This transcript was automatically generated and might contain errors.

[0:06] Jesse McAnally: I'm Jesse.

[0:08] Andrew DeWolf: I'm Andrew.

[0:09] Jesse McAnally: Welcome to Musicals with Cheese, a podcast where I try to get Andrew to like musical theater.

[0:15] Andrew DeWolf: It's a show on the show of podcasting Muse.

[0:18] Jesse McAnally: It calls, you know, well, and those that you don't.

[0:21] Andrew DeWolf: Hello, Mr. Ballad.

[0:23] Jesse McAnally: It's about the cheese show.

[0:25] Andrew DeWolf: It is getting bad vibes.

[0:27] Jesse McAnally: I don't like it much.

[0:29] Andrew DeWolf: And we're on Musicals with Cheese. We're talking about Bye Bye Birdie.

[0:34] Jesse McAnally: Bye Bye Birdie time.

[0:35] Andrew DeWolf: Bye Bye Birdie.

[0:36] Jesse McAnally: Bye Bye Birdie.

[0:38] Andrew DeWolf: Imagine this is someone's first episode and just all right, turning that off.

[0:42] Jesse McAnally: Yeah, I mean they will.

[0:45] Andrew DeWolf: Um, so Bye Bye Birdie.

[0:47] Jesse McAnally: This is like this is uh we're doing it.

[0:51] Andrew DeWolf: Yeah, yeah, yeah.

[0:52] Jesse McAnally: It's an old one.

[0:52] Andrew DeWolf: Cue the music.

[0:59] ♪ Musical number: "Bye Bye Birdie" — performed by the cast ♪

[1:34] Jesse McAnally: Bye Bye Birdie is a musical written by Michael Stewart with music and lyrics by Lee Adams and Charles Strauss, um, who you might know from Annie. Um basically the musical idea was originally titled Let's Go Steady, a happy teenage musical with a difference. Um basically he reached out the producer Padula um reached out to two writers, Charles Stroud and Lee Adams, to write seven songs for the libretto. Um then they brought in Gower Champion, who you might know as a choreographer director. Um, and then they really expanded upon it and really didn't really figure out what they wanted. Champion wanted something more, and that something more was right off the newspapers, and it was about Elvis Presley being drafted in the army, and they just like whoop, we're gonna take that, and that became the premise of their show.

The New York Broadway production opened on April 14th, 1960 at the Martin Beck Theater, transferring to the 54th Street Theater and then the Schubert Theater, closing on October 7th, 1961, after 607 performances. Very weird that it transferred so many times. The plot of the musical revolves around an Elvis Presley type rocker who's about to join the army to mark the occasion. His manager's secretary arranges him to kiss a random fan goodbye on the Ed Sullivan show. Um this show has a lot revolves entirely around the Ed Sullivan show, which would be like today if there's an entire musical number and plot point around the James Corden show.

[3:02] Andrew DeWolf: And then you go and you watch it like you know, 80 years later, and you're like, who the fuck is James Corden?

[3:10] Jesse McAnally: I guess now that I think about it, it'd probably be more like Steven Colbert because his show is currently at the Ed Sullivan Theater. I mean, Ed Sullivan had his impact.

[3:19] Andrew DeWolf: I don't know what Ed Sullivan even looks like, I'm gonna be honest with you.

[3:22] Jesse McAnally: Well, he's in the movie.

[3:24] Andrew DeWolf: I'm sure he is.

[3:24] Jesse McAnally: I think so the I fucked up. Can we please imagine I'm walking up to a podium right now to an audience of Musicals with Cheese listeners? Um excuse me, everyone.

[3:24] Andrew DeWolf: I fucked up.

[3:45] Jesse McAnally: Really fucked up today. Um I didn't not give Andrew the proper video for him to watch this and understand the true power of Bye Bye Birdie. Unfortunately, I only used the film adaptation starring Dick Van Dyke, which is not an accurate representation of the stage show. I should have given him the Jason Alexander Vanessa Williams version. Um for that I am dreadfully sorry that this is gonna be a very painful episode where Andrew is only gonna hear about Andrew's only context for this is the inferior version.

[4:21] Andrew DeWolf: So oh no, they're throwing tomatoes.

[4:23] Jesse McAnally: Oh god!

[4:24] Andrew DeWolf: Oh god!

[4:25] Jesse McAnally: Hey guys, I don't really like Bye Bye Birdie, and um now you might understand why if you do like it. Um I have complex feelings about Bye Bye Birdie. The things I like, I really, really like, I think is the way to put it. I think that it has themes that are age-old and really work. Like teens are always gonna be obsessed with the next big thing. Um parents are always gonna be confused about their teens being obsessed with a new big thing. Um songwriters are always going to leave the horrendous like squalor of songwriting for a successful musician to want to be uh uh an English teacher.

[5:06] Andrew DeWolf: Um in you know, rural America.

[5:09] Jesse McAnally: Or a chemist, apparently.

[5:11] Andrew DeWolf: No, yeah, that was in the movie.

[5:12] Jesse McAnally: The movie's stupid. The movie's real dumb.

[5:16] Andrew DeWolf: So that's not a normal plot point.

[5:17] Jesse McAnally: I was gonna say that's it's very, very dumb. I really don't like it.

[5:25] Andrew DeWolf: Oh, I'm so frustrated at the situation I have put myself in here. I don't think you understand. So the movie was fucked up really hard. It's almost like they were embarrassed to adapt it.

[5:39] Andrew DeWolf: I mean they should have been embarrassed to make this.

[5:42] Jesse McAnally: Yeah, uh it's it's so baffling to me. Because the thing, the movie, this movie has some of the best shot musical numbers like I've seen, like very iconic stuff, like the telephone hour, the way that's edited. Um, a lot of these um are very, very powerful, like cinematic ideas, and they bring a lot of the original Broadway cast to the film. However, they also whitewash them um hardcore, like the main uh lady um played by Chita Rivera on the Broadway stage.

[6:18] Andrew DeWolf: They made her a white lady and made cast uh Jamie Lee Curtis's mom.

[6:22] Jesse McAnally: Good stuff. Um yeah. And Anne Margaret, who plays the daughter. They she was a big teen heartthrob, and to her credit, she looks gorgeous in this movie, and she does have a screen presence, unlike any other. I do want to give it credit for all those things. However, everyone in the film resented it because they changed the film to fit her.

[6:46] Andrew DeWolf: They made her the main character.

[6:48] Jesse McAnally: And it felt like the story wasn't revolving around her, like the story shouldn't have been about her. And everyone in the film fucking resented her. Dick Van Dyke and other members of the Broadway production were unhappy with the film adaptation due to the focus shift onto Kim. Van Dyke stated that Birdie was a romp on Broadway, but they Hollywoodized the movie. They made it a vehicle for Anne Margaret, and Paul Lynde, who played the father character, and who is by all means incredible in the movie. I think everything he's doing in that film is incredible.

[7:18] Andrew DeWolf: Said they should have retitled it Hello Anne Margaret.

[7:21] Jesse McAnally: They cut several of my and the other actors' best scenes and shot new ones for her so she could do her teenage sex bombshell act. And Susan Watson said, anyone who likes a film didn't see the show.

[7:33] Andrew DeWolf: Probably not fair to blame the actress, but I get where the resentment's coming from.

[7:39] Jesse McAnally: It is the linchpin issue of the film, though. Like she is every part of the film, and it doesn't work. It just it's a mess. It's it's a so like you spend most of the first like act with these other these two characters, the songwriter.

[7:58] Andrew DeWolf: Yeah, the songwriter and his uh love interest wife, I'm not sure.

[8:03] Jesse McAnally: Um and then suddenly, the second this uh this girl is introduced, the whole thing's about her, and you like literally the songwriter and in the wife character are gone for like 20 to 30 minutes, I feel like.

[8:16] Andrew DeWolf: They just don't even show up.

[8:17] Jesse McAnally: It's like, where the fuck are they?

[8:18] Andrew DeWolf: Yeah.

[8:19] Jesse McAnally: Um So, how about I just talk to you about what happens in the stage show via the Jason Alexander film, and you'll see the difference.

[8:31] Andrew DeWolf: Sure.

[8:32] Jesse McAnally: So it's a much more an ensemble piece. Jason Alexander and Rosie are are sorry, Albert and Rosie are the main characters, and her name is Rosie Alvarez, and I think her version of yours was whitened to be Rosie Dallin or something like that. Um, and the mother doesn't want him with her because, you know, racism.

[8:53] Andrew DeWolf: It's very directly like because of racism.

[8:56] Jesse McAnally: That makes a lot more sense and is a lot more interesting than I honestly I don't know why the mother didn't want them to be together in.

[9:03] Andrew DeWolf: Yeah.

[9:03] Jesse McAnally: Um didn't want that, I guess.

[9:07] Andrew DeWolf: Yeah, she just didn't want that.

[9:09] Jesse McAnally: Um a lot of the first half goes as planned. Um the biggest change happens midway through. The Ed Sullivan thing that happens in the third act of your film, that is the end of act one of the movie or of the stage show.

[9:24] Andrew DeWolf: Wait, the ending is the end of act one.

[9:27] Jesse McAnally: Yes. Where the boy goes and punches uh Bertie, Conrad Birdie in the face, knocks him out.

[9:34] Andrew DeWolf: End of act one.

[9:35] Jesse McAnally: That is where Rose breaks up with Albert, all that stuff, end of act one.

[9:39] Andrew DeWolf: That's like the end of the movie.

[9:41] Jesse McAnally: How do you wait? Am I lost? Am I coming missing something?

[9:44] Andrew DeWolf: You you are not missing anything. Basically, it's like, well, we fucked up, we ruined everything, and that is how act one ends. You return to act two, and he Albert's like, wait, we can shoot a little bit of it just before he gets on his plane, or gets on the train to get out of town.

[10:00] Jesse McAnally: Um, so we'll arrange that there.

[10:03] Andrew DeWolf: Um then Conrad's like, I just want to go out in the town and meet some young ladies because it's my last night before I go to war.

[10:14] Jesse McAnally: I want to enjoy my night. And he meets up with all the teenagers, and he they the main girl, Kim, is like, hey, let's go to like the ice house, which is where everyone goes to fuck, basically.

[10:27] Andrew DeWolf: Um he's like, Alright, that sounds fun. And then they disappear for a bit, and everyone's looking for Conrad Birdie because obviously um Albert's looking for him because like he needs him for the next day.

[10:38] Jesse McAnally: Rosie's looking for him to stop Albert, and all that stuff is going on. And then then her father starts a mob to find Conrad and burn him at the stake for taking his kidnapping his daughter, basically.

[10:50] Andrew DeWolf: And then they all come in and find him with his daughter, the daughter, who is underage, so they immediately try to arrest him on site for statutory rape.

[11:01] Jesse McAnally: He escapes, and Albert dresses him like a woman, takes him to the train station, and tries to basically get away, get him away.

[11:12] Andrew DeWolf: And because of this, Conrad's like, you are my producer for life. Here is a check with my signature. Write whatever number you want on it. I will pay it.

[11:21] Jesse McAnally: And the plan is for Albert and everyone to get on the train and go to New York and get him where he needs to get. Um but instead he tricks his mother onto getting onto the train with Conrad.

[11:33] Andrew DeWolf: So Conrad's stuck with his mother, and then Albert and Rosie go off to New York because he got a job as a teacher, which was what she wanted for him all along.

[11:41] Jesse McAnally: So that is how the stage show goes. Where it's very much a story about that them and the teenagers are kind of a backdrop.

[11:48] Andrew DeWolf: That is wow.

[11:49] Jesse McAnally: That is completely in the movie.

[11:52] Andrew DeWolf: So now you understand why I had to stand before Congress and apologize for what my sins were.

[11:58] Jesse McAnally: Like that's not even it's not even like similar.

[12:00] Andrew DeWolf: Like it's it's similar, but it's not like Jesus Christ, it's completely different.

[12:00] Jesse McAnally: Completely different.

[12:06] Andrew DeWolf: Yeah.

[12:07] Jesse McAnally: Um, so maybe I should explain the movie so people know what we're talking about.

[12:11] Andrew DeWolf: Yeah, yeah.

[12:12] Jesse McAnally: Explain what happens in the movie, please.

[12:14] Andrew DeWolf: Because he's a chemist in that.

[12:16] Jesse McAnally: Yeah, he's he's a chemist his mom wants him to be a chemist, but he wanted to be.

[12:21] Andrew DeWolf: No, no. His mom wants him to be a songwriter, but he wanted to be a chemist, but he's trying to do what his mom wants because he's a mama's boy. So he's trying to be a songwriter. Um, we're still on track together. We're on the track, but instead he like wants to be he doesn't want to be a school teacher. Rosie wants him to be a school teacher so they can have a quiet life together. That's basically it. In fact, the I want song of the stage show is called uh I think it's called an English teacher.

[12:49] Jesse McAnally: Yeah.

[12:50] Andrew DeWolf: Where Rosie's singing about like how much he just wants you to be an English teacher. I don't I don't think that song exists in the Nope, it was cut out of your movie. Okay, uh so he gets a big break because he's gonna write a song for for Elvis Presley. I mean Conrad Birdie. Um, but then that falls through, but then it comes he gets a second chance because they're gonna do this big farewell thing since Conrad is going to the army. Um and they're gonna just call some random person, and I think all of this is the same.

[13:14] Jesse McAnally: All of this is the same so far.

[13:20] Andrew DeWolf: Yes, the kiss thing, that's all there.

[13:22] Jesse McAnally: Yeah.

[13:23] Andrew DeWolf: So they're gonna do the big like, oh, or it's our farewell kiss. Uh, and then Conrad goes into the town and uh all the kids are upset with with well, all the boys are upset with him because he's gonna steal their ladies or something. Um, and all the parents are upset because it's Elvis Presley, and of course they're upset. Um and then Conrad is staying at this family's house with the family of the girl that he's gonna kiss kiss. Uh and also Albert and Rosie are staying there too to keep an eye on Conrad.

[13:53] Andrew DeWolf: And there's just a bunch of there's just a bunch of melodrama with that, and like they have to convince the family to like allow them to keep doing this by telling them that they can go on the Ed Sullivan show. But then there's this Russian that comes in and is gonna have a long ballet on the Al Ed Sullivan show instead of like this is this is all new, like this, but it's all nothing.

[14:14] Jesse McAnally: It's all like filler nonsense garbage.

[14:17] Andrew DeWolf: Um then like the teenage girl has to convince her current boyfriend that it's gonna be fine, that she's gonna kiss Conway Quiddy. Uh like so eventually they go on the Ed Sullivan show, but they they're not gonna be able to play the song, they're only gonna get like five milliseconds, but they have a plan. He concocted a chemical that is supposed to make animals smarter or think faster or something, and he gave it to the conductor of the Russian ballet, and it makes the Russian ballet conductor go really, really fast.

[14:56] Andrew DeWolf: So they do the ballet really really fast, and then they have time to sing the song, and then they sing the song and do the kiss, and then it ends. The movie's stupid guys, and I apologize. I assume, hey, it's got a lot of Broadway cast people. Poland is funny. I've seen the clip of kids, like it's probably fairly accurate.

[15:14] Jesse McAnally: No, no, it isn't.

[15:17] Andrew DeWolf: Apparently, it's not even remotely accurate. No, like I'd say at least the general premise in some of the songs.

[15:23] Jesse McAnally: Yeah, I'm sure that there's a lot of overlap with the songs, although I would not be shocked if most of these songs are in a different context entirely.

[15:30] Andrew DeWolf: Yes, a hundred percent. Um, however, I still think the songs are good, and when they that movie frustrates me so much because it is some of the best shot musical numbers I've seen ever. Specifically, like, um, obviously the telephone hour, but also how lovely to be a woman.

[15:49] Jesse McAnally: Like, Anne Margaret is magical in that scene.

[15:52] Andrew DeWolf: Truly. It's it's a good looking movie, but it's kind of a slog to get through because it really feels like nothing is happening for like a long stretch of time. Um basically, because the way you describe it, it feels like they essentially uh deleted acts two and three from the movie.

[16:14] Jesse McAnally: So it's basically once you get to this house and conrad is gonna be staying there and everyone's staying there, fucking nothing happens all the way through to the end.

[16:26] Andrew DeWolf: Um that's like it's it's really bad. Um the biggest thing um that I find so this the movie opens with the bye-bye birdie number, right?

[16:37] Jesse McAnally: Bye bye Bertie.

[16:39] Andrew DeWolf: Yes. That was not even originally a song in the stage show, if I believe I'm correct. That was written for the movie. Um and I like the song. Like, no, no hate towards the song um at all, because I think that song is good.

[16:54] Andrew DeWolf: I love the way they implement it into more recent productions, though. Because obviously that song became iconic. That is a very iconic opening to the movie. So the way they implement it into the stage show now in future adaptations is all the girls are just standing around saying, What would you say to him? Good luck, have fun at war.

[17:14] Jesse McAnally: I don't think you're supposed to say have fun at war.

[17:16] Andrew DeWolf: Well, what would you say to him? And they just saying bye-bye birdie there. And it's like such a well-integrated way to get that song in there. And then they bring in beautiful harmonies to that song that didn't have any.

[17:28] Jesse McAnally: I I don't know. I I really think that that song is the one good thing that came from this movie.

[17:34] Andrew DeWolf: Yeah, uh, cause I can't imagine there's very much else that's like other than just some of the how how it's shot, but like, even that doesn't really help though, because like it's not a it's not music videos. It's supposed to be a cohesive story, you know, it's a musical.

[17:48] Jesse McAnally: And the story here is just completely uh whack. I just kind of they butchered it. Um I think one of the biggest reasons why they did this um in the way, a Anne Margaret, obviously. He was very I mean, it was just she's very popular.

[18:08] Andrew DeWolf: And the fact that they got the real Ed Sullivan, so you kinda gotta centralize him a bit more, considering you have songs about him. Um there's a very famous clip of the Ed Sullivan show right before the bro right right before Broadway Strikes came back ended and they came back to the show, and he sings the Ed Sullivan song on the Ed Sullivan show, which I think like caused him to be in the movie.

[18:33] Jesse McAnally: So the movie itself feels like an advertisement for the Ed Sullivan show in a lot of ways.

[18:39] Andrew DeWolf: Because because of the way they restructured it and so much of it now centers around Ed Sullivan, like there's just a lot of scenes where they're like talking about Ed Sullivan. There's a lot of scenes where their characters are praising Ed Sullivan.

[18:54] Jesse McAnally: Uh, like, there's just there's just a lot of Ed Sullivan going on, you know.

[19:03] Andrew DeWolf: Good evening, ladies and gentlemen. Good night, live from New York, the Ed Sullivan show.

[19:12] Jesse McAnally: Who gives a shit what we have to say about this? It's time to compare ourselves to the real critics out there.

[19:15] Andrew DeWolf: It's time for previews.

[19:20] Jesse McAnally: It's time for previews.

[19:25] Andrew DeWolf: It's time for previews.

[19:27] Jesse McAnally: I'm actually very curious because I did not read this review beforehand, but this is from the April 15th, 1960 New York Times review by Brooks Atkinson. Why don't you give it a read, Andrew?

[19:37] Andrew DeWolf: Sure. Um Brooks at Atkinson says uh this again back in 1960 when the when it originally came out. Things are complicated in Bye Bye Birdie, which opened at the Martin Beck last evening. Things are also uneven. Obstenively, Michael Stewart has written a comic libretto about the impact on the country of a swaying singer like Elvis Presley.

[20:01] Jesse McAnally: Uh why are we saying obstinatively twice?

[20:03] Andrew DeWolf: Okay. Uh again, obstensibly, uh Charles Strauss, composer, Lee Adams lyricist, and ga goer champion.

[20:13] Jesse McAnally: Sorry, I think some of this is like slang that I'm not aware of.

[20:16] Andrew DeWolf: No, it's just because it's translated like from uh newspaper. So you got all the dashes from it.

[20:24] Jesse McAnally: Okay.

[20:25] Andrew DeWolf: Choreographer and director have the game thing in have the same thing in mind, I've already guessed. Uh there's just like typos in here as well.

[20:34] Jesse McAnally: Yeah.

[20:34] Andrew DeWolf: There are some ludicrous scenes that show teenagers screaming and adult ladies swooning when the great voice bellows honestly sincere and one last kiss with stupefying ferocity. Whatever its shortfalls, this is a soulful musical with its biggest asset in Andreusier.

[20:54] Jesse McAnally: In Androwsier?

[20:56] Andrew DeWolf: Mm-hmm. Which one is it?

[20:57] Jesse McAnally: It's Andrewsier.

[20:59] Andrew DeWolf: Andreusier, who is captivating to watch throughout. A glittering new musical star has surely been launched.

[21:05] Jesse McAnally: I'm glad to see it wasn't like glowing.

[21:08] Andrew DeWolf: And I'm glad to see that no one knew how to write new no one New York Times reviews were never written so clearly ever again.

[21:16] Jesse McAnally: Yeah.

[21:16] Andrew DeWolf: I think that's about enough, but it goes to show that, like, you know, it's not wonderful.

[21:22] Jesse McAnally: Yeah.

[21:23] Andrew DeWolf: It it and I'm I'm getting I'm getting kind of a vibe here. I'm wondering if uh was this written back when people didn't like Elvis?

[21:31] Jesse McAnally: I think that at the time, like, I think this musical is kind of making fun of pop in general.

[21:37] Andrew DeWolf: Pop and rock. I like, especially the way that the songs are written. It is very dismissive of the entire genre.

[21:43] Jesse McAnally: Oh yeah, like the song, like, I mean, literally, it sounds like it's like a parody title, honestly sincere.

[21:48] Andrew DeWolf: Um, like kind of kind of silly, kind of like nonsense. I mean, his overall thought in the last sentence of his writing is but as a production, bye bye Birdie is neither fish foul nor good musical comedy.

[22:01] Jesse McAnally: It needs work.

[22:02] Andrew DeWolf: Yeah. Well, I wonder if he loved the movie.

[22:05] Jesse McAnally: Maybe he liked the movie.

[22:06] Andrew DeWolf: I I guess I haven't seen the real version, but I think I completely agree.

[22:11] Jesse McAnally: Uh ironically, I was going to say before you told me about how this isn't I didn't watch like the real version of it, but I was gonna say this really felt like one of those like 1960s musicals where nothing happens and it's just kind of like music number, music number, music number.

[22:26] Andrew DeWolf: But like your description of the actual plot makes it sound like a lot more happens than what I saw.

[22:31] Jesse McAnally: Um 100%.

[22:33] Andrew DeWolf: A lot more like, and it still has that feel. I still feel like it's a little too long.

[22:37] Jesse McAnally: Like, the Jason Alexander film compared to the other film is about 20 minutes longer.

[22:42] Andrew DeWolf: Um, and I feel like I got a lot more out of it.

[22:44] Jesse McAnally: Um, however, there is a lot more just stand and sing.

[22:47] Andrew DeWolf: Yeah, I I think that there was um these early music theater uh stuff, they they didn't really know how to pace anything.

[22:56] Jesse McAnally: Uh that, or it was because things were written this was back when things had to be written under like whatever uh morality code and they couldn't actually have interesting plots.

[23:08] Andrew DeWolf: You know, you couldn't do anything interesting yet. We didn't know how to write a story yet.

[23:11] Jesse McAnally: We didn't know how those work.

[23:14] Andrew DeWolf: I mean, on some level, I mean, I think people people talk about like 50s media like it was good, but it wasn't, I don't think.

[23:21] Jesse McAnally: I I think my my actual opinion is shit that was made in like the 1950s and before they got rid of the morality code, like a lot of that shit sucks ass.

[23:30] Andrew DeWolf: Am I wrong? Like, isn't it?

[23:32] Jesse McAnally: No, you're not wrong.

[23:33] Andrew DeWolf: Um I have you seen the bullshit on Twitter where everyone's like, there's too much sex in media.

[23:40] Jesse McAnally: Why do we need all these pointless sex scenes?

[23:43] Andrew DeWolf: We just need to see a shoe come off or a brothel on the floor. You know, some people like sex and they want to see it. Did you ever think of that?

[23:51] Jesse McAnally: I didn't.

[23:52] Andrew DeWolf: No, no. Other than being cute.

[23:54] Jesse McAnally: I have seen that stuff, but like, I don't agree at all.

[23:57] Andrew DeWolf: Like, I don't even really like having sex scenes and shit, but like, why are we why would we want to limit that?

[24:02] Jesse McAnally: And also, I think that media is more sexless now than it has been in a long time.

[24:08] Andrew DeWolf: Yeah, and I don't know why.

[24:10] Jesse McAnally: Like, I feel like Maybe it's just because we have so much porn, like easy access porn, that we're like, who who cares about watching like sex scenes in movies?

[24:19] Andrew DeWolf: Are you ready for the letterbox game?

[24:21] Jesse McAnally: I am ready.

[24:22] Andrew DeWolf: I am literally the dad.

[24:24] Jesse McAnally: God, I hope not.

[24:25] Andrew DeWolf: The dad, not an aspirational character in this. Uh, but we're gonna give it a five star they love that.

[24:31] Jesse McAnally: That is correct. And I do love the dad. I think Paul Lynde is wonderful in the movie.

[24:35] Andrew DeWolf: I think the dad is very funny, but he is a 1950s dad.

[24:40] Jesse McAnally: Uh-huh.

[24:41] Andrew DeWolf: And in the Jason Alexander one, they go for like much more dominant, heterosexual, big, bigger billed male. And the jokes just don't land as well, if I'm saying anything, where like it's like, I don't get any respect here. The kid's like, I respect your dad. He's like, I don't want your respect. You're a kid. Um, and it's very sincere where Paul Ed is like, I don't want your respect.

[25:07] Jesse McAnally: Yeah, he he's he is a good part of the uh of the movie that I watched.

[25:11] Andrew DeWolf: Yeah. He is like that kid sequence, wonderful. Um he's just so pathetic. He's so pathetic in it that you you have to laugh at him. He just wants to be on Ed Sullivan. I have one goal, and that's on being on Ed Sullivan. Um Best Elvis movie.

[25:27] Jesse McAnally: Incorrect.

[25:28] Andrew DeWolf: I was gonna say it earlier. Uh this is a bad version of the Elvis movie that we watched.

[25:33] Jesse McAnally: Um couple weeks back.

[25:34] Andrew DeWolf: Yeah, I'm gonna say that these guys are full of shit, and they actually gave it a one star.

[25:39] Jesse McAnally: That is correct.

[25:39] Andrew DeWolf: Oh, I called it.

[25:41] Jesse McAnally: You did.

[25:43] Andrew DeWolf: The things I have watched for beautiful women. Uh, boyfriend forced to watch this. This is such an obvious one star that I feel like it's not, but I'm sticking to it. It's a one-star.

[25:53] Jesse McAnally: That's a five, you're wrong.

[25:55] Andrew DeWolf: I don't get it either. Fuck me. So the whole premise was built around giving Molly to a turtle. Uh so they watched the one that I watched. And sort of correct, yes, actually. I mean, mostly it was built around giving giving Molly. Molly to a Russian to a Russian uh conductor. But we're gonna give it uh we're gonna give it a five star on that one.

[26:17] Jesse McAnally: Um that is a one star.

[26:19] Andrew DeWolf: Motherfucker. I wish Conrad would die in the war.

[26:22] Jesse McAnally: I feel like he does.

[26:23] Andrew DeWolf: Um at least in the one that I watched. In the one you watched, I feel like that's the vibe. And the w they make Conrad slightly nicer in the one that I watched, but also, you know, you know.

[26:34] Jesse McAnally: Yeah.

[26:35] Andrew DeWolf: Um, but they also punish him by putting him on the same train as Albert's mom.

[26:40] Jesse McAnally: Does he end up going to war though?

[26:41] Andrew DeWolf: Yes.

[26:42] Jesse McAnally: Okay, so I'm gonna give it a fuck. I've been wrong.

[26:45] Andrew DeWolf: Five stars.

[26:46] Jesse McAnally: Five stars.

[26:47] Andrew DeWolf: It's a one star.

[26:48] Jesse McAnally: Fuck me. Kim, where did he pin ya?

[26:50] Andrew DeWolf: On the back seat. I remember I remember this part, but I don't remember if this would be something that they would like.

[26:55] Jesse McAnally: Five.

[26:56] Andrew DeWolf: I'm going five again.

[26:57] Jesse McAnally: That is a one.

[26:59] Andrew DeWolf: You've gotta be kidding me.

[27:00] Jesse McAnally: They're quoting it.

[27:01] Andrew DeWolf: I mean, that is kind of a very sexually charged line.

[27:05] Jesse McAnally: It is.

[27:06] Andrew DeWolf: What does that make it bad?

[27:08] Jesse McAnally: Um, all right, two more. Horniest film of the sixties. I'm sticking to my guns. One of these is gonna be five stars. Five stars.

[27:15] Andrew DeWolf: That is correct.

[27:17] Jesse McAnally: Okay. We made it.

[27:18] Andrew DeWolf: We made it there. Finally, watched at City Screen, in parentheses, with Jack.

[27:23] Jesse McAnally: Jack sucks.

[27:24] Andrew DeWolf: One star.

[27:25] Jesse McAnally: That is correct. And you have done fairly well in the letterbox game today.

[27:31] Andrew DeWolf: Thread it to you. That was a really stupid game.

[27:34] Jesse McAnally: Alright, fuck in fuck Jack, honestly.

[27:36] Andrew DeWolf: Yeah, fuck Jack.

[27:37] Jesse McAnally: Jack.

[27:37] Andrew DeWolf: And Conrad. If you're named Jack, go jack yourself off.

[27:41] Jesse McAnally: Yeah, good. Um Yeah, it's gonna be a jack off around here. Alright, let's go on to a mid-show.

[27:53] Andrew DeWolf: Hey guys, sorry to interrupt you in the middle of the show, but we've got a shish at you. Today's show is brought to you by the extremely kind donations of IR donors over at Patreon. Patreon's this wonderful place where you can get tons of cool stuff like patron only commentaries, our episodes early, video episodes where you can see our faces and get extended pieces.

[28:12] Jesse McAnally: I'm gonna have to, I think.

[28:14] Andrew DeWolf: Yeah, this this episode's a little chaotic. Um you're also gonna add a lot more fun stuff. Um, but who's currently supporting us on Patreon, Andrew?

[28:23] Jesse McAnally: Well, our current patrons are Melissa Goldman, Danielle Rennox, Justice Stampede, Ewan Cassidy, Monica Thoreau, Brent Black, Lathaniel Stacy Coombe, Joseph Evans Green, Mary Lou Choquette, John Vanals, Russ Walker, uh, Musical Hell, Emily Gracie, Kyle Summers, Janay C, Scootin' the Technicolor Dreamcoat, Liz Lim, nothing is certain except Beth and Texas, Desbian, Robert Benjamin, Jessica T, Mitchell Young, Chai Kecup, Chris Marcote, Kiji Maria Anastasio, Leela, RJ Noriga, uh, Julia McLennan, Bjorn Hermans, uh, Toriana Frazier, Sammy the Adequate Amount Jacobson, Leana Morton, Haley Blazier, Cinemageddon Reviews, Villainous Miss, Sophina Ali, the Omega Geek, Paige Pearson, Matty Wargle, Eliza Erdman, Anna Loscatova, Sarah Den Blaker, Evan Ball, Zachary Terez, Rora Morasso, Mar Mara Forloyne, Captain Rod Taskick, Lisa L, Possessed Washing Machine, uh Nick Roe Ten, Julia Hardy, Jay Cusia, uh Caitlin Bridgman, Sidney Hicks, Anna, Annabelle, uh, Billy Clifton, Andrew Wright, and the Red Caboose.

[29:38] Andrew DeWolf: These folks give us a little extra financial support that helps us keep the lights on here at Musicals and Cheese. If you'd like to join them and get tons of fun purse, come join us over at Patreon.

[29:46] Jesse McAnally: Alright, you ready to get back to the show?

[29:48] Andrew DeWolf: I am ready to get back to the show.

[29:50] Jesse McAnally: Let's fucking do it.

[29:58] Andrew DeWolf: Obviously, we we're gonna have some differences here. Um, I'm gonna try to speak with as much overlap as possible. The telephone song is one of the most iconic musical theater numbers of all time.

[30:11] Jesse McAnally: Hi, Nancy!

[30:13] Andrew DeWolf: Hi, Ursula!

[30:15] Jesse McAnally: What's a story?

[30:16] Andrew DeWolf: Morning Glory!

[30:17] Jesse McAnally: What's a tale?

[30:18] Andrew DeWolf: Nightingale!

[30:19] Jesse McAnally: Did you hear about Hugo and Kim?

[30:20] Andrew DeWolf: Hi, Margie.

[30:22] Jesse McAnally: Hi, Alice.

[30:24] Andrew DeWolf: What's the story?

[30:25] Jesse McAnally: Morning glory!

[30:26] Andrew DeWolf: What's the word?

[30:27] Jesse McAnally: Hummingbird!

[30:28] Andrew DeWolf: Have you heard about you going Kim?

[30:30] Jesse McAnally: Did they really get pinned?

[30:31] Andrew DeWolf: Did she kiss him and cry? Did he pin the pin on? Or was he too shy? Well, I heard they got pinned.

[30:39] Jesse McAnally: Yeah, yeah. I was hoping they would.

[30:43] Andrew DeWolf: Oh, it's Eddie Burger.

[30:44] Jesse McAnally: Hello, Mr. Hankle.

[30:46] Andrew DeWolf: This is Hobby Johnson. Can I I talk to Penelope and true about Kim?

[30:52] Jesse McAnally: Penelope? I just knew it somehow. About the prompt. I must call a ride out Saturday. I can't talk to you now.

[31:00] Andrew DeWolf: Yeah, it's it's it's very good.

[31:02] Jesse McAnally: I I like how it's shot as well with the I mean, is is that like split panels thing?

[31:07] Andrew DeWolf: That was sort of new at the time.

[31:09] Jesse McAnally: Yeah.

[31:10] Andrew DeWolf: And very stylized, very 60s in a good way.

[31:13] Jesse McAnally: Yeah, yeah. Like it it's it's a very it's not something they would definitely not shoot it this way now, but you kind of have to appreciate the stylization and the the way they did it is just really good.

[31:27] Andrew DeWolf: And the fact that they're on sync with each other, like I'm just imagining planning all that to make sure the beat is when one leg's going up, the other one's going down, and all that.

[31:37] Jesse McAnally: They did an amazing job with it, and it really sucks that they had to put it into this movie, but like it's still inky, it's still it's out there, and you can watch just that alone, you know.

[31:46] Andrew DeWolf: I think as a scene on its own, like I also just love everyone's pajamas and costumes in that scene. Call me crazy, but I just think like everything about that scene is great. Like, and the jokes, like the shower, the fact that they're showering and there is two adjacent telephones in the shower is a very funny image to me. Like there's a lot of good gags, a lot of great gags in there.

[32:11] Jesse McAnally: Um yeah, and I know like we're that's as positive as I can get there. And sadly, the the TV movie does not do that scene as much justice.

[32:21] Andrew DeWolf: They do it just by editing and not by split screens.

[32:25] Jesse McAnally: Yeah, I I really appreciate what they did with it. Speaking of things, I appreciate what they did with how lovely to be a woman, incredible, incredible in the movie.

[32:33] Andrew DeWolf: I like the long shots in that scene are are really impressive and really engaging.

[32:47] Jesse McAnally: How lovely to be a woman.

[32:51] Andrew DeWolf: The wave was well worthwhile.

[32:54] Jesse McAnally: How lovely to wear mascara and smile, a woman smile.

[33:00] Andrew DeWolf: How lovely to have a figure that's round instead of flat.

[33:07] Jesse McAnally: Whenever you hear boys whistling, you're one there whistling that.

[33:13] Andrew DeWolf: It's wonderful to feed the way woman feeds.

[33:19] Jesse McAnally: It gives you such a glow.

[33:22] Andrew DeWolf: Just to know you're wearing lipstick and heels.

[33:27] Jesse McAnally: I I just wish I liked the song more.

[33:29] Andrew DeWolf: It's confusing.

[33:31] Jesse McAnally: Like, as far as the message goes.

[33:33] Andrew DeWolf: Cause she is like chasing age and then decides like maybe I don't want to grow up so fast.

[33:39] Jesse McAnally: But also we don't we don't really get an arc like that in either version of the movie.

[33:45] Andrew DeWolf: Like, or yeah, of the story. Maybe more in the stage version, um, just slightly, because she's like, uh, men are dangerous, maybe I don't want to grow up too fast and smoke weed and do all these things.

[33:55] Jesse McAnally: You don't get shit in the movie.

[33:57] Andrew DeWolf: There is no follow-through in the movie at all.

[34:00] Jesse McAnally: Um speaking of no follow-through, put on a happy face is a fun number that does nothing.

[34:05] Andrew DeWolf: Like he cheers up one girl, good for him.

[34:15] Jesse McAnally: Okay, skies are gonna clear up.

[34:19] Andrew DeWolf: Put on a happy face.

[34:25] Jesse McAnally: You got it.

[34:26] Andrew DeWolf: Put on a happy face.

[34:29] Jesse McAnally: And take off that gloomy mask.

[34:32] Andrew DeWolf: Tragedy.

[34:33] Jesse McAnally: Yeah, it's not your style.

[34:35] Andrew DeWolf: Nah, it's not your style.

[34:37] Jesse McAnally: You look so good that you're glad to decide to smile.

[34:44] Andrew DeWolf: Pick out a pleasant outlook.

[34:47] Jesse McAnally: Okay, stick out that noble chin.

[34:50] Andrew DeWolf: You know how to tell.

[34:52] Jesse McAnally: Wipe off that full of doubt.

[34:54] Andrew DeWolf: Look, slap on a happy grin.

[34:59] Jesse McAnally: And spread sunshine all over the place.

[35:06] Andrew DeWolf: Put on a happy face.

[35:10] Jesse McAnally: Yeah, you could say it's like uh it's it's his character, it's like how he sees the world, I guess.

[35:16] Andrew DeWolf: But it's not.

[35:17] Jesse McAnally: He's like this weird mommy's boy.

[35:20] Andrew DeWolf: Yeah, it literally isn't, it doesn't describe him at all. If anything, he's kind of uh he's kind of a downer earlier on in this, so I in every version this song doesn't really track with who he is, aside from like, hey, let's have a charming dance number.

[35:34] Jesse McAnally: Yeah, well, I mean, this there's a couple songs in here that I think are just there because we can do a dance.

[35:39] Andrew DeWolf: I noticed in the second act, there's like two songs that are like a ballet.

[35:43] Jesse McAnally: Yeah, um.

[35:48] Andrew DeWolf: I don't oh it's I struggle.

[35:51] Jesse McAnally: I struggle to talk about this right now.

[35:54] Andrew DeWolf: Um I apologize to audience members that are like really into it.

[35:58] Jesse McAnally: Well, let's talk about a hymn for a Sunday evening, which is the Ed Sullivan song.

[35:58] Andrew DeWolf: Ed Sullivan.

[36:08] Jesse McAnally: Me, Harry McAfee appearing with Ed Sullivan Ed Sullivan Ed Sullivan Head Sul and Sullivan and Sullivan.

[36:43] Andrew DeWolf: We're gonna be on and so on.

[36:48] Jesse McAnally: Yeah. I love the title because it hides the punchline.

[36:52] Jesse McAnally: It hides the punchline beautifully. It's fun. I really like the premise where the dad just really fucking likes Ed Sullivan for some reason. It's his favorite person, and he's convinced to do this by that. I don't know if that's the case in the version that you watch.

[37:09] Andrew DeWolf: It is, and he goes like out into the neighborhood and convinces the entire neighborhood, like, hey, I'm gonna be on Ed Sullivan. It's great.

[37:19] Jesse McAnally: Yeah, it's wonderful, wonderful. See, I want to talk about a song, but I know it isn't in your film. But it was probably like it was Baby Talk to Me. So let me set this one up for you.

[37:34] Andrew DeWolf: Okay. Rosie leaves Albert because Albert kind of goes back on his word a lot. That's kind of his big character trait is kind of lying and going back and going with whoever's talking loudest in a scene.

[37:48] Jesse McAnally: Yep. So she decides I'm gonna go get drunk at the bar and I wanna find a bunch of men to fuck and basically get revenge. He finds out what bar she's at, he calls her, and has this beautiful, like sincere number Baby Talk to Me, and then all the bar patrons are singing the backup harmonies there and like supporting him. And the punchline is like after this very heartfelt song, and these men kind of supporting him, she's like, talks to the men. He's like, What? There are other men there, and she's like, Yes, and I'm gonna bang them all! So after this really sincere song, she and these men helping him on it with his case, it's like he immediately like throws them under the bus and goes against everything that just happened. It is probably the best executed joke in that entire like second half of the movie.

[38:41] Andrew DeWolf: I'm so glad that they cut it out of the movie. Yeah, um, it sincerity is very hard to come by in your film. Like it forgets the main emotional and really wants to focus on the Conrad Birdie side of it.

[38:55] Jesse McAnally: Which Conrad's not a character, he's like a bare he's a cipher. Don't worry, they added some weird sci-fi in there as well for you.

[39:05] Andrew DeWolf: Oh yeah, they added like goat cum that makes you go fast. Yeah, he's fine. It's all good. Um, I so the Shriner scene. I know that's in yours.

[39:14] Jesse McAnally: The context is very different in yours. What's the context in yours?

[39:20] Andrew DeWolf: So she goes to this bar, the barkeeper's like, hey, we're shutting down. And then she goes in there and immediately tries to seduce them, and it looks like she just has a gangbang with them, a consensual gangbang with all the shriners. And it's like after she has this really intense dance and it's Vanessa Williams, so she kills it. Still not of Latin descent, but you know what? Not Janet Lee. It's like kind of a similar like setup in the movie.

[39:47] Jesse McAnally: But it builds to a non-consensual, like almost sexual assault.

[39:51] Andrew DeWolf: Yeah. Um, but she does they do end up in a bar because it's where the mom is, I think. Like the guy's mom is in there, so they go there, and then there's a bunch of guys with Fezes on, and so she goes and like just dances with them, and then yeah.

[40:07] Jesse McAnally: Uh I don't really understand why the scene even needed to be here. It really didn't do anything, but it's because in the stage show, Cheetah could dance and really fucking nailed this, like, dance number.

[40:20] Andrew DeWolf: Um, and then Janet Lee tried her best. It's it makes no sense in the movie. It doesn't really make a lot of sense in the stage show.

[40:28] Jesse McAnally: Um, I hear it leans more towards the non-consensual thing in the stage show, and that my movie is like, you know what, just make her enjoy it. Cause fuck it.

[40:36] Andrew DeWolf: Um, I do want to talk about kids.

[40:39] Jesse McAnally: Kids! I don't know what's wrong with these kids today.

[40:43] Andrew DeWolf: Kids! Who can understand anything they say?

[40:48] Jesse McAnally: Kids, they are disobedient, disrespectful oats, noisy, crazy, sloppy, lazy loafers, while we're on the subject, kids!

[40:57] Andrew DeWolf: You can talk and talk to your faces, blue.

[41:00] Jesse McAnally: Kids, but they still do just what they want to do. Why can't they mean like we were perfect in every way? What's the matter with kids today?

[41:13] Andrew DeWolf: Because it's very different context in my version versus your version.

[41:18] Jesse McAnally: So, kids in your version, it's like Albert's mom and Kim's dad singing about how terrible kids are.

[41:27] Andrew DeWolf: Um, where in my ver like just to try to convince Albert not to leave the mom is basically how that goes out. In my version, he's singing that as he's getting ready to like go out and get Conrad for kidnapping his daughter.

[41:43] Jesse McAnally: So it's a bit of a darker, darker version.

[41:47] Andrew DeWolf: Exactly. And the he's like telling his son to go get like pea shooters and like the squirt guns so he can go find them. I don't understand why they cut all of these plot lines from the movie.

[41:58] Jesse McAnally: I don't know either. It's very weird. It sounds a lot more interesting than what I watched.

[42:04] Andrew DeWolf: It is. And so when they did Hairspray Live a thousand years ago, I want to say it was like four or five years ago. In the middle of the commercials, they were like, Bye Bye Birdie, coming next year uh to NBC Live starring J-Lo, which, you know, J-Lo would have been a good Rosie.

[42:21] Jesse McAnally: Honestly, she would have been very good.

[42:24] Andrew DeWolf: Then it never happened. You know, honestly though, I feel like this doesn't need to come back.

[42:33] Jesse McAnally: I wouldn't mind like a live event. You know, that I think this would actually suit that fine. I just i there's other things I'd rather see first, though.

[42:42] Andrew DeWolf: Oh, agreed, but this is this is such a low priority, I would say.

[42:46] Jesse McAnally: Do you think I would say that there are certain elements that did not age well? But then there's other elements I think really aged well.

[42:54] Andrew DeWolf: Like specifically the teenage relationship to their media icons. Because whether it's a Jonas Brothers or the Beatles or Taylor Swift, they will always love their their toxic gossip train.

[43:06] Jesse McAnally: Sure, sure. But I feel like a lot of the stuff with like, say the dad character, like he's kind of um I he's portrayed in a bit of a toxic way, I would say.

[43:16] Andrew DeWolf: Where he's very, but like, would I bring that back when we could just make something new that doesn't have that? No.

[43:25] Jesse McAnally: I don't think so. I don't imagine a revival of Bye Bye Birdie is on anyone's top priority.

[43:32] Andrew DeWolf: I'm glad we got the remake in 95, so at least we have an accurate-ish version of the stage show in Celluloid.

[43:40] Jesse McAnally: Yeah. And I'm not saying this is like we need to leave it behind, it should never come back. I just think I'm not clamoring for it.

[43:47] Andrew DeWolf: I think it is a show that belongs in community theaters now.

[43:51] Jesse McAnally: And you know what? That's not a negative toward it. You know, I think kids would have a lot of fun.

[43:56] Andrew DeWolf: Kids! I will say, you know who does the best cover of kids um outside of Paul Inn?

[44:01] Jesse McAnally: Uh My Chemical Romance?

[44:03] Andrew DeWolf: Um, no, but that's a good guess. Robbie Rosell!

[44:06] Jesse McAnally: Kips! I don't know which mom with these kids today.

[44:11] Andrew DeWolf: Kids who can understand anything they say. Kids, they are disobedient, disrespectful hopes. Noisy, crazy, sloppy, lazy loafers.

[44:23] Jesse McAnally: And while we're on the soccer kids, they are just impossible to control. Kids with their awful clothes in a rock and roll.

[44:33] Andrew DeWolf: Why can't they be like we were perfect in every way? What's the matter with kids today?

[44:42] Jesse McAnally: I love that. Love that. Love that so much. Um, but Andrew, what is your overall thoughts on Bye Bye Birdie and your cheese rating?

[44:50] Andrew DeWolf: Um. So my overall thoughts is it really just kind of felt bland and lame to me. Uh there was some plot elements like the chemist plot and the like sci-fi nonsense at the end that just felt like, what the fuck am I watching? Like, why is this even here?

[45:06] Jesse McAnally: And then there's other people.

[45:11] Andrew DeWolf: And then there was other parts that are just like, this is just boring. Like, this is just straight up, please. Can we do something? Um that being said, it wasn't like all bad. It didn't, it wasn't like offensive to watch necessarily or it's not like thoroughly modern Millie with the white slavers and yellow face.

[45:28] Jesse McAnally: Yeah, like like honestly, it was mostly fine. Like, would I want to watch it again? Probably not, although maybe to watch the one with uh Jason with Jason Alexander.

[45:38] Andrew DeWolf: Maybe we'll do a commentary on that one day.

[45:40] Jesse McAnally: Yeah, but am I like, you know, oh damn, I gotta run out and grab that real quick. Like, I don't care. The songs are good.

[45:48] Andrew DeWolf: Like, it's like, even you have to admit, some of these songs are pretty catchy.

[45:51] Jesse McAnally: Yeah, yeah. No, there's there's certainly some good songs, and it is it is cool how they shot some of these numbers back even way back in 1960.

[45:59] Andrew DeWolf: Um, I'm gonna give it uh Birdie's Birdie's Pimento Cheese.

[46:03] Jesse McAnally: Oh. Um that is a good choice. Man.

[46:08] Andrew DeWolf: Um, I struggle with this show. I feel like everyone understands where I come from.

[46:14] Jesse McAnally: Um, like the show, see, I defend my version, and I'm still not sure if I liked it. I just know it was better than the one that you got.

[46:21] Andrew DeWolf: Yeah. I mean, it sounds better than the one that I got. It sounds like there's a lot more going on at the very least.

[46:27] Jesse McAnally: Yeah, there's definitely a more interesting through line and a more compelling core, which is the relationship between um Albert and Rosie, which if you got a relationship that works, and Jason Alexander and Vanessa Williams wouldn't have imagined they'd be the main couple that would work, but they really do have chemistry and I love them together.

[46:48] Andrew DeWolf: And it the the thing that really drives it is Rosie is doing this because it was literally the last thing that she promised to do before they got married.

[46:59] Jesse McAnally: So it gives her more of a reason to be a participant in this. Where in the other one she just feels like she strung along with it.

[47:06] Andrew DeWolf: Um I like it. I don't think I'll ever watch or listen to it again.

[47:11] Jesse McAnally: Like it's not like I'm gonna clamor to listen to. I think Dick Van Dyke is a lot of fun on the cast album.

[47:17] Andrew DeWolf: I think Paul Lind, I will rewatch that kid's scene often. Outside of that, it's okay.

[47:24] Jesse McAnally: I get why it was popular, I get why it made an impression, but eh.

[47:28] Andrew DeWolf: So I'm giving this bacon cheeseburger mac and cheese, because that feels quintessentially 60s and like, you know, a breakfast, dinner, and cheese thing mixed all together into like one sixties nonsense pole.

[47:41] Jesse McAnally: Yeah, no, that's that's a good one actually. You know what else is a good one? All of our patrons.

[47:46] Andrew DeWolf: Yeah, bet your ass. Thank you guys for listening. We're on iTunes Spotify Stitcher Musicals, which we're not on Stitcher.

[47:51] Jesse McAnally: Fuck, Stitcher doesn't exist anymore.

[47:53] Andrew DeWolf: Stitcher does not exist anymore. You can do that. It's it's deleted. I just said it because I've been saying it non-stop for five years, man.

[48:02] Jesse McAnally: It's true. I can't believe it's gone.

[48:04] Andrew DeWolf: I can't yeah, like how are we gonna survive without Stitcher?

[48:08] Jesse McAnally: We are on like Google at uh Google podcast and whatever. I don't promote that, but we are there.

[48:14] Andrew DeWolf: Um we're on Twitter at Cheesy Musicals, Patreon Music. Someone's listening. There's like 250,000 or 250 downloads per week there.

[48:21] Jesse McAnally: I don't know who you people are.

[48:23] Andrew DeWolf: Um we're on Patreon Musical Cheese, Instagram Musical Sheed, YouTube Page Musical Cheese, Patreon only podcast, Patreon with cheese.

[48:28] Jesse McAnally: Me email us at musical theater lives at gmail.com or keep of the cheese is Juliet Antonio.

[48:32] Andrew DeWolf: This show is edited by Andrew DeWolf, and he's doing a great job.

[48:35] Jesse McAnally: I think he's doing good. Um the queue to the Broadway podcast now we're for having us on the platform and for not kicking us off for exciting all those teens so much that they're fainting.

[48:44] Andrew DeWolf: Jesse and I can't even go to a normal town without all the ladies fainting, just the thought of our names.

[48:51] Jesse McAnally: It's so true, and and that's why I am so honestly sincere. We'll see you next time on Musicals with Cheese.