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[0:01] ♪ Musical number ♪

[0:32] Jess: Hello and welcome to this very special episode of Musicals with Cheese, which is basically just an episode of Musicals with Cheese. And today I am joined in a hotel room in beautiful New York City by Miranda Moffat. Say hello.

[0:49] Miranda Moffat: It's me. I'm here. Hello, everyone.

[0:52] Jess: Yes. Um, we have been brought to New York City for the official premiere of the Daughters of the Domino. But we're gonna squeeze in some Broadway shows, and we're gonna have a couple of these. And our first one is I don't know if we're allowed to say the title of this musical without getting cancelled. So let's call it the Mama Rose musical starring Audra McDonald.

[1:19] Miranda Moffat: You could say Gypsy.

[1:21] Jess: Oh my gosh, she said it. Oh my god. You know, it's the title of the musical. It was written in a time.

[1:27] Miranda Moffat: It is, and certainly they contextualize the slur within the musical.

[1:32] Jess: Like it is a slur still in the musical very much.

[1:35] Miranda Moffat: Yeah.

[1:36] Jess: Um, I I've done a review of Gypsy a few years ago with Andrew, um, where I sung its praises, and you know what? Until you see it live, you don't understand. And I don't know what Nicole Schlesinger was allegedly doing over at Sunset Boulevard, but there ain't no way it's touching what Audra was doing in this show. My God. But Miranda, this is your first time properly sitting down and experiencing this musical. So I really curious what your opinion of it generally was.

[2:14] Miranda Moffat: I mean, Audra McDonald was transcendent. There is that moment at the very end when she sings the big number. Um, Rose's Turn. And at the very end when she finished, there was like what a minute or two solid people literally, when she finished, the whole house was up on their feet, clapping, hooting, hollering. Um, it was absolutely electric to be in that room and to be experiencing that for the first time. Um, truly special, truly special.

[2:53] Jess: Yeah, it makes me feel like a real jerk because this show is closing in like seven days from tomorrow. Damn. Like we are like one of the last people that'll ever get to experience one of the best interpretations of that role ever to be performed.

[3:08] Miranda Moffat: No, no. I mean, I always have concerns just because I'm, you know, not a thespian, I guess. When I go to see musicals or plays or things that don't automatically catch my interest or that I know were, you know, from an older generation, from an older time that maybe I'm not going to, I don't know. Did dare we bring up your experiencing My Fair Lady when I had COVID?

[3:34] Jess: Well, so something similar to that is my fear where it's just not gonna resonate with me. Like the I'm not gonna get the references, like the material's not gonna really catch or be super relevant anymore. Um, but that is definitely not the case. Um, I thoroughly enjoyed myself, genuinely. Here's the shocking thing. Um, so I'm aware of at least three versions of Mama Rose that have been portrayed. Um, there's obviously Patti LuPone, Bernadette Peters, Ethel Merman. Like those are the big ones that we actually have good amounts of content from. None of them ever disappeared in the role. Like this role was written specifically for Ethel Merman, like for her voice for her performance. Like, they knew what they were getting and they wrote to her strengths.

And none of the other actresses that played Mama Rose ever disappeared into the role where I no longer saw the actress. Audra McDonald is a very poised, elegant lady, and she is performing this role so well that I no longer saw the actress Audra McDonald anymore. I just saw this version of Mama Rose.

[4:52] Miranda Moffat: No, I mean, I agree. And the thing about it was is it was not a performer sitting on stage trying to impress you with their vocals. Like she wasn't, you know, doing the things that we all know she's capable of doing with her voice, especially in Rose's Turn. She was not really singing, she was acting through the song. Like that's what really hit me about it, is like she can hit the high notes, she can sing it perfectly, she can sound like an angel, but she's choosing not to do that. She's choosing to have snot and tears running down her face and to look ugly and disgruntled and to be essentially yelling the lyrics, you know, to make you feel what's happening. She is performing as this person who is having essentially a mental breakdown.

[5:39] Jess: And yeah, that's what you saw. And with all this praise, and I have gripes, obviously. This there's a couple.

[5:51] Miranda Moffat: Okay.

[5:51] Jess: Um, but I with all the praise that we're giving Audra, which is deserved, the ensemble, um, most of all, like the person that I was looking at and just awed by the entire time. I think I turned to in the start of um at the end of Act One, I was like, Joy Woods is a star, and this is incredible stuff she's doing here in what is easily a thankless role in act one, where I'm just like, oh, she is performing in every single moment, even when she is not the front and center performer.

[6:29] Miranda Moffat: No, I mean, I agree that I kept thinking throughout the performance, I was like, I don't think it gets better than this. Like, this is the tip of the iceberg as far as like talent is concerned. And I was especially pretty, you know, I think, yeah, Joy Woods, definitely for sure. And the way that she was able to like physically transform herself from somebody who was like an introvert to an extreme extrovert performer, like somebody who you could tell at the beginning was like afraid of their own body and their being an adult and their own sensuality to the point that they are like now at the end of this. Like a very convincing burlesque performer, genuinely. Um, that was definitely impressive. And I was also impressed, very impressed with the woman who played June. Um, June, right? Did I say?

[7:21] Jess: Um, yeah, um, and they both came from the Notebook musical. I'm trying to remember. I think her name was Jordan. I don't remember her last name. Forgive me. The playbills over there. We could literally just go look.

[7:33] Miranda Moffat: Pause. Hold. Oh my gosh. Oh, she's running. She's running. She's a track star. I really was impressed. Let's see.

[7:51] Jess: Who's in the cast?

[7:53] Miranda Moffat: Jordan Tyson. That's it. Um, they both came from the Notebook, the musical. Um, I was not a big fan of what Jordan Tyson was doing. I think she's a fantastic singer and dancer, but call me mean. It felt like she was just putting on an audition for Glinda down the road.

[8:13] Jess: I mean, I was just impressed by the physical feat that she was able to achieve, like the notes she was hitting, and like the tone that she was hitting felt like it was going to shatter glass. It was so high. Her voice was so high. Um, and she was so funny.

[8:37] Miranda Moffat: She was very funny. There was something I guess, which maybe you can tell me if this is something that maybe not every interpretation has, but I kind of remembered that yes, there were some funny moments, but like overall, Gypsy's kind of a bit of a downer.

[8:50] Jess: Yes.

[8:51] Miranda Moffat: Overall, I had a really good time. It was really funny. All of the jokes really hit all of them. I mean, even in those final moments.

[9:00] Jess: Well, the thing is, Audra finds jokes where there's not written jokes. If like, and the same thing can be said for Patti, not to dump praise on Patti at these trying times, but she also is very good at finding jokes and things that weren't written as jokes. And Patti's jokes are very different than Audra's jokes, and I find their power so good.

[9:24] Miranda Moffat: The parts that I always struggled with with this musical when I would watch, like, you know, the Pro Shot or Bootlegs is the vaudeville segments. Like those are a real slog to listen to and watch a little bit.

[9:37] Jess: You're not a big fan of like out of context, just like musical numbers. Like you have this gripe with literally every single thing that exists, except for Carousel, right?

[9:49] Miranda Moffat: Carousel? Is that what I'm I like the ballet that's that's the one that has the song about a clam bake, isn't it?

[9:56] Jess: Yeah, I fucking hate the clam bake song. Don't you dare what is it?

[9:59] Miranda Moffat: No, June. Is it the June one?

[10:00] Jess: June is busting out all. You love the stupid nonsensical songs in that that have nothing to do with the plot, and that one only. Every other musical ever, your gripe is always that you don't like the extended dance or numbers that have nothing to do with the plot.

[10:15] Miranda Moffat: Okay, you are calling me out. Sometimes we're just here to have a good time, Jess. Sometimes we just like a little song and dance.

[10:22] Jess: Well, what I am about to say is giving the credit there, which is I always struggle with those in the pro shop. But when you're seeing a 10-year-old do these flips and dances and all that, it is extraordinary to watch.

[10:33] Miranda Moffat: Very impressive. I mean, I there's at least one moment in every show where I'm just like, uh, this could move a little faster. I did not feel that way tonight.

[10:42] Jess: Like it was all very perfectly paced, and I was having a good time the whole time.

[10:46] Jess: And I gotta say, while we're talking about the people that everyone always gives praise to, you know, like the Louise, the Mama Rose. A character who is often shafted and really kind of a thankless nothing character who was given love and humanity is Herbie.

[11:03] Miranda Moffat: Yeah.

[11:03] Jess: Danny Burstein is incredible. He's like probably one of the best character actors working on the stage at the moment.

[11:12] Miranda Moffat: No, I don't remember. I know we watched, I think the Emil DeStauntin' shot of this, and I genuinely do not have any recollection of what that character was like in that because it was so forgettable.

[11:24] Jess: Do you know who played him in that production?

[11:26] Miranda Moffat: I don't. Uh, Peter Davidson, David Tennant's father-in-law, and the fifth doctor.

[11:31] Jess: I was gonna say Doctor Who.

[11:32] Miranda Moffat: Yeah, I have no recollection of that. But no, he was the romance that they were able to portray between the two characters, Robin Rose and Herbie, was like actually really genuinely sweet.

[11:46] Jess: Like, I don't know why I had this preconceived notion in my head, maybe because I associate Emil DeStauntin with that specifically, and because she is the bad lady from Harry Potter. And she plays her a lot more, I don't know, a lot less sympathetic than Audra did. And maybe that's what I was picking up on, but I just like I was just worried that it was gonna be a slog of being like, 'This is the worst person I've ever seen.' Like, this would be the worst person you'd ever met. But no, I mean, they did give that character a lot of humanity and humor, and like you were rooting for her to do well.

[12:29] Jess: While there is obviously a favorite daughter, she still shows love for Louise and all these other things. Make sure that she's not, it's not like a, you know, abusive stepsister and the lauded child. It feels more like a more realistic sort of dynamic that can play out often in families where there's sort of the, you know, obvious favorite, but you still love and care for, you know, for everybody.

[12:56] Miranda Moffat: And so I was surprised, I guess I was surprised to see that that was really a big part of it. Was like nothing was super black and white, like everything was various shades of grey as far as, well, I mean, obviously, like pretty black and white on the fact that like, yeah, you probably shouldn't favor one child over the other, like ridiculously obviously. That's pretty fa, you know, pretty clear. And also, like, maybe don't force your kids into show business because you craved a life of being a star and you couldn't do that. Like, those things pretty obvious, obviously. The sad thing is in real life, they both did become pretty well-off stars. So she did do it.

[13:33] Jess: So give me the backstory because I don't know anything about the actual history of this.

[13:43] Miranda Moffat: It's based on a real thing. This is loosely based on a biography written by Gypsy Rose Lee, that I want to say Jules Steinman and Arthur Lawrence decided to pick up and form around the mother character with Ethel Merman in mind. And I originally like they were gonna do it together, and then they brought Stephen Sondheim on, and he was really apprehensive about it. Didn't like, I want to write my own music, I wanna do all these things, and he eventually signed on. And as far as a musical, I think it is structurally perfect.

[14:21] Jess: Absolutely. So what did Sondheim do, just the lyrics then?

[14:25] Miranda Moffat: Okay. But he also constructed Rose's turn entirely. That is his baby.

[14:30] Jess: And you can kinda tell, like, that is the only one that I'm like. It has a completely different kind of dramatic structure and construction.

[14:38] Miranda Moffat: Yeah, it does feel very different. And you said, even while we were watching it, that like it's considered one of the most perfect books.

[14:45] Jess: Yes.

[14:46] Miranda Moffat: Because every song is important, and they kind of highlighted this, especially in Joy Wood's performance, which I do want to give hats off to George C. Wolfe as the director, the director of your favorite movie, Right Knights for O'Danthing.

[14:58] Jess: Oh my god, don't ever bring this up to me again. We don't speak of it.

[15:03] Miranda Moffat: Yeah, listen to our Nicholas Sparks episode there. Um God, that's such a weird movie. Like music by Janine Tesori, directed by George C. Wolfe, almost no impact. Couldn't, nothing could make that good.

[15:17] Jess: Um, but they really highlight that even the songs like that could be a nothing song, like, you know, gotta have a gimmick, and they or, um, All I Need is the Girl. They are very keen on showing Louise learning things in those songs, whether it's her learning how to do some strip moves, whether it's her learning how to kind of be one and grow confidence and show her crush, like they are always good at positioning Louise as one of the more important people learning in these scenes.

[15:47] Miranda Moffat: That brings up a good point that this musical really made me like wonder too what happened. Like, I was so sad that Louise didn't get to end up with her crush. Um, what was his name?

[16:05] Jess: Tulsa.

[16:06] Miranda Moffat: I was gonna say Arizona. Um yes, Tulsa. The fact that they like she was so cute. And even like even in the birthday scene with them, I almost I thought that they were playing it that they were gonna end up together because the boy playing Tulsa kind of was giving Louise eyes and like being really sweet towards her and everything. I really thought they were gonna end up together. So the fact that he ran off with her sister, and didn't they say that they like eloped?

[16:31] Jess: They got married, yeah.

[16:32] Miranda Moffat: That's crazy. That's bugged up. I was like, this is messed up. Poor Louise. Um, that really, that really bothered me. But that's what I'm saying. Like, it left me with questions at the end of like you don't see either of those characters again after act one. You just have to wonder what happens to them.

[16:50] Jess: Well, June became an actress, like, but really, Louise became the star. Like, June Havoc was her married name. You know, well known, like medium well known, and then you know, Louise was really the face, like that people knew through burlesque. You would only know that if you knew like that it was a true story, and like if you knew the book and everything, like I was just like, what like what happened? Where, like, where did they go from here? What was, did like June still have a relationship with her mother ever? Like, did Herbie ever come around and talk to her again? Like I was just left with like, I thought the resolution was good, but I was like, what happened to everybody else?

[17:33] Jess: The point is it doesn't mat. Here's an interesting thing, because we're so far removed away from the actual factual history of this story that it is no longer an American truth, but it is now American mythmaking, if you really think about it. It is a myth about the death of Vaudeville, which I think as a testament is fascinating to watch, but like we know that no matter what, um, Rose did not look like Audra McDonald, and no, yeah. Like, so we can kind of put these spins on it, and I think it rings truer with a black family. I honestly, that hit me more, and I felt that there was something much more interesting being at play here with that.

[18:21] Miranda Moffat: Um, and I thought that was value added and not just, you know, we have Audra. I thought like the entire cast brought something to it with that.

[18:31] Jess: Yeah, it definitely adds a new sort of like layer or undertone to this musical, which is essentially at its core, like about the American dream. It is about like being in this country and the belief that you can achieve anything that you put your mind to because it's America and like that's just capitalism, yeah. Like you can achieve anything if you work hard and like that old core American belief which no longer exists.

[18:58] Miranda Moffat: What?

[19:00] Jess: It's unachievable.

[19:02] Miranda Moffat: Oh my god. So I can't just start stripping and then suddenly be well off forever? Is that just what only is this?

[19:10] Jess: Even while we were watching it, the idea that you would be able to survive doing that kind of work. Um, I was like, ha, you could not do this today. Like, you could not just like be doing odd jobs here and there and be able to pay like a full, like I guess they weren't paying them. Yeah, they were not paying them. Keep a full, you know, staff of people or whatever fed or have transportation of costumes. I'm like, where is your money coming from? You know?

[19:36] Miranda Moffat: They said it, it was Herbie.

[19:38] Jess: Right, but essentially he gave up whatever business he's at.

[19:42] Miranda Moffat: The candy business.

[19:43] Jess: Like he gave that up to be to manage them and to make the money off of this stuff. I'm like, where are you all getting the money to do this with? This is like not something that you could even do today, and they're posing it as like hard times, which yes, it was the depression, don't come at me. Um, but you know, I guess in that perspective, things just seemed so much more achievable at that time in sort of the American consciousness than it does today. So even that sort of added a different layer of complexity, I think.

[20:16] Miranda Moffat: I gotta talk about the line that they cut.

[20:19] Jess: Okay.

[20:19] Miranda Moffat: This stays very accurate to the book, except for one moment, which I think is like the most important moment of the musical, if you ask me. So during the strip, um, when Louise first goes on and like kind of learns the game of stripping, and she's bad at it, like, you know, like as she always has been, because she quote unquote has no talent. But then there's a moment where she finally says she quotes her sister and tries to do like the hello, my name is Gypsy Rose Lee. What's yours? And like through that one line, she like discovers her own agency, and it's in every other production, and it's almost delivered that way. Probably better than that. And it wasn't in this.

[21:13] Jess: It was not. She does not introduce herself as Gypsy Rose Lee at all during the strip. She just is bad, and then she cuts out, and then we have her come on stage and she's suddenly good.

[21:25] Jess: We don't have that moment of transformation.

[21:28] Miranda Moffat: I don't, I honestly don't remember because there was a lot of stuff that she was essentially parroting from that first performance of the things that her sister did.

[21:35] Jess: So I guess I didn't rem didn't see that specifically, but I can see why that would be, I think that's like the important, that is the tr, the moment she becomes someone else, and if you lose that, and I don't, it's not like it took up much time.

[21:50] Miranda Moffat: Yeah.

[21:51] Jess: That's weird.

[21:54] Miranda Moffat: It really, because I was just so under the spell of this musical from that point forward.

[22:01] Jess: That's funny. You did turn to me, you were like, wait a minute.

[22:03] Miranda Moffat: I was like, they cut a line.

[22:05] Jess: And I thought it was an important line, you know.

[22:10] Miranda Moffat: I can, yeah, I guess so.

[22:13] Jess: Because it kind of takes a lot out of Louise's journey, in my opinion.

[22:17] Miranda Moffat: And I know it's dumb for me to be like one line can do that, but yeah, one line can do that.

[22:21] Jess: Do you want to know something else really stupid that my brain like snatched on to?

[22:27] Miranda Moffat: What was? How did she get the name Gypsy Rose Lee?

[22:31] Jess: Because at the beginning, like they were saying Gypsy Rose Louise, and then at the last minute, like when they introduced the guy, introduced her MC, whatever on the stage, he said Gypsy Rose Lee.

[22:42] Miranda Moffat: Well, I think it was just drowned out because, or I didn't hear it, or they cut this line, but you usually hear Tessie Turrus saying Gypsy Rose Louise.

[22:52] Jess: And it was just him mishearing and her correcting, and then she owns it as agency.

[22:58] Miranda Moffat: Well, yeah, no, I mean that did not happen. They didn't, nobody corrected him.

[23:02] Jess: And when he said it on at that moment, I was like, wait a minute. I feel like we didn't, it was like last time we checked in on this, it was Gypsy Rose Louise.

[23:10] Miranda Moffat: They, it seems like they just did some tinkering with that one song, like to leave an artistic intention, and I did not like it.

[23:21] Jess: Yeah, I mean, for everything else, there's of course, like, I don't remember the other versions. I've only seen the one version and I don't remember it because it was a while ago.

[23:29] Miranda Moffat: So, like, I didn't feel like I was missing anything except for that, like, I definitely agree that when we were getting into the second act, I'm like, okay, we're like halfway through the second act.

[23:41] Jess: Like, how are we gonna make her a burlesque star in the space of like the latter half of act two?

[23:48] Miranda Moffat: Like, I was really worried about the pacing stuff.

[23:52] Jess: And you know, I feel like at the end of the day, I, the pacing could be a little bit better for me with a little bit more space being taken up by that whole storyline, because that seems like it's kind of the point.

[24:03] Miranda Moffat: But otherwise, like, didn't bother me too much.

[24:07] Jess: I gotta say, before we wrap this up, there was one moment where Joy Woods found a laugh where no other actress found a laugh so good that it got an applause break.

[24:20] Miranda Moffat: And it's a line that has been played earnestly every other time, but um, it's when um Herbie asks uh Rose to marry him.

[24:29] Jess: Do it today.

[24:31] Miranda Moffat: She points dead at Audra McDonald and just in a deep voice screams, do it today.

[24:36] Jess: It is everyone. It was just like they paused for a good like 10, 15 seconds just for applause.

[24:43] Miranda Moffat: It was perfect.

[24:45] Jess: And I just, that's a line you don't think about in any other version.

[24:48] Miranda Moffat: I think Laura Benanti was like, do it today.

[24:50] Jess: Come on.

[24:52] Miranda Moffat: Yeah, no, that there were so many, like everybody was at the top of their game.

[25:00] Jess: And I think my big takeaway was the expectations I had for the way that I would feel about it were a lot different.

[25:09] Miranda Moffat: Just because I expected to walk away like depressed and disheartened, because like at the end of the day, like Rose's turn is basically like, I've done everything in my life to achieve this one thing, and I have failed miserably, and I am isolating myself from other people through my own behavior or my own bad habits.

[25:28] Jess: Which, like, in a way, in a way, I felt good that I was walking away like, oh, she has somewhat like at the end, the very end scene is basically her and her like Gypsy Rosley kind of making up, but there was a another part of me that's like this woman needed to get so much more comeuppance than she did like from everybody.

[25:52] Miranda Moffat: Well, do I ever tell you how the um Laura Benanti Patty LuPone one ended?

[25:58] Jess: So the scene plays out, and when she's like here's the thing Gypsy Rosalie and her mother Rose or whatever it is, um Laura Benanti laughs at her, laughs in her face and walks off stage.

[26:10] Miranda Moffat: See, that's I, that's what I think should probably should happen.

[26:13] Jess: It didn't, it did not make sense for the tone that they were setting in this one, which was a lot more like family, togetherness, we love each other, we all make mistakes.

[26:22] Miranda Moffat: Well the thing I felt in this production was Joy Wood's face kind of goes back into her like her original Louise vibe.

[26:31] Jess: Like you're like that's what I didn't like about it, is that she essentially is falling victim to the same pattern that has been keeping her, you know, down this whole time.

[26:42] Miranda Moffat: Like part of me was like, Oh, okay, this is a little bit more uplifting than I was expecting.

[26:46] Jess: But I was also like, Oh, Louise is still stuck in this like toxic relationship with her mother.

[26:53] Miranda Moffat: Like, you should run, girl.

[26:55] Jess: Girl, you in danger.

[26:57] Miranda Moffat: So I don't know.

[26:59] Jess: I guess I'm of two minds about it.

[27:01] Miranda Moffat: I overall, like, that's what I have to say, thinking about it a little bit more deeply, but just like coming away from it.

[27:07] Jess: God damn, that was a damn good time.

[27:10] Miranda Moffat: Yeah.

[27:11] Jess: Um, not aware, like, truly.

[27:13] Miranda Moffat: I, that was a fantastic production.

[27:16] Jess: Audra was robbed of that Tony.

[27:18] Miranda Moffat: I know she's got like 500 others. Give her the 500 and first.

[27:20] Jess: She's always good.

[27:24] Miranda Moffat: And this is our second time seeing Audra live.

[27:26] Jess: We saw her live in concert.

[27:28] Miranda Moffat: Like 2018.

[27:29] Jess: Yeah.

[27:30] Miranda Moffat: And those are two different vibes.

[27:32] Jess: Like, you see Audra McDonald on the street, she reads as a young, attractive woman, but in this, she reads like at least 20 years older than she actually is.

[27:42] Miranda Moffat: No, I mean, and really, when you when we were seeing her when she came to Lansing, it was just like basically her playing her favorite songs or greatest hits or whatever it was.

[27:52] Jess: And like the impetus was on sounding pretty and wowing the audience, and like she has an amazing voice.

[27:59] Miranda Moffat: It's crazy and incredible.

[28:02] Jess: Um yeah, this was really more about her performing, performing that role and performing that person.

[28:12] Miranda Moffat: I will say, I did think a few times throughout it that, like, I guess the like falsetto, not falsetto.

[28:23] Jess: I'm not a her soprano.

[28:25] Miranda Moffat: Soprano, yeah.

[28:25] Jess: Like that the soprano didn't necessarily fit what I felt like should have been more of a belting thing, where she was sort of going into that upper register when it should be like a belt that's basically a scream essentially.

[28:37] Miranda Moffat: There were a few times where I was like, I can see how this would like suit a tenor better, but it doesn't even, it did not matter because the performance was there.

[28:46] Jess: The performance was amazing.

[28:48] Miranda Moffat: I heard from a lot of people I trust that she was uh still very rough figuring out her voice in the first weeks of her performance.

[28:57] Jess: Um and she got better and she got settled into the role.

[29:02] Miranda Moffat: Like her Tony's performance, incredible.

[29:05] Jess: I think what we have tonight was actually better than her Tony's performance because I think she was sick during the Tonies and still gave a knockout performance.

[29:12] Miranda Moffat: Um yeah.

[29:14] Jess: Um kudos to her, and I will see Audra McDonald in anything.

[29:18] Miranda Moffat: Um she wants to do a little night music after this, which would be great.

[29:24] Jess: Um so what's your overall thoughts and cheese rating?

[29:28] Miranda Moffat: Oh boy.

[29:30] Jess: Um overall thoughts about the performance that we saw tonight is that it was incredible.

[29:36] Miranda Moffat: It was once in a lifetime.

[29:38] Jess: Um I think that the way that they played this was amazing.

[29:45] Miranda Moffat: I do have those small gripes with me being like, revenge, revenge is necessary.

[29:52] Jess: Like I can just imagine myself in that position being like, I would never speak to this woman again.

[29:57] Miranda Moffat: But I think the way that they played it and the tone and the genuine emotion that they were able to achieve about like family dynamics and parent-child and sibling dynamics.

[30:09] Jess: It was so funny and so heartwarming and also heart-wrenching.

[30:14] Miranda Moffat: It was just great.

[30:16] Jess: Um there's no cheese that encompasses that feeling.

[30:31] Miranda Moffat: No explanation.

[30:32] Jess: It was a great time.

[30:33] Miranda Moffat: Such a cop-out.

[30:35] Jess: Such a cop-out answer.

[30:36] Miranda Moffat: How's that a cop out?

[30:39] Jess: Oh man.

[30:41] Miranda Moffat: Um.

[30:43] Jess: Yeah, I have no, I have nothing for you.

[30:46] Miranda Moffat: Stood out the first thing in your head.

[30:48] Jess: Manchango.

[30:49] Miranda Moffat: There we are.

[30:50] Jess: Manchego, Manchango.

[30:52] Miranda Moffat: Um, but yeah, we're gonna come at you with a couple more.

[30:55] Jess: We got a few more things we're gonna fit in.

[30:57] Miranda Moffat: Um yeah.

[30:59] Jess: Enjoy us next week, and we'll see you next time on the Cheese Wheel with Musicals.

[31:06] Miranda Moffat: Good night, everybody.

[31:09] Jess: Nothing!

[31:12] Miranda Moffat: I can tell away and see that's the bell follow me!

[31:19] Jess: And nothing's gonna stop us till everything's coming up, houses and adapted.

[31:37] Miranda Moffat: Everything's coming up, the sunshine and the centaurs.

[31:43] Jess: Everything's gonna be bright.

[31:46] Miranda Moffat: Lights handle only pops.

[31:49] Jess: Everything's a coming up.

[31:52] Miranda Moffat: Roses for me and for you.