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[0:00] Eli Tokash: Hello everyone and welcome to episode 198 of Take A Bow! Holy moly, I am coming at you guys today here on World Theater Day, just pumped to chat theater with all of my favorite theater fans as well as talk about our 200th episode. Like, why are we approaching 200 episodes? That is absolutely bonkers! If you would have told me we would have done just 100 episodes, I would have told you you're nuts. But here we are approaching 200 and just so thankful for this community of fans that listen, from the theater fans that listen and of course the upcoming generation of theater performers that are also listening, which is super exciting.

[0:50] Eli Tokash: And that goes and starts with the performers who are willing to take an hour or so out of their day to chat with me on this little platform that we do this on. Just us two, you know? Like, we're not always in person. We have no audience to talk to, so we have no idea if what we're talking about is interesting. You know, like it's a very odd thing. But I'm so blessed and thrilled to have done almost 200 episodes of Take A Bow, which is just bonkers. And I mean, this year alone, if we look at it, in 2024, not even 12 weeks into 2024, and we've had some incredible guests, a bunch of Tony nominees. We've had Jordan Fisher and Lola Tung talking about Hadestown, and that was live and in person.

[1:44] Eli Tokash: We've had our first ever Finding Neverland brother on the show. We've had some TikTok stars, Jim Hogan and Jared Goldsmith, who are also Broadway stars. So we have such a diverse group of performers and their backgrounds and, of course, currently what they're working on. So it's just been a blast to hear all of these wonderful stories and we have so much more coming within these next couple weeks in ramping up to 200. And that starts this week, y'all, with our fabulous guest this week. I was so pumped to hear that we would be able to get the chance to talk to our guest this week, and our guest this week is Sam Pauly. I mean, her full name is Samantha Pauly, so I always get tripped up on whether or not to say like Sam or Samantha.

[2:40] Eli Tokash: But we're going Sam Pauly. That was kind of more natural for me calling her. I know a lot of her friends and I know they call her Sam, so I feel like that’s what we’re going with. Thrilled to be having her, y'all. Great Gatsby opens tomorrow. Okay, not opens, okay maybe I shouldn't say open. They begin performances tomorrow, Friday, so tomorrow from when this comes out, Friday, March 29th, I believe that is. Yeah, yeah, Good Friday, March 29th. And it's so exciting. We have to talk about Gatsby. It's one of the most talked about shows, I want to say, coming to Broadway post their Paper Mill run, as well as just a huge following that Great Gatsby has to offer.

[3:32] Eli Tokash: And then, of course, that stunning cast. So we get to chat about it all. And I'm going to admit this is a bit of a shorter episode. We had some technical difficulties in recording this. We recorded this super early in the morning, way, way before my usual wake-up time, and that's even in college. So like if I have my class or whatever, this was pretty early in the morning and she was willing to fit me into her schedule right before she went off to tech. So, you know, we had some Wi-Fi connection issues, weather was weird, service was down, whatever was going on.

[4:14] Eli Tokash: And so, you know, this isn't a full episode. Well, I guess it is, but it's not like our normal length episode, I guess you could say. And then, of course, it's not necessarily how it's set up how we usually have our episodes in the sense that, you know, here at Take A Bow, we like to celebrate the guests that we bring on, their entire career and their story. Obviously, we can't hear like all of their stories and go through their entire career because there's just not enough time, and we don't need to be having a three-hour episode, you know? No one has time for three hours to sit down and listen to that.

[4:48] Eli Tokash: So an hour is plenty. And so we really hear talk about Sam's beginning and then funny enough, we started with Great Gatsby. It kind of just naturally happened, and I kind of just picked it up and went straight into Gatsby. I usually like to talk about what they're currently working on at the end because maybe that's perhaps most exciting. It leaves the audience with like, oh, this is what's currently happening and oh, this is like after they're done listening to it, it's fresh off their mind. So hopefully they'll remember that and go see the show, whatever it may be.

[5:28] Eli Tokash: So I was grateful to start with Gatsby to actually promote it, actually talk about it. There's not a lot of interviews out there about Gatsby right now, especially with Sam. So I was thrilled that that's what we got. And so this is a very Gatsby-centric episode. And so if you are a Samantha Pauly fan in general, you're going to love this episode. She has so much humility, I want to say. Is that the right word? Like she's so humble and she's so just brilliant in the way that she tells these stories and so kind in the way that she approaches a piece of text or the castmates.

[6:13] Eli Tokash: And we talk about, you know, walking in first day for Gatsby and everything. So y'all are going to love it, especially like you Samantha Pauly diehards. I know there's a lot of you out there, the Six fans and whatever. There's not much Six chatter, but we did just have Adriana Hicks on, so if you want your Six fulfillment, go listen to that. We've also had Brit Mac on. But we have some great stuff here with Sam and I can't wait to give that to you. So before we get into that, I know I'm running long here. We gotta talk about some Broadway news. That's what we do here at Take A Bow. We talk about Broadway news and then we turn it over to an interview.

[6:44] Eli Tokash: This week there's not that much Broadway news. I was so excited. Really, until today, I didn't really have much to talk about. So I was thrilled to wake up to the news that Ariana DeBose will be hosting the Tony Awards again. So this will be her third time hosting the Tony Awards. And here we go, this season is going to be something really special. I mean, her opening numbers are always insane, and obviously a lot of the opening numbers they try to incorporate all the new shows of the season and everything like that.

[7:26] Eli Tokash: And I mean, I feel like, I don't know, this could be wrong, but the general sense that I've gathered or just my personal feeling is it seems like this is the most shows that have opened in a season, and that goes from like revivals to new shows to everything in between. So it plays whatever you want to incorporate. So there's a lot here for her to work on, and so I'm just so excited to see what she does with it and how she, you know, obviously will make it work. But I can't wait to see how it goes down because every year, she just kills it. So it makes sense to continue to bring her back.

[8:16] Eli Tokash: I'm so thrilled for her. Hopefully, I would love to get her on to talk to her about hosting the Tony Awards and all that fun stuff and her career. Obviously, we worked together in Pippin, so it would be a blast to talk about her rise to stardom and hosting the Tony Awards and all the things. So very exciting stuff there. As I mentioned, I believe when I started this episode, it is World Theater Day when I'm talking to you, Wednesday, March 27th. Shout out to all the theater kids out there. Don't be afraid to be a theater kid. There are stereotypes out there that aren't always true, or if they are true, just own it. It's fine. We're loud and all the things, energetic, whatever you want to call us, we are, and that's okay. And we're having the best time, and we are essentially, you know, just having fun and living life.

[9:06] Eli Tokash: So, sorry, sorry you're mad. I mean, there was a lot of casting announcements this week that also came out with new shows that are in the making but are also coming next season. Nothing crazy. Andrew Rannells and Katie Braben are going to be reprising their roles in Broadway's Tammy Faye, which is exciting. Peter Gallagher is going to return to Broadway in Left on 10th, which is super exciting. We love Katherine, his daughter. So we did a live episode with Katherine years ago at BroadwayCon, I believe it was maybe two or three years ago, maybe two.

[10:07] Eli Tokash: No, no, I think we're approaching three because this upcoming BroadwayCon, I think will be my third if we go, hopefully. So yeah, that's exciting. And then another exciting piece of news is Jay Harrison G, Tom Hewitt, and Sierra Boggess will be starring in Midnight in the Garden of Good and Evil. That's very exciting because Tom Hewitt was my Froman on tour for like four weeks when I went out on the Neverland tour to help them out after Broadway closed. He's a saint. Sierra Boggess is a Take A Bow family member, and Jay Harrison G is one of my favorite performers, so can't wait for that.

[10:41] Eli Tokash: And yeah, there's a lot of exciting things happening. Suffs also began performances this week. There's a lot of shows that are now going to be starting in the rotation. Obviously, I mentioned Gatsby, Suffs is in there, and I believe there's a couple others. So shout out to all of the shows opening this week. Very exciting stuff. I can't wait to hopefully get to as many of them as I can. I don't know how I'm going to see all these shows before the Tony Awards season and trying to, you know, predict the Tonys or whatever, you know, with the ballots and stuff. So that'll be a lot of fun, and I can't wait for the whole season. I mean, it's so good. It feels like we're really starting to get into the thick of things, so I'm getting excited.

[11:27] Eli Tokash: Spring break, thank you! And here we are with Sam Pauly this week. So with that being said, I think this is now the time to send it over to Sam Pauly. Very exciting stuff coming, and she opens, or she begins previews in Great Gatsby over at the Broadway Theater. Yes, that's correct. For those of you who don't know, there is a theater called the Broadway Theater, and that's happening tomorrow. You can start to go see The Great Gatsby on Broadway. So without further ado, it is time for Sam Pauly. Sam Pauly, curtain up!

[12:24] Eli Tokash: This week's guest is truly one of a kind, no category. She is one of everybody's favorite Broadway stars. Her performance and voice first graced the Broadway stage in 2020 in her breakout performance as Katherine Howard, or K. Howard, in Six: The Musical. She also was seen in the West End as Eva Perón in Jamie Lloyd's Evita, and now she is coming back to Broadway at the Broadway Theater, starring as Jordan Baker in The Great Gatsby, which begins performances tomorrow, of course from when this episode airs. So everyone, welcome to Take A Bow, Sam Pauly! Hi, Sam, how are you? Thanks for being here.

[13:09] Samantha Pauly: Hi! Oh my god, just a word jumble there in the intro. I love it!

[13:19] Eli Tokash: Amazing! Yeah, well, I mean, your career is no joke and there's so much to talk about, so I can't wait to get into it with you. The way I usually like to start these things is just starting from the beginning and just asking, you know, how did we get into this? What inspired you to want to perform and tell stories in the first place?

[13:39] Samantha Pauly: Oh, great question! So I didn't grow up doing theater. I'm not like a theater girly. My parents are not, you know, theatrical. They are not artistic. That is not them. So I didn't start doing theater until the end of my junior year of high school. I sang in choir and stuff just for fun, but I had no idea like what I wanted to do with my life, if I wanted to go to college, what I was good at. Like, I felt like I didn't know what I wanted to do. And then our spring musical at my high school was like, you know, the end of the year, and my choir teacher was like, "But they're doing a musical! You should try out! You might think it's fun. You should just give it a try." They were doing...

[14:32] Samantha Pauly: Being in a pajama game, which I lowkey love that show. And I auditioned and I ended up getting the part of Gladys. So like, I really enjoyed it and I really loved it. But I always felt this kind of like, I guess intimidation maybe, because like all of the other kids in the drama department like lived and breathed theater. And I felt like I didn't have a place there. I was like, oh, I'm not as good. I shouldn't be doing this. How did I get this part? But my drama teacher was the one that was like, I auditioned for the show and he was, I remember in my audition, he was like, where did you come from? Like, you've been here for years. How do I not, how do I not know you? And I think he kind of saw me really enjoying theater.

And then the summer before my senior year, we went to, so there's like international Thespian Festival, but then I don't, I assume that every state has like their own Thespian Festival and I grew up in Iowa. So we went to Iowa Thespian Festival. And I was like, oh my God, all these theater kids, I don't know what I'm doing. But they had like a scholarship thing that you could audition for. And I remember telling him before we went, I was like, I think I want to maybe audition because I think I might want to go to college for this. And he was like, well, I'll help you pick material, but you're probably not going to get it. Just so you know. And I was like, okay, I'm prepared for that, but I think it's nice.

I still want to try. And I ended up getting this scholarship. I ended up winning it. And so then my senior year was spent him kind of figuring out like what programs aren't full yet and where do I know people at what colleges? And he really helped me like find a college. And I think then my four years in college as a music theater major are when I was finally like, oh, I think I'm actually pretty good at this. Like, I think I could do this for a job. So I spent the four years kind of like I was trying to audition every spring to like work during the summer to have some kind of resume before I graduated and like kind of figure out how to navigate the world of theater, I guess. Yeah. So that was kind of like how it all started. It was like, it was truly like a year and a half of me being like, oh, music theater, cool. I have no idea what that is, but like, I think I could do it for a job.

[17:28] Samantha Pauly: It's almost like the world, like literally, or like the universe really put it together and was like, Sam, this is the path to go. I feel like I've had a lot of moments like that in my life where I've been like, ah, no, I'm not good at this. Or, oh, you know, I think I'm done with theater. I give up them. And it's kind of been like, no, no, no, hold on. Here's this thing.

[17:54] Eli Tokash: Unbelievable. So not a big deal. You're just naturally gifted at singing. I mean, like.

[17:58] Samantha Pauly: You know what though? I feel like, well, thank you. That's very nice to say. I feel like I learned like how to belt and sing from watching American Idol.

[18:13] Eli Tokash: Oh yeah, no, I'm with you. The first season of American Idol watching Kelly Clarkson, I was like, I want to sing like that. I want to sound like that. I want to sound like that. So I was probably doing it like in a very unhealthy way, like sixth grade Sam, belt like a moment like this and, you know, sounding crazy. But that's kind of like, I think the first, maybe one of the first things that I was like, ooh, people can sing like that. I can sing like that. That's unreal. I'm obsessed.

[18:43] Eli Tokash: So really like, was it your first, what, voice lesson, your first like dance class, anything was in college?

[18:50] Samantha Pauly: My mom like put my sister and I in dance classes when we were little, maybe like we were three just to have like an activity. And then I think I stopped when I was 10. And then, yeah, end of high school when I was like, oh, I have to learn this Fosse choreography for this show. Cause we did drama game and then my senior year, the musical we did was Chicago. So it was a lot of Fosse. And I was like, oh, this I can do. And then, yeah, college was like first, like required voice lessons twice a week, you know, certain number of dance classes every semester. Some things like that where I've really felt behind, I guess, but.

[19:35] Eli Tokash: Right. Yeah. Unbelievable. Wait, so Roxy or Velma, are you?

[19:40] Samantha Pauly: Oh, I'd say Velma Kelly.

[19:41] Eli Tokash: Which one's your favorite?

[19:43] Samantha Pauly: Oh my God. Velma.

[19:44] Eli Tokash: I need that. Broadway needs that, Sam. We need to make that happen.

[19:48] Samantha Pauly: I should, I bet my mom, if I texted my mom, she could take a picture for me. In one of the rooms in our house that my mom has like a, you know, like a gallery wall. And there's a picture, my sister is two years younger than me. So when I was a senior, she was a sophomore and she was in the musical as well. And there's a picture of us on the wall, like when we did photos for Chicago and I'm wearing this like terrible bob wig that like came out. I need to find a picture of that and put it on a, like a side-by-side of like now this gorgeous wig that I have for Great Gatsby. This like beautiful bob. And I'm like, is this my hair? Next to my like busted picture.

[20:32] Eli Tokash: Yeah, no, it's so good. I mean, you mentioned Gatsby, so I feel like we should get into it. Usually I save it for last, but I don't want to wait. I saw the, I was able to see the show first performance at Paper Mill.

[20:44] Samantha Pauly: Oh my gosh. Bonkers, so good.

[20:50] Eli Tokash: So Mark Bruni directed me in Trevor when we did the world premiere out in Glencoe, Illinois at this little black box theater. I'm obsessed with Mark Bruni. So anything Mark Bruni does, he's my, he like mentors me. Now I want to be like a director and I love Mark Bruni. So anything he does, I'm like first in line at the box office, whatever. So let's talk about it. Like walking in to just like the audition process. Like we'll go like at the start of this whole process. You know, how familiar were you with Great Gatsby? Like Jordan Baker, did you know, like, were you a Gatsby fan prior or is it something that you kind of got into?

[21:37] Samantha Pauly: I don't, I guess not a fan, but like, you know, I had to read it in high school and I'd seen both the movies. And so I was definitely familiar. And then when I got the initial appointment from my agent, it was for Jordan. And they were like, I think they, I think they, when they sent the email, one of my managers said like, we can try and see if we can get you in for Daisy. But I was like, no, I'm definitely not a Daisy. I am definitely more of a Jordan. And then the character description of her is kind of, I think they kind of wrote similarly what is written in the book in her description. Like when you first see her like lounging on the couch, she's a new woman with a really short haircut and she wears pants. And I like read the description and it said, you know, pop rock belt. And I saw Jason Howland was writing the music. And I was like, no, no, no, Jordan is, that's it. That's the thing.

[22:43] Samantha Pauly: And they had given us, they gave us a material from the show. I had a cut of New Money, which is Jordan's song, which you got to see the original one. Now it's a completely different song. Oh my God, really? It's brand new. They completely rewrote it. It's like six and a half minutes long.

[23:08] Eli Tokash: No way. That's insane.

[23:10] Samantha Pauly: It's long. That's ridiculous. There better be a dance break in it for six and a half minutes.

[23:14] Samantha Pauly: Oh, you know what, when Jason rewrote it, he was like, here's the new version of New Money. He like sent me a voice note in February after he was like, we have to rewrite it. We're writing the whole thing. And he sent it to me. I said, there needs to be a new version of New Money. And he sent it to me. I said, there needs to be a dance break and I need to be in it. And he was like, yes, there are two dances. Period. Thank God. Yes!

[23:38] Samantha Pauly: So I went in and I had this little cut of New Money and I had never worked with anyone in the room before. And anytime I go in for anything, especially if it's something new, one of the first things I ask is, is there anything I need to know? Or do you want me to sing exactly what's on the page? Which I'm happy to do. And Jason was like, no, no, no, do whatever you do. And I was like, great. So I can do what I've had in my head. So saying the cut and of course, like at a time in my life when I don't really have like an audition book anymore, I have like maybe five songs in a binder somewhere that I had brought with me. He was like, what else do you have in your book? And I was like, that's a great question, Jason.

I don't really have a book anymore, but it's like a couple of things I have. So a couple other things, did the sides and then went to, I think a week or two later, they had final callbacks. I just did the same material and was in the room for a little bit longer and worked on a couple, Mark gave me some notes and Jason was asking me some questions. And I went to that in the morning and then I, that night I went and had dinner with two of the girls from Six, Kirsten Hodgins and Carrie Renee Fuller. I went and met them for dinner and we were sitting there and I got another email from my agents that said, choreography session. And I said, oh no, I said, not this, that Dominique Kelly wanted me to come in to do a private choreography session.

And the email said like, this is not anything crazy. He just wants to see what you can do. And it's not like, because they had had dance calls, they had done everything. And so I was like, oh my God, okay, I'm so nervous. I don't, I have no idea where any of my dance shoes are. So I go to this session and they were finishing up a dance call day. So we were at Ripley Greer, they were in one room and I was in a room across the hall. So Dominique and his associate Cedric came in and the rest of the team was there and Jason came in and he was like, hey, you're gonna kill it. You're gonna be amazing. I was like, oh, thank you very much. And it was maybe 30 minutes, but it was just us doing like catwalks up and down the room and like him giving me a couple of different phrases to do.

And he was like, this is crazy. I'm just seeing what you can do so I can build the number around you. And I was like, oh, okay, yeah, totally. And so I did that and then didn't really hear anything for like a week or so. And maybe like a week after that, I had a doctor's appointment and I was like waiting in my appointment room and just like playing on my phone and Jason Howland messaged me. And he said, I think he must've thought that I had heard something already because he was like, congratulations. I'm so excited to work with you. And I was like, what do you mean? On what? And so I'm like-

[27:19] Eli Tokash: That's crazy.

[27:20] Samantha Pauly: Texting my managers and my agents. I'm like, do we know anything? Because I think he thinks that I know something and I haven't heard anything, but like, I don't wanna get too excited because I don't know what's going on.

[27:32] Eli Tokash: Right.

[27:33] Samantha Pauly: And I think they talked to casting and they're like, an offer is coming. It will come in early next week, but yes, you're doing it. He loves to do that. He'll like, it was just so funny that I was like, okay. Even like with Broadway offers, he would be like, oh my gosh, so excited for Broadway. And I'm like, what do you mean? None of us have heard anything.

[28:01] Eli Tokash: Right.

[28:03] Samantha Pauly: But it's nice because, you know, we have like, our team as a whole is like very collaborative and very open. And like, we had Sitzprobe the other day and it was so wonderful. We had like a 19 piece orchestra and it was so beautiful, but then like had to go right back to the theater and keep teching and this and that. And I didn't really get a chance to talk to anybody. And then like Jason texted me that night and he was like, how are you feeling about new money? Do you like it? What don't you like? What's working? I was like, I blacked out. I honestly don't remember, but like they take the time to check in.

[28:42] Eli Tokash: Wow.

[28:43] Samantha Pauly: It's a very, it's a really great team. Anyway.

[28:47] Eli Tokash: I mean, that's the beauty of like originating a role. Like every performer is like, it would be amazing to originate a role on Broadway. And I feel like not everyone really understands why. Of course you have like the benefits of being on the cast recording and stuff like that. But the role is like, most-

[29:05] Samantha Pauly: To you, like as a human, and you don't have to do anything that you're not necessarily or like pushing, I guess, eight shows a week, you know, like, you know, what's comfortable and healthy for you eight times a week. So what has that been like? I mean, obviously, you did it with Six, but just to like, I mean, like you went out to the West End, and of course, you've done other shows. So like, how huge of a difference is it to not only have the time with the director and the creative team and the composer, like everyone just giving having those conversations, which I'm sure are invaluable and valuable to show and your character and everything, but also to like mold the character into you. Yeah.

Um, honestly, I, I think I have not like not blinders on. But sometimes I unfortunately forget how special and rare this type of experience is. I think because I just get very focused on like, gotta get the work done. And I have to memorize this. And I have to remember the notes I got yesterday, you know, all of that stuff, that sometimes it's hard for me to stop and remember like, Oh, yeah, I'm, I'm making I'm making this up. I'm, I'm like laying the groundwork for what this will be, and what it will be forever. During Six, Brittany Mack had to remind me of that a lot that she would say, like, we're in we're in the library. Like people when people go to the library to watch Six, that's us, we're on the cast recording, people will be trying to sing the song the way that you sing it forever.

You made that right. And I really forget that often. So it's nice when someone asks me these questions, because I'm like, Oh, yeah, that shit, that is pretty cool. That's really cool. You that thing is especially because I right before Six happened. I had to come off of like a canceled tour. The Bat Out of Hell canceled. Yeah. Like sent me into like, deep depression. Very I was like, I'm done with theater. I think that's it. I had started looking at other jobs just entirely. And I'd started to have a lot of conversations with myself before that, like, okay, it's not you, you have to, you know, start to accept that, like, you'll, you'll probably never be on Broadway. And like, that's okay. That's not the end all be all you're working in Chicago.

That's very nice. It's okay. If you never make it to Broadway, you're probably definitely never going to go to the Tonys. That's also okay. Like I had to have a lot of those conversations with myself. So now getting to having done those things, and the next thing that I'm doing after Six is originating another thing. Maybe, maybe I forget because I can't because I still can't really comprehend it. Because it's so far beyond anything I ever thought I would do. But right now, it's, you know, even I'm going to go to tech later today. And yesterday, we had to retech this new version of New Money. And we were doing it for maybe three hours. Oh my God. And we, you know, and, and it's not huge changes or anything that's like super different.

But especially after what happened, you know, not what happened to Paper Mill, but like, the New Money that you saw first preview at Paper Mill was probably the only time that anyone saw that version, because then the song changed. And the car came in, and then it was different. And we were in previews. And I and we came into rehearsal one day. And they were like, okay, New Money's changing. We're cutting this dance break, this thing is getting cut, the car's coming in. And I was like, okay, and I just have to be ready for that. So now I know that and it's not I don't feel as stressed. So yesterday, when they were like, we're doing this today, tomorrow, it's going to be different. I was like, all right, whatever it.

But anytime I'm handed a change like that, I just get to figure out a new original thing that I get to do, which is really crazy. Yeah, it's I mean, like, especially like, like in the preview process, obviously, like, the show itself is completely different. But I'm sure like, from pre first preview at Paper Mill to like, first preview to Broadway, oh my god, or your show is going to be completely different. Like, are you or are you someone that likes to kind of have it set in stone? Or are you someone that likes to deal with this, like flows and changes and kind of find your own things every night, seeing what jokes land and etc. Like playing around with it, I guess, I think I think what's great about previews is that that is the time for us to figure out like, okay, we thought this thing was going to work, and it doesn't. So now we're going to change it.

I have a wonderful scene partner in Noah Ricketts, who's playing Nick Carraway. I swear to God, he is the love of my life. I adore him so much. And the relationship that we've just developed in general, but also what we've been able to create on stage together. And you know, be in rehearsal and figure all of that out. But we spend a lot of time, just the two of us, our hour and a half dinner break, we'll go through everything and like find new things that we can do and new beats and different ways that we can make things land. And so it's, it'll be great when we do start previews. For then the two of us to be like, okay, we thought this thing was going to work. And now it's not working. So maybe we can do this instead.

I mean, even yesterday, and we were reteching New Money, I was like, maybe you can sit here instead. And then you can move over here. And then that'll help me do this thing. Like, we're very, we are very collaborative with each other. So I, you know, it's great when things are set in stone. And I know what the show is every night. But the great thing about previews is that that is the time where we can all figure out like, okay, maybe we can, this is our chance to change something. And if we don't like it, then we'll put it back to what it was. And, you know, we have short time to do that. And I just have to be patient, but also make sure I remember everything.

[36:18] Samantha Pauly: Yeah, for sure. I feel like it's the small changes that like, mess me up even more than the big changes. Yes, 100%. I'm adding this word in there. And that's not the line. And I'm like, why didn't you tell me that three weeks ago? I've been saying it for three weeks. Right? Because then and then like, when we get to that part, I'm like, in my head about it. And then like the rest of the scene is just like, oh yeah. We started at the top of the show last night to just like, you know, start doing some kind of run. And we got to like the second scene, like the Buchanan house when you meet Daisy and Tom and me and everybody. And I have a different entrance now. And just listening to the scene before I came on stage.

And then when I got on stage, all of us were looking at each other. Like it was the first we might as well have had pages in our hand. We were like, what is this? Like I said out loud, I was like, what do I say? We've been teching and we're away from something for like four days. And then they're like, okay, let's start at the top. And we're like, what's the top? How does it go? Right? Right. You all are doing New Money four days in a row. It's like, what are we doing? How did this show go chronologically? How does the whole thing work? Oh, I love that. That's so funny. Yeah. Well, I mean, previews begin this week. I mean, it's crazy that it seems like it happened so fast. I don't know if it feels like that for you.

Maybe you feel like you've been doing this thing forever. So I like, is the show fully blocked? Like how excited are you to bring this to New York? Obviously, Paper Mill is not that far away from New York, but just like a big audience because the Broadway theater, like, it's a huge, huge theater. Yeah. So what are those emotions like? Are you just like ready to like, oh, we need these last couple of days and then talk to me? Or is it just, are you kind of building that excitement already? I think that I'm ready to have an audience. I'm ready to have people there to react to things so that we know what's working and what's not working. Right. I think today is the first day that we'll have the orchestra with us in the theater, which will be nice because, you know, I did New Money yesterday and it's just piano and drums.

And I'm like, it's just so, it feels so underwhelming. And now we've got a 19 piece orchestra. So I'm excited to have that. I'm excited to have people to give us something because the other thing about tech is that like, it's not typically about us at the moment. It's about the lights and the set and how things look and the timing of everything. And, you know, spacing on stage. So sometimes there is a lot of like, we just go full balls to the wall in a number and we do it. And there's like one person clapping in the audience because everybody else is like on a headset. They're taking notes or they're doing whatever, which like, of course they are because it's tech, but it's just so like, you know, we're like putting our blood, sweat and tears into it.

And we finished with a big button and it's like, just one person or like Eva's up in the balcony, just like screaming because she's the only one out there. So it'll be nice to have people there. We have an invited dress on Thursday night. That will be very exciting because it'll just, you know, be all industry, family and friends and your friends or so. But the other thing about previews is that like, it's nice to have time to work on things and feel good, but they'll keep changing things in previews and we just have to kind of be along for the ride.

[40:30] Samantha Pauly: Yeah. Oh my God. Craziness. Well, before we leave Great Gatsby, I've got to ask, you know, you mentioned Eva. I mean, Jeremy Jordan, Noah, you mentioned like, what has it been like? I mean, you four kind of, you know, lead the show. I mean, like the show runs through you guys. So what's it been like to collaborate with them and kind of learn from them, perhaps, you know, just, I don't know, share the stage with them and have them as scene partners? I mean, they're all so brilliant in their own ways. Do you feel like you learned anything about yourself as a performer or even as like yourself, like Sam Pauly, you know, what's that process been like? They are some of the most wonderful people I've ever worked with.

Eva and I have become incredibly close, which is crazy to me because she is someone that for a very long time, I was like, oh my God, that girl, she is far in a way, like what she is doing on stage is otherworldly. Like, I don't understand. I will never be on that level. I don't, I don't, I could never. And getting to share the stage with her is so wonderful, but getting to have her as a friend is even better, especially because our relationship on stage as characters is very unique. You, you get to see Daisy is this like very soft, like kind of ethereal, sort of flighty character who has a lot of flaws, but we see her as this, like, oh my God, it's Daisy. She's perfect. Look at her. She's beautiful.

And you know, all the, all of the characters have flaws. They're all actually like really terrible people except for Nick, but to get to like, be the contrast to Daisy, but still see like why they're even friends to begin with is something that we've really enjoyed creating together. And Jeremy is absolutely incredible. I, oh my God. I, when we were rehearsing for Paper Mill, I don't remember who he said it to. Maybe it might've been Jason or Mark. I don't, I don't know. But he said something to one of them one day that was like, every time I sing, Sam has this really weird look on her face. And I was like, and I, and I'm going to show you what, what the face is. It's this. Oh my God. No, literally.

Because every time he sings, he's like hardly opening his mouth and the sound and like, and he's someone that I've, I've also admired for such a long time. Smash. Love it. I watched Smash at least once a year and I didn't bring up Smash to Jeremy Jordan during the entire Paper Mill run once. I didn't talk about it. I didn't bring it up. Ask me questions. There was a day that he was not in the building that John Strzejewski, who plays Tom,

[43:38] Samantha Pauly: I didn't know smash, didn't know any of the music, and me and Eva and Sarah Chase forced him into our dressing room so that we could just play banger after banger to be like, "You hear this? Hear me singing?" And John's just like, "Whoa, that's crazy." Like, he's like, "Yeah, okay, I don't care." But the rest, you know, it's been very exciting to work with him. But I think what is not like nice but makes me feel better as a performer is that like seeing all of the very human moments from all of these people that like I have imposter syndrome through the roof all the time. Yeah, I sang in Miscast last, or no, no, Broadway, sorry, Broadway Backwards I did last year, and I remember going and thinking, "What the, why am I here?

Why did they real?" I was like, "Well, I do not belong here." I still have a lot of those moments that to be in the show with Jeremy and Eva, I'm like, "What the, what am I? How did I get this job?" Um, oh, that's crazy. But then to be in rehearsal with them and have, you know, outside of rehearsal moments with them and to have conversations and see everyone having the very same human moments and, you know, emotions and whatever, the same things that I experience or question, you know, the same things that I ask of myself or I'm like, "This doesn't make sense, right? How? I don't know how to do this." That like everybody else is also doing that, I'm like, "Oh, okay, so we all feel like this sometimes."

Just feels a little bit refreshing instead of like, "Oh, it's all of these stars that are like so far out of reach from me as a human." That I'm like, "No, Eva's trying to FaceTime me at like two in the morning because she's awake and I'm asleep and she's bored." You know what I mean? Like things like that. Oh no, they're just like normal people. They're all the same.

[46:01] Eli Tokash: Yeah, exactly. I love that. That's so cute and that's so great to hear that like, you know, even Jeremy Jordan and you, you have your like, "Oh my God, like why am I here? Like I should not be." Like that's a very real feeling for I feel like every performer. But, uh, yeah, that's crazy. It's great to hear. I mean, not great to hear, but I don't know, you know what I mean?

[46:20] Samantha Pauly: Oh my gosh, well this has been absolutely wonderful, Sam. I can't thank you enough for coming on here today and sharing all things Gatsby. Break legs on your opening tomorrow and break legs throughout the rest of your run. You absolutely have so much to take a bow for.

[46:38] Eli Tokash: Thanks for stopping by to Take A Bow a day earlier with us here at Take A Bow.

[46:47] Samantha Pauly: Oh my gosh, I don't know. I've been a fan of Sam Pauly ever since I saw SIX, and that was like literally I was able to see SIX right before the pandemic really began. So I saw like a couple previews, I guess, into the run because their run of SIX actually closed the day that Broadway shut down. So that's pretty bonkers. But, uh, yeah, so I believe I saw their preview and ever since have been a huge Sam Pauly fan, and I'm so thrilled that she's back on Broadway here with The Great Gatsby in a star-studded cast with Jeremy Jordan, Eva Noblezada, and Noah J. Ricketts. By the way, the cutest thing hearing her talk about Eva and her friendship as well as, you know, Jeremy Jordan and like meeting him.

And I mean, without saying, she got starstruck. She kind of got starstruck, you know? Like she was so proud of herself for not mentioning, you know, Newsies or Jack Kelly for the Paper Mill run. Like that stuff is like, that's the stuff you love to hear, especially because on a day like in a week like I guess that we're celebrating theater and with World Theater Day and all of that. Like those are the moments where still as we even continue to grow older, our theater kid, you know, comes out and it's those moments in our lives that really was like, "Oh, you know, theater's for me. Like theater is cool. Like theater, I would love to do theater. I want to do what he's doing or I want to do what she's doing. I want to do what they're doing." You know, all of the things.

[48:27] Eli Tokash: So, um, it's great to see moments like that and those are still happening. And, uh, you know, it just kind of gives everyone, uh, reminds everyone of why theater is so special and why this community is so wonderful because then you talk to them or you work with them or you do whatever, you meet them and they're just humans, you know? And that's like really special and they're just able to, um, you know, tell a story and sing their hearts out and do some incredible stuff. And at the end of the day, uh, we're all hard on ourselves and our own worst critics and, uh, you know, trying to get better and all these things. So it's just really cool to hear, um, all of that. And that's really what it all, when we, when I say earlier, you know, try to embrace being a theater kid or whatever they want to call us, that's really what being a theater kid's all about is just going in, having fun. We understand that we're hard on ourselves, that's okay. We have to allow that to happen, but it's just because we want to get better.

[49:41] Samantha Pauly: Um, and there's never a, um, I don't know, I don't want to say we're never satisfied or whatever like that because there are moments that we are satisfied and we can be satisfied and everything like that. But as people and as artists and as performers, you know, the goal is always just to get better. And maybe that's what makes us annoying because we don't realize how, you know, talented one of us may be or whatever it is. Like, you know, that's really, if you ask me, what boils down being a theater kid, but that's just me. That's just my rant.

[50:13] Eli Tokash: Um, but it was great to hear, uh, you know, Sam talk about her cast and developing the chemistry and finding her version of Jordan Baker and building this and becoming an original Broadway cast. Like a lot of people are like, "Oh, you know, you've done seven Broadway shows. Why, why are you so interested in being an original Broadway cast or whatever it is? Like why is that so important to you?" And I think Sam kind of hit the nail on the head this week on what that really means because it can mold to you, you know? You don't have to feel the pressure of coming in and doing something that you're not comfortable with or something that you, and that's just because you've never done it before. You know, you have a lot of times you have to allow yourself to be uncomfortable and sometimes that can be difficult.

And sometimes that can still happen when originating a Broadway show. I mean, that happens a lot with the Water for Elephants video that we are going to be releasing here very soon. Uh, it'll definitely be out by next Thursday. We're aiming for a Tuesday release, so check that out because we'll take about Tuesday, take about Thursday action, a little cute, uh, little what's it called? Like play on words, I guess, with alliteration. I don't know.

[51:29] Eli Tokash: So, uh, yeah, keep your eye out for that on YouTube. Um, but you know, they mentioned, you know, getting out of their comfort zone, uh, learning the circus and stuff like that. And so there's moments where you can, uh, but you also have a lot more time to rehearse it, get it into your body, work it out a little bit more, adjust it to, um, to make it work. And then, you know, when you're replacing someone, you don't really get that opportunity. So, um, it's just cool to hear these ideas and all these things. So huge shout out to Sam for coming on, chatting about, uh, you know, Gatsby and how she got started and all the things. Uh, we were huge fans, so hopefully we will have her back on, um, and be able to do something, uh, more about her career, um, or whether it's, you know, more about SIX or whatever it is. So, uh, very excited for that.

[52:19] Eli Tokash: And then, uh, one last piece of news I want to leave you all with, uh, the Museum of Broadway. For those of you who don't know what the Museum of Broadway is, they have made a museum of Broadway, uh, of all things Broadway, and I am such a huge fan of the museum.

[52:35] Samantha Pauly: Yeah!

[52:36] Eli Tokash: And, uh, it's right by a Broadway theater and I believe, I believe it's the Lyceum Theater. Maybe I'm making that up. It's in between like seventh at in seventh and, um, sixth or Broadway and sixth perhaps because Broadway runs in a weird thing. And then, um, and I think it's on like 46th Street. Um, I could be totally making that up. I believe that's right, um, off the top of my head. But, uh, for those of you who don't know, uh, keep April 21st on your calendar. Uh, April 21st is happening next month and wow, that's crazy that we're not even, um, it's not even a full month away. Oh my goodness. So, uh, very exciting stuff. Broadway Podcast Network is doing a Broadway Pod Fest day, they're calling it, at the Museum of Broadway, uh, on April 21st. I believe it's like a big week for podcasts, uh, and celebrating them.

It's like, you know, Broadway week, maybe podcast week. Um, so they're doing something with the Museum of Broadway. We're teaming up and we're going to be doing live episodes, uh, on April 21st at the Museum of Broadway. A bunch of podcasts are coming together and, uh, they're going to be doing some podcasts and they're going to be doing it live for guests and it's completely free. And, uh, I believe you may have to buy a ticket to the museum or something like that, but the museum tickets are pretty cheap. They're the, um, I believe cheaper than a rush ticket, if not the same price. And so you'll be able to get a free show of the podcasts, uh, with your favorite Broadway stars as well as a tour around the museum. So that'll be a really cool, uh, thing going on. If you haven't been to the museum, highly recommend.

[54:37] Eli Tokash: Um, these podcasts will probably be like 30-35 minutes, um, and I'm the guest that I'm trying to get for the podcast. Y'all are going to want to come out and see this. So, um, you know, it's an in-person podcast. Like I want to make it extra special. So we're trying to, we're going to get someone really special for you and, uh, we're going to have some fun April 21st. Mark that day on your calendar if you're going to be in the city. If you're not going to be in the city, if you're looking for a day to, or a weekend trip to the city, uh, we'll hopefully be doing it before the Sunday matinee. Um, so if you want to do a little podcast pre-show before your show, uh, come join us and it'll be a blast. So I'll keep you posted when I get more information and we solidify, um, our guests in the details, uh, but I'm very excited nonetheless and we hope to see you on April 21st at the Museum of Broadway.

[55:41] Eli Tokash: So, uh, that's all I have for you folks this week. Uh, this has been an absolute blast. 198 in the books. Um, 199 coming next week and next week's episode we are actually have the chance to film and record next week's episode in person. Uh, so I'm very excited for it. It's a very, very special guest, someone that I've wanted to have on for, geez, probably since I started this, um, and that want and desire has kind of grown as they've become, you know, just an absolute star and continue to shine on the Broadway stages. So, uh, very excited to bring this guest on and be able to do it in person. So that'll be up on YouTube very shortly after, if not, uh, on Thursday when we release it with the podcast. So stay tuned, uh, for next week's episode and remember April 21st.

[56:35] Eli Tokash: All right, well that's all I have for this week's episode. Uh, 198 is now officially in the books. Uh, thank you all so much for listening and, uh, until next week, bye everyone. Have a great week.

[56:49] Eli Tokash: All right y'all, it's time for the final curtain call. I would like to take a moment to allow a couple other people to start, starting with a special shout out to the team at the Broadway Podcast Network including Dory Berenstein, Alan Seales, Kimberly Garris, and the rest of the team at the Broadway Podcast Network. Next in line to take a bow, we have Giselle Bustos for creating our incredible logo. Next up are our fabulous musicians, Nikki Torcia and Cormac Cullinan for making our intro and outro music. And our final bow today are extra special for the patrons, Patrick McNamara, Brian Thompson, the listeners at PCC, and the rest of our fabulous patrons over at Patreon.com. If you're interested in becoming a patron, visit Patreon.com slash TAB.

If you enjoyed this week's episode, make sure you're subscribed on all podcast platforms or wherever you're listening to us today on and definitely check out our YouTube page to see our latest videos or even stay tuned for upcoming ones by subscribing on YouTube. If you're looking to follow us on social media to stay tuned for our latest news, visit us and Take A Bow on Bway.

[58:04] Eli Tokash: Well, that wraps up this week's curtain call. I hope you enjoyed this week's episode and I hope to see you again next week. Until then, bye everyone. Have a great week.