared about each other. You guys were like, I don't know, you guys, I don't know. I look for like the little bits that like maybe audience members don't catch and you know, you guys can totally see that you guys already have established that and it's just so cute to see.

[30:21] Courtney Reed: Thank you for saying that. Oh, thank you for saying that. Yeah, I think like, I think it's kind of fun because who was I talking to about this? Maybe even just like yesterday on tour 'cause, oh yeah, because a bunch of my tour friends were here, you know, auditioning for Gatsby, you know? Like it's like always like you like come in and audition, like go on tour, like that tour life. It's like they're in DC, so they're like rushing into the city. And they were like, what's the difference? And I was like, you know, on tour, like you know, all the dressing rooms are usually like on the same floor and so everyone really hangs out and does the thing. And on Broadway, my dressing room with Casey is like, it's like me and Casey on one tower and then everyone else in the tower.

So it's like I'm used to everyone coming to my dressing room at intermission and like every, my door is like always open and so people are always coming and hanging out. And so I'm like, oh, it's so different. They're so far away and people do venture to like, you know, make it, but it's not like half of the cast like it normally would be. And so I was like, yeah, but I was like, I do have Casey though and he's on my side. And so we're always visiting each other and so, and that's always just like really fun because that is really how you build the chemistry. You're just like, it's gotta be the offstage stuff that you do, right? And it's like it happens without you even like knowing, you know?

And that's like the beautiful thing about it is like it legit creates a friendship and not like, oh, let me get to know this person so that I can tell this story. It's like, no, like there's like a genuine bond that happens just naturally just being in a theater, like almost, I don't know, there's an aura about the theater.

[32:06] Eli Tokash: I love it, but it's so weird because I've said it like, I say it every episode, I think like the Broadway theaters literally, the dressing rooms suck because all the ensembles and especially the kids, like they always put them on the top floor because we have the most energy and we can climb the stairs, you know? Like it's like five floors. It's like for what? Like we're so secluded and like opposite sides. So like I get what you're saying and it's craziness, but the backstage, I don't know, life kind of takes some mind of its own. I'm sure there's some crazy backstage stories that you have. We don't need to get into that.

[32:45] Courtney Reed: Totally, totally. So you mentioned like the sets a little bit different and all of these things for this show. Did you have to do anything like just coming into the show, not even necessarily Broadway, but the show in general, even from the touring? It's got to be a different process somehow because this is a jukebox musical. So you probably already knew a lot of these songs coming in. A lot of these songs coming in, so it's not like a traditional rehearsal process where like day one you're learning the score, you know? What is all of that like or did you have to like go to a trapeze training facility to learn that? Like was there added elements that you kind of like haven't experienced before coming into the show?

[33:30] Courtney Reed: Yeah, oh my gosh. How did you know that I had to do trapeze? Like I literally, we went to a facility and like learned it and I'm just like, but she's just like sitting there and you realize that like actually there's like choreo on like, yeah, when she moves and how she does the thing. And what's really funny is that like I never would have known that like, so Sonia really is very specific about she doesn't want the swing like swinging a lot. And so you have to like use your own resistance when you're pushing against it. And so you have to like sort of, there's like an actual technique to the trapeze. And it doesn't look like it, it just looks like it's like, okay, you're just like there and then you lean and then you put your hand up.

But it's like kind of crazy because you're like up there, you're in two corsets and of course you're just like, okay, and I'm like sitting and I'm like holding myself. I don't like trying to sing and then like moving myself, but like pushing resistance against the bar and like doing the whole thing that I feel like unclipped and you to think about unclipping and then like lifting yourself off the thing while like the boys take you down. It's a whole moment where you're just like, I really don't feel sexy at all, but I'm gonna be like, you know, epically like coming in, you know? I mean, I'm like, okay, can I breathe? Can I think? Take a breath. When I first started, I was like, I actually can't breathe in these two corsets.

Like they had to like take them out because I was like, you guys, I truly can't breathe to be like the thing. But yeah, so it like learning the trapeze, like that was fun, but also like I know there's been a lot of Satines that have trouble getting out of the belt and I was so lucky that like I use that same exact belt for four years and a lot. And so I was like, I know these belts through and through because I'm like, I guess like every show I'm in, I have to fly. I guess so what's the next show that I could be in that I could fly? I don't know.

[35:23] Eli Tokash: But yeah, is it so funny like, yeah, but that's so cool like, yeah, don't you want to fly? Yeah, come on. That'd be sick.

[35:35] Courtney Reed: I knew I knew about the trapeze because I had to do it for Pippin and it was a time, it was a time and a half. So I totally get what you're saying with that. It's on core, let's just say that what the core strength was. Had to do like a lot though. Pippin was like, I mean, this is like nothing. She was like comes in, that's it. Not on the trapeze, but there were other circuses. I was like I had to learn like the juggling and walking on a ball. It was all like balancing and like core work and it was fun, but trapeze it wasn't that much because I literally like you do like I literally went up and down in like the last scene on a trapeze, but they were like come to this facility to learn how to do the trapeze and I was like, I'm just sitting on it.

But then they were like, whoa, that is, it's not just sitting on it. So it's true, I can respect it. I saw you coming down, I was like, oh yeah, that, that's tricky, but if you make it look effortless, so it's pretty great.

[36:37] Courtney Reed: Bless you, darling. Yeah, it's true.

[36:39] Eli Tokash: So talk to me more about this whole Moulin Rouge because on tour and everything. Is there like the elephant? Is there like all these things that happen or is it sort of different? Not that the elephant is like a giant role in the show or anything on Broadway, but it's very pretty to look at.

[36:59] Courtney Reed: He's very pretty to look at. We had in the big venues of the venues that had like any sort of space on the side, we were able to fit the elephant and the windmill, which was incredible. Really? And that those were like, I mean, that really establishes the environment when you walk in, right? It's like, right, gosh, the windmill, the iconic elephant, like everything. So we were able to have that in honestly most cities, but then some of the smaller cities that had like venues that didn't have any sort of space on the side, we didn't have it. But then again, like people would come see the show and they're like, oh, I didn't even notice that it wasn't there.

[37:37] Eli Tokash: So epic, yeah, there's so much to look at, are you kidding?

[37:42] Courtney Reed: Yeah, yeah. Cleveland, Ohio didn't get the windmill and elephant, but that's okay. We don't need, but that's okay.

[37:48] Eli Tokash: I love the Ohio slander. I'm like, basically from Ohio, so it's okay.

[37:57] Courtney Reed: No, it's great. I'm doing it with you. Don't worry. It's so funny. It's so funny that everyone my family will enjoy it that that's who I'm doing it for. So I'm curious to talk to you about Satine herself. Because Satine is such a dynamic character. And it's, I feel like the more underrated characters like to be honest, like she's such a girl boss. And it's like, I never even like, really viewed her as that to like just this weekend seeing the show. You know, there's the moment at the end of the show where you finally like stand up for yourself and is like, nobody owns me. And I'm like, that has to be such an invigorating moment as a performer. And I don't know, just to like tell that story in front of, you know, a large audience or even younger people, you know, to kind of send that message. What is, what is it like just to play Satine and kind of take us on this journey of hers? That's so, you know, it's a roller coaster.

[39:02] Courtney Reed: Yeah, it really is a roller coaster. I think, like, selfishly from an acting perspective, I think it's, it's like such a dream role, because she gets to really, she has such an arc. And she has such a great, incredible journey. I think that that is so satisfying to be able to play and to like sort of flex those muscles. And, and I think, you know, also to have this like really sort of strong female character and like have her get the final bow, which is like, insane to me. And like, this is just like, so cool. And I think, you know, I was always inspired by Nicole Kidman in the film, I just thought that she and Ewan McGregor were just like, oh my gosh, perfection, they will always be like number one Christian Satine to me.

And I think that with the musical, they were able to build upon that and like even create more depth to her, which I think is really great with like, you know, like, even with Firework, which when I first was like, period, do I really have to sing this song? Like, but really, when you make sense of it, it's like, you know, it's kind of like moving.

[40:14] Eli Tokash: Yeah, it really is.

[40:15] Courtney Reed: It's like, it's like, it's her real, it's I mean, it's like her I Want song. And like, when you like break down Firework, as like not a pop song into like a musical theater song, it is really like, it's really it is like kind of an epic I Want song. But anyway, enough about Firework. I think it's amazing. I think that I think the biggest thing about Satine is like, when you finally see her vulnerability, because she has these walls. And she builds these walls because of where she came from. But I think it's so beautiful for her to be inspired by the innocence of Christian and his just like lust for life and, and gives her sort of those, those final moments of her life to be able to like, live the life that she always wanted.

And I think, and it's like, because it is really sad. It's like, it's sad to see that she had to harden herself in that way. I'm like, I'm like the opposite. I'm more of a in life, I'm more of a Christian than a Satine, right? You know, and so for me, like, right, right. And so like, you know, it's more of a flex for me to like, have to harden myself in that way. But I think what's so beautiful is seeing her vulnerability and seeing her break down those walls, so that it's even more of a payoff at the end. Not a payoff, but you know what I mean? It's more meaningful at the end, when you see that, that she was able to have those moments. And then she's, you know, spoiler alert, but she's happy when she in those last moments, it was a funny case, he's like, you look at me when you're dying, and you're smiling.

And I'm like, I'm smiling, because like, I'm happy, you know, like, I'm happy that, like, the show went on, and that she, she's happy that, like, honestly, I think, at the end, she's like, you, you should be the one to live on, right? Like, you still have that, like, lust for life. And I, like, I'm just, I'm stuck, like, she's stuck. And it's, it's sad, right? But it's beautiful. And it's moving. And I think people leave the show, and they, they, like, they see a spectacular, like jukebox musical, but they're like, Oh, I think it's actually like, kind of moved me. Or like, yeah, that's the hope, right? That's the hope. I mean, who knows? It's definitely, it's definitely there. And that's definitely the case, because it's so much of Satine is like, at the same time, like, she's a people pleaser, like, she's doing everything for everyone but herself, you know.

And so the fact that, like, in the end, she, she does something for herself. And then, you know, obviously, it takes a sad turn. But, you know, she also like that, that ends with like, the person that she truly loves, like the person that she would want to, like, have her last moment with in that, like, it's just like such a beautiful, you know, full circle, like, Oh, my God, so cute type of way where that's the moving piece that, you know, it's like, holy cow. And then you have the spectacular bows, which is like everything's happening and glitters being shot out of cannons after, you know, one of the main character just died, you know, it's just like, but it's great. Like, that's what we're getting at the Moulin Rouge.

[43:35] Eli Tokash: You mentioned, you mentioned, like, Nicole Kidman, right? And Ewan McGregor, of course, but like, I'm curious, like, how much of the movie kind of impacted your preparation for either the audition or for rehearsals, whatever it is, and just your like, development for Satine?

[43:52] Courtney Reed: Honestly, so much of it. I think it's Yeah, so funny. Like, I feel like, because I've had a long journey with the show, and then I had a really long journey with Aladdin. And these were both like movies first that then became musicals. And like, I think so much of my inspiration was like with Aladdin was like Linda Larkin, and like hearing her because I grew up with that film, like hearing her line reads and being like, Hey, don't fix it, you know, and it's like, it's just how I remember this as a child, like, I cannot slander this. And then so much of Nicole Kidman's, I mean, I was so inspired by her performance. And it's so ingrained in me in the same way that like Aladdin was as a child, but then like, for me, as an adult with Moulin Rouge, I mean, I watched that movie on repeat.

Like I would I love that movie. I knew I know it like in an inside and out. And I still like to this day, like, when I watch it, I am so moved. And I'm like, I always think that the ending is going to be different. Like, no, it's gonna change this time. You know, it's just like, I'm so invested in it. And so I think a lot of the inspiration did come from that. And I think when I approached the material, I was like, what would Nicole do? You know, like, how would she how would she do this? And then I think just naturally, a lot of your own isms and who you are as a person just like sort of naturally folds into the mix. And so yeah, and and I think what's so fun is that she's able like, I'm able to like, like make her funny in certain moments.

Because I think like, she I mean, it's like, it's hilarious. Like her, her sparkling diamond is just like, it's so funny to me. It's like, she's, this is a persona. It's not like this is not her, you know, like when she's like, that's like, that's not her. You know, it's not Satine. That's a sparkling diamond. And so I think it's like fun to play with that. And so there's a lot of Courtney moments and those things. Like my mom came to see the show for the first time. She's like, so many of your faces. I remember you made those faces as a child. You know, it was really cute. She's like, it's the same. You're the same as you were as a kid. I'm like, I know. It's so funny. So maybe there is a little bit more Satine in you than you thought.

[46:01] Eli Tokash: That's so funny. No, you're right. No, for sure. Definitely the sparkling diamond for sure. The sparkling diamond.

[46:08] Courtney Reed: Oh my gosh. That's so funny. It's so good. You were talking about, you know, firework and now the sparkling diamond and everything like, you slay. Like you're just so good. That number is so like epic. And you are just wailing your face off. And it's like, it's the greatest thing ever. Like it was one of my favorite. And like you said, it's like a kickass I want song, you know, that like we would have never expected. But, you know, as I mentioned, you're wailing your face. How do you like, it's so vocally demanding this role. Like how, what do you do to like preserve your voice and then kind of like take care of yourself outside of the theater?

[46:44] Courtney Reed: Oh my gosh, it's so actually last week was like so crazy because we had gotten back from Tokyo like a week ago and getting what's so insane is getting back into the show. I'm sure you know this too. It's like when you're conditioned, when you're show conditioned, and then you take like a week off, it's like, it's like taking a week off at the gym and going back to the gym and being like, dang, my muscles atrophied. Like it is the same vocally. Right. It's like, oh my gosh, I wasn't singing the show every day. And you would think that you'd come back even more fresh. And you sort of do like on the first show back, you're like, I'm fresh. And then you're like, oh gosh, like this is hard. I forgot how hard this is because you're just sort of like maintaining those muscles.

So I think it's a balance of like maintaining the muscles and then also like, um, just, you know, hydrating and always the, the, um, the humidifier and all the, you know, like nasal rinses and like preventing, it's like you, your life as a performer is like, just don't get sick. Like, that's like basically all it is is like do everything in your power to just not get sick, do all the supplements and all the things. It's just, it's just crazy. Like your job is to not get sick. Basically.

[48:05] Eli Tokash: It's kind of disgusting too. Like the nasal rinses, those saline solutions and whatever. I'm just like, I can't, I can't. It's so nasty. And like, I don't even want to think about it and paint a picture for listeners, but it's just like, you know, it's not cute. It's not cute. It's not glamorous, you know, like people think it may be. It's not. It's so nasty. But, uh, that's so interesting. Cause you know, like people say like, you know, I try not to like, I just try to rest my voice. And then you have like the other point of view where it's like, I kind of just want to keep it, just go in at all times just to keep it, you know, you know, I don't know, like strong, you know, like it's like, it's totally a muscle and just working it out. So interesting to hear your perspective on it. Everyone has like their own thing.

[49:35] Courtney Reed: Yeah, I think for sure. Like if I, oh gosh, I think if I were playing Christian, it would really stress me out because there's always recordings of Roxanne. It's always like, you can't have a bad day. You can't have like one day where you're like kind of sick or you crack or whatever, because that's about to be on the internet. I'm so glad that like firework isn't like that. You know what I mean? It's like, so for me, the pressure is off, which is great. I think if this would have happened, if I would have been Satine 10 years ago, I would have just been like ultimately so stressed and been worried about like comparing me to.

[49:57] Courtney Reed: So yeah, I don't know. Um, I'm curious because you've, you've experienced these wonderful yet wild fans on both the tour and Broadway now. Um, Moulin Rouge, it's like a cult following. It really is. It's madness. And I'm obsessed with the love that, that people will see. Like when I saw the show, the people in the front row were like, Oh, this is like my 56th time seeing the show. And I was like, I'm sorry. Like how many times? It's wild that people, you know, I don't know. It obviously resonates with them, but, and they keep coming back, which is lovely. But, um, I don't know, like, what does that mean to you? And like, what does that mean entering a show? Does it add any like excitement or nerves or whatever? Like knowing that like, there's just like this huge fan base and expectations or anything like that?

[50:24] Eli Tokash: Welcome back to Take A Bow! Today, I am thrilled to have Courtney Reed with me, who is currently starring as Satine in Moulin Rouge! on Broadway. Courtney, thank you so much for being here!

[50:54] Courtney Reed: Thank you for having me, Eli! I'm so excited to be here.

[51:24] Eli Tokash: So, you just made the transition from the national tour to Broadway. What has that adjustment been like for you?

[51:54] Courtney Reed: It's been incredible! The energy in the Broadway theater is just unmatched. I mean, I loved the tour, but there's something about performing in New York City that just elevates everything. The audiences are so enthusiastic, and it's just a dream come true to be on that stage.

[52:24] Eli Tokash: That's amazing! What was it like coming back to Broadway after being on tour?

[52:26] Courtney Reed: It felt like coming home. I had performed on Broadway before, so stepping back into that world was really special. I had to adjust to the pace and the energy of the city again, but it felt so right.

[52:36] Eli Tokash: I can only imagine! And you mentioned the energy of the audiences. How does that impact your performance?

[52:38] Courtney Reed: It really fuels you! When the audience is engaged and responsive, it makes you want to give even more. You can feel their excitement, and it just creates this magical atmosphere that enhances the whole experience.

[52:40] Eli Tokash: That's such a great perspective. Now, I know you have to stay vocally in shape for such a demanding role. What are some of your go-to practices?

[52:42] Courtney Reed: Hydration is key! I also do vocal warm-ups every day, and I try to maintain a healthy lifestyle. Rest is super important too, especially with the physical demands of the show.

[52:44] Eli Tokash: Absolutely! Speaking of physical demands, I heard you learned trapeze for this role. How was that experience?

[52:46] Courtney Reed: It was thrilling! I had never done anything like it before, and it was definitely a challenge. But once I got the hang of it, it was such an exhilarating part of the show. It adds a whole new layer to the performance.

[52:48] Eli Tokash: That sounds incredible! And you get to perform with different leading men. How does that change the dynamic of the show for you?

[52:50] Courtney Reed: Each leading man brings their own energy and interpretation to the role, which keeps things fresh. It’s exciting to explore different chemistry and dynamics with each performance.

[52:52] Eli Tokash: That's so interesting! I also wanted to ask about the fan stories. What are some of the most memorable interactions you've had with Moulin Rouge fans?

[52:54] Courtney Reed: Oh, there have been so many! I love when fans share how the show has impacted their lives. It's really heartwarming to hear their stories and see how much the show means to them.

[52:56] Eli Tokash: That must be so rewarding! And I have to ask about the friendship bracelets. I know they’ve become a thing among fans. What’s the story behind that?

[52:58] Courtney Reed: Yes! The friendship bracelets started as a way for fans to connect and share their love for the show. It’s such a sweet gesture, and I love seeing them in the audience. It creates a sense of community.

[53:02] Eli Tokash: That’s such a fun way to build connections! Now, making a jukebox musical work can be a challenge. What do you think makes Moulin Rouge! successful in that regard?

[53:04] Courtney Reed: I think it’s all about the storytelling. The music is iconic, and it’s woven into the narrative in a way that feels organic. The creative team did an amazing job of making it all come together seamlessly.

[53:06] Eli Tokash: Definitely! It’s such a unique experience. Thank you so much for sharing all of this, Courtney. I can’t wait to see what you do next!

[53:08] Courtney Reed: Thank you, Eli! I had a great time chatting with you.

[1:03:00] Courtney Reed: It's like, it's basically like the Spice Girls, but like Disney princesses, you know, it's like, and the concert is really beautiful and moving. And then once we did, you know, partner with Disney, all of the animations in behind us are now, we're supported by all of the animations. And so it's like, it's so beautiful because it's like, and it's a stunning evening of seeing like four powerhouse divas doing what they do best, singing these songs supported by the animations behind you. So it's like very nostalgic, but it's also like, my gosh, these Broadway divas are like so amazing. And they get to tell these stories about how they originated these roles and like, what it was like and, and their bond together and just sort of seeing four icons that like, would never normally be in a show together or like now in a show together, supporting each other.

And then when you when you hear vocals like that, of like, all four singing, like that, like, let it go or like into the unknown, you're just like, it's amazing. Like, when would you get that many incredible, like Broadway stars together singing these songs. And so it's been amazing to be a part of the producing side. And it gives me a different perspective to on like, you know, when I work for producers on Broadway shows, I'm like, I totally get it. You know, I totally get why they have to like, you know, the money, the how far the money can go and how to stretch the money. And like, you know, it takes so much effort and so much money to produce these shows. And so it's really hard. You know, it's like, if you're, you know, if you're coming up short in certain ways, it's like, oh my gosh, but you're really trying.

And so it gives me a different perspective on that too, with my own producers on shows that I work for. Totally gives you just a whole new perspective on the industry. You I don't know, I feel like it's easy to forget that it is a business because there's so much to other things to focus on just the whole spectacle of it all, I guess. And then it's like, oh, yeah, this is a job, you know, like, it's easy to forget that you're even doing a job each show a week, because you're just having fun, you know, type of thing.

[1:05:08] Eli Tokash: I know, it's true.

[1:05:10] Courtney Reed: Yeah. So I love that, because that's what I'm going to school for now. So I'm very interested in the producing side and like, how that all works. So when I saw that, I was like, oh my god, so cool. And an actor who also produces, is that something you like want to get into? Or is that like, you know, it's just your little show here with that? I mean, not little, because it's like touring around major concert venues, but you know, with Disney Princess concert series.

[1:05:38] Courtney Reed: Oh, gosh, I mean, I don't know. Maybe I should do more of it. Maybe I should go to what school are you going to? Should we do it with you?

[1:05:47] Eli Tokash: Oh my gosh, that's amazing that you're doing that.

[1:05:51] Courtney Reed: Oh my god. Yeah, I'm at Pace. So I'm loving it. I don't know. I just looked at my school.

[1:05:57] Eli Tokash: Yeah, I love it. It's very fascinating and learning the business side of it all. Like, I don't know, there's so much to it that I never knew, you know, that I didn't even know, like was even a thought or was something that a decision that even had to be made. Um, so just going through that process has kind of gotten me into it. I was kind of like, I don't know, I was a little iffy on it, I guess the beginning, but I love it now. It's like, oh my god, so cool. But that's so awesome. Yeah, I mean, I would hope to produce at some point more because it I mean, it is really cool, but it's just so oh my gosh, it's a lot.

[1:06:36] Courtney Reed: Yeah, right. Oh my gosh, it's crazy. Yeah. So I like, would you want to like, direct it all? Like, what is it like? What is next? Like in the ideal world? I mean, I know you just started another Broadway show. Not a big deal. But like down the line, like, what's like a goal? Like what? What's the what's the end goal for you?

[1:06:57] Courtney Reed: Oh, gosh, I don't know. I have no idea. I think I just sort of like, move through life in a way that like things, I just go like, I think everything's gonna be okay. And then like, everything ends up being okay. It's really weird. It's like things just sort of the things come up. And I'm like, Oh my gosh, I this is a wonderful opportunity. And I saw like, I see signs of things and then I just go for it. So I naturally sort of go in the way that it that it will inevitably I mean, I don't know, I have no idea what the world has in store for me next. But I am definitely open to it. Like, I was I was going over some material last night when my friend was like, he's like, Okay, I got a call back.

I have to go in for tomorrow. I have like these sides, these sides, these two songs, these two songs. And we were all like supposed to hang out. And I was just like, Okay, let's go over this. And so I realized I was like, Oh my gosh, this is really fun for me. This is fun for me to like break down the scene and like to break like talk through like the scene and like what's going on and like what the character is and the development. Like, why are you singing this song? And like, why are you responding in this way? Or like, where can we find some comedy in this? That's really funny. Or like, and so I'm like, dang, is that like directorial? Is that a directorial brain? Or is it just sort of like a teaching brain? Like, I don't know, like something that like, I'd like to, you know, continue, like just like working with students or like, I don't know.

[1:08:25] Eli Tokash: Yeah, I love it. It's so fascinating. I'm the same way. I'm just like, I just love it all. Like, just let me figure out a way to like, tell a story and entertain and like, I'm happy, you know, it doesn't matter what it is.

[1:08:38] Courtney Reed: Yeah, so I totally get that. Well, how can we find you, you know, on on the Instagrams or whatever, of like, keeping up with like, what's going on in the world of Courtney Reed?

[1:08:50] Courtney Reed: Okay, yeah. Okay. My Instagram is @rhodesreed. R h o d e s. Reed r e e d. Yeah. Yeah. Not like a driving road. Right? Exactly. Not like a driving road. And not like an reid. And it's like a Rhodes Scholar. Reed. Um, yeah, that's where I do most of myself on Instagram because I'm old.

[1:09:20] Eli Tokash: Cute. What? That's so not true. Get out of here. You're done.

[1:09:26] Courtney Reed: I mean, I actually am on TikTok. But I don't like do TikTok. Right, right, right. It's fun to look at. It's too much work to make. I get that. As long as you're not I mean, it's no shame if you're on the Facebook, but that's like more of the old social media. So you're good.

[1:09:39] Eli Tokash: Is it? Okay. Yeah, you're in the clear. Thank you. Well, this has been an absolute treat. And you are just killing it over at Moulin Rouge, you know, eight times a week casually performing on Broadway and leading an unbelievable show. Oh my god, you have so much to take a bow for and have had such a wonderful career and I just can't wait to you know, cheer you on it for through future endeavors.

[1:10:05] Courtney Reed: Yeah. Thank you, darling. Oh my god. Thank you for coming on the show today. And yeah, this has been wonderful. Break a leg throughout the rest of your run.

[1:10:15] Eli Tokash: Thank you. Of course. Take a bow, Courtney Reed. Oh my god. I just I can't say it enough. I know this was very Moulin Rouge heavy. Okay, we got I kind of got away from my whole like, you know, not like a script, but like my usual like, the usual way I do this where we talk about all kind of shows in her career. You know, Moulin Rouge was just so fresh in my head that I was just wanting to know everything. I really wanted to talk about Moulin Rouge and like her, what she was going through as an actor, a producer, like all the endeavors of Courtney Reed herself, like that's currently happening. And to talk about, you know, the difference of tour life, because Moulin Rouge is still currently on tour.

And John Cardoza is having his final show in DC this weekend. So I wanted to talk about all of it. And and since it's like, so relative to my particular show, and I just loved the Moulin Rouge. So I it was very Moulin Rouge heavy. And I appreciate you all listening to it. Hopefully you all enjoyed it. Because Moulin Rouge, I can't stress this enough. If you haven't seen it, you must you must go see it for any Broadway person. It is it is it man. And it is, I mean, it's very rare that we see a show in general last as long as this show has. So that right there should tell you that it's something special and something absolutely worth going to see. And so yeah, I'm just a huge fan. And the fact that it's a jukebox musical.

It's very rare coming from me personally. I know if you guys listen to this show every week, you would not expect me to like Moulin Rouge as much as I did this weekend. But I'm not even kidding you. I am I'm on board and I get it. I get it chickens. I fully understand now and I'm obsessed that the these this new thing is happening on Broadway with friendship bracelets. I say more of that more more doing things to show your appreciation for the performers, not craziness things going on to show your appreciation to performers. That would be amazing. And the fact that Courtney literally like came on and showed me, I'll post a clip on like the social media and this will be up on YouTube eventually.

So you guys can check out those bracelets that she was showing me while we were talking about all of it. So for those of you who are interested and you're going to Moulin Rouge soon, you know what bracelet she wants. So I guess her and Casey, you can make mom and dad for her and Casey. That would be iconic. And you should say that you listen to this episode and it inspired you to make that.

[1:13:07] Eli Tokash: But I love it. And thank you all so much for listening to this episode of Take a Bow. Hopefully you guys all go see Moulin Rouge. It's happening over there at the Al Hirschfeld Theatre on 45th Street. And it is it's something you don't want to miss right now. It really is. This cast is phenomenal. And Eric Anderson, I oh my god, I didn't see Eric Anderson yet either. I saw Danny Burstein and Danny Burstein was amazing. But Eric Anderson is equally amazing in this role. He is like born to play that role. Like it's it's unbelievable. So shout out to Eric and shout out to everyone in the cast to be completely honest with you. I just absolutely fell in love. And yeah, everyone go see it. So that's all I have for you folks this week.

Thank you so much for listening to this week's episode. I hope that you all enjoyed it. Come back next week for a another wonderful episode. And we're going to have another performer here on on the podcast. So stay tuned for more stories from your favorite Broadway stars. Until then, bye everyone. Have a great week.

[1:14:21] Eli Tokash: For this episode's curtain 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 Lori Berenstain, Alan Seales, Kimberly Garris 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 Grineman. 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. 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 A Bow podcast across all social media platforms. The music of this podcast was made by Nikki Torsha and Cormac Collin on 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.