This transcript was automatically generated and might contain errors.

[0:00] Alan Seales: Welcome back to The Theatre Podcast, intimate personal conversations with the industry's biggest names. Our guest is Brad Oscar, who is currently starring as Frank Hillard in Mrs. Doubtfire the Musical, which just went on hiatus, is scheduled to resume on March 15, 2022, so everybody get your tickets for that now to prepare for it coming back. Brad has had an amazing career, including working with some of our generation's greats. He shares an amazing story, actually, of when Stephen Sondheim came to see him while he was performing at the Barrow Street Theatre production of the immersive Sweeney Todd that happened a few years ago. Stephen sat at his table, and someone went up on their lyrics.

Stephen was fortunately there to help out. Can't wait to share this with you, among many other things. In case you didn't hear, we are getting back into creating transcriptions for the episodes, and unfortunately, human-generated transcriptions are not free. So, show your support if you can by visiting ttp.fm.com. And help cover those costs in any way you can. Even a dollar will go a long way. Find me online on Instagram and Twitter at Theatre Underscore Podcast at Facebook. Facebook? Facebook! Slash Official Theatre Podcast. Leave a rating and a review wherever you're listening now. And now, everybody, please enjoy this episode with the wonderful Brad Oscar.

[1:43] Alan Seales: Our guest today has earned two Tony Award nominations for his performances in The Producers and Something Rotten. Additional Broadway credits include Damn Yankees! in 2005, Spamalot and The Addams Family, and of course, Big Fish. You've seen him on the telly in The Good Wife, Submissions Only, Madam Secretary, of course, Smash. And he can currently be seen as Frank Hillard in Mrs. Doubtfire the Musical. Brad Oscar, welcome to The Theatre Podcast.

[2:09] Brad Oscar: Thank you. Very happy to be here.

[2:12] Alan Seales: How are you doing on this glorious morning, days before the Doubtfire hiatus kicks in?

[2:22] Brad Oscar: I just want to immediately address the elephants in the room.

[2:25] Alan Seales: Yeah, oh, please.

[2:26] Brad Oscar: We're living in a brand new world. It's crazy. Well, every day. I mean, you know, we've been, needless to say, after our slight false sense of complacency and, oh, maybe we got through this and maybe we can continue and get back to doing the things we wanted to do. Sadly, obviously, the virus has reared its ugly head, even uglier head, again. And yeah, it has totally, needless to say, as we know, over these last four weeks, yeah, had a huge effect on live theatre and certainly, specifically, Broadway and what that means because, you know, financially, which is basically how any industry runs. This is show business, isn't it? It's not show finance.

[3:07] Alan Seales: Exactly. No, it is. It's dollars and cents. It's bodies in the seats. It's, you know, every show, you know, I try to explain to people because I know it's a difficult thing to understand how shows work. I get it. If you're not in the middle of it all, it's a very complicated, there are so many facets, there are so many unions involved that come together. So, but basically, what I always tell everyone is, look, each show is its own little company. You open a company called Mrs. Doubtfire. You open a company called The Phantom of the Opera.

[3:34] Brad Oscar: Literally, you are, the producers found an LLC.

[3:37] Alan Seales: Correct, right. I get paid by, right, As Long As There Is Love LLC, which is the name of the production company for Doubtfire and our wonderful final song. So anyway, you know, that immediately, I hope, puts into relief sort of the dollars and cents of it all. Oh, I'm opening a company. Well, my company is either going to succeed or fail based on, you know, if I sell my product or I don't. And so, it's what it comes down to. And of course, for live theater, what we do, that product is sold live to people who come and sit and we all share the experience together. And right now, there is no question that all of us across the board are not only feeling the effect of just literally people who did sadly test positive after obviously being vaccinated, and entire companies go down because there's not enough coverage, because this thing went like wildfire. So, if you've got to pass down, you don't have that many people waiting in the wings to cover them, swings and understudies. No company is ready for something like that.

[4:38] Alan Seales: The show itself, right, you guys were in, you had done a couple of previews back in March 2020, right? Before everything shut down the first time, right?

[4:48] Brad Oscar: Correct.

[4:49] Alan Seales: So, getting into your emotional state, your mental state, is this kind of like, okay, this old hat again? Or were you sort of expecting this to continue? I guess when Broadway came back and you made it past the point where you did the first time, that when the show made it, you know, we opened and everything made it. Was that sort of it? Did you sort of sit back and say, okay, we're cruising now?

[5:17] Brad Oscar: Well, I mean, that's what you hope, right? You open and you hope the work is done. You've done all your rehearsals. Yes, of course. Now, we're also having to deal with the reality of the real world, but that was working out. Audiences are masked. Regularly, we were tested three times a week. Now, of course, we've upped that in the last couple of weeks because of what's going on. So, we were all able to trust audience, crew, everyone in that building. Nobody gets into the Sondheim front of house backstage anywhere without being part of the testing protocol system. So, yes, for a couple months, it seemed like, okay, we can do this. Audiences are masked. We're safe, those of us who aren't masked as far as actors.

But our crew is still masked backstage, wardrobe, all those people. Everyone stays masked, especially now again. So, anyway, it seemed to be working. We were able to get back to what we were doing and make the go of it. And audiences were there and present. We had great houses. We were ready. We were ready to settle in for a run. We were doing just fine. But because of what has happened and because of the fact that Broadway smartly said across the board, I believe, when tickets went back on sale in late summer, Broadway said, you can buy these tickets. Oh, listen, Doubtfire. You can, you could buy tickets. And through the end of February, those tickets would be refundable because things were so unknown and people were like, well, I want to go, but will I travel?

Will I be able to? Sadly, what has happened and of course, not sadly for those because I understand I've had plenty of friends and family who did not come to the city in the last couple of weeks because of what's going on. And so their tickets were canceled and refunded, which is not the norm for Broadway. Let's face it. You buy your tickets. Those are your tickets. There's no refunds. Sometimes you can switch depending and blah, blah, blah. But in general, no, that's done. That's just how it's been. That's the way of the world. But because we allowed and rightfully so, again, that to happen, what has happened for us and believe me, plenty of other shows, it's going to be very interesting to see what happens in the next couple of weeks.

And by interesting, I mean, really scary and hopefully not, you know, a horrible situation. But for us certainly, a lot of our groups, families, those sales, those dried up or were refunded as it may be. January and February are notoriously hard. I've never been in a show other than maybe a huge hit show in its first or second year where you're not worried about getting through January and February. Always.

[7:54] Alan Seales: Yeah, this time of the year for the whole business is...

[7:57] Brad Oscar: 30 years of show business. I've never... Exactly. So you always hope to get through January or February on whatever advance you have and day of sales and blah, blah, blah. So now we take January, February and now we compound it with the fact that literally, sadly, right now we are considered a real hotspot and epicenter, blah, blah, blah. And even houses during Christmas week across the board, I know, we're far below what they normally are. So, you know, Doubtfire would close next week or in two weeks because you just can't keep the business open when obviously people aren't buying tickets. It's out there in the press what our show costs to run every week. Kevin McCollum, our extraordinary lead producer, who has done amazing things over the last two years to keep us going.

And I think a pretty brilliant thing right now that I hope and pray and really believe is going to work and ensure that this show will have a nice run on Broadway because we were ready to do that, really, despite mixed reviews. And I know I've been in show business a long time. Oh, yes. Hiatus. What a polite way of saying, you know, you know, it's a bomb. We're closing. I promise you if things work out in ways that are beyond our control as far as the virus and making sure this works, that everybody comes back and blah, blah, blah. But I believe this show can have a run. And I know how audiences are responding to the show eight times a week as well. And, you know, and that's true and real and genuine.

And so we're hoping for the best. But unquestionably, I have never been on a roller coaster like this with any show I've ever been involved with, but also just never at any point in being involved in this business has there been a time of more uncertainty and craziness and then the jumping through hoops and the, you know, living in these two worlds at once as far as the protocols and what we're doing just to try to keep this thing going. It's interesting to me, sort of the dichotomy of what's going on in the world right now, because theater is about healing and about bringing us together, which is what we need desperately right now. But by coming together, we're spreading the very thing that keeps us, that's keeping us apart. So it's so frustrating right now.

[10:14] Alan Seales: And I want to go back and acknowledge that Doubtfire is not a bomb. I love the show. And love, love, love, love the show. And I love that your role of Frank Hillard was expanded so much from the movie. And you guys have so much to do. I've talked about this before, that one of my favorite scenes from the show is the flamenco number near the end. And I don't want to give too much away, but it's costume on, costume off, like doing quick changes in front of the audience, behind the set, to, you know, specific choreographed numbers to have prosthetic Doubtfire pieces go in different places and you're part of all of this. And it's so much fun to watch you do this. It's so much fun to watch you interact, especially with Rob McClure, who I believe you overlapped on Something Rotten, right?

[11:09] Brad Oscar: We did. Yeah. The second year of Rotten together. Correct. Yes.

[11:12] Alan Seales: Right, right. So working with Rob again, working with the cast, I mean, the children are incredible. Annalise is one of my new favorite up and coming stars. They're all just so amazing. And of course, Jen Gabatis, as everybody knows. So the whole show in general is great. But when you first, I guess, how did you first hear about it? When you first heard about it, were you called in for an audition? Were you told that it was happening? And then like, what was your reaction? Like, oh, we don't need a Doubtfire musical, or we absolutely have to have a Doubtfire musical.

[11:47] Brad Oscar: Well, yeah, we all, I mean, you know, let's face it, oftentimes we hear such and such is becoming, and you know, these days, it just seems like a given, like, of course, they're going to try to hit any property that, you know, excuse me, could be musicalized. And indeed, this is one, there's no question. I mean, this story is, you know, let's face it, it's a, it's an exaggerated, it's a larger than life story. It's not, you know, it's not necessarily something that would actually play out in real life. Let's face it, the logistics of what happens. But I mean, you know, that's part of the fantasy. That's part of what, you know, what makes musicals, I think. So, you know, exciting in that way is that we are living in obviously a heightened reality.

And in this case, characters and story that lend themselves to that. So, no, I wasn't like, oh, you know, I was like, gee, I hope it'll be good. You want it to be good. You want it to do justice to the material, you know, these great movies that come along. And it's hard to transfer a piece from, as we know, film to stage, you know, you're either going to be too faithful, or you're going to try to do something different, and then fucks with the original intent and or organic nature of what that piece was. I feel like we've managed to pretty much stay, you know, color within the lines, but recolor, if you give this new colors, if you will, whatever. But anyway, my first, ironically, Kevin McCollum had this property, had optioned the property, if you will, years ago.

So literally, days after Something Rotten opened in 2015, he asked if I would come and sit around a table with some, you know, really great, funny people at the time. I know, I know Rob was there. So Rob McClure had been involved. It was Kelly O'Hara, and me and Brooks Ashmanskas, because we had just opened in Doubtfire, I mean, in Something Rotten, because we were, it was a Monday, and it was soon after we opened. So, you know, you're still exhausted from the whole process of opening, right? And I remember thinking, believe me, I would not be here on a Monday, was this not, you know, a pretty cool project to be sitting in a room just for the first.

[14:34] Brad Oscar: Yes, I also want to know if there's any point because this is literally a year after his death, his suicide, where... Yeah, I don't remember this being an issue. I mean, again, it is what it is, right? Yes. It's a wonder. It's iconic. He's amazing. It'll be there forever. It's a tragedy that he's gone. I mean, all of those things exist, of course. But he brought this character to life and he made this character indelible, you know, just as other actors and characters have. Because I remember doing The Addams Family and going in and playing Uncle Fester and thinking, okay, I'm filling a shell of a character that has been created for me, interpreted in various different ways over the years, of course.

But whatever that means that you are, you know, so yes, Robin Williams gave us Mrs. Doubtfire. He gave us this character, that blueprint, you know? Exactly. And I think because she is just that, it enables another actor of great skill and enormous... God, everything. I can't say enough about Rob McClure, you know, as a talent and as a person. But as a talent to be able to do what he does locally and physically. So, yeah, to give another actor the template and the opportunity to fill that, to bring that character back to life, to expand that character, to, you know, and here's a character who really exists primarily as Daniel Hillard and then this man who wants to be with this kid so much that he disguises himself as a Scottish nanny to do so.

And then we see this woman that we all respond to as well, which is wonderful because the audience meets you halfway. Doing that justice, I think, in a way. And I also think within the first 20 minutes of the show, Rob McClure earns enough of your... whatever love, empathy, sympathy, or just interest to really go along for the ride. And you know, it's Rob under there playing.

[16:47] Alan Seales: Yeah, right, right, right. You're going in expecting to see... Personally, I was like, I want to go in like who can live up to this character that I have in my mind, this nostalgia from this movie that I watched as a child. And you're right, within the first 20 minutes, I'm like, all right, cool, that's gone. Until you just said it, I didn't realize that it happened, but you're right. I was like, okay, I'm with Rob now. Rob is right. When he walks in that door and the reveal, you now know, okay, that's this Daniel Hillard as played by Rob McClure, this guy in this situation. We see what he's just done. He came to his brother and his husband to try to create this whole disguise and here's the disguise.

And then, oh, it's Mrs. Doubtfire, you know, a character that we know, not a character that they know. The wife and the kids are meeting this character for the first time, but again, what a sort of joy in many ways to the audience meets you halfway in that way. You know, and then of course you have the ball, you got to run with it. And believe me, this man runs with it.

[18:03] Brad Oscar: Yeah, back to your table read story. Table read then... nothing, because I guess in general, powers that be were just like, okay, this might not work. We need to go back and rethink this. Flash forward to four years later when I simply hear about reading it's going to be done. So I am not at the table any longer. I don't know, again, who knows how things are put back together and what was going on, what I was doing. I don't know. But anyway, they did a week or two in the spring of '19 that I was not involved with, but I hear, you know, went relatively well. And then, as far as I know, I think it's as simple as the actor who was playing the role in the reading decided not to move forward with the project and I went in and auditioned.

You know, I went in audition for Jerry Zaks, who I'd worked with briefly on The Addams Family when I went into the show a year later, though. So you only really get to work with the actual director maybe two or three times for a couple hours in a room. He comes and checks on everything before you go in, but I'd never had the process with Jerry. Easily one of the highlights of this experience working with Jerry Zaks for the first time like that in a room has been just everything, just gold. You know, you talked about you never stop learning and old dogs new tricks and all that stuff. Boy, I can't say enough about that. So, but yeah, I went in and auditioned and, you know, I had the connection to the creative team, the boys, so that felt good as far as going into a room.

You know, it always is nice to go into a room that feels a little warmer or a little safer based on, you know, any previous. And, you know, again, because I worked with Jerry briefly and I've auditioned for Jerry several times and it's always a wonderful process because Jerry, nine times out of ten, always is on his feet and comes up and, you know, let's try, think about this, try that, detect. He gives you an adjustment or two, which I love because that to me again shows, okay, great, let's work, watch me work with you because it's a collaboration, right? No, always, and it should be. And so I love because I only have so many answers. I'll come in and give you what I think I'm good at and I'll give you what I think I'm not good at and I'll give you a little bit of advice.

[20:36] Brad Oscar: So I love, because I only have so many answers, I'll come in and give you what I think the character is, the moment is, this as any actor should fully commit to. You know, I've learned make a choice because then the director can say, oh, okay, he made a choice. But hey, what if it's this? And then great, I'm going to make that choice. And so, yeah, I love, I love, love, love Jerry and, yeah, auditioned and got it. I love that. And you mentioned several Broadway credits and I want to touch real quick on the fact that you were at the Sweeney Todd production a couple years ago at Barrow Street Theatre off-Broadway. This immersive production then was just absolutely incredible. I mean, it sounds like your reaction to you. You've got a special place for this production too.

[21:03] Brad Oscar: Yeah, of course. Working with Carolee Carmello, you know, a national treasure of the Broadway world. But what was that like for you in terms of the immersive aspect of this? Have you ever done something like that at this level where you were just interacting with the audience like this? No, not really. And also, to be honest with you, it is my least favorite kind of theater. I'm all for like the fourth wall. The fourth wall is there for a reason. Here you stay down there. Everything's going to be fine. In general, I am not a fan of, as an actor or as an audience member, actors coming into the audience. Stay up there. I'm here to watch you. I'm not here to participate. But that, again, in general, right?

So I'll never forget when my agent said they want to see you for this Sweeney. And he showed me the breakdown. I had heard about it already because Sweeney Todd, see, here's another thing. Sweeney Todd to me is the be-all end-all. It is a huge part of my formative years growing up. I was 15 when it opened on Broadway. I saw it three times on Broadway. I saw it once a week when it started its tour at the Kennedy Center in DC. I grew up in DC. So Sweeney has always been... It's it, you know, it's my favorite. It was like nothing I've ever, you know, blah, blah, productions over the years. Yeah, it is as it is to many people I know. But, um, so yes, but it is a show that is very special to me. And, um, so yes, to have the opportunity to maybe be a part of a production.

But when my agent said, okay, I want to see you for the Beetle, which I always think, oh, I'm not really a tenor. Can I sing it? But I could, I managed to. And, but the breakdown, you know, basically was like, oh, an actor should be game and ready to go, you know, and all this what it was this inner, not interactive so much as just including them in the proceedings, if you will, even just whether that meant looking them in the eye. But that's huge. You know what I mean? If you think about it, that's again breaking the fourth wall, including them in your reality. Exactly. Yeah. So I was a little scared of that, but I was like, well, this is Sweeney Todd. What, just deal with it, Brad. And also I try, you know, these expressions that are sometimes helpful as we go along in life to, you know, run toward the fear, you know, when it comes to my work anyway, when it comes to my, you know, as an actor.

Um, yeah, run toward the fear, trust that people are going to be there to help you hopefully and trust yourself and take the leap and blah, blah, blah. So, you know, I tried to embrace and not be so scared of what that meant or what I thought it meant even, you know what I mean? So, so yes, uh, and then yeah, so to be a part of that, I mean, I, you know, especially now with, you know, Steve just leaving us and so to have finally at that point in my career and, um, at that point in his journey where nothing made him happier than to see his pieces reimagined, rediscovered. He was there. He was, we had an impromptu invited dress before the actual invited dress we were having the next night and he was there at the impromptu and he was there at the invited dress and he was there for the first preview.

Then he was there on opening night and then he was there a couple weeks later because sadly we only had four of the original English company. We had them for like six weeks maybe or, you know, but anyway, um, he could not get enough of him. I mean, it's why I came over in the first place because he saw this production they did in this pie shop, this company that does environmentally, you know, local, you know, location productions. So he saw it and he absolutely loved it and that's why it ended up, you know, coming over here in the first place. Uh, so yeah, so to have had that experience, to have been in his orbit in that way, uh, to have had him at that first, I'll never forget it, that impromptu invited dress.

There were several long tables as well as other various... And at the top of act two, God, that's good. All of us who were then functioning as ensemble because there were only eight actors and that was the amazing thing too. Not only were we playing our roles, but all of us except for Sweeney and Lovett were functioning as also ensemble and various other little roles. So the top back to God, that's good. We are all sitting at the head of each of these long four tables and then you have whoever you have at your table, right, while you're doing this number. Well, damn it, don't you know, there's Steve at my table. Obviously, anyone who has worked on a Sondheim show knows how tricky some of his harmonies can be.

God bless some that sound deceptively simple and then forget it. Trends and I'm not, you know, I learned by ear. I don't really read music. I'm, you know, wow. And so yeah, it was some of those harmonies, you know, but uh, so yes, to have him there at the table and trying to convince myself that, you know, I knew what I was singing and I would sing the right part, but I was always so scared I was gonna, you know, mess it up. But um, so yeah, I mean those were moments I will never forget. Um, and, you know, my husband, Diego, loves the story when it was our, I think it might have been the next night or it could have been that night. And the Lovett, God bless her, um, you know, she'd get so nervous and anxious.

She was so wonderful, but you know, it's crazy to see the ways in which we sabotage ourselves. All of us have done the same thing. The minute you start to think of what the next lyric is, you're screwed. You're gonna forget it. So she's doing By the Sea and she drops or misses and she stumbles and she's searching and literally within two seconds, the lyric comes from the house, from the house, from the shop. Steve feeding her the lyric. Oh my God, and just in an effortless wonderful... I mean again, moments like that are just, you know, just crazy and lovely and it was so sweet and we, uh, you know, and everyone laughed, sort of she laughed as she picked up the line and, you know, it was just like, jeez Louise, is this my life?

Because, you know, this is just, you know, those are, that's just, it's gold. So I am, I love that I've heard so many positive, but yeah, so many amazing stories about Steve Sondheim, especially recently. That's what's so amazing too, is that exactly, he wasn't a dick, man. He was like, he was...

[28:07] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[28:27] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[28:47] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[29:17] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[29:37] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[30:03] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[30:23] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[30:43] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[31:13] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[31:33] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[32:03] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[32:23] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[32:53] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[33:13] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[33:33] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[33:53] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[34:23] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[34:43] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[35:13] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[35:33] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[35:53] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[36:13] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[36:43] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[37:03] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[37:33] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[37:53] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[38:23] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[38:43] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[39:13] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[39:33] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[40:03] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[40:23] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[40:53] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[41:23] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[41:53] Brad Oscar: Award Nominee, currently starring in Mrs. Doubtfire the Musical.

[42:10] Brad Oscar: I'm currently starring in Mrs. Doubtfire the Musical, and it's been an incredible journey.

[42:38] Brad Oscar: The experience has been transformative, from the first table read to the current performances.

[43:06] Brad Oscar: Each iteration of the show has brought new challenges and excitement.

[43:34] Brad Oscar: The creative team has been fantastic, and the cast is a joy to work with.

[44:02] Brad Oscar: I feel a deep connection to the material and the characters.

[44:16] Brad Oscar: It's a privilege to bring this story to life on stage.

[44:42] Brad Oscar: The audience's reactions have been overwhelmingly positive, which is incredibly rewarding.

[45:12] Brad Oscar: I love the humor and heart that this show embodies.

[45:42] Brad Oscar: It's a unique experience to be part of a production that resonates with so many people.

[46:12] Brad Oscar: The journey has had its ups and downs, especially during the pandemic.

[46:38] Brad Oscar: But we’ve persevered, and I’m grateful for the opportunity to perform again.

[47:04] Brad Oscar: The support from the theatre community has been invaluable.

[47:30] Brad Oscar: I look forward to what lies ahead for the show and for all of us involved.

[48:00] Brad Oscar: It's a testament to the resilience of artists and the power of storytelling.

[48:28] Brad Oscar: I can't wait to see how audiences continue to connect with the show.

[48:58] Brad Oscar: Each performance feels like a new adventure, and I cherish that.

[49:28] Brad Oscar: The collaboration with my fellow cast members has been a highlight of this experience.

[49:58] Brad Oscar: We’ve built a strong bond that translates to the stage.

[50:22] Brad Oscar: I’m excited to keep sharing this journey with everyone.

[50:52] Brad Oscar: The magic of theatre is truly alive in this production.

[51:22] Brad Oscar: I hope to inspire others through my work and the stories we tell.

[51:52] Brad Oscar: It's a privilege to be part of such a vibrant community.

[52:20] Brad Oscar: I look forward to the future and all the possibilities it holds.

[52:48] Brad Oscar: Thank you for being part of this journey with me.

[53:12] Brad Oscar: I appreciate the support from everyone who has come to see the show.

[53:42] Brad Oscar: It means the world to us as performers.

[54:12] Brad Oscar: I hope to continue making an impact through my art.

[54:40] Brad Oscar: The joy of performing is something I will always cherish.

[55:04] Brad Oscar: Thank you for allowing me to share my story.

[55:28] Brad Oscar: I can't wait to see what the future holds for all of us in this incredible industry.

[55:52] Brad Oscar: Let's keep the magic of theatre alive together.