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[0:00] Eli Tokash: Hello everyone and welcome to episode 49 of Take A Bow Podcast.

[0:06] Eli Tokash: I'm your host, Eli Tokash, and oh my goodness, 49.

[0:10] Eli Tokash: Okay, I can't even t next week is the big week.

[0:14] Eli Tokash: Big number 5-0.

[0:15] Eli Tokash: It's our one-year anniversary next week.

[0:18] Eli Tokash: I'm so excited for it.

[0:19] Eli Tokash: It's gonna be a great episode, but this one's already long enough, so I'm just gonna get right into it.

[0:26] Eli Tokash: On this week's segment of tasting the opening of Broadway, uh, they're like teasing us.

[0:32] Eli Tokash: I swear, there's like a new thing every week.

[0:34] Eli Tokash: Mary Poppins and Hamilton have announced their plans and their date of reopening in the West End, and they are both opening in August, so what does that mean for Broadway?

[0:48] Eli Tokash: Uh I know the West End and Broadway work pretty closely together.

[0:52] Eli Tokash: They've kind of like based each other's, you know, whole uh environment and everything off of each other.

[0:58] Eli Tokash: Um, so it'll be interesting.

[1:00] Eli Tokash: And speaking of basing things off of each other, like since that, Six put out a post on social media saying that they will be revealing their information about a return date and protocol safety plan really really shortly.

[1:14] Eli Tokash: So they said like within the next coming weeks, and they said that like if you um sign up to be a part of this like VIP Queen Dom family uh on their website, you will be the first to hear the information.

[1:27] Eli Tokash: So, some exciting things to think about, and hopefully that Broadway is coming back.

[1:36] Eli Tokash: And so let's talk about what's happened this week.

[1:38] Eli Tokash: The Oscars happened on Sunday, and honestly, I don't understand.

[1:43] Eli Tokash: Like, I found it to be rather enjoying.

[1:46] Eli Tokash: Uh the night itself is like receiving a bit of backlash from like the media and even like my friends who like I've talked to about it, and they've all like had things to say about it, and you know, I just really enjoyed it.

[2:01] Eli Tokash: I mean, we got new looks of West Side Story, the film and the In the Heights film.

[2:07] Eli Tokash: Uh, they played a game guessing like which of the songs were nominated or for an Oscar if they won an Oscar or none of the above that Glenn Close absolutely stole.

[2:18] Eli Tokash: So overall, like I found it to be really enjoyable, and I just wish I had watched the movies, uh, like all of them before watching the Oscars because I wasn't really really sure which to root for because I had only seen a couple of them.

[2:33] Eli Tokash: So yeah, I thought that was interesting.

[2:36] Eli Tokash: But if you're listening to this, like I would love to hear all your opinions on either like Patreon or social media, uh like in the take about podcast, Instagram, like whatever.

[2:46] Eli Tokash: Cause I've been really curious to hear what people have had to say.

[2:49] Eli Tokash: Uh, because I literally, like, sometimes I usually just have it on the background, but like I had it on the background and just like found myself just watching it and kind of getting distracted at it because I found it so enjoyable.

[3:01] Eli Tokash: Um, maybe that's just me.

[3:02] Eli Tokash: Something else I found really enjoyable this past week was uh Friday.

[3:07] Eli Tokash: We were blessed uh with some more music by Sir Ben Platt.

[3:12] Eli Tokash: Uh he has a new EP out called Imagine, and I mean I've only listened to this song like 8,000 times on repeat, so like I really don't know much about it.

[3:24] Eli Tokash: Uh no, I'm just kidding.

[3:25] Eli Tokash: I'm obsessed with the song.

[3:26] Eli Tokash: I'm obsessed with like the words, of course.

[3:29] Eli Tokash: You know, his words are like masterful.

[3:32] Eli Tokash: Like the way he is able to tell stories with not only the emotion but his words that he writes is so beautiful.

[3:39] Eli Tokash: Um it was interesting to hear this one because it's completely different from his album Sing to Me Instead.

[3:45] Eli Tokash: It's kind of more like I feel like Rain, another EP of his, is like an in between of the two, and then Imagine just like pushed the pop scale even further.

[3:58] Eli Tokash: Um so I thought it was really interesting.

[4:00] Eli Tokash: I loved it.

[4:01] Eli Tokash: I've like I said, listened to it a thousand times.

[4:05] Eli Tokash: Uh on repeat, of course.

[4:07] Eli Tokash: And for anyone who hasn't listened to it yet, I highly recommend listening to Imagine by Ben Platt.

[4:14] Eli Tokash: So, in light of keeping everything short, that's gonna be it for like the news this week.

[4:18] Eli Tokash: Uh, but I do want to mention, because I know not all of you stay until after the interview, which is like it's fine, it's whatever.

[4:26] Eli Tokash: There's some like fun things that happened afterwards, but I'm not salty about it.

[4:32] Eli Tokash: Um, but I do want to mention because I found this so important, so I was like, I'll do it at the beginning.

[4:38] Eli Tokash: This week on Tuesday, May 4th at 7.30.

[4:43] Eli Tokash: Our favorite Broadway stars are joining forces to honor Rebecca Lucre and raise money for ALS research.

[4:52] Eli Tokash: Now, this event is so so important for everyone to attend.

[4:58] Eli Tokash: It's obviously raising money for ALS, and she is absolutely someone that we should all be honoring.

[5:04] Eli Tokash: Uh, one night is not enough, but I'm excited for this uh event.

[5:09] Eli Tokash: As tickets start at $20, and the people in it will be Kelly O'Hara, Kristen Chenoweth, Santino Fontana, Laura Benanti, Judy Kuhn, Michael Cerveris, Norm Lewis, Tam Mutu, Howard McGillen, Sierra Boggess, Victoria Clark.

[5:28] Eli Tokash: All of these.

[5:30] Eli Tokash: Oh, oh my god, Victoria Clark.

[5:31] Eli Tokash: We mentioned her in the interview today.

[5:33] Eli Tokash: And like we mentioned, Judy Kuhn, Michael Cerveris, Kelly O'Hara, all past uh Take A Bow guests.

[5:39] Eli Tokash: So not only are we honoring this amazing light that the Broadway community was blessed with, but we are also going to be hearing songs and stories uh from our favorite Broadway stars.

[5:54] Eli Tokash: So I definitely encourage you to check that out.

[5:57] Eli Tokash: It's on May 4th, 7:30.

[5:59] Eli Tokash: That's on this coming Tuesday.

[6:01] Eli Tokash: So please, please, please go check it out.

[6:03] Eli Tokash: It's only $20.

[6:04] Eli Tokash: And it's gonna be such an enjoyable night to remember.

[6:07] Eli Tokash: And with that being said, let's turn it over to the drama diction memory.

[6:13] Eli Tokash: And don't worry everyone, my old man is here, so you will not be hearing about any showmances this week.

[6:19] Eli Tokash: Um yeah, by the way, uh John Bolton is our guest this week.

[6:24] Eli Tokash: He is incredible.

[6:25] Eli Tokash: He played my dad in A Christmas Story, but he was also in Anastasia, in Titanic, and all of these amazing musicals uh he's literally been in nine Broadway shows.

[6:34] Eli Tokash: Okay, like that's insane.

[6:36] Eli Tokash: Uh, and we talk all about that.

[6:37] Eli Tokash: So we have an exciting guest, but something also that we talk about this week that I would love for you all to learn before the interview, the term breaking the fourth wall.

[6:48] Eli Tokash: And what that is is like so in theater, there's like many unwritten rules that you kind of just like know, like when and you learn quickly that in the theater.

[6:59] Eli Tokash: And I and I'll obviously like teach you all through like these drama dictionaries and stuff, but this week's breaking the fourth wall, what that means is looking into the audience and basically like staring at them, like while you do it.

[7:13] Eli Tokash: And so, like, like really interacting with the audience during a performance is breaking the quote unquote fourth wall.

[7:20] Eli Tokash: So obviously, like we have a wall to our right, we have a wall to our left, we have a wall upstage, so like behind us, and like when we're facing the fourth wall, we're supposed to just be like looking out and like up to like the space, really, just so that everyone can see us.

[7:38] Eli Tokash: But like breaking the fourth wall is like interacting with like the people like right in front of you, and like people that you can like actually see and work off of.

[7:47] Eli Tokash: And in A Christmas Story, John Bolton actually does that a few times.

[7:51] Eli Tokash: And there are many shows that like they allow their performers to break the fourth wall, um, but at the same time, like when you're not told that you're allowed to, it's like not okay if you do.

[8:05] Eli Tokash: And I don't know how that started or what.

[8:08] Eli Tokash: So that's why if you notice, like when you if you've ever had as an audience member an experience of an actor kind of playing off you during a scene, it's more in a scene where it's just like about having fun, and it doesn't do too much for the story itself of the show, and it's kind of just like one of those fillers, so like in the entre acts and the stuff like that, and like for instance, we talk about John Bolton when he does it, it was totally like a filler thing to like tell jokes while other people change.

[8:40] Eli Tokash: So, um, that's what breaking the fourth wall is.

[8:44] Eli Tokash: So, with that being said, you will have all the information that you need to know for this week's interview with Sir John Bolton, and he is fantastic.

[8:54] Eli Tokash: So, let's just turn it over to him.

[8:56] Eli Tokash: John Bolton curtain up.

[9:18] Eli Tokash: Well, everyone, this week I gotta be on my best behavior because my old man is in the house.

[9:25] Eli Tokash: He is a multi-award nominated triple threat.

[9:29] Eli Tokash: He's a veteran of nine Broadway shows.

[9:32] Eli Tokash: He's the best show dad you could ask for in one of Broadway's biggest goofballs.

[9:36] Eli Tokash: So everybody, welcome to Take A Bow, John Bolton.

[9:39] John Bolton: Hello, sir.

[9:41] John Bolton: How are you, young man?

[9:43] Eli Tokash: Oh my goodness.

[9:44] Eli Tokash: I am so good.

[9:45] Eli Tokash: I am so happy to be here with you this week.

[9:47] Eli Tokash: It's funny because last week I had a story about my showmances during A Christmas Story.

[9:54] Eli Tokash: And I was like, can't do that with my old man on the podcast.

[9:58] John Bolton: It was great that we did it the week before.

[10:00] Eli Tokash: Oh my god.

[10:00] John Bolton: Well, I wasn't aware of the romantic intrigues that were going on backstage.

[10:05] Eli Tokash: So uh heartbreaker.

[10:07] John Bolton: You're a heartbreaker.

[10:09] Eli Tokash: Oh my god.

[10:10] Eli Tokash: Well, when you put a bunch of kids in the same room together for like the first time, and we're all coming from different parts of the world, something's bound to happen.

[10:18] John Bolton: You know, all these like crazy things happening.

[10:21] Eli Tokash: Nothing too serious happened, I can assure that, but there were some crushes going on in the cast.

[10:27] Eli Tokash: So let's talk about what kind of got you into theater.

[10:31] John Bolton: Like what introduced you to the theater and why did you start like wanting to do it?

[10:36] John Bolton: Oh gosh.

[10:37] John Bolton: Um, well, I would watch like movie musicals or whatever, or just see groups of kids performing on TV.

[10:46] John Bolton: Like there was a show called Zoom that was on when I was a kid, and which was a bunch of kids running around and singing and doing science experiments and stuff, and I thought it was cool.

[10:55] John Bolton: And like there was a version of the Mickey Mouse Club in the 70s that I thought was so cool because they were this really diverse group of kids that were singing and dancing their faces off.

[11:05] John Bolton: And I just thought it was just so cool to be part of a team like that.

[11:08] John Bolton: I played teams, you know, Little League was okay, and um the obligatory little league, and uh um played soccer and and uh and stuff, and I loved the team aspect of it.

[11:19] John Bolton: And I would look at these big groups of kids performing and just go, that's a team.

[11:24] John Bolton: That's a team I want to be on that team.

[11:27] John Bolton: And when I was a kid, my parents took me to so we would go to New York to see shows once a year, and which I was very lucky to get to do.

[11:34] John Bolton: And uh one year we saw Annie, and there were six, seven kids on stage, and yeah, I didn't care they were all girls.

[11:39] John Bolton: I was like, those kids are my age and they look like they're having the best time ever.

[11:43] John Bolton: I want to do that.

[11:44] John Bolton: So I wrote to the director and I said, There should be boy orphans in Annie.

[11:48] Eli Tokash: Oh my god.

[11:49] John Bolton: I did not hear there should be boy orphans, and I figured out how to change.

[11:55] John Bolton: I even rewrote the lyrics to Miss Hannigan's song Little Girls to make it include little kids.

[11:59] John Bolton: And I had Rise said, Here's how we fix it.

[12:02] John Bolton: So I was like trying to direct, you know, this total director from Rochester, New York when I was 11.

[12:09] John Bolton: I would just see, yeah, kids performing and just think that was a fun team to be on.

[12:14] John Bolton: Grew up in a sports kind of household, and that was my big brother's thing, both my big brothers, and uh it was just sort of assumed that I would do it, and they were both great, so it was like this huge, huge shoes to fill, and slowly but surely I just found theater that no these are these will be my shoes my my gold tap shoes to fill and uh did school plays and uh never never ever thought I would do it professionally just sort of wanted to be involved somehow and I have a degree in journalism.

[12:45] John Bolton: I went to a college in Rochester, New York, my hometown, and study have a degree in BA in journalism.

[12:51] John Bolton: And then it was during college that I started to get paid a little bit because there were some professional and semi pro theaters in Rochester.

[12:58] John Bolton: Just the more I did the more I did and had my toe in the water foot in the water leg in the water all of a sudden it's 30 years later and I'm in New York.

[12:58] Eli Tokash: Yes, well that's beautiful.

[13:06] Eli Tokash: What an amazing story and I think you know you there's a future here in writing maybe once you retire because I feel like we need this like new Annie spin off.

[13:17] John Bolton: Well I don't know I'm I love to write I'm sort of falling out of shape a bit but I will say the um the pandemic I've been kind of sitting down and writing a little bit more.

[13:26] John Bolton: Will there be a tell all I don't know who the heck would want to read it but uh there will be someday and names will be in.

[13:26] Eli Tokash: Gosh, that's awesome! That's hilarious. And so you're talking about, you know, like you are totally like a sports-oriented dude who like grew up and then wanted to try this out. And sure enough, I mean, it's crazy how the world works. You made your Broadway debut in Damn Yankees, which is one of the only sports musicals, like I don't know, like musicals that are related to sports.

[13:58] John Bolton: Exactly! So like, what was it able to not only step foot on a Broadway stage for the first time, but also do it in a way that totally made sense with you in this sports-oriented world?

[14:08] John Bolton: Yeah, Damn Yankees is a great show. I always used to say it's a great dad show. I'm so proud when my dad, who coached really, you know, got to see me finally not suck on a team. Do you know what I mean? So I hope. Right. Um yeah, what was it like to well? I was a replacement in the show. And so I they and the show was already running, obviously. And so I would stand in the back and watch the show and follow the track that I was going into with my eyes and take notes, and then I'd have rehearsal of, you know, just not for long, for about 10 days, not even maybe, with uh the dance captain, the amazing Cynthia Anrubia, and our wonderful music director, who was the great David Chase. These are like Broadway legends, and it was just us at this tiny little rehearsal room, and then I had one put-in rehearsal, which is where the rest of the cast shows up on a Friday in their street clothes, and there's you in your costume, all eager to be your you know, make your Broadway debut, and they're just like dragged in for rehearsal and they're just over it.

Um you get that one chance to go through it, and then uh the following Tuesday was the beginning of my first week, and that that night I went on, having not done it since the previous Friday. But I knew my stuff. I'd been taught well, um, meaning by Cynthia and David and the stage manager Mo Gibson and of course director Jack O'Brien, choreographer Rob Marshall, just legends that I was thrilled to be in the guy, and the guys on the team were helpful and stuff. And I just remember the curtain call coming down. I'd forbidden any friends from seeing me. I was like, it's my first show, don't you dare come. Because I want to be, you know, really I wanted to do a good job. And my parents were coming the following week, and I just I just wanted to get the first one out of the way.

I think if I'd rehearsed the show all along and opened the show, it's different when you're a replacement. You kind of are literally just sort of thrown in. And right. You just want to sort of do no harm your first first few shows or first week, like an understudy or s a swing. You know, you just want to get on, do your job, and do no harm, you know. So I forbid anyone from seeing it. And then uh after the first few shows, I was like, all right, bring it. But I remember the curtain call that first night, and having no one in the audience just smiling to myself, just going, I worked hard for this. Uh and I knew I did. And I also I knew I worked hard for it and s in some way deserved it because I'd worked so hard.

But I also knew more importantly, that I was frickin' lucky to be there, and that uh, you know, because I far as I knew it could have been my only Broadway show. And you know, I would have been fine with that, you know, just do one Broadway show and then move on, you know, maybe do something else because it's such a hard business. But it was a fun show. That show was a freaking blast to this day, one of the most fun shows I've ever gotten to do in my life.

[17:01] Eli Tokash: That's awesome. Because okay, I can't first of all, I can't believe that no one was at your Broadway debut. You know, you have one Broadway debut and you did not allow anyone. I mean, that good for you. And just like that you talking about just how you kind of took that at your curtain call was just that's so cool. And I love hearing that. So you've been hopping around from like show to show consistently for the last like two decades. And that started with the transition from Damn Yankees to How to Succeed. That, okay, you talked about so many legends already. Your resume is not short of like legendary people that you've worked with. Um seriously, I mean, that How to Succeed in Business, like Victoria Clark and Matthew Broderick and all of these crazy things. Like, I was like, holy cow. So being fairly new to like the business, what was it like to like yet again step into another show and learn under a guy like Matthew Broderick and then go on to be his successor?

[18:01] John Bolton: Ha. Well, Matthew's the greatest guy, and he and I share a love of uh um sensible amounts of bourbon. Yes. So um such a pleasure to get to work with him and that entire cast. The entire cast, you know, Victoria, Luba, Lilius, Jeff. I mean, just just great people, and all the replacements were great. Um, yeah, I joined the company as they had just opened, and I left Damn Yankees literally the week before they closed. And I think I pissed them off a little bit because they were like, really? Yeah. Can't you just hang out for one more week? But How to Succeed um needed me. They had just opened, they were hit. They wanted, they had an understudy for Matthew, but they wanted to add one because you know it's in the long run, the lead needs two covers and let's let's do it.

And I covered a couple other roles, Jeff Blumencrantz was Bud Frump and a couple of the sort of more acty heavy ensemble tracks I covered as well. And then one of those ensemble tracks left almost right away. Oh wow, and so I was like, um, I would much rather come to the show and own a small part of it, meaning have that small that good, fun little ensemble track than just sit there and wait to go on for the lead. And they were like, really? I said, yes. It's so hard to go to work at a theater and not go on. Not that you're like, I've got a shine or whatever. It's just like you kind of emotionally have to get ready. And I was a standby at Spamalot, and I was a standby at a show called Contact, both of which won um Best Musical.

And you know, I I'm proud of those, and I was on all the time. But it was hard to go to work every night and not always go on, you know, just sort of just to from an emotional just to get to sort of be ready. And I remember one of the dancers in Contact walking by me one night and going, Yeah, don't work too hard tonight. And I was like, you know what? I wanted to say, first of all, he's amazing, but I wanted to say, you know what? It is so hard to do this right now. But back to How to Succeed. What a great show. Just so well written. Another just golden age classic that you could just step into at any time. There's the script is tight, the score is perfect. And just to live inside a well-written show like that for another year was great.

And um I learned Matthew's part, and yeah, I got to go on a bunch and then took over for a chunk when he was shooting The Cable Guy, which will tell you how long ago this was Eli. Uh yeah, he was shooting The Cable Guy at Ran Long. And so, well, ladies and gentlemen, Mr. Bolton will be playing the role for a while. Uh and I I had the best time. But I remember my first time on in that, I was terrified. But I also knew I'd been well rehearsed and I thought, okay, no, I can do this. And um, yeah, my first performance in that role was maybe one of my best because I just was like, failing is not an option. You know this part. Yeah. Just go do it. And something takes over and you just do it because you have to.

[20:54] Eli Tokash: I love was did you invite anyone to that performance?

[20:57] John Bolton: Uh yes. Uh, because I went on, I wasn't I didn't know that I'd be doing this whole chunk later. Uh huh. Um, and I didn't know if it was a one off because um uh it was John Stamos when I went on for the first time. No, no way back. And I remember the audience it he was it okay, he was either late or sick at the last minute, so there wasn't time, Eli, to get the stuffers in the program. So this entire audience that's there to see Uncle Jesse at a matinee. Oh no finds out at ladies and gentlemen, may I have your attention, please? At the same time's performance, and you're just hoping, oh god, please, please, please, God. And of course, they announce, and there's this huge groan. And my character start, the J. Pierpont Finch starts over the audience.

I mean, unseen, but you're gonna fly in on this rickety little window washer thing. So I'm literally like if you look up, you can see my feet, and they're all groaning at but I um I just thought I prayed to every dead relative I had that I should just get through it. And I remember seeing actually Vicki Clark and the wings right before I went on, and she looked up at me and gave me a big thumbs up and blew me a kiss, and I just loved that woman so much. And I got strength from that, and the whole cast just supported me, and of course the material was great, and you just ride it, you just get out there and you ride that wave if you know what you're doing, and I got through it, and it was so such a such a uh pleasure.

[22:24] Eli Tokash: And you stole the show.

[22:25] John Bolton: I wouldn't say I stole the show.

[22:26] Eli Tokash: You stole it, but I don't know about it.

[22:28] John Bolton: Well, here's this the part is sort of written to. If you're playing J. Pierpont Finch and you don't steal the show, you're doing something wrong.

[22:33] Eli Tokash: Okay, fair enough, fair enough. But I'm sure audiences weren't too bummed out after your performance saying, uh man.

[22:40] John Bolton: They were very kind. Yes, that's great. You love that. And then, oh my god, we can't talk about like all of your Broadway shows because there's too many and too little time. But you you then do Titanic, and that's at a theater that I I know uh obviously from doing Fighting Neverland. And every time that like I'm reminded that Titanic was a musical, I'm just like blown away because I know, like, granted the Lunt-Fontanne is one of the bigger Broadway theaters, but it's still really small. So I'm still like blown away that there was ever a production of the Titanic in the Lunt-Fontanne theater. What was the process like in like creating the Titanic on a stage? You know, like this historical revolutionary movie that is so popular and then bringing it to the stage.

[23:34] John Bolton: Well, when we did it, the film had not come out yet. Uh it came out a year after we opened and we got actually a bit of a boost from it. And then after about six months of the film being out, everyone was all of a sudden sick of the film because it was everything was Titanic, Titanic, Titanic. And the tourists started to think that we were a version of the film, and they started to say, a year and a half after we opened and won five Tonys, they started to say, Where's that song? Where's Rose? Where's Jack? And we're like, actually, we're like, we're real Titanic. Yes. Or whatever. But so when we opened the film had not come out yet, but yeah, it was cool. We played real people and who most uh we all did our research.

It was an amazing company. We rehearsed a very long time uh at 890 Broadway, um, legendary rehearsal space where the if the walls could talk, it would be a your best class in musical theater you could ever take. But we never did not we did not try out out of town because the show was too expensive set-wise to do out of town. You can't go to Buffalo and gut the theater just so you can sink the ship for a few weeks. Right. You know, so um we we sort of tried out cold in New York and opened. We uh preview from previews to opening, huge huge changes were made. Uh entire songs changed, entire scenes changed, characters were cut, characters were written. Oh my god. And and to but the only thing that didn't change from the from our first preview to opening night was the entire 17-minute opening sequence.

Because at our first preview, we did that amazing listen to it. It's thrilling, thrilling music by the great Maury Eston. And uh that did not change at all because that brought down the house, our first preview. And when the audience was clapping for that, we thought, oh, we're in, this is it. But then the rest of the show happened, and the rest of the show, we hadn't even finished teching act two, Eli. We had not tech two when we started previews. We canceled our first first view previews because we weren't ready. And um, we had to stop the show on several occasions, and on some nights, we even had to send the audience home. Still previews or like early previews. We had to send the audience home.

Well, folks, sorry, that's it. We can't finish the show because we can't get the ship to sink, literally, or the ship to come up or anything. Wow, this would be like mid at two, so they weren't totally screwed, but it didn't do much for our reputation on the street. And then miracles happened, and a great new finale sequence went in, a great new lifeboat sequence went in, and all of a sudden, people got behind us, and the show just did a did a uh 180, and and there we were, uh and won five Tonys and sort of became a snob hit and ran for a little over two years, and such a pleasure, great, great company. And um, well, one thing I want to say about the Lunt-Fontanne, since you have worked there, um, it seats about 1,520 people, 1522, I think.

My character, Officer Lightoller, who played this, I was the senior surviving officer. So at the end of the show, the survivors come out and kind of list things that happen afterwards. And I say, looking out at the full, most leisurely full, Lunt-Fontanne Theater, uh, 1,517 souls lost their lives. Eli, I was looking at within five people, the exact number of people who died. And every single night with a full house, you just look out at that theater and go, you all died. Right. This this is that huge act theater, that huge tall balcony. It's like this is who didn't make it. And let me tell you, that was pretty um, that was pretty uh sobering. But the music was glorious and it was a thrill to sing. And and again, uh the great one of the greatest companies I've ever worked with.

[27:21] Eli Tokash: Oh my god, you just you just gave me chills. Oh my god. I could not imagine just the emotions going on just while you're performing, and then during that part particular. Oh my god, that's insane. I mean, good for you guys because I mean it's no easy feat to run for two years on Broadway. And when emotion emotions are high, it's very difficult.

[27:41] John Bolton: I found it challenging, a bunch of us found it challenging. And then about a year into the run, you can't always cough up Sturman drawing, you know, you the the crying and the screaming, which was only the last chunk of the show, but it was you know a pretty important chunk.

[28:11] John Bolton: And especially in a show like Les Miz or Miss Saigon or Titanic, where emotions are so high for such a chunk of the show, it is so hard not. I mean, like to not break character and just laugh because sometimes you're not always willing to go to that dark place, or not always able to go to that dark place.

[28:30] John Bolton: Yeah, I mean, to do that eight times a week, that's a lot. Exhausting, but so fulfilling. What you have to do in the long run is just dive in. You're yeah, you have to remember I've had to really sort of slap myself in the face and remind myself people are paying a little first of all a lot of money to see you, and it's a lot of people's first Broadway show, you know.

[28:49] Eli Tokash: Right.

[28:49] John Bolton: Sad fact could be some people's last Broadway show that they're watching. So you want to you owe those people your best. Get out there and represent New York, represent Broadway and go be your best. Don't get out there and screw around. I've been guilty of that. And sure, crazy things happen some nights. Sometimes things happen and you're gonna break, and the audience loves it, and it's special. But if you are ever in a position where you're trying to make that happen, or you're just you know not in it, you shouldn't be on Broadway.

[29:21] Eli Tokash: Right. Wow. Wise words from John Bolton, everybody. We're being blessed.

[29:25] John Bolton: I learned the hard way because I've gotten in trouble for it. I've gotten in trouble for for um laughing. But I've also been lucky enough to be in some really long runs, and when you're on performance number 800, and you've been just joking like crazy with someone else, and all of a sudden you have to go on stage and be serious. Oh boy, it's right, it's hard. But you do it because you're a professional, and this is what you're paid to do, and you've done it.

[29:49] Eli Tokash: That is right. Was Titanic your first like original Broadway cast? Was that the first show you opened?

[29:53] John Bolton: It was the first show I actually opened. Yeah, I actually got to be part of the thing night. I will say, Damn Yankees, we we did an unusual thing in that we closed for two months to rehearse the great Jerry Lewis came in as a replacement for Victor Garber. And because of his schedule, um they just decided to close the show for January and February, which are sort of the doldrums months anyway. Um, and so uh I went to Florida, hung out, knowing nothing's better than knowing you've got a good job coming up. But uh, and then yeah, we reopened and had a reopening night with new reviews, and so I did get a version of an opening night with Damn Yankees.

[30:29] Eli Tokash: Oh wow, in terms of original Broadway cast, Titanic was the first of uh the first of a few things. What a way to start. I mean, just because the way that you've talked about, like with the previews and how like things were not going so hot, and then to just experience a 180. That's such a roller coaster.

[30:47] John Bolton: Yeah, like it, but that's what's like so special and so fun about Broadway is just being a part of the developmental processes, I think personally, and seeing how it all comes to be and seeing all the rewrites and what works and what doesn't, just seeing how everyone's mind is working, and as you've mentioned before, as a team, you can really see how they come together. It's incredible.

[31:11] Eli Tokash: I love that, and what a special like first experience in opening a Broadway show. Not many are like that, I'm sure.

[31:19] John Bolton: Oh, it was it was since it was insane. But what what you have to do with all these changes, and because it changes in inevitably involve cuts of some sort. You can never take the cuts personally. It's not that you went out and failed, or you this isn't where you only see your little arc, the director, the producers, they see the overall arc. And so what I've also had to learn, unfortunately, is uh don't go home and don't don't cry in the theater about your cuts, cry at home about them and know that it wasn't you didn't do anything wrong. It's just for the best of the show.

[31:49] Eli Tokash: Right. Totally. You gotta be a team player. Come on, John.

[31:53] John Bolton: Um, okay. Well, let's turn it over because I would be remiss in not talking about A Christmas Story and my amazing time with you. I have so many things that I want to talk about. Um that this is obviously the show that we shared together. He was my old man, and I played Ralphie at certain performances with Sidney Lucas's brother, Jake Lucas, who and Sidney used to co-host with this podcast with me.

[32:18] Eli Tokash: Um right?

[32:21] John Bolton: They're great, they're the best.

[32:24] Eli Tokash: Yeah.

[32:24] John Bolton: So you had already done a production. You've already done a few productions before.

[32:31] John Bolton: Four years, Carol. I did four years of that show before you came in.

[32:36] Eli Tokash: Yeah. Four years before I came in.

[32:38] John Bolton: Yeah. Oh my god. I did not realize that.

[32:40] John Bolton: We did it at Kansas City rep one year, and uh someone came and said, let me throw a bunch of money at this, and uh Jerry Garing, the lead producer song, Kansas City Rep, and threw in money. And then they completely overhauled the show in Seattle at the Fifth Avenue Theater, which has sent a lot of shows to Broadway the next year. Uh, and that was when we got Ben Pasek and Justin Paul writing what would be their very first Broadway score. Um and uh the show was overhauled there, and then we took it on tour the next year, um, where Rachel Bay Jones was my wife, and we had a uh terrific cast. And um John Rando now directing and Warren Carlyle now choreographing. And then the following year they were like, let's put it on Broadway. So we did it on Broadway at the Lunt-Fontanne Theater, where I tried not to think about 1,500 drowning people every night.

[33:28] Eli Tokash: Oh my god.

[33:29] John Bolton: PGSD. Yeah. No, it was fine because they'd redone the theater, so I was fine. And now this time I was in the star dressing room, so I didn't care. So yes. Um I yeah, and then the next year we did a mini tour and I got to meet you, Eli and uh Jake Lucas, and we did it at Madison Square Garden, this uh huge theater. And I was worried it wasn't gonna work there, and it oddly did. And oddly the audience went nuts for it there, you know.

[33:55] Eli Tokash: But it was hard having so many kids, kids over the years who you get attached to your these kids playing, your sons, and as you know, the ma the mom and dad and Ralphie and Randy. We have a lot to do in that show, and we have a lot together, and it's not just running around being crazy, there's some like you know, family affection moments there, and uh this crazy old man trying to understand his kids and vice versa, and of course the mom holding it all together with everything she's got. But it was hard having new kids every year. It's like, oh god, we gotta train new ones, right? Oh no, hold for daddy's laugh, you know, and you try not to be a dick about it. I really tried not to be a jerk about it, and and and to let each of you bring I hope what you could bring to the show and not be so married to there's a bit here, or there's a bit here that we do, and some of those bits work, and then other ones, it's like, well, let's let's see what our bits are, let's let's come up with our stuff.

[34:58] John Bolton: And I remember having different versions of the show, different versions of the change the tire scene. Oh no, Eli's on. Eli, this is when Eli's on, we do this, and this really really works like a charm. And then when Jake's on, we do this, which also works like a charm, but it's completely different, you know what I'm saying?

[35:15] Eli Tokash: Right. Yeah. Totally.

[35:17] John Bolton: Well, I want to ask, like, what kind of like kept you coming back to the show? I mean, you did it so many times.

[35:25] John Bolton: I felt a bit of ownership with that part. The idea someone else.

[35:29] John Bolton: Well, first of all, they paid me, Eli. They paid me a lot of money to do it. So I was like, okay, I'll ride this Christmas horse as long as I can. And it was only three months a year. So it wasn't like I was doing it five years all day, every day for five years. It was only three months a year. And I would say I did other work in between television and shorter theater gigs. But um, no, I was proud to do it, and I was proud to claim ownership on that role in in some way. And I was proud of what we came up with. You know, it's a very obviously very famous property. Um, that everyone knows the movie.

[36:06] Eli Tokash: Yeah.

[36:07] John Bolton: And you want to honor the movie, you want to get out there and honor it and give them what they came for. But you can't just, and you know this, you can't just go out there and imitate it, because you won't be right giving you Eli as an actor with the benefit of the doubt here. You won't be allowing you to find who your Ralphie is. You'll be doing your version of Peter Billingsley's Ralphie. And what's the point of that? Because all they'll do then is look at you and go, you're not Peter Billingsley. But if you go out there like you did, and like Jake did, and all our wonderful kids have done, is go out there and be you. Yeah, then you know, and this is what our amazing director, uh directors, you know, over the years uh encouraged, always in the young actors.

It was really, really exciting to watch you all just find your laughs and and yeah, and and the heart was always there as well. But watching that little ding go off in your brain when you knew where that laugh was and you went and you sniffed it out just knowing do you remember the part where you guys go did not did two did not did two did not did two didn't you just did it forever. And I was like you guys just keep going. You're gonna say trust me. Try and you and you poor kids just stood there forever going did not do two did not do two. But I was like trust me they're going to laugh three times. And it's and it's going to get bigger every time the fact going on and on.

[37:32] Eli Tokash: Yeah because then you have to interrupt us.

[37:34] John Bolton: So we just have to keep going until you just like shut us up right and the fact is the fact that you guys just keep going every parent in the theater knows that this is what parent is you know every kid in the theater is like I do this is hilarious. The show was just so well written another well written show and there was a lot of heart to it so well directed so well written that beautiful score my beautiful wife Aaron I'm so in love with Aaron Dilly forever. Every year we wish each other Merry Christmas I can't have Christmas without Aaron Dilly.

[38:04] Eli Tokash: Oh or any of the other do you have Chinese food?

[38:10] John Bolton: Uh not on Christmas.

[38:12] Eli Tokash: Not on Christmas we don't okay.

[38:15] John Bolton: Who was who you mentioned that like you were with the show before Benjamin Justin had even come on. So like first of all this is ancient history and I'm in my 50s so I can't remember I can remember every single thing I learned before I was 30 is locked in my brain forever. But amazing I'm terrible with names, and I only worked with them the one year. I believe his name was Mr. Richards, and he wrote a beautiful score. It was very jazz influenced.

[38:43] John Bolton: Oh, not a lot of hummable like Christmas Totapy. And I think but it was an extremely intelligent score. Um in a different way that of course Benjamin Justin's score is brilliant in every in every way. Um and and perhaps more suited to the tone of the piece than the original authors was.

[39:05] Eli Tokash: Wow. Okay. Good to know. Was was Major Award in in it before?

[39:10] John Bolton: Oh, of course. It was a different I said I said the words major award many times, and I ran around the stage like a madman. Uh oh my god. But there was there most of the song moments were the same song moments, like mom still sang the song here, and I still had the major award moment, and there was still a figuring out the puzzle song, and there was still a tongue on the flag pole song, and and an I Want a B B gun song. You know what I mean? So that's the song slots were the same, but they were different.

[39:40] Eli Tokash: I'd actually love to hear them.

[39:42] John Bolton: Um to see yeah. Our first Ralphie was the great Zachary Sale, who's gone on to do a bunch of bunch of great stuff. Oh, he was just terrific. And it would be so hard to watch the kids grow over the years. That they can't continue with this. Um, you know, and a lot of the parents didn't take it so well, I'll tell you that. It's like your child is now six feet tall and can't play a 10-year-old any longer. But um, yeah, that was it was hard to say for you know, and by the by the time we got to Broadway, every single role, I was the only, I was the last guy left. I was the only guy left from the first production. And it was literally like every role was at least four ghosts thick, you know. I can name four people um for every single person that played every part that we did.

[40:34] Eli Tokash: But that has to be so fun. Like, like you mentioned before, just finding your new parts and new your new chemistry and how the show changes, even though like obviously the script and everything changes as well, but also like every actor brings something new. So you have to like find you know, you react differently so to what they're how they're portraying their role. So that is so funny.

[40:58] John Bolton: So important to do. Everybody is different. Just embrace that. You are the only Eli there is. I am the only John there is John Bolton there, you know. It's like let's just be you. Don't go out and be someone else. Just be you.

[41:10] Eli Tokash: Right. You know.

[41:11] John Bolton: Right. Totally. So you had one of my favorite parts of the entire show was you had this moment where you just got to break every role rule in the theater and you got to break the fourth wall. And and you were able to tell all of these brilliant jokes. And I wanted to ask, like I've literally always wanted to ask you, like, even during your Christmas story, were those jokes that you wrote, or were they given to you, or did you improv them? Like, what was that?

[41:39] John Bolton: Um, well, our the book writer was the great Joseph Robinette who did a beautiful, beautiful adaptation of the show. So much heart uh in that. But that moment came out of necessity. It's like Bolton, you gotta fill the chorus, needs to change their clothes, like from the neighbors into glitzy leg lamp people, you know what I mean? And right they were like, Phil, just say something, I don't know, just be goo be you, be goofy. And so, yes, I I came up with a bunch of materials, so to speak.

[42:12] John Bolton: I'm keeping that word in quotes, um, that based on the audience, I didn't know exactly which one I would which routine I would do. I had one about a teacher, I had one that was kind of crude about how Cleveland Street got its name. That direct and and so Robinette, of course, he's the book writer, the Tony nominated book writer of the show. His opinion counts when he comes to you and says, uh, yeah, I think that one's a little crude. Let's not whatever. I mean, you have to honor that. He's the script writer of the show. Absolutely. Screw you. I'm gonna say my thing. But um, yeah, with with his um with his approval and with John Rando sort of pointing me toward what was working and what Ron Randor, John Render, of course, being our director, uh pointing me towards what was working nicely and maybe what we should move go through quickly.

Um, uh yeah, I came up with most of that, 90% of it myself. I would say the name of my teacher, uh, every show. And if someone it got to the point where if someone had someone in the cast or crew had friends in the audience, will you make the teacher Mrs. Blank tonight and just gonna be the last name of whoever um that's hilarious, yeah. Oh my god, but but I'll tell you what, the ensemble got their clothes changed, clothes changed. They sure did, yeah, and it was hilarious because I figured that they were improvised because every night everyone would either be like just making their entrance, or people would be able to get like water, maybe a snag, I think sometimes they just went to the city.

West wing in the wing. Right. Yeah, totally. And it's so funny. And I can't believe that you didn't mention your socks joke. Cause that was like one of the biggest ones. Um when you talked about like this stopping. I don't remember. You don't remember it. It was your it was the baseball joke. So you yes, you were like, oh my god, I'm talking about like you were you were telling this story of like maybe one of the World Series, and you're like, talk about the socks, and everyone would like in New York, everyone would boo because they're thinking you're talking about the Boston Red Sox, and you were like the Chicago White Sox, and everyone would just like lose their mind. Yes, I do remember this.

Yes. Oh my god. That was time. Do you know that came out because we were in Boston? Remember, we did Boston for a couple weeks that year. And that that joke sort of was born there. Uh where I would say, go socks, and the crowd would go, woo, because it was Boston. And then I would just go, Chicago White Sox, yes. And then they just kind of Yeah, that was just that was shameless time filling, but you know, it's so much fun, so freeing, and I was never nervous about that moment. I sort of felt like, wow, I want to host a I want to host a late night show now, you know, kind of doing that. Yeah, totally. But it was it was legit because it was the character, yeah. It was the character relishing in this weird victory, his only victory, and we've got a st an audience full of people, and he's s you know, all of a sudden he's a star.

He's on stage, so I felt like it was totally legit. He's accepting this award like it's an Oscar, you know, and stuff, and there's your audience right there. Of course, it's all in his head, it's it's all in his head. So um I I'm very But it's also so fitting because of how like, you know, he's kind of hard headed for a lot of the show, your character, and it's really not like who he is because he really is this lovable guy, and who like honestly like loves his kids and wants the best for them. So like he's kind of hard headed, and this moment is kind of the time that you just get to like fall in love with your character, and then at the end of the scene at the end of the show, when you like finally give in, and Ralphie has his BB gun and everything, you're just like, see, I always knew like you know, he was a big saucy underneath that thick skin.

Yeah, the poor guy is stuck. I mean, they're they're living in hard times, you know, in a house that's fallen apart. He's got two kids who he doesn't really understand. He's got a wife who's just buried under housework and trying to keep her three children, meaning the two sons and her baby husband, you know, under control. He's got a job he's not happy with, you know, the neighbors give him hell, the neighbors' dogs give him hell. The poor guy's just stuck, and it was such a pleasure to get to play a moment of release for him like that, and for him to sort of quietly, you know, this is all actor talk here, but that nice moment at the end that that we have the the where where he gives he gives Ralphie the gun, that was just uh a fun thing.

And uh so grim, and Eli, you can cut this if you wish, uh in the cutting room floor. But do you know that uh my own dad? This I'm serious, we're going to a dark place here. Do you know that our opening night in Madison Square Garden, my dad died? Uh he died that day. I found out intermission of our opening night at Madison Square Garden. We'd already done the show, and he'd seen the show on Broadway and blah blah blah. But I found out intermission of opening night at Madison Square Garden that my father had passed away, and now I've got to go out on stage and do this whole father-son thing. Cause you know, the end of the show is sort of sweet. It's you know, sweet and I tuck you guys we my mom and I mom and I tuck you guys in, you know, at the end and right the whole thing, and just try and not and we had to do press after that.

And I was just like, I just wanted to go home and cry, you know. But um but I also felt like that show was such a gift because it was such a father-son story. Then my dad had loved the original film so much, and he was so proud getting to see me do it in New York, and he loved the show in New York and and everything. And uh so I that show was actually s I was so grateful to get to do such a sweet father-son story during that extremely sad few weeks of my life. Wow. I I don't think I I had ever realized that, but I did know that like, you know, some shows throughout the run, I mean, obviously each performance is vastly different, but there were definitely like some shows that like I noticed that were were tougher, you know, like w when we had the moments like that, and you know, like I could see you start to like tear up and it was just an even sweeter, you know, like moment.

And I thought it was just like your character and everything. I mean, you're a great actor. I mean, hello, you've been in nine Broadway shows. So like I didn't know what was going on, but wow, I can't bel I I had never realized that that happened to you. Well, I'd like to think some of it was active, but yeah, that was certainly informed by um yeah, that was uh pretty tough uh tough thing. But you know, the great Aaron Dilley was there to hold my hand through the whole thing and um my amazing partner and uh I my family allowed us to have the funeral on a Monday so that we wouldn't have to miss a show. Oh wow, enough of the sad stuff. Enough of the sad stuff because uh, you know, it it it is life is what it is, and you just take every day and you're just grateful for every moment you get with those we love.

But again, I was so grateful to have such a great, great show to um to in to live in and and and wrap myself up in during that uh sad. Yeah. Well, uh happier thoughts here. Please uh Christmas story, it's so funny because you're singing about these major awards and everything, but a Christmas story you've been in four productions and you've in almost every production and a lot of the different productions, you were nominated for major awards in like the different productions. So, like, did that kind of moment that you had with the audience in celebrating like the major award, did that kind of feel like real and you could like relate it to those moments that you kind of were going through? Oh, I don't know.

Of course, um, you know, it's always always nice to be nominated, uh to be remembered. But um, no, my my my thought during that was the Oscar Awards, you know. Let's let's give them his version of the award ceremonies we all know and love. And of course they're all just that, they're all just ceremony and silliness, but we sit down and watch them and get caught up in them anyway. Like we're watching all the Oscar nominated movies now. What's gonna win? Meanwhile, I can barely name two of the ten that were nominated last year because that's just the way it is. Right. But um, yeah, it was it was nice to be uh I was more I was thrilled the show got got recognized the the only Christmas musical, holiday musical, to be nominated for best musical.

And I was just that was I felt proud of that because again, I feel a little ownership. I feel like I was in every production show from the original, and um and I felt some pride in that, and like I'm part of that. I'm I'm absolutely part of why the show is succeeding. Absolutely. And I mean, you obviously were doing something, right? Like after being in it for so many times and them continuously like asking you to come back, like that's an honor alone. And then to not only like feel that that is your role, you know, like that's so cool. It's always nice to get the job, but it's always nicer to be asked back. Always. Right. Okay, well, let's have some fun and let's talk about Anastasia because you played Vlad.

Oh my god, stop. This this role was like made for you. This you were hilarious in this, and you got to play around with Caroline O'Connor on stage, which is the Christmas story. I know, you know. In Christmas story, um uh the the great Caroline O'Connor, it was Miss Shields, and we had almost nothing to do together except hang out backstage in the scenes we weren't in together. Uh, but uh great friends right away, love her so much. Been over to Australia to her home there. Uh she's just a great hostess and uh just a great hang. Just I love it. I can't think of anyone better to have several glasses of wine with. Yes. Uh she's and now here we are in Anastasia, getting to climb all over each other, and um, and she was just of course genius in the in the role.

Oh my god, she's uh hilarious, too. So, like being able to work off of that it is makes everything so much easier. Um it's so funny because you took the words right out of my mouth. I was gonna mention that you guys didn't really have much uh shared staytime stage time in a Christmas story because she played the teacher, so she was with the kids a lot. Um and and so then you now you guys are able to like you know feed off of each other and do these incredible things, and you guys were just a fantastic duo in Anastasia. Um yeah, of course. Oh my god. So it seems like I mean, just going through your resume, I mean, a Christmas story was a movie, Titanic was a movie, Anastasia was a movie, like all of these movies that are turning into musicals.

I love this um connection that we're having. But Anastasia make separates itself because that was like a cartoon. Was there like another layer of like difficulty to bring characters to like life because it was a cartoon? Uh or did you just like approach it like a regular show? Well, you always approach it like a regular show and you know with a different because it was different script and some new songs and the sort of the needs of the some of the characters are are different in this, but I'm also not 400 pounds, so um they but I wanted I I wanted to honor the look of the role, and so I asked for a lot of layers um to widen me a bit. Um, and they weren't gonna give me the little glasses, and I said, Oh, I'd really love the glasses as just even a nod to the original uh animated character.

They said, Okay, great. So I had glasses, and it wound up being a blessing in disguise because I've as you know, wearing the especially in Act One, the big crazy caveman wig and the big long beard and everything. Uh it got quite warm under all those layers of fur and everything. But because I had the prop glasses on, they put my mic on the end of my glasses, so I never ever sweated out, never ever uh Wow. So that was good. But um, yeah, I I tried to honor the um the flavor of Kelsey Grammar's performance in the film in terms of that sort of weary Eastern European sound who's like, you know, so I tr I only watched it once before my audition. I hadn't seen the movie before that. I knew the story of the, you know, the actual Russian family and all that.

But um so I tr I went in for my audition, not to again, not to imitate, but to offer a flavor with which they were at home, and then uh uh bring myself uh to that flavor, if that makes sense. But yeah, the audiences went nuts for it. Um I had no idea how many fans that film had because the film was sort of after m my childhood that the movie came out in the nineties, I guess. And uh I was unaware of the legions of diehard fans that that movie has. And that there they all were every night at the stage door, hundreds and hundreds of screaming people who were just thrilled and many in tears that you know, we did this version of their favorite movie that they apparently approve of, and that was extremely rewarding and a great, great cast, loved every moment with all of them.

Oh my god. Wait, so funny enough that I I also like didn't know that that movie had such an incredible fan base, and I had actually never seen Anastasia until they brought it to Broadway, and I was like, uh, check it out, I guess. Um so it's so interesting. Like you like you said, I feel like it really brought out this fan base that kinda was under the radar for a lot of it. And there obviously, you know, you had those incredible moments at the stage store. Do you have like one of the um a more like memorable one that you've encountered? Well I had two different young ladies faint on me um like literally on me they had the like sort of barricade set up and one girl just went forward like on me I'm like um security but no it was clear she was in distress but she was fine and but my favorite I think well there's so many gifts and they all follow us on Instagram and everything my dogs and everything they're just so sweet and the art I love the fan art we put it all up in our hallway the three boys Derek Ramon or Ramin oh my god he would kill me Derek Ramin and I um shared the one hallway uh and we had all our fan art up and that was that was fun um but uh I had one girl showed up and I was signing her thing and all of a sudden uh or signing her program and all of a sudden I re I realized oh my god she is wearing a t-shirt that has like the cutout letters that say John Bolton is my spirit animal no way and I was like what are you doing and she just smiled at me and I was like I have to get a picture and um yeah she was just so sweet.

[57:25] John Bolton: And then we did our um we did that web series uh Royal Misfits and then that got its own legion of fans and we wrote all that ourselves and talk about not laughing. Oh my god oh Christy Derek and I wrote the whole thing you know talk about not laughing we literally would have like between shows to film an entire episode. So we try to do everything in one take. We're just laughing our asses off can get through it. It was so funny John, I literally watched them all for the first time this week. And I was like, this is the greatest thing ever. I mean, first of all, they blew up. They're like all like have a hundred thousand plus views on YouTube. Yeah. It's insane. And you mentioned Derek, so I wanted to mention this lovely rivalry that you kind of had going on with him.

This playful rivalry. So you guys brought that all you guys wrote all of that stuff with Harold Hill-off. That was hilarious. We just play heightened versions of ourselves, I guess. Uh, and a lot of things we would actually say, we would kind of mental note, oh, that'll be good for the series or whatever. So yeah, we just tried to over we just tried to concoct this sort of fake rivalry between the two of us. Um that's beautiful. It's genius. Your Harold Hill show off was absolutely amazing. That was my favorite one. Thank you. Oh my royal misfits. Yeah. I I I hope people haven't forgotten about it. I think they're still out there. Um, but it's uh fun series. There's a I think there's eight episodes, and then there's a Christmas one.

Oh my god, those are hilarious. I can't believe that you guys wrote them. That's that makes it all like even better, just knowing that you that was totally like you. I thought it would may have been scripted or I don't know. Like, just when I said wrote it, we never sat down and like wrote it out. We just sort of went, okay, wait, how about this? And then I'll do this, and then you do that, and you said then we then out comes the camera and we would just do it. Yeah, I mean, these bag massagers, how you guys open it, like with the bag massages, you Christy and Derek. I was like, brilliant, brilliant. It was amazing. And I was so bummed. Like the first episode, I think you were like on vacation or something.

Yeah. Yeah. And then the second episode, you were like Ramin happened to be on vacation, and you were like, Oh, you know, some of us go to Cancun, and some of us go to to wherever you went. And I was like, I was like, that's hilarious. That was such a like a total like John comment, you know, like just being a goofball. It was so fun to that's awesome. And and of course, like the memories, I'm sure, like just looking being able to look back on those just is a new like memory. And you know, usually those kind of are like the beginning of the run, so it brings the cast together in a way that they wouldn't have necessarily been brought together. So I I love those watching those little backstage moments.

Thank you. It was fun to do. You know, that show was just two very, very happy years. It was a lot of fun, just a great company. The replacements were all great. You know, Vicky Lewis came in for Caroline, and of course, I was concerned because uh Caroline and I had our whole thing, which was informed by years of friendship. But Vicky and I had done damn Yankees together. Um, and uh and Vicky brought her own thing to it, and I was so that was a blast in its own way, um, getting ready to play with with Vicky, loved every moment of that. Uh she's a great kisser, by the way. And um and uh Max Von Essen was terrific, and all of our Dowager Empresses, you know, uh Judy K, Penny Full. Just it was a great building.

It was just the tone was set from the top with our director and stage manager and Christy, who was just gold, just spun gold to work with. Loved every moment with her, and of course, uh the other Demetries, uh Zach Adkins, Cody Simpson. I just loved every moment.

[1:01:30] Eli Tokash: Yeah.

[1:01:30] John Bolton: And again, we had like Derek and I had so much that we did together on stage. And you know, and Zach comes on, then Zach and I did our version of that friendship. And then Cody and I found our version of that friendship. And um they were all just so rewarding, so much fun.

[1:01:45] Eli Tokash: Yeah, that's awesome.

[1:01:47] John Bolton: I love that. I just I you get to play with so many amazing people. I mean, like, yeah, the original cast is like amazing, but even like the replacements and just like I feel like the one thing that ever like myself and everyone listening has learned, like just when people do all rotate in the within the show, just to continue to have fun and find your own new things. Um and I think that that's so important. Um so yeah, that's awesome. And and then sorry, I I want to mention one last thing before we we go. You were most recently doing Hello Dolly with m the Carolie Carmelo, who was my stage grandmother, and she was just recently on this podcast, so everyone listening already knows all about her. Um what was that like to um work with another like Broadway legend and like just being able to play and do a new show and do a a tour. I believe this was your first tour like long running tour, right?

[1:02:48] John Bolton: That's right. I had toured before, but only briefly, like with Christmas Star, I did Annie for a little while, and I did uh actually Damn Yankees's on tour briefly. But uh no, this was my first tour tour, like big tour. I loved every moment. Every single moment with Carol Lee, with the rest of the cast. Carol Lee was just so well, we both learned the show together. We were, I was replacing the great Louis Stadlin. She was replacing the amazing Betty Buckley. So and we fortunately got a a week with Jerry's ex, the the amazing god Jerry Zach's, uh in addition to his wonderful assistant and uh the dance captains in a studio in New York before we went joined the company. It wasn't just thrown on, we weren't just thrown on.

Um so we can't he encouraged us to, and we did come up with a lot of our own stuff. Of course, there were existing bits that had gone back to what even Bet Midler and David Idierce had done that that they wanted to leave in the show, and we were very happy to honor that. But he did allow us to play and find our moments, and that was very flattering. Um neither one of us auditioned for it, uh, so we were just thrilled to just be asked to do it. We were just like so flattered to to be there. Um completely generous.

[1:04:06] John Bolton: Um she was just an amazing, amazing scene partner, the most generous, warm, real, hilarious uh scene partner I could ever imagine. And you know, it's called Hello Dolly, it's not called Hello Horace, but you know what? She she let me do my stuff. She she would let me, you know, find my little laugh here, find my little laugh here without trying to snuff anything out. I felt very welcomed and uh um and it was such a pleasure again to live inside such a well written, beautifully crafted, brilliantly directed show for the what did we do it for six or seven months we did it. Um loved every single moment of that. I I I'd give anything to get to do it again.

[1:04:57] Eli Tokash: Did now d did you like leave the show, quote unquote, or like was it stopped. Were you part of the uh we had to stop while we were in uh Buffalo at Gorgeous Shays Buffalo Theater. We had done two performances or three maybe, and then uh things were tightening up. There was no more stage door was not allowed. We weren't allowed to meet anybody or talk with anybody or sign any autographs or chat with anybody. Um protocols were everywhere with hand sanitizer and everything. And then one night we were walking off the stage and Caroline and I and together and I walked walked her off stage and I said, I think we just did our last show. And she says, I think so too.

[1:05:39] John Bolton: Wow. And with no chance to sort of say goodbye. You know, sometimes you have your last show, you sort of say goodbye to this moment, then you say goodbye to that moment, you say goodbye to that. You know, we didn't get that really dawn on us until the end. It's like, uh oh. I think we're done. Now, of course, we would much rather the world be safer and and healthy than us get to do our show, you know. Um, so let's do what's best for the world here. But um it was it was abrupt um in uh for all of us.

[1:06:11] Eli Tokash: Yeah or anybody but but you know, it just seemed it seemed abrupt, particularly because it was something we loved doing so much.

[1:06:19] John Bolton: Right.

[1:06:19] Eli Tokash: Yeah. I I can't imagine how hard that must have been, but it's interesting too, like, you know, there are already like just thinking back on it. I mean, I can't believe it was a year ago, but just uh say like there were already protocols in place, and I wonder, like, you know, we were all still learning, and I wonder if uh, you know, they'll keep some of those protocols that uh were in place when Broadway hopefully and eventually does reopen.

[1:06:45] John Bolton: I worry I worry Eli I'm really concerned that the theaters themselves meaning like the people who run all the Broadway theaters aren't doing anything or or much of it. I don't know maybe they are but I I what a wonderful opportunity this past year has been to change the antiquated ventilation systems there in all those theaters that are blowing dust and mold. It's like how many people are always backstage half a hacking up a lung because the air is just gross or mold in your dressing and I love these old theaters and I'd give anything to be in one right now. You know I love them all. They're all special and yes and beautiful amazing ghosts filled with all love and excitement but what an opportunity what a missed opportunity this will be if they don't grab this time and fix this as a step toward keeping these places healthy work environments for all of us. And the the seats are so close together I think all we can do is hope that people get their vaccines and that that um sanity and safety prevails.

[1:07:51] Eli Tokash: Yeah for sure.

[1:07:53] John Bolton: Well one last question before we wrap it up you've been in nine Broadway shows uh and you're going for double digits pretty soon your your double digit birthday on Broadway I guess you could say um do you have your eyes set on like a particular show that you would do your like big tenth Broadway show in or is it just like, you know, at this point it's like, get me in the theater.

[1:08:19] John Bolton: Um gosh. Well, whenever someone says, What's your dream job? I say the next one. Um, 'cause you never know what it's gonna be. Something could just fall in your lap, or you you know, you you never know. You truly never know. Um But you know, I'd like to d originate something in maybe something that isn't based on a movie. I love that. I've been very proud of all of the ones I've done. I'd love to do something original that's like a brand new something. Also, I've done a lot of sort of what would be called traditional old school style shows. I think I'd like to do something a little edgy something a little edgier, maybe where I get to sing like I'm an Aerosmith or something. You know, to name one of my uh you know.

[1:09:02] John Bolton: Um, yeah, I just as long as I just keep working, um I'll I'll be happy. You know, I've done television has come back a bit. I just shot a couple episodes of the blacklist. I'll have I'll be on the new season of evil. I have a new uh an ep one episode, but a good one of that that's coming out on CBS. Um so TV is starting to come back and again with extremely rigid protocols. Before I shot either show, there were days in a row of testing. And that you're paid for, but you have to go and get tested. And then you get tested again before you're fitting, you get tested again before you shoot. Um everyone's in everyone's in masks. When I shot evil, um, my scene was with the scenes were with the the wonderful lead of the show, Katya Herbers. But she we were both in masks. I didn't even see her face until the cameras were rolling and we were doing our scene for the cameras.

[1:10:00] John Bolton: Wow. Um because because the protocol is so strict and as it should be. Um let's uh let's all stay safe and sane and let's let's make the world come back slowly. But it it's been such a pleasure to get to to go back to work a bit uh on television because everyone's just so happy to be there.

[1:10:18] John Bolton: Everyone's just everyone's in a good mood. They're like, I don't care if we have to test, we're working. We're all just happy. Uh yeah. Well, I love that. And tell everyone where they can follow you and where they can keep up to date with all of these incredible projects that you're working on.

[1:10:34] John Bolton: Oh gosh. Uh well, my Instagram is at it's John Bolton. Um I T S J O H N B O L T O N. My Instagram is the same. Uh it's John Bolton. And uh that's pretty much as exciting as it gets. If you want to see pictures of shows I've done or my dogs or my house or my partner and my friends, then you know, check that out. Uh but I love hearing from the fans. Um and uh and I love the fan art, so keep it coming.

[1:11:04] Eli Tokash: Oh, well, what a wonderful way to end the show. John, it was so great to catch up with you again. Uh thank you for doing this. This was a blast, and I'm so glad that I got to ask all of these questions. Uh even after Yeah, thank you so much.

[1:11:18] John Bolton: That makes me makes me so happy. I'm so glad that we were able to reconnect because I want you to know you're you were great in a Christmas story. You were you were just a little marvel. I remember Aaron and I uh in rehearsal and when when you would get your crack at at uh at Ralphie just turning to each other and going, Oh my god, he's so you know, you're you're just hilarious. You're great, you're a terrific actor, and I'm so proud of you and everything you've done and everything you're doing and everything you're going to do. Just don't forget about your old man.

[1:11:49] Eli Tokash: Yeah, no, definitely not. Thank you so much. You don't know how much that means to me. I was I was just a little kid in a Christmas story. I didn't know what I was doing to think of performing in a Madden Su Madison Square Garden was like terrifying to me because I'm from Pittsburgh and I know like the Rangers play there and everything like that. So like I was like, yes, I got to like be where the Rangers are, you know. Um, and it was like all terrifying, and it was like my first show in New York. Um, so just to like hear that was j is is really great to hear. So thank you.

[1:12:24] John Bolton: My pleasure. Go Pittsburgh.

[1:12:27] Eli Tokash: I have a good one, John.

[1:12:29] John Bolton: Yeah, go pens.

[1:12:31] Eli Tokash: Take about John Bolton. Oh my gosh. Literally, he is like a Broadway encyclopedia in so many ways. He's literally worked with some of the like the biggest Broadway legends, literally. It's incredible. He's had an incredible career that's kind of flown under the radar in a lot of ways. I really think he's one of like the hidden gems of Broadway when it comes to like performers. For those of you who saw him in Anastasia, you absolutely know what I'm talking about. Because his performance in that was absolutely amazing and hilarious and moving all at the same time. He's fantastic and uber talented. I was so excited to hear his stories and who he's worked with and those stories of like Titanic and all of these new shows that we got to talk about. It was lovely. So thank you, John Bolton, for coming on this week. Uh it was a pleasure to talk to my old man again.

[1:13:23] Eli Tokash: And uh yeah, you know, he said something really interesting in the episode, and while I was interviewing him, and like while we were talking, I was like, oh my god, this is perfect for the triple E segment. So let's turn it over to Eli's entertainment experience.

[1:13:44] Eli Tokash: So John Bolton had pointed out that you know, when you're on stage, you like to have fun with the people on stage. It's totally like in Finding Neverland, like for those of you who saw it, it's totally like play is totally what like the show overall is, but like it's hidden, and play just lets it come that come out and like lets the audience see it. So we like to fool around a lot on stage. We all have our moments with each individual castmate that we like look at each other, or we do a secret like handshake, or we do a secret, like oh, wink, or or silly face, or whatever it may be. There's always like something, right? And if you don't do it, you're like, oh my god, like, you know, like superstitions, you're like, oh my goodness, the show is gonna be ruined now, the rest of my show.

[1:14:43] Eli Tokash: And so, like, they're at very specific parts of the show. So that's the thing, like, you have to do it in a way that it's not gonna mess anybody up, and you're not gonna like distract anybody. Well, when you're new to the world of professional theater, like I was on my first tour of Mary Poppins, I go on in my first show, and you know, like I'm having a the time of my life, it's literally like one of my favorite memories of any show that I've ever done. And like, you know, the people that I've been in rehearsals with, and the people uh who I've gotten close with and everything like that already were kind of like, you know, giving me the cross eyes and making silly faces and all of these things.

[1:15:30] Eli Tokash: So I'm like, oh my god, like that's so fun. Like, I love that. It's a great idea. Like, I guess it's something you do. I'm totally gonna do it. So I begin to do it, and I like start to have my little moments with castmates and everything like that. And I I noticed that I didn't have a moment like that with the person who played my dad in Mary Poppins. And so one show, I am like, oh, this is great. Like, I I totally got it, you know. This is one of those scenes that we're on stage. I'm like facing stage left, so the audience can't really see my face. So if I subtly do something, I can totally get away with it.

[1:16:12] Eli Tokash: So in comes the first scene that I had with my dad in Mary Poppins, where I'm able to, like, actually do something fun. And that's the bank scene. And for those of you who are Mary Poppins fans, the bank scene happens to be a pretty serious uh scene. As uh he's the bank teller, and you know, like his that's his job and everything like that, so he takes it very seriously, and you know, like he he can't be embarrassed or anything like that. And it's this like serious scene.

[1:16:45] Eli Tokash: And one show, and and I say one show because it lasted one show, I look at my dad and I go cross eyed on him. And as soon as I do it, this man's literally looks at me like he's lost. Like all of a sudden, his whole being was like going crazy, and you know, he was kind of like getting nervous and everything like that. And I was like, oh my god. So for as we continue the scene, his line comes up, and he totally doesn't say it. He doesn't say his line, he doesn't say he doesn't say that his next line either, and then the following line, he like starts to like pick it back up, but he says the wrong line, and I'm just like, oh my god, I hope I that wasn't me.

[1:17:10] Eli Tokash: Like, oh my god, like I totally think that I'm okay. This is just something that you do. Maybe he he just wasn't ready, maybe I should have told him it's whatever, it'll be okay, and it'll be our new thing. Well, after the show, I get called to stage management. They ask me if I happen to try to be distracting to his performance, and I was like, Oh no, absolutely not. I I think I went like cross-eyed on him in like the bank scene, but like other than that, totally not. And they were like, You what? And I was like, I was like, I don't know what to say. I was at a total loss for words, and I was like, I went cross-eyed on him, and they were like, You're not allowed to do that.

[1:17:49] Eli Tokash: And I was like, Oh my god, what have I done? So, long story short, I was no longer allowed to do cross eyes or do anything distracting towards his performance. Um, he reported me to stage management, and yeah, I but I continued all my fun little moments that I had with the rest of the cast, um after the performance, uh like my next performance, and when I noticed the cast was like still doing it to me and everything, I was like, Oh, just to let you know, like I I don't think I can do that anymore because I got yelled at, and they were like, Oh no, you're fine, like I'm not gonna tell anybody.

[1:19:01] Eli Tokash: So we can have our moments, no one's gonna notice, no one's gonna care, it's okay. And I was like, Oh, okay. Like it was like a sigh of relief, and like everything like went on as as usual. However, I was never able to have a fun moment with my dad on the stage because I was too scared to ever start another one. So that's a little bit about Eli's Entertainment experience, and I know that that dragged a little bit, but uh it's totally worth the story. It's literally one of my favorite yet absolutely terrifying moments of my entire career. Um it was a blast to share that story and get that one off my chest because I was waiting to tell that one. I just was waiting for the time. And when John Bolton kind of mentioned it, I was like, oh my god, I have to tell my story.

[1:19:46] Eli Tokash: So what's happening this week in the world of Broadway? Let's talk about it. So as I mentioned before, I will say it again. Becca, the benefit for honoring Rebecca Lucker and raising money for ALS is on May 4th at 7.30, where tickets start at $20. So please, please, please go consider that. Just look up uh Becca. You can find stuff on Playbill, you can find it on Broadway World, you can find it anywhere. Uh, and uh you can get your tickets and uh be there May 4th at 7 30. It's gonna totally be worth it.

[1:20:20] Eli Tokash: Um, but there's also some other fun events happening. So tonight, Thursday, April 29th, the George Street Playhouse Virtual Gallup Benefit will be um premiering at 8 p.m. Eastern Standard Time. And that's gonna be including Jeremy Jordan, Jackie Burns, Bobby Conte Thornton, David Hyde Pierce, Mary Testa, and so many more to appear in this annual gala supporting New Jersey's George Street Playhouse, which if you live in New York or New Jersey, I'm sure you've heard of. Go check that out. That's gonna be a really fun event. I love Jeremy Jordan. I love Jackie Burns. Uh David Hyde Pierce. Uh I mean, their lineup is incredible.

[1:21:04] Eli Tokash: Uh, it's gonna totally be worth seeing them and having a fun night with them and raising money for a wonderful theater company. And we also have on Sunday, May 2nd, Broadway Acts for Women. I love this. I'm so excited for this. Uh Sarah Barellis, Elizabeth Banks, Annette Benning, Reed Bernie. Oh my god, love him, Danny Burstein, Jesse Tyler Ferguson, Montego Glover, Kelly O'Hara, Jason Isaacs, Leslie Margarita, Mandy Patinkin, and more will be appearing in this night that supports and raises funds for women's reproductive health.

[1:21:46] Eli Tokash: Um, so that's a very, very important cause, as all of these are. I love just seeing what everybody's doing and coming together while they can, and they're not doing eight shows a week, and they can continue to warm their voices by doing these events and not killing it after doing eight shows. So I mean, I come on. It's a star-studded cast, it's gonna be supporting women's reproductive health, it's Broadway Acts for Women, it's a yearly uh celebrity karaoke extravaganza, um, and the ticket buyers can bid on which song each performer sings live.

[1:22:25] Eli Tokash: So they have no plan coming into this benefit. Like, they have no clue what they're about to sing. So you all get to decide what your favorite Broadway stars are gonna sing, and uh you can put them on the spot. And Martha Blimpton will be hosting and producing it this year. So I'm very excited for that. It's gonna be so fun. I hope you all come up with the silliest, silliest songs for your favorite Broadway stars to sing.

[1:22:51] Eli Tokash: So that about wraps it up for this week. I am so so excited for next week's episode. It's one of our biggest guests yet. It's one of our biggest, it's literally our biggest week ever. Uh it's gonna be our one year anniversary. So uh just stay tuned. Uh, and I look forward to seeing you all next week. Thank you all for listening this week with my one of my favorite people ever, John Bolton. Get vaccinated, stay positive, all the things.

[1:23:19] Eli Tokash: And yeah, let's keep on celebrating Broadway and keeping the magic of it alive. I'll see you all next week. For this episode's curtain call, I would like to recognize a few people who also deserve to take a vow. This podcast would not be possible without the help from Dory Berenstein, Brittany Bigelow, Katie Rosen, Alan Seales, and the team at the Broadway Podcast Network.

[1:23:39] Eli Tokash: Next in line to take the bow is Tessie Tokash, who edits the audio and all the visuals for this podcast. A special thanks to patrons Brian Thompson, Pat McNamara, the listeners at PCC, as well as all the other patrons for their continued support. If you're interested in becoming a patron, go to Patreon.com/slash T A B. And if you enjoyed this week's episode, don't forget to subscribe on the platform that you're currently listening to this on.

[1:24:05] Eli Tokash: Also, feel free to give us a follow on Instagram at takeA Bow Podcast. Take a bow's logo is designed by Giselle Bustos, and the music is by Nikki Torsha and Cormac Collinon. Bye everyone, hope to see you next week.