This transcript was automatically generated and might contain errors.

[0:00] Eli Tokash: Hello everyone and welcome to episode 87 of Take A Bow.

[0:04] Eli Tokash: I'm your host, Eli Tokash, and boy, what a week for Broadway it has been. Uh there's so much that happened. I saw uh Assassins, loved the show, loved uh the performers in it. Judy, I mean, just the cast is insane. It's got Judy Kuhn, it's got Wesley Taylor, it's got Ethan Slater, Stephen Pasquel, um Will Swenson, uh, there's just so many uh beautiful, beautiful performers. Um, and they were fantastic. Um, but I don't know if the show itself was for me. Um it was the first time I actually saw Assassins. I know that may be an unpopular opinion. I know that a lot of people uh love Assassins. The music is incredible, shocker because it was by Sondheim. Um but the show and the plot itself was just very interesting, uh confusing at times.

Um, but I thought that um I couldn't tell if it was like a true story or not, and I still haven't found that out. I'm trying to do some digging. Um maybe if you all know, maybe you guys can shoot me a message. Um, but it was just a very interesting plot for me, and I don't know if it was something that was up my alley um with John Wilkes Booth kind of just um creating a group of assassins to assassinate the president. Um I don't know. I found it all kind of like crazy um for lack of a better word, in a good way. I mean, I enjoyed the show, but it wasn't my favorite. Um and I uh I don't know, like I again, I think that everyone that was doing the show that performed was just fantastic. I mean, they all had their moments of their stage time, I guess, um, and their the spotlight, you know.

They were all singing, they all had their monologues, they all had different times where they were able to shine, and I really liked that it was like a true ensemble piece. Um however just like the plot and everything itself I was just like this is nuts. Like I don't know. Uh but anyways it's a classic stage company. Um if any of you are interested I'm sure some of you know Assassins already so if you're interested in go seeing that go see it. Um I recommend it. I'm just letting you all know I'm I don't mean to sound like I I just didn't like it. I enjoyed the show a lot actually I just that I wouldn't say it was one of my favorites and you know I I enjoyed it. I enjoyed my time. I love theater so I enjoy all uh any trip to the theater that I get um and I always will support uh other performers and works of art and everything.

So um if you are interested in that type of show if you heard about it or whatever um go see it. And it's totally for someone who's totally into like politics and everything like that. Um if that's kind of what you like. It's also all of this happened before my time so some of it I just like didn't understand. Um and maybe that could have been like the generational gap could have been a possibility of why I like didn't comp uh completely understand it to the fullest um because there were people in the theater that were just like loving it and uh they were just cracking up at parts that I necessarily wasn't laughing at. Um and then you know just like random things here and there and um needless to say of course I I enjoyed it.

I enjoyed it a lot and uh if you enjoy uh Assassins and you enjoy, honestly, if you enjoy these actors that are in it, because that's kind of why I went and that's kind of why I enjoyed the show as much as I did, was because of the people that were in it and some of them who have been Take A Bow guests. Ethan Slater and Judy Kuhn. Um so I I recommend seeing it. Go get it a shot. Uh it's at Classic Stage Company and uh it's definitely worth going to see and checking out. Um again with the stellar cast and uh yeah, I don't know. It's one to see if you're in the city and it's still going. So uh go see it.

[4:04] Eli Tokash: There's uh there's a lot of other things that have happened this week here and uh one more thing that I saw and hopefully a lot of the Broadway community was able to see. Um we had a Broadway um celebrity, I guess you could say, uh, host SNL this past week. And uh that was Ariana DeBose. If you all listened to last week's episode, I kinda give you all a heads up. But uh now that we're we're past it and we saw it, I just want to talk about it because I thought it was awesome. You know, there there were the opening monologue was fantastic. Her and Kate McKinnon killed it. Um it was so fun to see. It was so cool to see once again, you know, Broadway getting that type of recognition up on the uh a stage such as SNL, you know, that certainly doesn't happen a lot.

And if it does, you know, sometimes it's it's uh in a comedic way where they're making fun. Um so it was cool to see them in a celebratory way, the way that Ariana kind of presented itself uh in the opening monologue. And uh they also did a skit later on in the episode um from the Sound of Music and they kind of did like a little spin-off there. Um it was great stuff. I I honestly thought it was one of the better SNL shows. Uh Broadway Podcast Network was doing a live tweet. Um and so that was fun. Just following along with that and and uh chiming in with other Broadway folks and listeners of the podcast. Uh it was great to talk to all of them. Congratulations to Ariana. You did a fantastic job hosting.

[5:33] Eli Tokash: There's also one more thing that you should catch um before next week, or just like in general, um, whenever you have time. Everyone needs to watch PBS's reopening the Broadway Revival documentary. Um this documentary features behind the scenes access to shows including Wicked, Jagged Little Pill, uh Phantom of the Opera, Diana, Come From Away, Rachel, Aladdin, and more. The obviously all of the productions shut down through the pandemic, and now they kind of filmed the reunion of the cast joining um the show or coming together again and revisiting the piece and restaging um all the things and uh you know, up until their long anticipated opening night uh or reopening nights for that for that uh special occasion.

Um it's awesome. It's all the behind the scenes look that you wanna you want as a fan and you want to see, and you it puts you in a rehearsal room, it puts you in all these things, it's got interviews with your favorite Broadway stars, it's got all of these incredible things that you're just like, oh my god, it's all it's like an all in one thing. So that's on PBS. Uh it's a complete documentary. Once again, it's called Reopening the Broadway Revival. Um it's awesome. I highly recommend watching it.

[6:51] Eli Tokash: Another fun thing that was able we were able to celebrate this week was actually came yesterday. If you're listening to this on Thursday, which is when this show drops, uh, was National Swing Day uh for the Broadway community and for uh the performing arts community as a whole, uh, or equity community and all the things. Um, this is the seventh annual swing day, and we're celebrating swings, and you know what? That leads us into a perfect segue to introduce our guest this week. We're not gonna throw it over to him yet. We have Tally Sessions on the show today, and Tally has been in eight Broadway shows. Eight Broadway shows. He's done so much, and he has been uh he is a swing and understudy veteran.

Uh he's been in multiple shows where he's had to do swing work and understudy work, and uh that whole uh the whole episode isn't really about like it is about his career, and we talk a lot about him and everything like that. It's a great episode, it's got a lot of stuff in it, but a lot of it is focused around um swing work and understudy work.

[7:53] Eli Tokash: Um, and I thought this was a perfect week to um to release this episode as it was swing day just yesterday on Wednesday, January 19th, um, to celebrate our swings and to celebrate everyone involved in the industry that is uh putting in some countless effort, uh countless time and effort, blood, sweat, and tears. Uh all the things honestly, I truly believe that uh when doing a casting call, it's like who was the most talented in the room? That's our swing. Like, I feel like the swing is without a doubt the most um organized, but also the most talented uh person on the stage because they have to be so versatile and they have to do completely different things on completely different nights, and they've gotta keep track of that, and they gotta stay organized and um it's just it's it's mind-boggling.

Um I couldn't imagine doing what they do. Uh Tally and I talk a lot about it, and you'll hear it just uh I mean the stuff that he talks about that you're just like, oh my god, holy cow, like props to you. You deserve all the praise that uh you have been receiving and attention uh the swings have been getting recently and their amazing efforts in keeping Broadway open. Um and he talks a lot about that and what company is doing through this COVID thing. It's unlike any it's unlike what any other show is doing. So uh it's some good stuff. Stay tuned in a little bit. We're gonna throw it over in a second.

[9:21] Eli Tokash: There's just a couple more things that I want to announce. There's actually three more things to to be exact. Um as I've mentioned the past couple weeks, I've noticed that, or I mentioned that a lot of shows are closing. We had three just last week. Um, or on Sunday, uh, so not even a full week ago. Um so but that being said, I have been saying that all good things come to an end, and it brings a new chapter to Broadway, and it brings new art and everything involved. So I'm I'm happy to announce that we have some um they they've made some announcement of some of the new shows that will be coming very shortly. Uh we have the Kite Runner, which is which was the book, you know, the it's a very famous book, and that'll play uh July 6th through the October 30th, uh, 2022 at the Hayes Theater. And that is going to be a limited engagement, as I said, July 6th through October 30th. So it's just like a 17-week kind of thing.

[10:18] Eli Tokash: And then we have uh A Strange Loop, which will begin previews at the Lyceum Theater on April 6th, and opening night will be April 26th with no uh with an open run, which means there will not be it will not be a limited engagement, and they will not set a closing date yet. Um they will see how it goes, they'll see how the ticket sales are going, and hopefully they can have a long, wonderful run. Um, because that story is just fantastic, and it needs to be on Broadway, and I cannot wait to go see both of these shows um when it comes to Broadway. So check those out. A Strange Loop is coming first April, uh, not too far away at the Lyceum Theater, and then Kite Runner will be at the Hayes Theater in July. Very exciting stuff.

[10:59] Eli Tokash: Uh, and I'm sure there's a lot more uh rumors and stuff going around of uh shows that are coming, but I don't want to drop any of those until they are announced. Just because you know, I don't want to interfere or ruin anything, but uh keep your ears and eyes peeled uh because you know, there's gonna be a lot of announcements coming with all these open shows uh or in an open theaters and the vacancy, so um just something to keep your eye out for.

[11:29] Eli Tokash: Um exciting news uh for Broadway and for the theater community. Uh Governor Kathy Hochul proposes extended tax credit for commercial theater in New York. Um she in 2023, she will basically be doubling well, she will be doubling the overall cap on the program uh for theater in our in the industry of art. She will be doubling the overall cap on the program from 100 million to 200 million to provide one-time aid to eligible productions and revitalize tourism in New York. Um, so that's huge. That's huge for Broadway, that's huge for theater in general, and that's huge for the arts. Um hopefully a lot of these shows will be able to benefit from them.

[12:11] Eli Tokash: Obviously, that's a long time away, and you know, some of our favorite shows can be closed by then. Um, you know, two years, a lot of time, and with this virus, I mean, it's all unpredictable. Um, I've been hearing a lot of rumors that some of the most favorite, like our most favorite and beloved shows that have been on Broadway for the past five plus years um are in danger of closing. Um so lots to talk about here. Lots to lots to work to be done. Um and uh hopefully this will help and um provide everyone a longer run and more stability for sure. Um so thank you uh Governor Hochul. Um that's huge. It's great news for uh Broadway.

[12:58] Eli Tokash: And uh yeah it's just uh it shows it continues to show the state support of our industry and uh it really goes a long way but there's still a lot of work to be done and there's a lot more that needs to be done uh in order to keep this industry uh you know thriving so um yes anyways one last thing before we turn it over to Tally um Broadway I have to mention this Broadway dimmed the lights uh of all the theaters on Broadway uh dimmed their lights on January nineteenth just yesterday Wednesday uh in memory of Sydney Poitier. For those of you who don't know he was the first black performer to win an Academy Award for Best Actor um he was on Broadway may a few times he's directed some shows on Broadway um he's just an incredible actor he paved the way for a lot of uh performers and um he's a very special person in the Broadway community and it's only right that they uh give him such a wonderful and special tribute by dimming the Broadway theaters uh just before the shows.

[14:05] Eli Tokash: So, uh, Sydney, thank you for everything that you've done for the community and for black artists all over the world. Um, it's truly incredible. And, uh, your memory will always live on on Broadway and, uh, and beyond. So, um, with that being said, let's turn it over to Tally Sessions.

[14:25] Tally Sessions: Curtain up.

[14:41] Eli Tokash: Joining us this week is a seasoned Broadway veteran. He's been in eight Broadway shows, and you may just see him in Company on Broadway, where he is currently understudying Harry, Larry, Peter, and PJ. He is one of the true backbones of Broadway right now, and he's here to talk about his journeys through Broadway. So, everyone, welcome to Take A Bow, Tally Sessions.

[15:04] Tally Sessions: Hey, thanks so much for having me.

[15:06] Eli Tokash: Oh my gosh, I'm so excited. Thank you so much for joining us. I mean, this has been one that I've been very excited for for a while now. Um, I really wanted to talk to you, and I love this new revival of Company that's coming out. I have not seen it yet, but I'm dying to see it.

[15:22] Tally Sessions: You gotta get there.

[15:24] Eli Tokash: Yeah, I really do. I want to see it with you though. So, uh, one of the days where I see that you post that you're on, I'll be there, man. Uh, but I wanna talk, I want to start and I wanna ask you, um, you know, how this whole thing came to be where you wanted to be a performer, what inspired you to get into this industry?

[15:44] Tally Sessions: That's a good question. Uh, you know, I have a lot of friends that grew up doing it, and I did not have that experience, which is strange because my mother was a high school drama teacher, and that was one of the first times I was on stage was when I was probably five. She threw me into one of her shows, my brother and I. Um, but it didn't really catch hold of me. Um, I played a lot of sports, and the way I expressed myself as an artist initially as a very young person was I drew a lot. Um, and, uh, probably around the time I was in seventh grade, I figured out that I could sing and started taking, uh, I took part in the middle school chorus, and I think I did my first show. I know that I did plays when I was in elementary school, but the first show I remember auditioning for was in seventh grade.

It was a production of The Electric Sunshine Man, which is the very, very famous musical retelling of the story of Thomas Edison. Um, I auditioned for Thomas Edison, didn't get it; it went to an eighth grader, much to my chagrin. Um, but I did get the part of the patent maker, and I had six lines, and yes, I did jump. Um, but, uh, you know, I went off to high school and I still sang in the chorus and I did plays with the theater department, but still I didn't quite know what I wanted to do, and I, uh, I don't know if that was sort of lack of exposure to possibility or my own ignorance or still just sort of growing and maturing. But it wasn't until I got to, uh, college at the University of North Carolina at Chapel Hill.

Uh, and I spent my whole first year not really learning what it was like to be on my own and have autonomy. And it wasn't until my beginning of my sophomore year I was like, wait a minute, I started to feel like I was coming into who I was as a human. Um, and I met people that were involved in a singing group on campus, and they were also involved in the musical theater troupe on campus, and they encouraged me to audition. And I did and, um, got into, um, a show there, The Best Little Whorehouse in Texas. Um, it was then that I started to, I did not create this idea, but I started to see like, uh, other people who were like me, like find sort of find my tribe of weirdos, you know. Um, and as I kept doing it, I realized, oh wait, I'm finding my joy in performing.

Like that's where I feel most at home. Uh, I feel most at home around people who, uh, express themselves as artists, um, and they're, and they're, you know, sort of fall in love with their own idiosyncrasies. And I just kept doing them. I did it more and more. I would do like four plays a year in school and wanted to eventually change my major. Originally, I'd been on scholarship, um, and was an English education major, and I changed my major to drama, and, um, just took every course I could. I also studied voice, uh, as a non-major in the music department, and I remember I did a production of Chess, my junior year, and a classmate of mine saw it and said, "What do you got?" I played the Russian.

I don't know if you're familiar with Chess, um, the Russian chess player Anatoly, and a classmate of mine, I'll never forget his name was David Azarella. He came up to me afterward, he said, "What are you doing when you graduate?" And I was like, "I don't know, I have no idea." And he looked at me and said, "Are you kidding? You've got to do this." And it really only took that one person actually articulating it for me to go, "Wait, can I do this?" Yeah. As a profession, can I make a living doing it? I didn't know because I didn't have any role models, uh, anyone I knew that did it for a living. So I just started asking questions and investigating things, and, um, when I graduated, I went to summer stock and I got my equity card right after my senior year, and I moved to New York and I hit the ground running.

[19:50] Tally Sessions: Yeah. But when I say that, I mean like I didn't work for the first, uh, nine months of my time in New York, which isn't that long. Right. But I will never forget driving to New York from Chapel Hill, North Carolina, unpacking my car, moving into my apartment, and the next day I didn't have an agent, you know. I knew people that I graduated with that had moved there, and I went to four auditions, like, you know, open calls or equity principal auditions or course calls. They were all over the city. I came home that day and I was like, that was exhausting. Um, and I pretty much did that over and over and over, even when I had an agent, um, for months and months and months. Um, that is one of the questions. That was a long-winded answer to, uh, to a short question.

[20:42] Eli Tokash: No, it's perfect because, you know, like oftentimes when I ask people, they're like, "Oh, you know, I saw a show and I was like, I want to do that," but it was interesting that like, you know, you found that within yourself, you know, like that's one of the coolest things. I haven't met like a lot of people that have had that experience, so I appreciate the long explanation.

[21:00] Tally Sessions: Oh, thanks. I remember there's one particular moment where I was like, uh, yeah, I don't know, uh, if you've experienced this. I hope you have. I was doing a production of Passion in college, Stephen Sondheim and James Lapine's Passion. And I, uh, it was with Max von Essen, if you know him; we were college classmates. Um, and I remember feeling we had a wonderful director named Ted Shaffner, and it was the first time I was like, I felt an emotion. I actually felt an emotion. Uh, and I was, uh, in the middle of a scene. Like, I, that it wasn't me I wasn't playing, uh, and I'm not necessarily, um, advocating like method acting, but it was the first time I was like, this is more powerful than I could have ever conceived.

[21:53] Eli Tokash: Yeah.

[21:54] Tally Sessions: Um, what it is to be an actor and what it can do for you and what it can do for others. Um, so that was when I was hooked. That was when I really became addicted.

[22:04] Eli Tokash: Yeah, it's so true. I feel like one of the coolest things is like, I feel like when you're an actor, the second you put on like a costume, like, and it's just regular, uh, like other clothes, you know, like, you just like immediately transform and it's like you totally become someone like you don't even know. Like, it's totally not you. It's one of the coolest experiences. I wish I could describe it better. But anyways, I mean, your story's insane. I freaking love it. And now here we are, and you're on Company. You're in Company. Um, talk to me about this because I think that what you're doing in Company as a swing understudy, I mean, you are incredible. I mean, power to you. Uh, you deserve all of the accolades and all of the, um, encoura—I don't know, like all of the compliments and everything. Um, what you're doing is so cool. You're doing four tracks, is that correct?

[22:59] Tally Sessions: Yes, that's correct.

[23:00] Eli Tokash: Yes.

[23:01] Tally Sessions: So four roles.

[23:03] Eli Tokash: Yeah, and so what was the first one? I know you had a crazy story and I wanna talk about that with GMA. Was that your first time, uh, going on?

[23:12] Tally Sessions: In Company, no. I went on for our sixth preview.

[23:17] Eli Tokash: Okay.

[23:17] Tally Sessions: It was a previously scheduled, uh, yeah, but it was, I will say it wasn't a last-minute thing. It was a previously scheduled absence of Greg Hildreth who plays Peter; his sister was getting married. And so that was, uh, he had a contractual day where he was, uh, out of the show. So we had a full put-in with all the other understudies and some of the regular cast. Uh, it was still like being shot out of a cannon, and when you see our production, you'll know what I mean. Uh, it's, uh, it's hard to replicate even in rehearsal. I mean, it's, uh, our show, our producers, our stage managers, all the leadership involved, they do an incredible job of preparing us as best they can. But once that train starts going, you just gotta get on it and go.

[24:01] Tally Sessions: And, um, the interesting thing about—I've said this to my friends and colleagues at Company—the interesting thing is like it's when you get to do a couple in a row that you're like, "Oh, I understand how this very organic machine works." Uh, there's a—it's hard to describe if you haven't seen it, but there's a physicality and a specificity to like spatial relationships that happens in our show that you just gotta do and do a couple times to know what it is. Um, and you know, we also have—there's lots of different body types, like we're different sizes than some of the people we cover. So there's, um, uh, things that you have to, uh, um, for which you have to be cognizant of, and, uh, but it was great. It was great.

[24:45] Tally Sessions: And then I, you know, as you said, I've been on for Larry, uh, um, a few times as well.

[24:50] Eli Tokash: Oh my god.

[24:51] Tally Sessions: No, talk to me about this Good Morning America day where you found out that you were...

[24:56] Tally Sessions: Wow.

[24:56] Tally Sessions: Yeah. Um, well, the interesting thing, we had—I'll start by saying I want to start by giving a compliment to our producers. Um, you know, what the entire industry is dealing with COVID-19 and how to keep the curtain up, uh, during, uh, this latest surge for the Omicron variant. And our producers have gone far above and beyond CDC guidelines. We get PCR tested every day.

[25:26] Eli Tokash: Oh wow.

[25:26] Tally Sessions: Um, they've hired a private lab where the— a courier comes and picks up the results. We self-swab at the theater, and then they, uh, they test it at the lab and we get the results before we come back to work. So that in the—in the—I forget what the jargon is, but whatever testing, uh, uh, implements they use, it can detect the virus at a low level before it's transmissible, ideally. Uh, so that's why we've only lost one performance to COVID-19, and that was because we had two crew members test positive. And our show just is that we have a lot of automation; it wasn't safe enough to do with, uh, with people who were subbing in who were great until they've actually learned, um, uh, their tracks, uh, backstage.

[26:11] Tally Sessions: Um but so what happened was thankfully these ended up being false positives, but the cast went the the regularly performing cast, got up super early. If you've ever done one of those morning shows, you gotta get up really early and go to the theater and then walk over to uh to Midtown uh uh Times Square uh to perform. And apparently they they'd already rehearsed, had gone to uh Good Morning American rehearsed, came back and they got the results, and one was positive. Uh again, a false positive, but two other castmates uh were not in the two other standbys had also gotten false positives. So it was a whole thing that day. Um I normally I never have my phone on ring, like it's always on silent or vibrate. And I've I don't know how, but at 6 30 in the morning, a little maybe a little before, my phone buzzed and I somehow heard it. And I saw my stage manager's name, and I can I curse on here?

[27:15] Eli Tokash: Yes, of course.

[27:16] Tally Sessions: Okay, I went I just went, oh fuck. Um and I I because I knew I didn't know what exactly it was, but I knew it was something that was going to be uh abnormal. And they explained to me that there'd been a a positive test and said, How soon could you get to um the theater for uh Good Morning America? Uh and I was like, Well, do I have time to shower? He said, Yeah, yeah. And that's what I took the fastest shower of my life. Uh they offered to get me a car, but I said no, it'd be faster for me to jump in an Uber while I'm out here. Um I did that and was uh thankfully in this day and age we have uh archival uh uh videos of the show. So I was able to um look at because I'd not obviously it's one of the parts that I cover, uh, but I had been focusing, I'd learned Peter first, I've been working on Harry, and I learned, you know, two years ago I knew Larry um uh I knew what those but it's been two years and so I ostensibly knew it but so it was just me looking at the video going okay he moved here because and if you saw it we only did the second half of the opening number of company there's a whole other thing it's all if you see anything you know you're moving around in this very tiny box around lots of bodies very close and um there's you know everyone's got a different Bobby, Bobby honey, Bobby baby and that's the thing that's in your head going, what which one is this?

[28:41] Tally Sessions: Um but uh so I'm just in the back of an Uber looking at it going, okay, uh-huh uh it's this and I say this and then I move here we get there and we have uh incredible stage management. I had to get there and get tested right away a rapid test. Thankfully that came back negative we started just teaching me, make sure I knew where I was going um they put me in the costume and we had makeup since it was television and we walked over so by the from the time I answered the phone at 6 30 two hours later I was on national television. Two hours later oh my God no like not really a real rehearsal for the number either.

[29:20] Eli Tokash: No I mean I will say I uh you know I will say that our our we had our our associate choreographer um uh Ricky Hines was there and he was incredible um and uh it it was I mean they prepared me uh as as best as they possibly could and you know the rest at was on me. It was on me doing my homework and thankfully I'd done my homework. Um but it's so I didn't even think about the fact that like I was on TV. I was I mean meaning I wasn't nervous, I was just like, I want to do the right thing.

[29:54] Tally Sessions: Right. Um move in the right space and set sing the right uh uh words and notes. Um but uh it was pretty crazy, and then you know, I I went on that night, and then thankfully those three false positives were uh found to be um exactly what they were false. And so uh those those three folks came back to the show um the next day. But it was pretty nuts. Now is that like possibly one of your craziest like swing on stories?

[30:27] Tally Sessions: Um it's up there. I mean, I think so I think the craziest one, or the one that felt like I can't believe this is actually happening, is uh I was a standby in the revival of falsettos in 2016 and I covered all three um male roles and I've learned if you know the show, I had learned been asked to learn Marvin first. Okay, um, which was played by Christian Borrell, so I did that. Um but I also should also say for the for your listeners, um we we were not uh at Lincoln Center, and this is people have done this all the time, and this is something that's changed in the industry. I don't blame Lincoln Center, they're amazing, but we were not put on contract as standby until two days before tech began.

[31:18] Tally Sessions: Oh so we were not part of the rehearsal process. I will say I asked to go to rehearsal because I knew how much work there would be. Uh so I went to rehearsal uh and they allowed me to do it for I observed for free for three weeks. I went to rehearsal for free for three weeks. I don't I don't recommend it. And I think that there should be change there should be changes. Well you need to that that the full company needs to start. Everyone needs to start the first day, um, so that we're all as prepared as possible. But you know I've I've talked about this uh a lot uh over the years so much of what we do is if if you choose to be an understudy or a swing or a standby so much of the work that we do the preparation is not in rehearsal it's when rehearsal ends you go home you lock yourself in your house or your apartment and you go over the lines and the and if it's a musical the lyrics and and and the uh the music and uh your blocking and your choreography and it's the hours outside of uh 10 to 6 rehearsal where you actually really learn um and and put your nose to the grindstone so I did that like I thankfully I'd done that I um with the second part I was asked to cover which was Mendel played by Brandon Uranowitz.

[32:39] Tally Sessions: We were in our second week I believe we'd done six previews maybe seven we're in our second week of Brandon was feeling a little uh something like in his throat so he was at the doctor so we we were you know if if if you're in previews um for those of you your listeners that might not know when you're in previews for a show you're rehearsing during the day and then performing at night you make little changes and we were rehearsing and they were saying she's gonna be fine I stepped in for a couple of lighting things um and they said actually can you come back a little early to show Brandon what we did and we had an eight o'clock show so we had to end the rehearsal at 5 30 enough time for people to have dinner before half hour.

[33:22] Eli Tokash: Right.

[33:23] Tally Sessions: And at 5 45 I got a c I I I got I got a call or text from Brandon saying, Will you kill me if I call out and then at 5 48 I got a call from my stage manager saying hey you're on and so I was literally getting dinner. I turned around, walked back to the theater. If you s if you saw falsettos or you've seen it on a live from Lincoln Center video, we did everything like the the cast like it's a sung to musical but we made the set.

[33:54] Tally Sessions: It was this thing where this sort of like David Rockwell designed this incredible set sort of about all this yoga block material but it we would make doorways and chairs and tables and things. So there's a whole other element to not other than learn the material. What? Oh yeah they had they had not had time and I'm much bigger than Brandon too.

[34:18] Eli Tokash: Right.

[34:18] Tally Sessions: Um I had no costumes so they went and got those they went they went to a store and bought some. No they put me in a um for some reason they decided because my hair is kind of straight and wavy and brand is really curly he's got this incredible curly hair they said they put me in a wig um and then I went on did you like not eat no I didn't eat.

[34:41] Eli Tokash: You didn't eat oh my god no that's the cra that's the craziest thing and and I will say like on stage there's a number called um Everyone Hates His Parents in Act Two where Mendel the psychiatrist is talking to the character of Jason who's played by the amazing Anthony Rosenthal about um who's having some issues with his parents as they're preparing his bar mitzvah.

[35:06] Tally Sessions: And I th I'll say again that I I hadn't had costumes so they did the best they could, you know, and there's there was this bit of choreography at the end where we would I would jump off of one of the yoga blocks, we'd do like a barrel roll together, and then I'd grab Anthony, who was much smaller then, 'cause this was this was uh five, five um five and a half years ago, and I'd flip him over and then we would shake hands.

[35:29] Tally Sessions: And I remember like doing the barrel roll and going, something's wrong. And I flipped Anthony over and right as I shake hands, and I'll point out he's a thirteen year old kid at the time. My pants fell to my ankles.

[35:41] Eli Tokash: No way.

[35:41] Tally Sessions: Downstage center on zero with a spotlight on.

[35:46] Eli Tokash: Um my god, no way.

[35:51] Tally Sessions: But I had no time I had no time to think about it. Uh uh because I had to I was like it was NMR, my pants fell down, uh there was a blackout, but I had to take Anthony's hand, make sure he got off stage, and I had a quick change. I was just like, I just remember sort of muttering, my pants just fell down on Broadway, my pants fell down on Broadway, but uh there's no time to think about it, you know.

[36:10] Eli Tokash: Right.

[36:11] Tally Sessions: Um and I think that's the other thing, that's the other thing that you you have to um you have to give yourself uh if if you're in uh in a position where you're covering um any in in any uh facet of of of putting together a show, whether it's backstage, a dresser, musician, an on stage understudy or swing or standby, you have to give yourself some grace and know that you don't get to do it every night.

[36:40] Tally Sessions: So you're gonna make mistakes, whatever that means. Um and you gotta have a very short memory.

[36:43] Eli Tokash: Yeah.

[36:46] Tally Sessions: Because you gotta keep moving on. Um and so I was like, and that wasn't I mean, my pants falling down wasn't a mistake on anyone's part, it just happened. It's funny.

[36:56] Eli Tokash: But uh I've made plenty of mistakes.

[36:57] Tally Sessions: And like the great thing about ten minutes ago.

[36:59] Eli Tokash: Yeah.

[37:00] Tally Sessions: Right. But the great thing about theater is you if you feel like you've said the wrong line or done the wrong bit of blocking, uh um you could get another sh hopefully get another show to make up for, you know, you can always course correct.

[37:14] Tally Sessions: Um so that's probably the craziest thing. But the GMA thing was was up there.

[37:19] Eli Tokash: Oh my god, that's just brilliant. I can't believe any of it.

[37:23] Tally Sessions: I mean, just getting costumes like an hour before curtain. Did you have to do a wig fitting for your wig?

[37:28] Eli Tokash: Like no, they just they're like try the song, they pinned it in.

[37:32] Tally Sessions: I mean, that's but that thing was not coming off because I must have had like the 40 pins in my head.

[37:37] Eli Tokash: Um I love it.

[37:39] Tally Sessions: Hey, it's amazing.

[37:41] Eli Tokash: You gotta love live theater.

[37:42] Tally Sessions: Uh yeah, absolutely. There's nothing like it. Seriously.

[37:47] Eli Tokash: Um, I want to go back to to company, and honestly, like you can touch on any of the shows that you've been in. Like, what is the most difficult thing as far as like tracks and differentiating it is is concerned.

[38:01] Tally Sessions: Like, I feel like the harmony, especially for singing Sondheim, uh, you have to remember the harmonies and like you said, which Bobby to say, like is it do you have the same harmony uh just because of your voice?

[38:14] Tally Sessions: No, no, no, yeah, no, they're they're different. Like, I have to know so I cover four parts. I have to know there's a couple of the parts I cover are on the same harmony. Um in in a couple shows. So I probably have to know three harmonies harmonies when we're singing as a group in the in the group numbers, uh, and a couple, but then I have to know, you know, there like I covered two two of the men I cover sing in sorry grateful. So I have to know about their that's not that difficult, but like in the song Poor Baby I have to know three different parts three different harmonies.

[38:48] Tally Sessions: In in not getting married today we're all singing off stage and then pop on so I have to know three different harmonies um there and but the I think the hardest thing in company are and now it's easier because I've I've done it so much, you know I've I've drilled it so much and you once you once you know one you start to go alright then that not that one but that's the only but you could start to go this person things this so I sing this now.

[39:11] Tally Sessions: But that hardest one is the Bobby baby Bobby honeys because there's no at first glance anyway there's no rhyme or reason why one character is saying something.

[39:23] Tally Sessions: But for instance, like I think Peter sings "Bobby, honey, and what have you been up to, honey?" So he says "honey," that's part of his vocabulary. Larry's track is very sparse, and PJ is one of the boyfriends who doesn't come on until the second half of the song, but it's still like going. I remember going on for Peter the other day just because with this COVID testing, we didn't—sometimes the lab takes too long and we didn't get Craig Hilbert's PCR test results back in time, so they couldn't safely put him on without his results. I got, you know, I was already at the theater, but they called me at twelve fifteen and said, "You're on for the matinee," and I was like, "Oh, okay." So I did that.

But I've been working on Harry, and I believe I've gone on for Larry the previous week, so I was like, "Okay, wait, which one do I sing now?" You know, like you're saying, there's the one that you're like, "I'm supposed to sing this," but in the back of your head, there's three other guys going, "No, no, sing me, sing me." Right? But yeah, that's, I think that's the hardest part. But it's just, certainly with this show, the challenge is—or I think what I know that I'll have to do with any time I'm on, unless it's for like a full vacation or, you know, I did a—I think I did like six shows in a row for Larry recently, and that started to go like, "Okay, I don't have to review it as much," but I'm gonna have to review every time you sing this, this is where you go, this is where you enter in the group numbers.

And it's just, it's part of the job. Yeah, and it takes, like I said, you gotta give yourself grace, you have to be a hard worker, and having the facility to—I guess it's people think of it differently—find yourself parts of yourself in these characters or find parts of those characters in yourself, however you think about it. They're all very different, and I'm never gonna—there's—I mean, you gotta do the blocking, but I'm never going to be, nor would I want to replicate the uniqueness and specificity of Christopher Sieber's Harry, Terrence, Archie's Larry, Bobby Conte's PJ, or Greg Hilbert's Peter. I have to find—I must find my own version.

[42:05] Tally Sessions: That's the only way that that will feel truthful. So that's, I think, part of the—there are people that are really good at mimicking performances, like hewing very closely, but that's not my style. People, you know, the way people articulate the sense of humor is different. So it's just gotta—you know, you gotta find your way into it that works for you and works within the vision of the show too.

[42:30] Eli Tokash: Absolutely, absolutely. And I think that's one of the cool things about being a swing though too, is like, you know, because even for like the people that do do it every night, like it makes it different and it brings a new person to it. Like, "Okay, Christopher Sieber's not on tonight. I want Tally's story," you know? Like, I don't want to see Tally Sessions doing Christopher Sieber, you know.

[42:53] Tally Sessions: Right.

[42:53] Eli Tokash: It's more of just like, I wanna see him doing Larry or his story or wherever it may be. So I think that's a cool—and I think that's a great point of view to have, and I think that's what makes you like so special, you know, when you do perform and obviously why you keep working.

[43:10] Tally Sessions: Well, I remember—I mean, I remember when I went on for Falsettos the first time, James Lapine, you know, came to me and he said, "Just don't feel like you have to do Brandon," because Brandon's performance was so special, so idiosyncratic, so wonderful, so branded. And there was, like I said, there's a side differential. There's a—my voice is much different than his, just the way I carry myself. And I was like, "Yeah, no, I can't do Brandon, but there's a lot of stuff he does that I can steal," you know? Like, and that's true. I was like, it's this thing—I remember he did this thing, he improvised this thing, it was so funny, and I was like, "I'm just gonna steal it because it works." And that's okay.

I mean, that's how you learn. But yeah, I think not having the pressure of trying to create this carbon copy of a performance—now, I think that there are probably productions where people do ask you to do that, you know, sadly. But that's been very rare in my experience. It's certainly not the case at Company. And I don't think it's been the case at any show at which I've been an understudy, and I've been an understudy in every Broadway show I've done. So yeah, I've never been asked to perform like someone.

[44:33] Eli Tokash: Right.

[44:33] Tally Sessions: And that's awesome. That's really great. I mean, yeah. So you talked about, you know, learning from Brandon and learning from all these people, but you learned from incredible people that you've worked with—Patti LuPone, Christian Borle, yeah, I mean, Alex Brightman, all these—like Norbert Leo Butz, Andrew Rannells. Like, what is it like to go to work and learn from those people? Because like you're obviously not gonna get that same education if you go to school for it or if you take a class or something. Like being in it, I feel, is the best way to learn. Do you agree?

[45:07] Tally Sessions: I think it's a combination. I think that study is very important. What the people that you just mentioned—Christian, Andrew, Patti, Alex, Norbert, and dozens of other people with whom I've worked—what makes them successful is they are, through the prism of the characters they play, they're always themselves, meaning they're not trying to play at something. Again, they find that version of that character in them. How do they articulate their sensibilities through that? The other thing is the reason that those folks are so successful—and in Patti's case, you know, an actual legend, you know, she's older than those gentlemen. What you find, you know, once I—this is my second show working with Patti, and in both cases, I've been an understudy, an off-stage understudy who's gone on opposite her, and you gotta get that stuff out of your head.

You gotta get over very quickly that you're acting opposite Patti LuPone. You just gotta get over it. I mean, you have to, you have to, because you have to play the scene. Like, what does the character want and what's in their way? That's it. I also—that's sort of my advice to people that get nervous before they go on is like you just gotta think about the stuff you can control. What do you want? How are you gonna get it? I mean, that's what—in terms of the character, and that will ground you because it forces you to put emphasis, stop watching yourself and watch the other people and actually listen. And the thing that's so great about those folks that you mentioned and great actors in general is that when they listen, you know, because when you listen, when you truly open yourself up to experiencing something outside of yourself, then that's what sets you up to be surprised and respond authentically.

And they just—you know, I mean, Patti doesn't have an inauthentic bone in her body. And I think the same is true of all those gents who are all pals of mine, and so many people I've worked with. The things that—the best thing about being an actor, and you know, I think a lot of young actors—I hate to say I don't want to say make the mistake, but they might have been led down a path that's not as useful, and that's to like try to be like someone else, you know, try to behave as an actor like another performer or performance or performer whom they revere. And I teach as well, and the thing that I say is the best thing about being an actor is like—like what, Eli, what's a part that you would love to play or that you have played?

[48:08] Eli Tokash: That I would love to play? Um, let me think. I mean, I feel like it's kind of cheesy to say like Evan in Dear Evan Hansen, but you know, I'd actually like to play Connor. I feel like that would be like kind of like the silent role. But you know what? The most amazing thing is no matter who has played Connor before, is that the part that Mike Faist played?

[48:29] Tally Sessions: Yes.

[48:30] Eli Tokash: Yeah, no matter whether it's Mike or anyone else, no one on this earth is ever going to be able to play Connor the way that you would play Connor because no one else can be you. And that's the things that Patti and Alex and Christian, Andrew, Norbert, you know, so many people—Mary Testa—like they own who they are, and they're not trying to be anyone else. Yes, they're playing a character, and you know, they can disappear in that, but they're not trying to mimic another person. We have to own our own specialness, and I think that that's one of the things that I've learned. And the other thing is it's just sort of a human thing: be kind, you know, be kind. It's—that's a very important. You can—there are two things you can control as an actor, whether you're auditioning or at work, and that is your work ethic and your attitude.

Those are the only things you can control. You can control how hard you work to study and learn this thing, and you can control how kind you are. And if you work hard and you're kind, a lot of things—a lot of doors will be open for you.

[49:35] Eli Tokash: Tally, I just have to say, like, just talking to you is like exactly what I like. We had never met, and I felt like I already know you. But it's exactly what you like live by. I mean, following you on social media is like one of my favorite things because just your attitude towards, you know, circumstances and everything. It's brilliant, and I actually want to talk a little bit more about that. You—I feel like you're always like supporting a cause or participating in challenges, doing push-ups, you know. And you also do like fun things where you bring entertainment and you do lives with David Josephberg, and you do sessions with Josephbergs, and you do like songs and everything. Like, is that kind of just like something that you just enjoy, that you just want to bring joy to other people?

[50:26] Tally Sessions: Yeah, I mean, do I enjoy it? Absolutely. I also think that—I mean, it's—listen, I don't know if this is magnanimous, but it makes me feel good to make other people feel good. And there's probably some sort of selfishness in that, but I don't care because that's better than making people feel badly about themselves.

[50:57] Eli Tokash: Right.

[50:58] Tally Sessions: So yeah, I get a lot of joy out of making people laugh and entertaining them. I get a lot of joy out of being around my friends and being, you know, moved and inspired and by them and finding them hilarious, like David. And in terms of things that, you know, sort of like spotlighting the causes that I think are important, I mean, those are all personal. You know, a little over six months ago, I lost my mom to lung cancer, so it's important to me. I mean, people probably looked at my social media sometimes, like certainly my stories, like, "God, why is this guy still doing fucking push-ups? Jesus." And it's just like I just tag the American Cancer Society, and I start to get wary of like asking people to donate too much because people don't have a lot of money.

But even if I just tag them and say, like, my thing is like I'm doing this because people that are fighting cancer right now or, God forbid, have passed from cancer, they can't, you know? And if it's—and if it raises one dollar towards treatment or a cure or therapies, then that's one dollar that wasn't there before. And then I just think it's, you know, part of the mission that David and I have with our show is to highlight worthy causes or individuals or organizations and to also sort of destigmatize things.

[52:22] Tally Sessions: Like we had, you know, Patty Miran is a very good friend of mine, and we had her on to talk about mental health awareness and what her life has been like since she's been more open about her mental health. I guess she would say dealing with her mental health struggles. The stuff that you sort of have to like demystify, you know, and talk about, and some things are difficult to talk about. I mean, we had Nick Walker on to talk about what it's like to be a black man in this industry and as things are changing. We talked about, we've had Diane Phelan and Ray Lee talk about this terrible, terrible, terrible increase in violence against Asian Americans in the last several months and how we can help the advocates and supporters.

Yeah, it's just important to talk about that stuff and listen, I'm as guilty of this as everyone. We are still in the middle of a pandemic and we certainly, like when it began nearly two years ago, a lot of people's mental health suffered. A lot of people went through and are still going through depression. All I get this idea of like wanting to just pull the covers over your head. But I guess my thinking is, you know, as long as I have the gift of life, I want to enjoy it and I want to bring joy to others if I can, if they find me enjoyable. And in terms of, you know, I like making people laugh and I do, and I love performing.

[54:06] Tally Sessions: I mean, I don't think there's anything wrong, you know, social media, there are a lot of evils about social media. But if you can use it for some good, why wouldn't you? And like if you're someone that like you like to perform, whether it's you like to do Shakespeare sonnets or play guitar or, you know, your dance reel or sing, yeah, do it, you know? And the great thing is you don't have to be an apologist about that. It's your page, however you're dancing, whether it's TikTok or Twitter or Instagram or Facebook, whatever you do. And if people don't like it, they don't have to follow you.

[54:43] Eli Tokash: Right.

[54:43] Tally Sessions: You know, no one's forcing anyone to like, oh God, I've got to watch this guy do another hundred push-ups today. I was like, you don't have to. You can't be more bored of watching them than I am of doing this. But there's a lot of, I think it's important to cultivate right happiness in our lives, you know. I really do. I really do. There's a lot of stuff that's taking our focus away, and people could be miserable, and there are a lot of important things to talk about. But if you can find a little bit of joy in your day, I say do that. And if you can help others, if you have the means, even if it's just a kind word, do it.

[55:29] Tally Sessions: Yeah, and honestly, like even if like that's too much, like just educate yourself, you know? Like learn these things and talk about, like that is one thing. There's not many positives throughout the pandemic, but there is like, I feel like one of the positives that came through this whole pandemic is that people are willing to talk a little bit more and they're willing to have those conversations, and they're willing to try and understand other people's points of view because I think everyone, like everyone was struggling at one point.

[55:58] Eli Tokash: Yeah, and there's a lot of, that's absolutely right, Eli. And I think there's, you know, there's a lot of call for activism.

[56:04] Tally Sessions: Yes, and in many ways, certainly in our industry as well, and people's activism takes many forms. Not everyone is great at speaking in front of crowds. Not everyone has the means to donate funds, but some people can write letters.

[56:21] Eli Tokash: Right.

[56:22] Tally Sessions: Some people can be more singular and specific in their reaching out, and they can reach out to someone and say, "Hey, how can I help?" It doesn't have to be wide-ranging. We get into this thing where like people are like, "Well, what are you doing? What are you doing?" And just because it's not on social media, because people aren't saying, "Hey, I donated this and I did that," there's this idea that you're not a participant in trying to make the world a better place. And that's one of the evils of social media, that if it's not documented somehow, it's not true, and that couldn't be further from the truth.

[56:56] Eli Tokash: Right.

[56:57] Tally Sessions: And the other thing too, like if you can't donate, you know, like share it with your friends and your family because there may be someone that can do that, you know? So like there's not, it's not like you're completely helpless, you know, if you feel that way.

[57:13] Eli Tokash: No. And it's also okay if you just don't feel like you can deal with anything too. Like if you need to prioritize your self-care, that's okay because you only, as far as I know, you only have this one life, you know? And if you're feeling like the need to like work on your own mental health and that you don't have the space for it, that's okay. There are other people that can take up those causes and will.

[57:35] Tally Sessions: Yeah. Well, I mean, like I said, like everything that you've done, your story with your mom, what you and David did, especially during the time with like Nick Cordero and everything like that, like it was all like you made a difficult kind of event a positive and you brought light to it. And honestly, like it to it in a time that everybody needed it most. And so for that, like I truly thank you. And on behalf of, yeah, and on behalf of a lot of people in the industry, because I know a lot of people were following you and trying to support in any way that they can. But seriously, I appreciate all you do, and you are one of the people that actually use social media for good. And for that, I recommend everyone here to follow Tally.

[58:26] Eli Tokash: Follow your Instagram handle while we're at it.

[58:29] Tally Sessions: Uh, at Tally Sessions, T-A-L-L-Y S-E-S-S-I-O-N-S.

[58:34] Eli Tokash: Yes, and I promise you, you will not regret it. Tally, this has been amazing. I've taken up enough of your time, and I know you have to go to run to the theater for a rehearsal. So you are the best. I appreciate this conversation, and I know a lot of people will too. So thank you.

[58:50] Tally Sessions: Thank you, my friend. Thank you so much.

[58:52] Eli Tokash: Take a bow, Tally Sessions.

[58:54] Eli Tokash: And there you have it, folks. I mean, Tally, I can't even thank him enough for coming on here. I think that you could hear the incredible admiration that I had as someone in the industry of what he has done for the industry and what he does currently in the industry and what he does outside of the work environment, what he does on a personal level. He's truly an inspiration and a wonderful follow for anyone who enjoys following Broadway performers and anything like that. He is the person to follow, I promise. It's awesome to talk to him about swing and swing life. It's just so fun, and it's just incredible what they have to do and what they have to learn and kind of train their minds to do and kind of behave in a way.

It's incredible. So shout out to all these swings. This episode was not just for Tally Sessions. This episode was for all the swings on and to celebrate National Swing Day. I'm so honored to have gotten a swing on and a swing of his caliber. He's one of the most well-known and well-loved swings and understudies on Broadway. So very happy to have had this episode with him. It's such a meaningful time for Swing Nation. And if you guys, you have to, and if you have not yet, please go see Company. I am talking to as someone who is telling himself the same thing. So I'm getting to Company. Maybe I'll see you all there. Hopefully, we all go see Company and we go support this show. This show is awesome, and what they've been doing, they got them their own lab for COVID.

That's insane. So yeah, what they're doing, it's just go support them, and they're doing all the right things. They're making everybody feel safe—cast, company, stage crew, audience members, everyone, musicians. So props to them. Hopefully, people will hear this episode and be like, "Oh well, maybe we should do this for our show," or whatever, even if it's not in New York, even if it's like a non-profit in Louisiana, I don't know. Let's just hope that people can learn from this episode, including audience members, including people that are running shows and everything. So I think this was just a great episode for everyone. I'm really excited to share this one with you. I thought this was awesome. So once again, thank you, Tally Sessions, for coming on and sharing all those incredible stories and giving so many tips for performers and everyone in between.

[1:01:41] Eli Tokash: So with that being said, I think we should do a drama dictionary before I leave because I definitely wanted to do one before, but it was just such a long intro. I just wanted to get you to listen to Tally because he had so many wonderful things to say. This week's drama dictionary word of the week is going to be curtain call. So at the end of the show, the show blacks out, and there's a big blackout, and you can't see anything, literally. I've been on the stage during a blackout. You can't see a thing, and I know the audience can't either. That is the point of it. And then all of a sudden, the cast and all the performers come onto the stage again, and they're like, "Oh, here I am," and we do our bows, and then we do a little diddy, and then we do another bow as a company, and then we do another little diddy, and then we do a final bow.

So it's just a way of the audience to say thank you for performing and telling a story and everything like that, but it's also a way for actors to acknowledge the audience and to kind of say a thank you to them as well. A lot of people like to wave afterwards, they like to say thank you and mouth it and do something with their hands, and they like to blow kisses or whatever it may be to show their gratitude for you guys, the audience members, coming to see them and support their work. So it's a great little exchange. That's what the curtain call is. It happens at the end of the show, and it's right before everybody leaves. It happens in every show, whether it's a musical, it's a play, whatever it may be, there's always a curtain call.

And it's kind of a beautiful thing when you really think about it. And it's just that time where the cast members and all the performers can kind of break their character and they can become themselves again and interact with the audience as themselves, and it's a really beautiful thing.

[1:03:30] Eli Tokash: So that is what a curtain call is, and that is all I have for you all for this week of Take A Bow. Thank you all for listening. Thank you all for supporting this podcast. If you want to support this podcast further, follow us on Instagram, on TikTok. You can check us out on Patreon, and you can subscribe on Apple Podcasts and Spotify and whatever you may be listening to this on. That is free of charge, the subscription on the podcast platforms, and so is the following on Instagram and TikTok. Patreon, that's up to you. And go check out some of our website and merchandise and everything in between. We have some exciting things coming out. We're approaching our hundredth episode, so stay tuned for some great, great stuff coming along the way, and it's gonna be really special. So I cannot wait for it. So with that being said, I'll see you all next week. Have a great week, everybody.

[1:04:29] Eli Tokash: For this episode's curtain call, I would like to recognize a few people who also deserve to take a bow. This podcast would not be possible without the help from Dory Berenstein, Brittany Bigelow, Katie Rosen, Alan Seales, and the team at the Broadway Podcast Network. 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 TAB. And if you enjoyed this week's episode, don't forget to subscribe on the platform that you're currently listening to this on. Also, feel free to give us a follow on Instagram at Take A 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.