This transcript was automatically generated and might contain errors.

[0:00] Alan Seales: Welcome to The Theatre Podcast. Intimate, personal conversations with theatre's biggest names and vocabulary lessons. Jillian, what's a towhead?

[0:10] Jillian Hochman: A towhead, according to UrbanDictionary.com, the number one authority of all things. In colonial times, families grew their own flax to make into fabric for clothing. Transforming the flax was a complicated process called towing. And during towing, they would separate the long, thin fibers from the shorter, coarser ones. And the shorter fibers were not as high quality, so they wouldn't use them. But they were very, very light blonde colors. So, if someone called you a towhead, it meant you were very blonde. And the ultimate example is Draco Malfoy.

[0:57] Alan Seales: Wonderful. So, that came up in our conversation in this episode with Angie Schworer. I forgot to introduce myself. So, I am your host, Alan Seales.

[1:03] Jillian Hochman: I'm your producer, Jillian Hochman.

[1:06] Alan Seales: Yes, we talked about towheads from Kentucky with Angie Schworer. I was fascinated in this conversation with her because she is now in The Prom on Broadway. Of course, part of our May Takeover here is all people from The Prom. And the character was literally written, basically, as her. Like, the character is even named Angie. And as Casey Nicholaw was kind of crafting the whole thing with the writers, they were like, yeah, we need the Angie Schworer type, the Angie Schworer type. And then they were like, why don't we just get Angie? And so, she came in. And this character is an exaggerated version of her, but her character is an actress in the show who was in Chicago for the production of Chicago for over 20 years and has never gotten to play Roxy Hart.

And we got into that, the parallels in her own life because she's got this 28-year career on Broadway where she's just gone from showgirl part to showgirl to showgirl to chorus girl to ensemble. And then this is her first leading role, front and center sort of thing.

[2:14] Jillian Hochman: Well, it's her first role that she originated.

[2:16] Alan Seales: Yes, yes, that she originated. But I love that she talks about, at one point, they came up with these characters and they were developing them. And in one form, they sent out with all the characters and the descriptions of them and just said, Angie, think of yourself.

[2:26] Jillian Hochman: Yeah, yeah. I mean, it kind of proved to the fact that you can have a long, successful Broadway career without ever, I put in air quotes, being a star. Like, she's talented and she can sing and she can dance and she can act. And from the outside, I feel like she keeps getting called in for the same type of roles because that's how people see her. And then over time of 28 years of being called in for the same type of role, then that's kind of what she's convinced herself that all she can do. And you told me off mic that you thought I was getting a little preachy, which I was trying to get her to see that I think she's bigger than what she's allowing herself to be, if that makes any sense.

[3:16] Jillian Hochman: Yeah, but I think if she's happy with what she's doing, then right on.

[3:19] Alan Seales: Oh, no, no, no. I don't think she's doing anything wrong. Don't get me wrong. I just, as a supporter of her and supporter of the show and supporter of the talent that I see on stage a lot, I think that she is just as capable of doing anything that somebody would offer her. But I think that's something you always want talented people to do more and do better. Like, you always want your friends. You always see more for your friends and for people you care about than they see for themselves, though. Maybe.

[3:52] Jillian Hochman: We love you, Angie.

[3:54] Alan Seales: Yeah, well, okay. I can see that. Everybody, please enjoy this episode with Angie Schworer. A 28-year veteran on the Broadway stage, this true-life gypsy has been part of original casts in nine out of 11 of her Broadway credits, which include Will Rogers' Follies, Annie Get Your Gun, Young Frankenstein, Catch Me If You Can, Something Rotten, and The Producers, and now starring as Angie in The Prom, Angie Schworer. Welcome to The Theatre Podcast.

[4:29] Angie Schworer: Hi, Theatre Podcast.

[4:31] Alan Seales: How are you doing?

[4:32] Angie Schworer: I'm good. I'm excited to be here.

[4:35] Alan Seales: Yeah. Tell me about Young Angie. Where did it all begin?

[4:41] Angie Schworer: Young Angie was a little toehead that grew up in Fort Mitchell, Kentucky.

[4:45] Alan Seales: What's a toehead?

[4:47] Angie Schworer: It's like when your hair is really, really blonde. Never heard that term?

[4:51] Alan Seales: No.

[4:52] Angie Schworer: Toehead?

[4:52] Alan Seales: No.

[4:53] Angie Schworer: It's like my hair was naturally really, really blonde. No one's heard that term before? You guys are too young. Oh, God. Anyway, little blonde girl. And I started with dance at about five years old and acro, so I never really was on my feet. I was always twirling and upside down and round off back handspring down the hallway to greet people in my house. And yeah, I was a gymnast, too, for a while. But I just always danced. I said five, but my dance teacher's daughter started teaching me at four in another studio, so I've been dancing since I was four years old.

[5:38] Alan Seales: That's crazy.

[5:39] Angie Schworer: And at 105 years old, that means I've been dancing for 101 years.

[5:44] Alan Seales: That's right.

[5:46] Angie Schworer: And so I just started out as a dancer, and I think that that's just been my thing from day one. That's what my passion, that's where my passion lies. Now, because I am a little older, it's a little harder, but it's still just who I am and what I do and what I love to do.

[6:02] Alan Seales: Do you have any siblings?

[6:04] Angie Schworer: I have four brothers and a sister.

[6:06] Alan Seales: So one of six.

[6:07] Angie Schworer: Yeah, so I'm the fifth one, so they all had to drive me to dance school.

[6:11] Alan Seales: Are you the only one that danced?

[6:13] Angie Schworer: Oh, no, my sister did, which is, she's nine years older than me, so I went to watch her, which is also how I got hooked. She took a real career and was a pediatrics nurse, so she did something important.

[6:29] Alan Seales: Wait, okay, so A, you have a real career.

[6:31] Angie Schworer: I know, I'm just kidding.

[6:32] Alan Seales: And B, you are important.

[6:35] Angie Schworer: I know what we do is important, but somehow taking care of newborn babies in the ICU unit seems a little more important than what I do.

[6:46] Alan Seales: Okay, fair enough.

[6:48] Angie Schworer: My sissy.

[6:49] Alan Seales: And so where did you say, where did you grow up?

[6:51] Angie Schworer: Fort Mitchell, Kentucky.

[6:52] Alan Seales: Fort Mitchell, Kentucky.

[6:54] Angie Schworer: It's right across the river from Cincinnati. So Cincinnati was my big metropolis growing up, and I did some modeling there, and I did all kinds of things as a kid, teenager.

[7:04] Alan Seales: As a towhead.

[7:05] Angie Schworer: As a towhead.

[7:07] Alan Seales: I'm going to start calling everybody, is that, can you only call kids towheads, or can anybody be a towhead?

[7:11] Angie Schworer: Are you a towhead now?

[7:12] Alan Seales: Um, no, I think you really just call kids that are naturally towheads.

[7:17] Angie Schworer: Let's Google it. Can we Google that? Wait, is that offensive?

[7:21] Alan Seales: No, I don't think so.

[7:23] Angie Schworer: Can you still say ginger? Am I allowed to say that?

[7:24] Alan Seales: Oh, yeah.

[7:26] Angie Schworer: So like ginger is a redhead and a towhead is a blonde.

[7:29] Alan Seales: Oh, okay. But I, yeah, so I danced my whole life. And yeah, Cincinnati was where I did some things. I did some little commercials and things growing up. But basically, before I went to college, I was a dancer and did my recitals and things like that. I didn't do any book shows, is my point. Except in high school, I did play the bird, the griffin in Alice in Wonderland. I had two lines. I don't remember what they are, but I remember I wore a onesie with some talons on my hands. And that was it. That was my book show career.

[8:08] Alan Seales: Where did you go to school?

[8:09] Angie Schworer: To college? I went to Northern Kentucky University.

[8:13] Alan Seales: It's a small college in Crescent Springs.

[8:18] Angie Schworer: I can't remember the town now. Isn't that awful?

[8:19] Alan Seales: That's awful. We'll have to Google that too.

[8:23] Angie Schworer: Northern Kentucky University. And I went, I got my BFA. But I actually, the theater, it was just sort of starting to grow. So I felt like I would be a bigger fish in a small pond as opposed to trying to get into CCM. I just don't, I think I was such a late bloomer. I didn't really think I was good enough. So I just went to Northern Kentucky University. I got a little dance scholarship. And I started doing more book shows. I think my first role I did, maybe my only role, because I might have done more dance stuff, was Lois Lane in Kiss Me Kate. And that was in college. And then I did the theme park route in my summers.

[9:06] Alan Seales: You were at Busch Gardens.

[9:07] Angie Schworer: Williamsburg, Virginia, Busch Gardens.

[9:09] Alan Seales: Me too.

[9:10] Angie Schworer: You did.

[9:10] Alan Seales: OK, well, you probably weren't there when I was there because I'm older than you.

[9:14] Angie Schworer: But I did the German show was my very first show.

[9:19] Alan Seales: Yeah, with the little braids and the German dress and the dirndl.

[9:23] Angie Schworer: I think that's what you call German dress.

[9:24] Alan Seales: Yep.

[9:24] Angie Schworer: Then the next summer, I did Journey Into Music, which was the indoor show. Come with us now, our journey's starting. Step, pivot, step, step. I remember.

[9:34] Alan Seales: I remember the beginning.

[9:37] Angie Schworer: And then I worked at Disney for a few years and was a showgirl in Atlantic City. I was a showgirl in Japan. I went back to Disney and opened up MGM Studios. And through someone I worked with at Disney, I got my first Broadway show.

[9:53] Alan Seales: What does that start?

[9:54] Angie Schworer: So that's where you say you got to be kind to everybody because you never know. His name is DJ Salisbury, and he was my partner at the Diamond Horseshoe at Disney. And he was working on the Will Rogers Follies with Tommy Tune and Jeff Calhoun. And he called me on the landline at the entertainment office at Disney. You don't even know what a landline is, do you?

[10:18] Alan Seales: I'm 38. I guess I know what a landline is.

[10:21] Angie Schworer: And I got the little pink slip from someone at the office and said, DJ wants you to call him. So I called him and he said, I think you should come up and audition for this show. One of the prerequisites was to be over 5'8". I'm almost 5'11". And so I did. I flew up and auditioned, not without sending a VHS tape ahead of time, because I thought if they don't like what I look like, I'm not going to spend the money to fly up. Who did I think I was at 24, whatever I was, 24, 25? So I did. I spliced together a VHS tape of all the things I was doing on property. And I did spotting walkovers at the Diamond Horseshoe and the Can-Can number. So I did all spliced together. And they said, sure, come on up.

So I did. And I auditioned on the Nederlander stage on 41st Street on the lunch break of their workshop they were doing. Back then, you did the workshops in the theater. We went to the palace to open the show, but they rehearsed at the Nederlander because the whole stage is stairs. So they needed to have a space. You couldn't do it in a studio. So I auditioned on lunch break and then come to find out that all of my now friends are sitting in the audience watching me audition on their lunch break. Jerry Mitchell, Katie Huffman, Troy Johnson, and Etel, and others.

[11:50] Angie Schworer: And lots of others. And I think if I would have known that, god, I would have been so nervous, even more nervous than I probably already was.

[11:57] Alan Seales: Yeah.

[11:58] Angie Schworer: I think it was Nancy Opel was telling us, like, yeah, back in the day, you auditioned on the stage.

[12:05] Alan Seales: Yeah.

[12:06] Angie Schworer: That was actually, there was only one other time I think I auditioned on stage. It was something I didn't get. And I don't remember what it was. Goodbye Girl or something. Something I didn't get, but I auditioned on the stage.

[12:17] Alan Seales: What did you know that you wanted to make performing a career?

[12:22] Angie Schworer: God, I wish I was that person that was like, I just knew, you know, from the beginning. I literally, it was just a series of events that I just kept jumping to that got me here. And I kept just kept saying yes. Do you know what I mean? Like, Busch Gardens, who would have thought that that would have got me here? You know, I, did you, do you know in Columbus, I think it is, there's a theme park called Kings Island. I auditioned several times and never got it. And I was just devastated because I wanted to work in my home, sort of near my hometown. I never got it. But I got Busch Gardens and I got, you know what I mean? So I just took what came to me. And then working at Disney, I was just going to stay there. I was going to stay there and work for the mouse because it was a great corporation. I was making great money for that time.

[13:16] Alan Seales: Right.

[13:16] Angie Schworer: And...

[13:21] Angie Schworer: I made money and I did all the different shows on the property. Thank you. Convention shows. I worked at Hollywood, Hollywood was the Disney, we were the Disney girl show in the Hollywood Bowl. And the Dick Tracy show, and I was the dance captain. So I was running the shows, you know, and I loved it. And I was making money. I remember the Dick Tracy show. I used to go to Disney a lot. Okay. So I didn't, I was like a sub and that's why I learned all the shows on property and I was making money. I put a down payment on a house. I was going to live there. And when I got the Broadway, I pulled my deposit, moved on up.

[14:07] Alan Seales: Oh, so the timing was exactly, it lined up exactly.

[14:11] Angie Schworer: Yeah. But although, you know, it was in Lake Buena Vista. So I might have made some money if I did, I did have the house. Do you know what I mean? But it was meant to be the way it was meant to be because I knew, I knew so many people that live, had moved to New York that were 20,000 times more talented than me and weren't booking a lot of stuff. So I was like, what the hell am I going to do? You know, I'm going to move there. You know, I, so it was just the right place at the right time, I guess. And that being the right type, you know, because at that time, that's when, you know, the years that I've worked up until now were showgirls. You know, you were the, they wanted the showgirls, the stro girls.

[14:58] Alan Seales: What year did you move up to New York? What was that?

[15:01] Angie Schworer: 1991. And I know you're doing the math right now.

[15:04] Alan Seales: No. So what I was getting at was that you were in the original cast of Follies in 91. So you moved up here for Follies?

[15:12] Angie Schworer: I moved up here February 8th, 1991. I started rehearsals on February 9th, 1991.

[15:22] Alan Seales: That's crazy.

[15:23] Angie Schworer: So I moved to a brand new city, started a brand new job, had to learn how to do the subway and all of those things. And I was a swing, which means I covered, I did, I covered all the ladies in the ensemble. Well, mainly the six, I can't remember if there were 12 or 14 of us, but mainly the six tallest girls. But I ended up going on for almost all of them but one.

[15:49] Alan Seales: So yeah, that was 91. And okay, so you had one day between moving and starting and obviously New York and Times Square.

[15:57] Angie Schworer: I had a friend here that I moved in with while I was started rehearsal. And then I moved in with another friend. So I didn't, I just brought clothes, basically.

[16:07] Alan Seales: Did you think that your career was just kind of going to get laid out in front of you at that point? Because you didn't have, you had like 24 hours of not having a job in New York City, which is very, very rare for anybody who really wants to make it.

[16:21] Angie Schworer: I don't think I know, obviously, how much I know now about how a show can open and not stay open. Do you know what I mean? But I just, like I said, I just sort of took what was coming. And then I stayed in the Will Rogers Follies, not the whole time, but for about two years, I think. And I auditioned for Stro and got Crazy for You, the first national tour on stage because I wanted to be on stage. I was a swing in Will Rogers. And so I took that. And then basically, I wouldn't leave a job, A, unless the show closed or two, unless I got another one. So that's kind of the way I was working it out back in the day.

[17:04] Alan Seales: Yeah, you went from show to show. And then you actually, I think you returned to Chicago. Do I have that right?

[17:12] Angie Schworer: I did the first, I opened the first national tour of Chicago and did that for a couple years. And then I did it here for only a replacement time for maybe about four months. I did Mona. I was Go to Hell Kitty and Covered Roxy on the tour. And then I did Mona here for about four months.

[17:29] Alan Seales: Wow. Okay. So when, did you ever take any formal acting training? And like, when did the singing and the acting start getting pulled into the-

[17:37] Angie Schworer: Oh, I still need singing lessons. I'm terrible. They told me I had to speak and sing when I got to college. So I kind of started then, I guess. That's when we took acting classes and voice lessons. And I still try to every once in a while. But I think that's where, and I think because I didn't learn that at an earlier age, I think it was a little bit of a detriment for me because I didn't have, I still don't have, let's be clear. I didn't have the confidence and the thing of like, I am an actress and a singer too. Coming from a dance background, you're just never good enough. It's just what we dancers do to ourselves. You're just never good enough. So in a weird way, well, I think dancers are harder on themselves, but I think that's where the determination and the scrappiness sort of comes from. Right?

[18:34] Alan Seales: Yeah.

[18:35] Angie Schworer: So that's probably not till college. Now, my mother was a singer, not professionally, but she could sing. And so we would try to sing together, but then she'd do a harmony. And then I just go sing with her the harmony. I didn't know how to keep the melody. So I, we did come from a sort of musical family. My dad was a drummer. He was a doctor, but he was a drummer. So I guess I got my rhythm and my rhythm is my vocals from somebody in my family.

[19:00] Alan Seales: Your zaz.

[19:01] Angie Schworer: And my zaz.

[19:02] Alan Seales: Yeah. You also assisted choreographed Rocky Horror.

[19:06] Angie Schworer: I did. Jerry Mitchell asked me, this was when I had a little time off between a few shows. It was probably between Annie Get Your Gun and the producers. Maybe I had a little time. I'm not sure if that's correct. Is that correct?

[19:21] Alan Seales: I don't have the timeline. Sure. We'll go with yes.

[19:24] Angie Schworer: And he said, he said, I always wanted to ask you to assist me. So he did. He took me to lunch and asked me to assist him on the Rocky Horror Picture Show. And it's the one and only time I ever have. He never asked me again. I like to give him crap about it.

[19:38] Alan Seales: Do you wish you could do more choreographing? Or like, do you want to get into the teaching stuff?

[19:43] Angie Schworer: I don't know. I don't know what the next phase is. I'm not sure. There was a time where I thought it would be more of maybe an agent or a casting director. And then a couple of years ago, with my friend Troy Johnson, who I mentioned, he directed and I choreographed a show at a college, brand new show. And we had a ball. And I realized, I mean, it was, you know, it was college kids and it was not like big, splashy musical numbers, you know, it was stagey kind of fun stuff. But we just we both had a blast and I loved doing it. And there was something sort of great about the opening, their opening night where it was like, I was done. You know, now opening night is our jittery time, like, oh, God, oh, God.

So there was something sort of great about it and something very fulfilling when you'd finish a number and the ideas would sort of flow. And I don't know, I guess there's creativity with just living it for all these years. For instance, in Something Rotten, in the opening number, let's say Casey Nicholaw says, Ant, you're going to go from here up on the box over here, blah, blah, blah. And then you sort of fill in what the moves are to the music. So in a weird way, we're all sort of doing it, right? Now, do I think I could choreograph a big, splashy musical number? Not a chance. But yeah, I mean, I do love that creative part, too. So maybe that would be the thing. Maybe I'll get Jerry to ask me again. Or Casey.

[21:25] Alan Seales: Yeah, Casey seems to be able to work with you, be able to wanting.

[21:30] Angie Schworer: Yes, he is. Yeah, he's been amazing. And I'm very grateful and I owe him. He's just given me some great jobs. The first job we did together was Minsky's in LA. Because you have all my Broadway stuff, but then I got a few other things I've done. But that was the first time I auditioned for him for Minsky's. And that was Bob Martin, too. So that was the first time I got to work with them. And it's just joy for me. They're both just joyful, amazing, grateful humans, kind humans. So for me, there's no other way to be and there's no other way to get to be creative and feel safe in those kind of rooms.

[22:13] Alan Seales: Right. We're talking about the producers. You were in the original cast, which still holds the most record. The record for most Tonys ever won at 12. And you stayed in the show for six years, which was, I think, the longest you stayed in any show.

[22:29] Angie Schworer: Yeah, I told you I didn't leave until they closed.

[22:31] Alan Seales: Oh, well, is that the only reason? I mean, is that the reason you left? I guess you had to because it closed. But were you looking for other jobs at the time or were you just like, this is great?

[22:41] Angie Schworer: No, I probably auditioned for things that maybe like little TV bit parts or things like that. I don't really remember. But to go and do... I'd rather stay in the city. I'd rather be in the city doing what I love. And Ula was a quintessential, stereotypical show girly part. So I'd still be doing it probably if it was running, if my legs could do it. I don't know if I can fall down in them splits anymore. But yeah, I probably did audition for a few things, but there was nothing that was going to be better than that for me at the time. I mean, unless I was to get a big spot on a TV series. You know what I mean? There was just nothing that I... So I auditioned, probably. I just didn't get anything else or there was nothing better for me at that time.

[23:37] Alan Seales: Do you feel that for a lot of years you were kind of pigeonholed as the showgirl, as the dancer?

[23:44] Angie Schworer: Well, let's face it. I'm always going to be the second banana. I'm not a Parkin Barker. I'm not Beth Leavel. Do you know what I mean? So I'm always going to be sort of that secondary. And plus the way I look, it's always going to be a kind of a showgirl or type of character. Even in my 30s, I would go in for TV things that were like, was a Miss America, her looks are fading. You know what I mean? It was always sort of that, she was a showgirl, was a Miss America, was a hooker or is a hooker. It was always sort of those parts. It's just, it is stereotypical, but it's also what I am, that sort of broad body thing.

[24:27] Alan Seales: But I get that. I understand it. And I don't know if I buy it. Because I ask you this question. You have been given these roles and gone in for these roles for decades. And what am I trying to say? That do you feel that you have started to believe what people are trying to put you into? And so that's just what you think you are now? Because I've seen you in the prom and I've seen you sing Zaz and I've seen you rock the socks off of every time you're on stage. And you can hang next to all the other leading ladies. But you don't, everything you're telling me here is, no, it's not me.

[25:09] Angie Schworer: But well, I think it's just being realistic. I'm not being hard on myself. Trust me. Trust me. If you would have told that little toehead from Kentucky, that someone was going to write a role for you on Broadway, I would have never believed it. But so part of that is just I think being realistic and knowing who you are. It's like when I do, if I do talk backs or workshops or anything, I've learned through the years from friends and we've discussed it. You sort of need to know what you are. You need to know what your essence is. You need to know what my friend David Hibbard, who was in Something Rotten with me, he says, you need to know your colors. So I think you just need to know what that is. Do I think I could do a dramatic scene if you handed it to me? Absolutely. Do I think I'm going to sing Evita? Absolutely not. You know what I mean? It's just I know exactly what I am.

[26:28] Angie Schworer: Right. Yeah. I mean, like I know I can do altar boys. That's not my voice type. But in terms of. Yeah. So I feel like and you know, this was written for me. This was written, you know, and Matt knows my voice and it is sort of a la Kendra and Ab Chicago-y, Roxy type, you know, and that just happens to be what I am. OK. And it's and it's OK. You know, I don't I don't think I regret one thing that I've done. I do have one regret in Cincinnati, Ohio, when I auditioned for Baby June.

[26:43] Angie Schworer: I was probably 10. I got it, and I didn't do it because I went to dance camp instead. And my mom let me, which was, you know, she didn't make me do it. Who knows if I would have done that? It was on this theatre that was actually on the river called Showboat Majestic. And I got Baby June. I sang. I sang. I forgot the lyrics to "Rain Drops on Roses and Whiskers on Kittens." And then I said, can I start again? I had a little boy haircut. I had short hair. I wore shorts and overalls. I didn't wear a dress, and I got it. But I didn't do it. So, I do regret that. Because who knows? A, maybe I would have started singing earlier. Do you know what I mean? Or made that a priority, which I think would be helpful.

Because kids these days now, they come out, they're major, major, major triple threats, way beyond anything that I was then or am now. So, it would have maybe given me a leg up. Two, I maybe would have hated it, you know, and maybe not done it. I don't know. But I do regret that. But I think it turned out okay.

[27:54] Alan Seales: Oh, yeah. You're not doing bad for yourself. I'm just trying to encourage you.

[27:58] Angie Schworer: I appreciate it. And the fact that you think that, I very much appreciate. I'm very grounded in what I know I can do. And I think that's part of it. Do you know what I mean? That's part of the, not to be cliché, but that's part of the zazz. That's part of what I do. You know, my shtick, if you will. Right. So, The Prom just, of course, nominated for seven Tony Awards, including Best New Musical. So, congratulations for that. The part was written for you. It's actually even named Angie. Because as I understand it, they were writing the part. They were like, yeah, we need an Angie Schworer type of person. And then at one point, I think it was Casey who said, why don't we just get Angie?

[28:47] Thank you. That's the word on the street, is that he said that. Yeah. And we, Casey and I, I know I've said this several times, but Casey and I were on the set of Smash. He was directing an episode. And he literally, with his cute face, he was like, Bob Martin and I started writing this show. I'm not sure if Chad was a part of it then, but I do. He said, you know, I don't know how that all came about. But he said, Bob Martin and I and Chad Meglin, I guess, were writing the show. And we call the character Angie Schwart. We call her your name. We call her Angie Schwart with his cute face. And that was like seven years ago. So, I don't know. And I think one of the coolest things is, you know, you get the contract, you know, your equity contract, and it says the role and it has Angie written it.

I mean, it's really kind of surreal. And then we got this email early on before the first one day table read. And it had everyone's characters and who they should sort of think about. And on mine it said, Angie, think you. And so, I was like, that was pretty cool. I don't know where that email is, but I really wish I had a copy of it.

[29:54] Alan Seales: It's in your Hotmail account somewhere.

[29:56] Angie Schworer: Somewhere.

[29:57] Alan Seales: Yahoo, MSN.

[29:59] Angie Schworer: Yeah.

[30:01] Alan Seales: Seven years ago, I guess Gmail.

[30:02] Angie Schworer: No, I think I already had the Gmail.

[30:04] Alan Seales: The Gmail. Gmail was around seven years ago.

[30:06] Angie Schworer: The Gmail. The Gmails. So, coming into The Prom and, I mean, the four of you, Brooks, Beth, Chris, and you have been in it from the inception.

[30:21] Angie Schworer: Absolutely.

[30:22] Alan Seales: Which is incredibly rare for leads to still be with it, you know, making it all the way to Broadway.

[30:28] Angie Schworer: Well, it's incredibly rare that, you know, we kind of made it happen. We made it happen that we were available because we really wanted to do it. But it's also rare that none of us, you know, of course, I go to myself, none of us got let go. I mean, you never know.

[30:39] Alan Seales: Being such a strong dancer, though, you've got, you know, decades of dancing and all this history. And then working with Casey, Casey Nicholaw, who is very famously known now for being such an amazing director and an amazing choreographer. Is the experience with working with him different in a way of just working with somebody? Because, like, Casey's even, he's been in ensembles. He's been as an actor on stage. And then, like, now he's speaking to the ensemble. He's speaking to dancers because he's been, in a different language, I feel, because he's been one of them.

[31:20] Angie Schworer: I think there's definitely an understanding of what we go through and the way he says things, you know, to kind of not hurt your feelings. Because I think there's been some, you know, inevitably, there's some times that you have been talked to in a certain way. So I think maybe he understands that. So he doesn't ever make you feel bad about yourself. But yeah, I think that mainly, I love that he doesn't bring his ego. You know, he's just so joyful and fun and collaborative. And I feel like that's what makes you feel safe in a room. And I don't know if that comes from living it, you know, being in an ensemble, or if that's just who he is and, you know, part of his, the magic of his directing and choreographing.

[32:22] Alan Seales: It's just interesting to me how much the character, your character of Angie parallels the real life Angie. You know, the character has been in the production of Chicago for like over 20 years, but has never gotten to play a Roxy Hart and whatnot. And then now, you know, you've got this over 20 year career of your own. And then for the first time now, this is your first leading role.

[32:47] Angie Schworer: That I've created.

[32:48] Alan Seales: That you've created. Yeah, yeah.

[32:54] Angie Schworer: I just want to know, at what point, did you ever think about giving up? Did you ever think like, this is like a goal I don't think I'll ever meet?

[33:05] Angie Schworer: Well, if you think about it, because we did know this was simmering seven years ago, right? You know, there was always sort of that hope. And you always sort of had that little nugget at the end, right? Obviously, unless they fired me before then, but you always sort of had this nugget, a little carrot, you know, sort of going like, oh, this is going to happen. This is going to happen. So I think definitely, there was a calmness about me these past few years that I was like, it's going to come. This time is going to come. Do you know what I mean?

[33:36] Alan Seales: Yeah.

[33:37] Angie Schworer: Now, had I not had that? I don't know. It's just the way it's sort of panned out. I can't, I don't want to wish it any other way, obviously. But yeah, I'm thinking about it now. I go, okay, so this happens, and this is happening. And I want us to tell this story as long as we can. And hopefully, it'll be for a long time. But yeah, I do. And also because, you know, your body, I feel like my body is breaking down. Like I always tease, it's like one tissue at a time. You know, it's starting. And it's weird. It's just the past few years that it started getting a little harder for me to move and groove. But with all the crap that I have done to myself all these years, I'm holding up pretty steady, pretty good.

But yeah, I do. I worry. I do worry about it. And there are times when I'm like, maybe I need to figure out something else for the other last half of my life. But I'm also one of those people that feel like everything is happening the way it's supposed to happen. And as long as I sort of stay present and stay kind and, you know, keep my work ethic up and the way I have and my determination, I feel like it'll pan out. You know, I don't know. I don't know what to tell you about the last half. But as far as years ago, I don't think I ever did. There was one time I probably had maybe the longest time I hadn't had a job. And I don't really know what that timeline is. I'm going to say maybe it was about maybe six months.

And I mean that between like I didn't have a Broadway show and I didn't have a regional show or something. And I went in to interview for an agency to be an agent. And the woman said to me, of the six people I saw today, I interviewed today, I would choose you. And it was to be sort of you start out as an assistant and blah, blah, blah. But I said to her, I don't know that if back then, I don't know how many years ago this was, it was before The Producers, so maybe 1999, right around the time Rocky Horror probably. You know, I don't know if something came across my desk that said, over 5'8", alto, blonde, that I wouldn't be like, oh, I really want to do it. You know, I want to go in for it. So I said that in the interview.

And she said, of the six people, I would choose you, but call me in a year. To see if you still want to do it. Call me in a year. And then I got The Producers, which we all know I stayed in that till, you know, till the end of time.

[36:31] Alan Seales: Did you ever talk to that person that interviewed you?

[36:36] Angie Schworer: No, I know her name now. Her name was Margie. And I've not talked to her since, no. Because it's like little moments like that, that put you exactly where you are right now.

[36:41] Alan Seales: Yeah. You're right. Maybe I should reach out to her.

[36:46] Angie Schworer: I'm sure, I don't know if she's still there or not. Yeah, you should reach out and say, thank you for putting me in The Prom.

[36:50] Alan Seales: Thank you, Margie.

[36:55] Angie Schworer: That's right. So there, yeah, I did think about quitting, I guess, then, or just trying something else. Maybe now I should get a big boy job. I don't know.

[37:01] Alan Seales: No, no, I think. Well, not now, but, in six years when The Prom is still running. Listen, I'm telling you, you need to look at this from a slightly better angle that you have opened up a new door for yourself with this role. Because you're now at a place where you can say, I originated that leading role in a great show. And I can do it again and again and again. And you have a moment where you do like a 180 split in the middle of the show. You don't have to do that the next time.

[37:36] Angie Schworer: Yeah, I know. This could be the last time you do that.

[37:39] Alan Seales: Well, let's put that out there. Okay, let's secret all of that you just said. One other thing I was thinking about, though, because you said, do you feel pigeonholed? If we look at regional things that I've done, Irene in Crazy for You, Roxie Hart in Chicago, obviously. Tanya in Mamma Mia. Vicki Nichols in Full Monty. I'm trying to think of what else. Z's Favorite in Will Rogers, I did a couple times early, you know, years ago. They're all that same sort of got a little side talk, pizzazz, you know, not well, Vicki Nichols wasn't a showgirl, although at North Carolina Theater, I danced in Life with Harold. Josh Rhodes had me dance, which was really my first professional gig.

[38:36] Alan Seales: What was NCT? Oh, okay, great. I love working there.

[38:41] Angie Schworer: Yeah. So they're all that same sort of similar thing. And I don't think it's a bad thing. It's just what I who I am. It's what I portray. Now we'll see, you know, I five years from now, I could be some crazy old cute character actress that's, you know, doing some moving pitches. You know what I mean? I don't know. I mean, there's a lot of opportunity. Like, I feel like women, older women, and I'm not saying I'm not saying you're old.

[39:10] Alan Seales: Yeah, yeah. Well, I am. Thank you.

[39:13] Angie Schworer: Like, not you're fresh out of college, women. If you are successful and talented and have stuck with it, to this point, and have now opened up the opportunities that you've opened up for yourself, like, there's a lot of roles that are sitting at your doorstep that you are now about to age into. Which I think like, okay, name some that you're that you're thinking in your head.

[39:37] Alan Seales: Uh, what's your face from Wicked? Mrs. Madame Morrible.

[39:40] Angie Schworer: Okay.

[39:43] Alan Seales: Gypsy. Mama, Mama. Like, come on. Yeah, come on. You can do that.

[39:48] Angie Schworer: I'm gonna start working on that now.

[39:51] Alan Seales: Think about the actresses that you look up to. And you're like, I could do all that. You should be saying.

[39:58] Angie Schworer: Yeah, I don't say that. But yeah, you know, and I'm sure it doesn't serve me. I'm sure that.

[40:35] Angie Schworer: To have all of that, and it's not just, hey, we're putting on a show, I'm kicking my legs, and blah, blah, blah. It's telling a story. I mean, we are doing that, but it's telling a great story that's helping people. And I feel like just by amplifying these issues in our show, you know, we're talking how much, you don't realize what an impact that has. And so, it's sort of a game changer for just getting to be in a Broadway show. It's like, this is bigger than us now. And so, I'm just kind of sitting in it. And like I always say, at The Long Acre, we're sort of simmering with this positive, grateful, joyful energy. And I think that's serving us, and that's what's going to keep this story going. So, I do always worry. But for right now, I'm sort of trying to just, you know, as I always like to say, fly under the radar, meaning keeping my body intact, keeping the vocals intact, showing up, being present, doing my job, and making people feel better. Feel, period.

[41:44] Alan Seales: Yeah, feel and feel better. Because the show, like the four of you, you're the comic relief. Like, the four of you together, friends outside of the show, but like in the show, you guys are brilliant. And then you've got Caitlin and Izzy, who are the love of the show.

[42:00] Angie Schworer: Yes.

[42:00] Alan Seales: And carrying this message across that is bringing representation to the stage that is desperately needed right now.

[42:07] Angie Schworer: Absolutely. And yeah, and you've got just feedback. I hear from everybody in The Prom, the feedback that you get over and over again, every time, like you're saying that somebody's saying they're bullied. Or Josh Layman said that someone told him that he's bi, and that's the first time this guy has ever uttered the words that he's bisexual. And so, like, it just feels good. It's so, there's so many. And I raised two teenagers from 10 and 12 to now 23 and 25. My two-step teenagers. And I know that that age, how horrible and sort of awkward and scared you can feel. And I feel like this show makes all of those children and our youth feel like there's a safe place that they can be themselves and be who they want to be.

And I feel like that is just, that's a huge, a huge thing to sort of relay to kids. And I feel like that's what makes it so great. And our, I feel like Izzy and Caitlyn, I obviously do Zazz with Caitlyn and she looks at me with this face that you feel like you just as a scared teenager and the youth and all of those things that are going on, she's so great at portraying that. But I feel like, yeah, we're just, we're doing something pretty great here that is changing lives, I think, like our song says. And there's been parents, right, who have said, I'm that parent. I'm the one who didn't realize how.

[43:52] Alan Seales: You're absolutely right. Yeah. Someone in Atlanta, when we were down in Atlanta said that. So in the, at the stage door, we have just as many young people as old, as middle age, like us. Do you know what I mean? Which I love. There's something for everyone and there's something for everyone and they see somebody up there that is a replica of who they are, how they are feeling. So, you know, it's, it's helping everyone, I think.

[44:28] Angie Schworer: Yeah. Right? From the youth to the old, to the middle ages.

[44:33] Alan Seales: Well, it just helps everyone. Musicals in general and the theater takes people to a different place, you know, if only temporary, temporarily, and takes them out of whatever problems they're having or whatever anxiety they're feeling, whatever. That's where you go, right?

[44:46] Angie Schworer: That's what, yeah, you go to experience something that you wouldn't otherwise experience. And when you are taking on this journey that The Prom takes you, takes you on, never end a sentence in a preposition. Yeah, it's, it's so heartwarming. Like I walked out of the show just feeling like a, like I've learned something. Yeah, I feel like they walk out of, I think our audience sort of walks out like floating. It's like floating on air. It just makes you feel good. And I know that sounds so cliché. It really does. It's sort of like just feel good, but I'm sorry. I, I'm 100 years old and I do that. The, the, my senior hip hop, you know, the finale, I could do it six more times. It's just so joyful and fun to do. And you're seeing these words build a prom for everyone, you know, it really is just sort of, you float out, you float off. Yeah.

[45:41] Alan Seales: Is that in act two, you, you mentioned Zaz a couple of times, the number is called Zaz. That is a hell of a dance number. And you do that eight times a week.

[45:46] Angie Schworer: Yeah. Do you?

[45:51] Alan Seales: Well, my sweet Casey Nicholaw did, he made it well enough that he knew I could do it eight shows a week. It's just, it's just enough for me. And I don't know if you know, I'm in like five inch heels.

[46:03] Angie Schworer: Yeah. Tipping it down. You're like six three on stage. A lot of vertical with gestures. Um, it's exactly what I love to do. That's just, you know, it's oozy and fun. And, you know, I do have to do some bot moths, some kicks and pancakes, but, um, yeah, it's, it's very Allah, all that jazz or Chicago, right. Keeping the character. Yeah. See how they go, see how they see what they did there. Um, but yeah, it's just, it's just enough for me.

[46:35] Alan Seales: Do you, do you, uh, do you look forward to it? Or is it something like that? You have to get over?

[46:39] Angie Schworer: I look forward to it because it's, it's my only, it's my moment. It's my only real moment. So it's like, once again is just fine for me. Um, I do warm up the entire intermission though, just to do that number. Now back in the day when I was doing Ula, I could just plop down in a split like two seconds. And that was my warmup. Now there's a lot more movement involved just to make sure that you're not going to, you know, when I do one of those pelvic, one of those pelvic things, I'm not going to like be out on my back. Oh, or when I do one of my arm things, you know, so it's just, there's a, there's a lot to it, but you know, it's just part of, it's just another day in the office.

[47:22] Alan Seales: Well, you have a pretty cool office.

[47:29] Angie Schworer: We think so too. So you did, uh, Sublime Order and you also on Queer Eye and As the World Turns. Queer Eye, I taught, um, I taught somebody how to dance for their wedding. It was the original, the old one. Were you? I was Ula at the time. And so they had me come in and I taught someone how to dance who was going to be getting married. Oh. And then As the World Turns, I was casino hostess. There you go. I had a few lines and I tipped through the casino in a tight dress. Same character. Same character. She was probably losing her looks too. Uh, so the only, right, correct me if I'm wrong, the only film credit I found was The Producers.

[48:05] Angie Schworer: Yeah. Yeah. Yeah. And then, uh, there was also Smash. Is Smash on there?

[48:10] Alan Seales: Yeah. But that's not film.

[48:15] Angie Schworer: Yeah. No, TV though. That's the telly. That's the telly. Yeah. That's where you met Casey.

[48:20] Alan Seales: Yeah. Yeah. Well, that's not where I met him. We, we knew of each other. Yeah. He, when he was in Crazy for You in the ensemble, I was not. When he left, I was in, I came into Crazy for You. So we were two ships that passed in the night. So we knew of each other.

[48:30] Angie Schworer: Yeah. Um, the only moving picture I did was The Producers was, was Stro. You talk like you're 200 years old. The only moving picture I've ever done. Well, see. Speak easy, see. Speak easy. Get off my lawn. Uh, I like moving pictures. I like the moving pictures too, especially with CGI. Are you a Marvel movie fan? Marvel comics?

[48:50] Angie Schworer: No, no, no, not yet. Have you watched any of them?

[48:59] Alan Seales: No. Oh my goodness. I don't know if we can be friends anymore.

[49:05] Angie Schworer: Oh no. Now you're going to take back all those bad things. All those really nice things you said about me.

[49:08] Alan Seales: Oh no, they're still true, but now you have to go back. I still haven't seen the latest Avengers movie, but don't, don't sue me. Um, okay. So we're going to wrap this up here with three standard questions that I ask everybody to end the podcast.

[49:18] Angie Schworer: Oh, I hate these. They make me nervous.

[49:24] Alan Seales: Number one, what's a toehead?

[49:24] Angie Schworer: Just kidding. Number one, what motivates you?

[49:28] Angie Schworer: Joy. Just one word? Joy. Oh, joy, um, passion, being better, uh, uh, uh, wanting, wanting more. All of that motivates me.

[49:46] Alan Seales: Not, not a good answer. No, I, Oh God. I'm still trying to analyze your personality right now because that still plays into the whole, like, I'm good enough. I'm good enough. But yet you still strive for more. If you're saying that's what motivates you.

[50:05] Angie Schworer: Well, doesn't it? Well, what if I, what if I just thought I was just good enough and I just didn't try any more? I think that'd be sad.

[50:10] Alan Seales: Right. So what motivates me is wanting to be better. So are you mad at me because you think I'm good enough?

[50:16] Angie Schworer: No, I'm, I'm, I am not mad. I am disappointed that I feel like you, you have way more talent than you think.

[50:25] Alan Seales: You feel like I'm being self-deprecating.

[50:29] Angie Schworer: Yes.

[50:29] Alan Seales: Well, it's kind of part of my shtick, but it's also, like I said, realistic to me. Um, but I think what motivates me is just, um, is, is life and passion and, and, and wanting more, wanting to be better. Um, I don't think there's anything wrong with that.

[50:49] Angie Schworer: There's nothing wrong with that. Next question is what advice would you give to your younger self and younger people listening now starting out down a similar path?

[51:01] Angie Schworer: Say yes to everything that comes your way. Stop worrying so much about the future, be in it in the moment where you are right now, and don't think that you need to be any further. Just be in it because it's going to lead you to exactly where you are supposed to be.

[51:16] Alan Seales: And last question, if you could only see one show for the rest of your life, but you can see it as many times as you want, what show would you see?

[51:23] Angie Schworer: Build a prom for everyone. The Prom. Have you seen your own show?

[51:28] Alan Seales: No.

[51:34] Angie Schworer: So you would want to see it, but you need to, this is what actually what Chris said too.

[51:38] Alan Seales: Chris Siebert. What'd he say?

[51:43] Angie Schworer: Prom. Yeah. But he, he's like, what, it would be impossible because he wants to see the four of you in it. So by watching himself, he wouldn't be in it.

[51:47] Alan Seales: Well, that's true. Um, yeah, well, I've definitely have to say that The Prom.

[51:54] Angie Schworer: Okay. I think that, you know, because of so many things we've already talked about, but it's the joy and sort of silliness that is, that to me is inspiring. And I want to walk out of the theater floating.

[52:11] Alan Seales: All right. So we can find you online on Instagram at Angie Schworer.

[52:17] Angie Schworer: Yeah. I'm so social media, not, I'm trying to be better. I'm trying to be cool kid, like one of the cool kids.

[52:20] Alan Seales: How long have you been on Instagram?

[52:27] Angie Schworer: Maybe two years. Hey, that's gosh, that's not too bad. Maybe only two years. I've never done Facebook. Never? No. I'm just on Instagram. That was my big, my big to do.

[52:35] Alan Seales: Your big thing.

[52:41] Angie Schworer: And you can get more of The Theatre Podcast, thetheatrepodcast.com, but please go there and support us as much as you can. Thetheatrepodcast.com slash Patreon. You can get me online at theatre underscore podcast on Instagram and Twitter. I am on Facebook.com slash official theatre podcast. Listen and subscribe. If you're listening now, please make sure you subscribe, leave a rating. This is produced by Jillian Hockman. Thanks to Jukebox the Ghost for the lovely intro and outro music. And Angie, thank you so much for being here.

[53:07] Angie Schworer: Thank you so much for all the very nice things that you said. I'm going to cherish them forever.

[53:13] Alan Seales: Well, lucky for you, we're recording this so you can play it back.

[53:16] Angie Schworer: Oh my God. I can play it over and over and over when I'm feeling down.

[53:21] Alan Seales: Yes. Thank you.

[53:22] Angie Schworer: You're welcome. Thank you.