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[0:00] Eli Tokash: Hello everyone and welcome to episode 182 of Take A Bow. I'm your host Eli Tokash and this week we have a wonderful episode, we have a wonderful guest, we have great conversations, I'm so excited to bring it to you. We are back! So exciting. And this week's guest is currently one of the backbones over at the arguably most historic show running on Broadway right now. I guess you could argue Chicago, I'd probably give the upper hand to WICKED. We have Allsun O'Malley on the podcast today. Just a wonderful conversation. And it was great because, you know, the conversation with Allsun, it was kind of like, it was talking to both a fan and a performer who is a professional in this industry. And the conversation is just really special because it's still like, it's still raw and it's still there.

Like the passion and the love and the kind of, you know, the theater kid is just so prevalent, I guess you could say, in this conversation. And so this conversation is one of my favorites. And I was so excited to chat with her and chat about WICKED's 20th anniversary of being on Broadway, which is just a huge milestone for the show. And certainly not its last milestone. And yeah, it was just, it was great. And I was so thrilled that we were able to talk about it on the podcast and kind of get their perspective on the show and all of that for all of you. Because I know a lot, I mean, if you're a Broadway fan, you're obviously a WICKED fan. So yeah, just a great episode. And we will turn it over to that in just a second.

But first, we got to talk about some Broadway news, shall we? Some of this is a little dated. Obviously, we had no show last week. And then we talked about news a couple weeks ago, or the week before last. So here we are. We have both last week and this week's news. I'll make it quick. We have some casting news that I'm really excited about. Bebe Neuwirth, Ado Blankson, and Stephen Skybell will be joining The Cabaret at the Kit Kat Club cast. Whoa, say that 10 times fast. The Kit Kat Club cast. Holy cow. That is going to be just something really special. And I know a lot of folks are really excited about that production of Cabaret. So just incredible additions to an already exciting show. I cannot wait to see it.

[2:12] Eli Tokash: Speaking of exciting additions and, you know, coming back to Broadway, I guess we could say for this one, Boy George will be playing Harold Ziegler in Moulin Rouge, which I love that they did like the announcement with a little picture. And I just saw Harold. I just was like, this makes total sense. This is a total Harold Ziegler through and through. I was like, I'm very excited about it. And it seems like a lot of folks are looking forward to that. And just another excuse, I guess, to go see Moulin Rouge, which I'm not complaining. I'm not complaining. But we love. So congrats to Boy George. Congrats to all these people. We have another casting notice coming from Waters for Elephants, which, holy moly, y'all, I cried.

I screamed everything when I saw this cast announcement. Grant Gustin will be making his Broadway debut. Now, for some of you, that may not be a big deal. I love Grant Gustin. I love him in The Flash. I'm a big fan of his. The thought of potentially, I don't know, I'm not even like guaranteeing this. But, you know, sometimes I go to these red carpets and opening nights and stuff, like just the thought of like potentially seeing him or going to the stage door and being able to like just chat with him and interview him or whatever. You know, that that's something that's pretty wild to me. So very excited for him to come to Broadway. And then, of course, it's starring Izzy McCalla, Isabel McCalla, Paul Alexander Nolan, who is a friend of the pod.

He's coming on here soon. And we have other great cast as well. Sarah Gettelfinger, Greg Edelman, Joe DePaul, Stan Brown and Wade McCollum. Just an exciting cast, an exciting announcement. And I can't wait to see that one. That one's gonna that one is with.

[5:04] Eli Tokash: Oh, my. These are like for the OG take about take about fans. I don't know. Um, Nico Gelmoni, who was one of the circus acrobat performers in Pippin when I was in the show, obviously, you know, he came on the podcast very early on about maybe in like the 50s. I don't even know if that's right. That's just like a guesstimate. I know it's pretty early and it was pretty early for when I was just it was just me. And he's going to be involved in that show in some sort of way, either as a performer or as a like, I don't know circus like director. I don't know like the the coordinator for for the circus performer. It's got a Pippin esque feel to it from what I was talking to him about. He was a performer in the out of town production of it.

Hopefully we can get him back on Broadway. I just deserves it. So much literally one of the hardest working people I know. And just exciting water for elephants. I mean, that's not announced yet. The cast is the ensemble is not announced just those folks that I mentioned prior. So I don't know 100%. And just here's to hoping that we can get him back on Broadway. And I'm excited for that show and to have a Pippin esque show kind of back on Broadway with the with the circus and the performing and stuff. So very exciting.

[6:38] Eli Tokash: And then probably the biggest casting announcement. And when I say biggest, as in like biggest names, because I think that everyone kind of saw this coming or this kind of leaked really fast and early. I don't know how because I was I mean, I was hearing it and I was hearing it a lot. So I felt like I could, you know, say it on here. I said it maybe a week before is announced. But Aaron Tveit and Sutton Foster will be joining the Sweeney Todd production happening at the Lunt-Fontaine Theatre. That's happening in February of next year, I believe. And we are going to get a few weeks of understudies in between the time that Josh Groban and Annaleigh Ashford wrap up their run with the show and in between Aaron and Sutton's, I guess, debut with the show.

So our first performance with the show, I guess I should say. But very exciting stuff. I think they will get people in seats for sure. I think a lot of people are curious to see how this this would go. And yeah, I think it's going to be it's going to be great. Hopefully it keeps the show going because I feel like we need I love Sweeney Todd. And I think a show that we need a Sondheim show on Broadway at all times, like let's be real. So keep going, Sweeney Todd. And here's here's to that. I'm excited because I want to shout out Max von Essen and Max Clayton, who both are back on Broadway. They joined Chicago this past Tuesday. They had their first performance in the show Tuesday, and they're back on Broadway.

So congratulations to them. Happy back on Broadway, I guess. I don't know. And yeah, just thrilled for them. Hopefully we can get Max Clayton on. We've had Max von Essen on multiple times. And we talk about Max von Essen a lot in this episode, actually. So love you, Max. And yeah, that that's that. Congrats on on another Broadway show. Casual for both of them.

[8:53] Eli Tokash: Okay, so real news. I mean, that was all like news, but like more news. And this isn't like the greatest news. So I was very bummed to hear that Here Lies Love is closing on Broadway, November 26. We did get pretty short notice. It wasn't a full month, but it was about three weeks. And just heartbreaking because the show is great. And it was doing something that no Broadway show had ever done in the sense of having an all Filipino cast, which is just incredible, and something that we hope to see more of in the future. And talking about shows such as, you know, representing their cultures that the stories focused around. It would just be great to see more of that. And Here Lies Love was doing that.

It's a shame that it had has to close and close early. I mean, it wasn't a very long run. But it did have a great run. And they changed the the way of musical theater in multiple senses, the way that they their show is set up, and the design of the theater and all of that. So shout out to Here Lies Love. Hopefully we can get a cast member on before the show closes, as I'd love to talk to them about the show. And about, you know, everything and the closing and what it meant to kind of be a part of the historic show that is Here Lies Love.

[10:28] Eli Tokash: Yeah, that's that. And moving on, Mean Girls trailer came out. All right, y'all, this trailer is so freaking good. It is like, I don't know, like, it's so badass. Like there's no other words to say. But I like what they're doing. It's going to be interesting because it is Mean Girls and it is going to be Mean Girls. But there's I feel like a little twist from what I saw in the trailer. Obviously, Tina Fey has really modernized it. I saw there was a lot of tick tocky filters going on and social media and whatever. It seemed like it was literally just kind of as if Mean Girls was written in 2023. So I'm excited to see what those changes look like. I'm excited for what this movie musical is going to look like and how that, you know, kind of translate.

Obviously, the musical itself was amazing. I just can't wait to see it on screen. And hopefully I mean, I don't know about you guys, but I love a musical movie. I love a movie musical. You know, I'm obviously a big fan of The Greatest Showman and stuff like that. So I'm all for this and hopefully more of this. So shout out to Mean Girls and Renee Rapp and that entire cast. Can't wait.

[11:56] Eli Tokash: This isn't really a piece of news, but this was something that I wanted to kind of shout out. And this is Brody Grant. Brody Grant, I don't know personally, but I've known about him for quite some time. And he was, I believe, in the original like Trevor readings, I want to say. And he's been a wonderful singer for quite some time. And I can't wait for him to, you know, have his like breakout role in The Outsiders, which is coming to Broadway. That cast was announced as well. But I just have to shout him out because they released a song from the show. And this is a song that I've known for for a few years. And I've loved this song. And I really think that it's a testament for everyone to go listen to this song and go see how good this music is going to be in this show.

Because I think a lot of people are maybe hesitant in The Outsiders becoming a musical. But I think it's going to be awesome. And I love the music. And they released Great Expectations, it's called. And it's sung by Brody Grant, who plays Ponyboy, or who's going to play Ponyboy, I guess. And what we see and what we hear vocally, it's some of the best vocal, I don't know, talent and, and, and audio, I don't know what even to say. But it's just so it's unbelievable. And it's some of the best that we are blessed to hear in quite some time. I think he this is going to be

[13:36] Allsun O'Malley: This week's guest is an award-nominated actress who made her Broadway debut in the most historic show running on Broadway right now, where she continues to actually be the backbone of WICKED on Broadway. So everyone, welcome to Take A Bow, Allsun O'Malley. Hi, Allsun, how you doing?

[14:50] Allsun O'Malley: Hi, I'm good. I'm great. Happy to be here.

[14:53] Eli Tokash: Oh my god. I'm so excited. Thank you so much. We actually connected through our voice teacher, our mutual voice teacher. So shout out Doug Jabara. I'm sure you're gonna be listening to this. But this is great. You're currently in WICKED and it's your Broadway debut. What a Broadway debut for you. Yeah, and we'll get into all of it. But let's start at the beginning. You know, what was the moment for you that, you know, made you want to entertain others and tell stories and fall in love with musical theatre?

[15:28] Allsun O'Malley: Um, well, it started when I was really young. My parents were divorced when I was at a really young age. I was around three, four. And, you know, I would spend every other weekend with my mom, the next weekend with my dad. And it's so funny, because with my mom, she would take me to the theatre almost every weekend. And with my dad, we would almost always go see a movie. So my weekends were filled with entertainment. And it really, it really, for me, made me want to create my own world. And I would create little shows in my basement. I had a horrible voice, really bad. So bad. And I was told that many times. But I loved it nonetheless. And, yeah, I was surrounded by theatre. And it was honestly, it was an escape for me.

And it's funny, as a child, you don't really understand what divorce is. You don't understand what adults go through. But you can still see, children are pretty intuitive. You can still see how theatre and art can take people out of pretty difficult situations and put them in a different world for a moment. And whether I knew that that's what was happening to me or not, it made me really value the freedom that theatre brought to children and adults. Being around my parents when they were in that environment was really awesome. And they were really supportive of me when I was little. They would watch my little shows that I would put on, even though I was bad. But they were, yeah, so that's really, from the beginning, how I got into theatre.

And I had parents who, you know, my mom, my dad was kind of the one who was like, you know what, no matter what, honey, you're great. And my mom was like, you could be great. You could be great. It's not, you maybe don't sound good on that song. So I kind of had the best of both worlds. I had a parent who really pushed me to be better, and not in a scary way, because I wanted to be better. And I had a parent who was like, anything you do is great. So I think having both of those, and I had a stepfather who I think landed right in the middle of those two as well. So I had so many different types of support growing up. And I'm really lucky for that.

[18:04] Eli Tokash: That's amazing. Where are you from?

[18:04] Allsun O'Malley: I'm from Boston. Well, right outside Boston, Winchester, Mass.

[18:08] Eli Tokash: Oh my god, that's awesome. I can relate to the whole, I mean, my parents are still together, but definitely like the mom is more of like, oh, you got to keep working. And my dad's always like, great job, bud. You know, keep going. You do you, man. I'm like, thanks, dad. It's nice to have both.

[18:27] Allsun O'Malley: Yeah, for sure. It keeps you honest, but also like, you know, there's a glimpse of hope in there, you know, with your dad. So yeah, totally get that. That's hilarious. But you went to, you know, you graduated from Penn State University for musical theater. What was that whole process like? I'm currently in college. So the pre-screens and all of that, like, that's no joke. And I know there's a lot of young people listening to this. So what was your college experience like? And I guess what kind of advice could you offer to the young people listening?

[19:02] Allsun O'Malley: I mean, I had a great college experience. I loved Penn State. It is a really great place to go to school for so many reasons. You know, I'll get into the whole applying to college in a second, because that's really its own beast. That is, that's a whole podcast. If you were like, $10,000 to go back in time and do it over again, I would not, I would turn down money. I would say no way, because it's so hard. It is so much harder. It is, I think it's one of the hardest things I've ever done in my life. And I'm real. And I've had almost 28 years of life. So that says a lot that that one year was the hardest ever. But anyway, Penn State, Penn State is awesome. Mainly because you have incredible training.

You have so many amazing faculty members. But also, you have a whole university that allows you to explore other aspects of yourself. You can go to football games, you can join the Honors College, you know, if you want to write a thesis, if you're an academic, and that's I was in the Honors College. And I loved exploring that part of myself. So I think being at a university like Penn State, and kind of getting the conservatory world and also the real big university aspect was the best thing for me. And I'm sure it's the best thing for other for some people and other people want just a conservatory experience. But Penn State helped me become a very well-rounded person. And so that's, that was my big takeaway from Penn State. And it's run by John Simpkins now, who's amazing, and who is very thoughtful in the way he runs the program. So highly recommend.

[20:59] Eli Tokash: Yeah, I'm hearing more and more like that. I like what you're saying, because I'm hearing more and more personally, of like, it's hard to be successful in this industry without knowing who you are first, you know, like, it's hard to play other people until you can kind of lean on what you know, you know?

[21:17] Allsun O'Malley: Yeah. And I think that's, that's what makes it hard about applying to college too, is because yes, you're 18, you're 17, you aren't yet a full adult person, even though it feels like you are, you're not yet and you, you rely basically solely on your skills and who you have become up until that point. And it's really hard because you don't, as an adult, it is now so much easier for me to hear no. But, you know, when I was a teenager, it was really difficult, because I hadn't learned yet to not compare myself to others. And the best advice I ever got was from Brent Wagner, who used to run the University of Michigan program, which was always look forward, not sideways. And that was really important when I was applying for college.

Because, because it's so hard. It's so hard. You have such a small amount of time to show, to show what you can do. And sometimes you get a no and you don't know why. You know, you don't know why you don't know why you were waitlisted. Because you had a great audition, or you don't know why you didn't get in. And it's so often for reasons that have nothing to do with you. And it's just, it's that it's so hard. And I really respect everyone doing it now. Because I feel like it's even more competitive now than it was when I was applying. You know, it just gets more competitive every year.

[22:50] Eli Tokash: Yeah, for sure. Yeah, that's pretty wild. But Penn State, I mean, that's a great program, dude. Was that some somewhere that you like kind of always wanted to go? Was that somewhere like that was high on your list? Or was it kind of just something that, you know, happened in kind of the universe brought it to you?

[23:02] Allsun O'Malley: It was really high on my list. It was one of my top two schools. And I was actually waitlisted.

[23:11] Eli Tokash: Oh my gosh.

[23:11] Allsun O'Malley: Yeah, I had, I was about to accept another program's offer. And I ended up going to visit Penn State. And I just, I was like, there's no other place for me. This is where I belong. And I was really lucky to get off the waitlist. And it was where I belong. Four years really proved that to me. And I am. And again, I said before, like, when you're 17 and 18, you're not a full adult human. A lot of people at 17 and 18 have more of a sense of who they are than I did. You know, it took me it took me a while. Some people learn pretty fast.

[24:04] Allsun O'Malley: Yeah, I was I was more like, I'm a musical theater robot. What do you need me to do? And I will do it. And not everyone's like that. Not everyone's like that. And yeah, so I just to kind of edit what I said before, there are people and I really respect those people who do have a really good idea of who they are, and are entering this industry with far more of a backbone than I had when I was 18. But Penn State really helped me evolve in that way.

[24:25] Eli Tokash: Wow, I love that. What about from like, the musical theater program? You know, there's obviously like any theater kid will go like, do I go to the conservatory program? Do I do like a traditional musical theater? Like, what were like some of the biggest, like, benefits or kind of impacts that you learned from the program itself?

[24:44] Allsun O'Malley: Um, I learned, I learned that being an individual in this industry is very important, and not putting yourself in a box. I learned technique that has really served me over the past few years, it's really served me in my time at Wicked. How to sustain your voice doing a long-running show, stamina. The acting program is really strong at Penn State as well. The voice teachers are fabulous. They're kind. You know, it's not a program, at least for me, it didn't feel like a program where they knock you down to build you back up. It felt like a program that said, here are all the pieces of you. Now, how do we put those together and make you realize what you have to offer as you. You know, I don't believe in breaking someone down into pieces.

I believe that we already are so many different things, and we are so many pieces, and there's no need to break that down. It's just helping someone realize what that is. And, you know, and I think Penn State really took that approach, which was very healthy for me. I don't know if that makes any sense.

[26:14] Eli Tokash: Totally. Yeah, it was a, it was not a toxic experience for me at all. It was, it was really lovely.

[26:19] Allsun O'Malley: That's so good to hear.

[26:19] Eli Tokash: Yeah, yeah, that's great. And what about, you know, like, because obviously, like, theater itself, like, it's just like, it's not like the business world, you don't have to be like, Oh, go into my audition room and hand over my BFA or something like that. You know, like, there's people that are like, Oh, do I go to college? Or do I just start auditioning? You know, like, do you have any kind of advice on that? Or do you kind of are you just like, go to college, go, go get in train and do your thing?

[26:42] Allsun O'Malley: You don't have to go to college. You really don't. I mean, if all if this is what you want to do, you have to train, you know, unless you're the one in a million who just land somewhere without any training, but you do have to train, in my opinion, but there's so much training in New York. So it's still an investment going into this industry is still an investment, even if you don't.

[27:13] Allsun O'Malley: It was amazing. Paper Mill is an amazing place. It's beautiful. The people are awesome. You know, I think for me what helped prepare me for Wicked was the environment, the rehearsal room for Chasing Rainbows. Dennis Jones, who directed and choreographed, is like a master class in leadership. He is the perfect blend of kind and empathetic, but also so, so, so inspiring. So, you know, it created the perfect rehearsal room, in my opinion, where people would come in to work and were so focused. And, you know, if he said jump, we would say, how high? And it was my first, it was my first, it really was my first really big show. It was the first show that had stakes that made me like really nervous, you know, going into it.

I was kind of green and I didn't know what to expect. And of course, I was nervous before to do other shows. But this was, this was my first show that did feel like a New York City debut. And, and it was my first understudy credit. It taught me how to be, it taught me how to be a good understudy. It taught me that you, you show up to rehearsal prepared. You show up knowing, you show up knowing that music, you know, you do not wait until, until the music rehearsal, you know it. And yeah, that was really good for me going into Wicked because I felt, I feel like I came, at least the music aspect, I feel like I came into Wicked very prepared, because I really worked on it ahead, ahead, ahead of time, excuse me.

But yeah, it just, it just set an expectation for me of what, what is, what is expected in the room? You know, what, what people expect of you when you walk into a professional rehearsal room. And the expectations are high, but that almost makes it more fun, in a way, because it's a challenge for those, for those of us who love a challenge, walking into a room, and knowing that you're going to be with people who, who make you want to be better every day. And that's how I feel at Wicked too. I mean, it is the coolest feeling in the world to go to work with people and go, I can't believe I work with people. Yeah, like, I can kind of call you my friend, I guess, now. You know, and you're like that, I know that person, I work with that person.

[32:33] Allsun O'Malley: Yes, oh my god, that's hilarious. Max Van Essen's a good friend of mine, and he's been on here multiple times. He's awesome. I don't know, I don't know if I would want to, like, he doesn't make me want to get better. He's like a fool. No, I'm just kidding. He's the best. He's so impressive. I was, I was so intimidated by him when I first met him. I think I could barely speak. I mean, I'm, I, I don't, I've never said that to him. But yeah, terrified because he's so impressive. And he's so composed. And he's such a good person.

[33:11] Allsun O'Malley: Oh, I know. People who have the full package are often really intimidating, you know?

[33:15] Allsun O'Malley: Oh, I know. And he totally, he's someone who, like, totally, he's in Chicago now. And so, like, he's someone that, like, totally has that, like, Chicago vibe where he, like, holds himself and really thinks, you know, chest out, great posture, you know, like, the voice is so silky, and he knows it, you know, like, it's just, it's gorgeous, everything. He, he is one of my favorite people of all time. And but he's just really silly. And, and that's, you know, that's something that I think, you know, you talk about going into a room, and, and these people with how talented they are, and wanting to be better and everything. But they also, you know, you go into a room with them, and they kind of show you when and where you can also play and have fun, you know, like, and enjoy, you know, the job, you know, and yes.

[34:09] Allsun O'Malley: So, I don't know, like, especially with, like, Max, and I know, Leslie likes to, likes to have fun a little bit, too. You know, what was that a big kind of learning moment for you, too, that it's like, oh, I'm doing a job. But we're also doing this eight times a week, and we have to have fun a little bit.

[34:30] Allsun O'Malley: Yeah, and I think there's a, there's a, there's a fine line. There's a fine line.

[34:37] Allsun O'Malley: And that line can be crossed sometimes. And I think that, like, I don't think that line, I never saw Max, or anyone who I look, I've never seen anyone who I look up to cross that line. You know, and that's, that's also a good lesson is there's like, there, it can be tempting to, to play too much. But the people, the people who are really good at their jobs, stay focused, while also having fun. And it's, it's really cool to watch, especially as a young actor who was really nervous to play, and not play in a way that was, like, irresponsible, or not doing what I was supposed to do. But, but not being a robot on stage, and just doing the choreography, and connecting with people in a real way. That, Jason Ramos really helps me with that.

Because again, these professional, these professional actors are so comfortable. And I think part of that comfort just comes with having real connection with people on stage. You know, and being comfortable with the people around you. And that's the kind of play that I think, that I think is, is not crossing the line. And I think that kind of play that is crossing the line is like, Oh, wait, we're not telling the story anymore. Right? We're, what we're talking about something that has nothing to do with the story. I, I've always found with Max, that he was so good at having fun, but not fun at the expense of the story. And never, never, I never, never messing around, never, never so professional on stage, but so easy to communicate with. And, and have fun with.

[36:21] Allsun O'Malley: I, yeah, I think it is, it is, it's a line and a lot of people cross it. I've found a lot of people. You definitely don't want stage management calling you, you know, can you focus on the show? Yeah. It is. It's really fun. The best part of the job is connecting with people, in my opinion. Yeah. That's, that's the best part of the job. And it took me a while to, to learn how to like listen to people on stage. Because again, I was so nervous. I was so nervous. I was like, I'm doing my job. And then once I settled into myself a bit, I was able to just be a human with people on stage. And that and again, that doesn't mean talking about things that aren't don't involve the show. It just means saying your lines and showing up in a way that is present.

And, and if it's, it's not improv, but like, but if someone does something, and you can respond to it authentically, rather than being like that didn't happen at all. Like if something, yeah, I, I don't not making any sense really, am I? But, but I think I totally get what you're saying, especially because it's like, you know, especially like with someone like, I guess, we keep using Max, God love him. He's, his ears are probably ringing. But you know, like, he, he knows how to kind of get the human aspect of you, you know, like, we are playing, it kind of is going back to what you were saying earlier, in the sense of like a musical theater robot. But we're playing humans, you know, and there is a rawness to it.

And these professionals here in New York and in Chasing Rainbows and Wicked, you know, they know how to kind of get that human out of you. And I don't know, kind of make you step out of the box and just make you comfortable and yourself while also telling someone else's story. You know what I mean?

[38:25] Allsun O'Malley: Yes, yes, I know exactly what you mean. That took me a long time to learn. And honestly, I think I honestly think when I was at Paper Mill, I was like, it took, I was like, do your job, you're doing your job, you're doing your job, and you're hitting the steps and you're doing your job. And then, like, as I've grown a little bit, I'm like, Oh, I can still do my job and also have fun. Like I can enjoy doing the steps and hitting my mark. Yes, I can be I can be a living breathing human and do that. And I don't have to be so stiff. And yeah, you know, but that's what makes the shows that we see that feel so special. So special. Yes. Is that people are just being them. They're so talented. They're so skilled. But they're really accessing who they are and the joy of doing what they do. And I see that in Wicked. That's the first thing I noticed when I saw Wicked.

[39:20] Allsun O'Malley: Absolutely. It's that genuine love and passion that kind of comes out when when you can have a little fun with it while staying in the in the lines. Yeah, looking at looking at your dance partner and smiling. Connecting. The chemistry.

[39:33] Eli Tokash: Yes, absolutely. Well, I mean, let's just get into it because I'm dying to talk to you about Wicked and all these things and we kind of keep referencing it. So let's talk about it. I guess what I want to ask first, since it just happened, was this 20th anniversary celebration. It had to be one of the craziest things ever. Did it kind of feel like you were a part of an opening night in a way like there was a red carpet, you know, the crowd had to have been amazing because it was literally a bunch of theater nerds and performers and all the things. What was what was the night like?

[40:03] Allsun O'Malley: It was surreal. It was surreal. It did feel like it did feel like an opening night. I've never heard a crowd cheer as much in my life. It was special. It brought me to tears. I wasn't on that night, but I was watching from the sound booth and I it really did bring me to tears. I couldn't. Yeah, I couldn't believe how how special it was and how people love Wicked because I love Wicked. And it's so cool to be at a job that I've wanted to do since, oh my God, since I was seven, maybe seven, eight.

[40:51] Allsun O'Malley: It's been my dream job for as long as I can remember. So it was really cool being a part of it and getting to celebrate it with, and I really mean this when I say it, the company at WICKED is, those people are some of the kindest, most talented, unique, I mean passionate people that I've ever met. And from the top down, really, truly, you know, it's so special to be a part of a show that's conducted by Dan Michique, who is such a fabulous music director. And speaking of leadership, another person who will say, jump, and we will say how high. Just, again, a masterclass in leadership. And our stage managers are fantastic, empathetic, and kind. And I think that's something that I've learned at WICKED also, is that leadership is about so much more than saying you go here, and you go there, and do this.

It's about that, but it's also about communicating and seeing people as human beings. And the whole team at WICKED is just so special in that way. So to celebrate WICKED, my dream job, with people who I look up to and admire, with my whole being, it was one of the most special nights and weekends of my life.

[42:36] Eli Tokash: Wow. I love that. That's so cool. I mean, I wasn't there, obviously, but it was all over social media, and the Broadway world, and the Playbills, and everything. And just the people there, I would have been peeing my pants the whole night. Were you nervous to meet anybody? Freaking Idina Menzel, Kristin Chenoweth, all these Shoshana Beans, all these people were there, all these previous people that were in the show that I'm sure you saw on the show, or listened to them a million times in your earphones. Was there anyone you were most excited or nervous about to meet?

[43:21] Allsun O'Malley: I was really nervous to see Kristin and Idina. When they came on stage, I was like, am I dreaming? Oh, my God. And they were so kind, and so beautiful, and everything I could have ever imagined. Like the little, the eight-year-old Olshan was like, oh, my God, I'm freaking out. And I actually, I met Kara Lindsay for the first time that night. And she's one of, you know, one of my biggest inspirations. A lot of that is because of her reputation. She's so kind, and so easy to work with, and so talented. And then I met her, and I was like, play it cool. Don't act like, play it cool, Olshan. It's like, so good to meet you, Kara Lindsay. And then, of course, I was like, I'm a huge fan. I love you so much. Lovely and beautiful. And it was just really cool. It was really cool. I wasn't so nervous, as I was just so excited. I hardly slept that night. I think I lay awake in bed for hours.

[44:34] Eli Tokash: Oh, that's so cute. I love it. That night just looked so magical. I mean, the crowd interactions of the Bows and them coming out on stage, it just seemed like a night that, it's just an unforgettable night at the theater and a celebration of a show that has changed so many people's lives. It had to be kind of like an honor to just be a part of that, yeah?

[45:01] Allsun O'Malley: Huge honor. Huge honor. Completely surreal. I know I keep saying surreal, but it was. I cried that day. I called my mom. There's a photo of me when I was eight, nine, with Emerald City glasses on. That's how much I love Wicked. They got me Emerald City glasses, and my mom sent it to me. And I started crying because I was like, I can't believe that I get to go to the theater tonight and walk into that stage door and be a part of this, and be a part of something so cool, something so brilliant. It is brilliant. The costumes, the design, the direction, the music direction, the company, it is brilliant. And to be a very small part of it. Again, I'm a very small part of it.

[46:11] Eli Tokash: No, get out of here.

[46:12] Allsun O'Malley: No, I really am, because there's so much that goes into it, you know? And to be even a speck on the map of Wicked is the biggest honor and a huge dream come true.

[46:19] Eli Tokash: I love that. Who was your first Elphaba that you saw? Or I guess duo, I guess.

[46:24] Allsun O'Malley: I think I saw Idina, actually. Idina was my first. I don't think I saw Kristen. I honestly don't remember who my first Glinda was. But I think I remember Idina being my first Elphaba.

[46:33] Eli Tokash: Oh my god. Wild.

[46:34] Allsun O'Malley: Yeah, I have to find the program because I think we saved it. Oh my god. Yeah, I then saw the show when I was in college with Talia Susskauer when we were freshmen. And I think we saw Caroline Bowman. And I think we saw Carolyn Z do it. Period. And I remember seeing the production that time and was like, I have to do this. I have to do the show. I have to. It's so magical. And Carolyn Z, I think, is one of the most brilliant actresses I've ever seen on stage. She is magic. And Caroline Bowman, of course, I mean, she's great at everything she does.

[47:17] Eli Tokash: Yes, yes. I love that. What about, like, you obviously play a lot of characters in the show. You cover multiple tracks. Do you have a favorite that you play? I'm sure it's like picking a kid, but do you kind of get more giddy over one? I don't know.

[47:29] Allsun O'Malley: Actually, this week, I played Shen Chen yesterday and the day before. So that's one of Glinda's friends. I love that track because it's so much fun. It's so much fun to be a mean girl. I never got to be a mean girl in school because I'm not mean, but I saw and witnessed a lot of mean girls. So I think it's really easy for the bully to play a bully because you know how it's done because you've seen it. And that's really fun for me. And it's fun to play with Elphaba. You know, it's fun. It's fun to glare at her and wait till she looks at me. And she's like, oh, you know, I love being Mackenzie Kurtz's fangirl. She's one of my best friends in the world. And to get to play one of her best friends on stage, you know, before she becomes best friends with Elphaba, of course, is so fun because I'm her hype girl in real life. I really am. There's not much acting to be done.

[48:56] Eli Tokash: Yes, exactly. Except for the mean part, I guess.

[48:58] Allsun O'Malley: Except for the mean part. I'm actually not mean. I don't think I have a mean bone in my body, but it's fun to pretend.

[49:02] Eli Tokash: Yes. Hey, that's what we do. We're playing. We're pretending on stage all the time. I love it. How many times have you seen the show? Do you see the show? Do you try to see the show when you're backstage or you kind of peek in the audience or you kind of just do it from backstage? What's kind of your routine?

[49:15] Allsun O'Malley: I watch the show a lot when I'm not on. Yeah. I watch it on the monitors backstage or I'll watch it in the rehearsal room backstage. And sometimes, you know, if there's a track that I haven't been on for a while, I'll watch that track just as a reminder of where they go and what numbers they hit. And just in case. And it's kind of like a swings intuition. Other swings in the building also have had that experience where they're like, let me watch this person. And then the next day they have to be that person. Oh my God. Yeah. So I'm on a lot. I'm on stage a lot. So recently, I haven't watched the show as much. But at the beginning, I watched the show every night that I wasn't on. Really? Every night. Yeah. It was so... I mean, I had to learn so much that there was not really... If I was off stage, there was nothing else I could be doing but watching the show so I could learn. Because it's a big job. It's a big job.

[50:34] Eli Tokash: Right. How many tracks do you cover?

[50:36] Allsun O'Malley: I cover seven. So I cover six of the ensemble women and Nessa. So yes, period. It's a nice... It's more than a handful. I was about to say handful, but it's more than a handful. It's crazy. Do you have different colors for all your tracks? Or what's your routine of staging and all that in your script or whatever?

[50:55] Allsun O'Malley: I have a track sheet for every track. I have them on my phone. And it's just for every number where I have to go. And I look at that. I look at them before I'm on for every role. Even if I'm like, I'm pretty confident in this. I'll still peek at the track sheet just to make sure.

[51:40] Eli Tokash: Yeah, for sure. I love it. That's so I can't like I just seven roles that just it blows me away. Y'all are just so special human beings, special performers. Truly the backbone. It's got to be cool to, I don't know, kind of be a part of that, especially with like the recency of like, you know, swings are not quite but slowly getting the recognition that they deserve, you know. So to do it in a show like Wicked, it's got to be crazy.

[52:16] Allsun O'Malley: I can't I just can't imagine. It's so fun. It's the coolest job. You get to interact with everyone. You get to be in different places all the time. And I feel really fortunate that it was my first job on Broadway, because it is such a hard job that I feel prepared to take on anything. You know, I did this now I can do whatever you need.

[52:36] Eli Tokash: Yeah. Yeah, I mean, I'm sure. Because especially like, you know, there's just so many moving objects and like big pieces, especially in a show like Wicked, you know, just to, I don't know, just I'm sure like before every stage, there's multiple calls that you have to do, whether it's lift calls. Do you have any lift calls? Or like any of those spacing things that you have to do before you go on?

[53:01] Allsun O'Malley: Yeah, lift calls if it's, if it's a track that has lifts? Yeah, I not all of my tracks do I have two roles that have a few lifts. And so yeah, we'll have lift call beforehand. And it's, that's also fun, because I get to do lifts with different people. And it's a kind of a nice challenge. And again, I love a challenge.

[53:26] Eli Tokash: Yes. Do you ever do a track where you have to clip in Alphaba to fly or anything like that?

[53:34] Allsun O'Malley: No. Okay. No. No, definitely not. That would be that would be stressful.

[53:42] Eli Tokash: For sure.

[53:46] Allsun O'Malley: Yeah, I know. I know it. Hey, they do it all. They seriously do. It's unbelievable. And they keep the show going. Seriously. That's why I was like, when you're a small part, you're not a small part. You know, like, I guess in the grand scheme of things, everybody's a small part, because there's just so much to it. But such a legacy.

[54:10] Eli Tokash: Well, one last question for you. And then I'll let you go. I want to talk because I know the theater community, including myself, and now that it's freaking the SAG strike is over when we're recording this. I can ask about it. The Wicked movie.

[54:27] Allsun O'Malley: Yeah, give me Apollo and I think the one thing that I try to tell people who are in the industry or entering into the industry is there are a few people who get lucky right out of college, right? There are a few people who get lucky right away, but the majority do not and I think what I try to tell people is that that's really perfectly normal and that I what I would like anyone to know who's moving to New York who's starting this is that yes, it's really really hard. It's really hard and it's exhausting and it can be so lonely, but that grind and that work and everything that you put into just surviving in the city and making your dreams come true when the luck finally gets you, when you get lucky it will mean so much and as somebody who had so many survival jobs woke up at 4 a.m. I stood in line outside Pearl just for the chance of being seen.

I just I think it's really important to hear from people who have done that when you're in it. Yes, you know to hear from people who have heard no a million times and who have not been seen at open calls more times than I can count and who literally has gotten thank you without even looking at me in the room. It can be so discouraging and again so lonely and yeah, what I what I just wanted, that's something that is really important to me and to anyone listening who is in it and who is being told no, keep going and you are not alone and this whatever you're going through now might be the most important part of your journey because it will make you who you are someday in this industry it will define your work ethic and I admire everybody who is going through that right now. I really do and dang, I wasn't expecting to cry this episode. It hit home.

[58:51] Eli Tokash: No, it was great. No, that was literally that that was perfect and I know there's a lot of people out there that need to hear it including myself. So I appreciate you. Of course, I appreciate what you're doing and entertaining people and changing people's lives over at Wicked on a pretty much nightly basis with the way that you're going on and you know, I appreciate your time and coming on here today and giving us your advice and hearing more about your journey through this industry. You have so much to take a bow for, so thank you so much.

[59:28] Allsun O'Malley: Well, thank you. Thank you for having me and letting me ramble for several of the moments on this podcast. I appreciate you so much and you're so lovely and I could talk to you for hours, so thank you so much for having me.

[59:43] Eli Tokash: Oh, yes, absolutely. Thank you. Take a bow, Allsun O'Malley. Oh my goodness. What a fabulous episode. Just hearing what she had to say. I mean, this is so good for every theater performer who's like new to the industry because I mean Allsun isn't new or anything like that and I don't mean it like that, but the perspectives and the stories that we can kind of talk about and kind of the introductions from Paper Mill and those lessons that it's just so valuable for any type of performer because I wish I had those stories when I was in my first show because I mean I was a kid so I was a little less like I don't know in my mind, I guess like I was hesitant, you know kids. I feel like when I was younger I feel like I was a little bit more spontaneous.

I didn't get in my head or anything like that and so just hearing what she had to say in the sense of like you have to walk into a room and you realize like, you know, these are the people you're working with like they make you nervous and you want to like you grew up idolizing them and here you are working with them and it's time to tell a story with them and connect with them on a personal level and an artistic level and you know just do your job and tell a story and entertain people while also like enjoying that time and having fun and learning how to be a professional around those people. So it was really really cool to hear and I loved that story and then I loved her piece of advice at the end.

That piece of advice, I was like, holy because I mean it was just perfect. We haven't gotten like a deep piece of advice like that and you could just see how the words she was saying like every word was chosen so meaningfully like every she meant every word and she was kind of talking to herself while talking to all of us and it was just so beautiful and when this comes out on YouTube, you'll totally see it. But it was great. It was a great conversation, great piece of advice for literally performers of all ages and this is something that Max and I talk about all the time. Max hadn't done a show on Broadway for a few years and finally he's back on Broadway in Chicago and I talked to him about you know as a kid and now I'm transitioning to adult like was on Broadway back to back and then it was like I haven't been on Broadway for I think I was doing the math yesterday.

I think it's like eight years, seven years, which is just crazy to me and time has flown and it's like what do I do now like I'm gonna have to get lucky again, you know type of thing where someone's gonna have to say yes and one more person's gonna have to say yes and give me an opportunity and like it's crazy to think about that because it's crazy to even think about one person doing it which thankfully Diane Paul is like, you know, gave me a meaning, you know in my life and found a passion my passion and got it out of me. But she also, you know, I now I need another person so it's crazy that I kind of got that one yes and that's usually all people get and that's all people ask for and for me to kind of reflect and be like I need one more person to be like yeah, come, you know, give me a shot, you know.

But it was so bang on and I just appreciated that advice so much and I felt like I certainly related to it and hopefully you all were able to too and hopefully you all were able to get something out of this episode whether it was a lesson, some entertainment, learning about the 20th celebration of Wicked and also just hearing like, you know, swinging and understudy and all those like all of those are such valuable lessons for anyone especially breaking into the industry to tell a lot of people, you know, Ariana DeBose, you know, like the most I always say the most talented people in a cast are the swings and I will defend that to my grave. I truly believe and stand by that and they have to do it all and they have to be talented in singing, dancing and acting and on top of that they need to be the smartest people in the room because they have to remember all these different things and keep track and organized and it's just it really does take a special person and it is no secret that swings have a track record of becoming stars, and I just can't wait to see Allsun and continue to follow her journey because she's a nice human being and she's super talented and that's really what you need in this industry, so it's great to see it and can't thank her enough for coming on and having a Wicked guest because it was something I really wanted after the 20th anniversary celebration happened and occurred so to hear you know the rawness and you know fangirling moments of meeting Kara, Lindsay and Idina and all of them, those were really cool experiences and listening to that is just the stories I love to hear and share I guess on here.

So that's all I have for you folks this week and I can't thank you enough for listening to this week's episode. Hopefully you all come back again next week again and we'll have another fabulous episode and I believe I can say this. I don't know I keep saying this and sometimes it happens, sometimes it doesn't but I'll say it. I believe we will have the writer of Shucked, Robert Horn, on the podcast next week and I'm very excited because now I was waiting for the writer's strike to be over and now the SAG strike is over so I can also talk about TV shows and movies he's written on top of Shucked which I'm seeing again tonight, but I can't wait and I'll have a little review. Also, it's his birthday today when I'm recording this so happy birthday Robert Horn and yeah, that's all I have for you folks this week. Thank you so much and hopefully I will see you all next week until then. Bye everyone. Have a great week.

[1:06:46] 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 Gory Berenstein, Allen Seales, Kimberly Garris, and the team at the Broadway Podcast Network. Next in line to take a bow are our fabulous editors, Jessica Lauren 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 Griner, and our final bow, our 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/tap.

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 Torsia and Cormac Colin 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.