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[0:00] Joel Crump: Hey, you guys. Welcome back to another episode of Broadway Time at Carmine's. Today, I'm here with my favorite, Christopher Sieber, who's currently playing Ernest Menville in Death Becomes Her. So, without further ado, let's get on to the interview.

[0:11] Joel Crump: Hey, you guys. Today, I'm here with one of my absolute favorites. I'm here with Christopher Sieber.

[0:20] Joel Crump: No, I mean it, Chris. Chris, how are you today?

[0:23] Christopher Sieber: I'm great. I'm great.

[0:25] Joel Crump: Good.

[0:26] Christopher Sieber: Come on. It's a good day to be on Broadway, right?

[0:27] Joel Crump: It's a great day to be on Broadway.

[0:28] Christopher Sieber: We're at Carmine's. We're at Carmine's.

[0:30] Joel Crump: I mean...

[0:31] Christopher Sieber: Did you see this?

[0:32] Joel Crump: Did you see this?

[0:33] Christopher Sieber: They just brought it.

[0:34] Joel Crump: They just brought the film. It's huge.

[0:35] Christopher Sieber: My eyes are, whoa, wow. And the bread. Who doesn't love bread?

[0:39] Joel Crump: Who doesn't love bread?

[0:40] Christopher Sieber: Come on.

[0:41] Joel Crump: Audiences might have seen you in shows like Beauty and the Beast, Triumph of Love, Into the Woods, Thoroughly Modern Millie, Spamalot, Shrek the Musical, La Cage aux Folles, Pippin, Matilda, Chicago, The Prom, Company, and now Death Becomes Her.

[0:57] Christopher Sieber: It's exhausting.

[0:59] Joel Crump: You've done a lot of Broadway.

[1:00] Christopher Sieber: I have. I have.

[1:01] Joel Crump: That's kind of...

[1:02] Christopher Sieber: I was talking to somebody just the other day, and it's odd because I normally never look back.

[1:07] Joel Crump: Yeah.

[1:08] Christopher Sieber: I just kind of look forward always, and when you do peek back, you're like, I did all that?

[1:16] Joel Crump: I know.

[1:17] Christopher Sieber: It's crazy.

[1:18] Joel Crump: Even looking at the list, I was like, Chris has really done a lot.

[1:21] Christopher Sieber: I've done a lot, but I don't feel like I have.

[1:26] Christopher Sieber: It's funny because I guess I approach every new thing as the new thing, so I don't...

[1:33] Christopher Sieber: Well, I did that, so that list is crossed off.

[1:37] Christopher Sieber: I did that, so let's do something else.

[1:40] Joel Crump: Right.

[1:41] Christopher Sieber: Let's do something fun-er.

[1:43] Joel Crump: Right. Yeah, yeah.

[1:45] Christopher Sieber: So yeah, I never really look back.

[1:47] Christopher Sieber: I look forward and see how I can make things funny, real, number one, genuine, and that's what's important.

[2:02] Joel Crump: But you've taken on the role of Ernest Menville.

[2:05] Christopher Sieber: I have.

[2:06] Joel Crump: Talk to me about playing Ernest. How have you made the role your own? How have you made Chris in Chris Ernest?

[2:12] Christopher Sieber: Well, you have to bring a lot of yourself in everything you do, even if it's a crazy, over-the-top crazy, like Farquaad or something like that. But you really do have to ground it in yourself. You always have to put yourself in there. Ernest Menville at Death Becomes Her, we had the great template of the movie, which is fantastic, Bruce Willis. And Jennifer had Goldie Hawn, and Megan had... Who was that? Meryl Streep? What's her name? What's her name again?

[2:41] Joel Crump: Meryl Streep?

[2:42] Christopher Sieber: Whatever. Yeah. She's never been heard of again. And then Isabella Rossellini with Michelle. So we have the template of that, but we were lucky enough that Marco Panett was able to take the source material and just kind of like, okay, that's great, we have the story, let's make this our own. And throughout the process of workshops and readings and whatnot, Christopher Cattelli, our director and choreographer, and Noel Carey and Julia Madison were so collaborative during the whole thing. And so we were allowed to just explore and play. It was basically play.

[3:18] Joel Crump: Yeah.

[3:19] Christopher Sieber: And then it turned into a Broadway show. It was crazy. It was a lovely experience. It still is a lovely experience. We're having a great time. We knew it was funny.

[3:29] Joel Crump: Yeah.

[3:31] Christopher Sieber: And we knew it was going to be funny, but after a while you forget that it's funny, especially when you're in rehearsal. You don't hear the laughs anymore because everyone's heard the jokes 3,000 times.

[3:40] Joel Crump: Yeah.

[3:41] Christopher Sieber: But when we did it, finally got in front of an audience in Chicago at the Palace Theatre, it was like something was just reborn. It was astonishing. And there's very few times when you ever get a feeling, and the last time I ever had this feeling was like, this is going to be something, was Spamalot.

[3:59] Joel Crump: Really?

[4:00] Christopher Sieber: Where we were in Chicago.

[4:01] Joel Crump: Right.

[4:02] Christopher Sieber: And the first preview, it was crazy. It was crazy.

[4:05] Joel Crump: I mean, audiences love Spamalot.

[4:09] Christopher Sieber: I know, I know. So that feeling is a lot like this here, where I was like, this is going to be something.

[4:15] Joel Crump: Absolutely.

[4:16] Christopher Sieber: Let's crack into this.

[4:17] Joel Crump: Why not?

[4:24] Christopher Sieber: If you guys don't know, Chris and I go way back to the days of KCBBC, Chris and Tony Cronin Bootcamp in Oklahoma.

[4:31] Joel Crump: So that's where we originally met.

[4:33] Christopher Sieber: Yeah, but it was on video.

[4:35] Joel Crump: It was on video the first year.

[4:36] Christopher Sieber: Because it was pandemic, right?

[4:37] Joel Crump: Pandemic time.

[4:38] Christopher Sieber: And I was singing Magic To Do.

[4:40] Joel Crump: That's right. You were teaching from your home.

[4:43] Christopher Sieber: Who was it? It was Marissa, Jarrett, Renoker, and I were teaching monologue classes.

[4:50] Joel Crump: Oh my god, what a time.

[4:51] Christopher Sieber: Via Zoom or some sort of Zoom.

[4:53] Joel Crump: I think it was just Zoom.

[4:54] Christopher Sieber: Right.

[4:55] Joel Crump: But yeah, we had to teach kids how to do monologues. And they would do their monologues in front of a camera. And Marissa and I would just break it down. It was like, who do you want to be in this? And who are you? And who are you talking to? Why are you talking? You know, those questions you do when you're doing acting questions.

[5:14] Christopher Sieber: And some of them, I will just say, be prepared, kids. OK? There were a few of the classmates. And I understand that it was pandemic. It was weird. It was a weird time. You were at home. It was strange. But they didn't come prepared with a monologue.

[5:29] Christopher Sieber: She said, I just pulled this off. I just pulled this off.

[5:32] Joel Crump: And the internet.

[5:34] Christopher Sieber: I was like, OK. We'll make this a cold reading exercise. Why not? So they did. And we did. And I was like, OK, so do you know anything about this? And she said, no, not at all. And I said, OK, well, that's a good thing. OK, so this girl, I would just say, she was not appropriate for the monologue that she did. At all.

[5:52] Joel Crump: At all.

[5:53] Christopher Sieber: Can you give us a little bit more?

[5:55] Christopher Sieber: Yes, I will. She just liked the sound of the title. This, I think she was 15 years old. And she did. This is the word she used. Fences.

[6:11] Joel Crump: Fences.

[6:12] Christopher Sieber: And Marissa and I, as she's doing this monologue, we're just going like, it's totally springtime for Hitler. Because we're like, you are so not right for this.

[6:21] Joel Crump: All right.

[6:22] Christopher Sieber: You are so not right for this. And we just finish. But she's doing. If you're familiar with the play, there is the son who is basically berating dad. Do you know who August Wilson is? And she said, no, I just like the title. August Wilson is one of the greatest playwrights of our time. And he documents the African-American experience decade to decade very well in an incredible way. Amazing. His plays are timeless in a way. They're in their time. Anyway, I would like you to read that now. I would like you to read the play. This son is speaking to his father. And rethink about what you're about to do. And she's like, oh, no. I'm like, yeah, I know. Yeah, oh, no. I know.

[7:10] Christopher Sieber: So it was a good lesson, though. It was a good lesson for her and it was a good lesson for the class. It was like, guys, know what you're doing. The material. Make sure it's appropriate to you.

[7:22] Joel Crump: Let's try the Frankie Blue Eyes, shall we?

[7:24] Christopher Sieber: All right.

[7:25] Joel Crump: Cheers.

[7:26] Christopher Sieber: Blue Eyes.

[7:27] Joel Crump: Cheers.

[7:29] Christopher Sieber: Oh, wow. I told you. That's actually good.

[7:31] Joel Crump: It's really good.

[7:34] Christopher Sieber: Oh, wait. It's tart. It's almost like a sweet tart.

[7:37] Joel Crump: It's like a blueberry sweet tart.

[7:38] Christopher Sieber: Carmine's team is tired of me ordering it because I get it every time.

[7:41] Joel Crump: Every single time.

[7:42] Christopher Sieber: It's so good.

[7:43] Joel Crump: That is good.

[7:44] Christopher Sieber: Yeah.

[7:45] Joel Crump: I know.

[7:46] Christopher Sieber: I know. I need the recipe.

[7:48] Joel Crump: You've done a lot of special Broadway, Chris. I want to know, what is special about the theater for you? Why do you perform?

[7:52] Christopher Sieber: Oh, wow. Deep. Why do I perform? Because I have no other skills, number one. Number two, I like to create. And I really like to find out who people are when it's written on paper. And like I said earlier, bringing a lot of yourself into something you're doing.

[8:12] Joel Crump: Right.

[8:13] Christopher Sieber: But to break down as to why. I really like to get into the words. I really like to get into why and who and what and all of those really boring actory questions.

[8:23] Joel Crump: Right.

[8:24] Christopher Sieber: Sometimes in a rehearsal room, I was like, okay, so wait, let's talk about what is this and why would he or she, why would they, you know. I really like to get into that. Sometimes I bore myself with as far as the acting, but I need to know the information.

[8:39] Joel Crump: Right.

[8:40] Christopher Sieber: In order to play the role.

[8:42] Joel Crump: Well, yeah. And the more you know, of course, about who this person is, the more you can be that person.

[8:47] Christopher Sieber: Yeah.

[8:48] Joel Crump: But you're always you, but you've got this added persona that you've put on.

[8:52] Christopher Sieber: Absolutely.

[8:53] Christopher Sieber: But the idea is the more you know, the more you can disappear as like Christopher Sieber will disappear.

[8:59] Joel Crump: Right.

[9:00] Christopher Sieber: You know, even though on Broadway, you're just, you know, you're Christopher Sieber playing Ernest Menville, but you, the suspension of disbelief or belief, I guess, or whatever you want to call it, that's the thing. It's like when you're buying it, when you're selling it as good as you can, the audience buys everything you say.

[9:18] Joel Crump: Absolutely.

[9:19] Christopher Sieber: And if it doesn't work out that way, then your performance doesn't work.

[9:21] Joel Crump: Yeah.

[9:22] Christopher Sieber: Because then no one's going to believe you.

[9:23] Joel Crump: Exactly.

[9:24] Christopher Sieber: So playing a role like Miss Trunchbull.

[9:25] Joel Crump: Yeah.

[9:26] Christopher Sieber: Or playing Lord Farquaad, what is that process for that then? Because you kind of have to be a, not a crazy person, but you have to see it through the lens.

[9:33] Joel Crump: Yeah. Talk to me about that.

[9:36] Christopher Sieber: Well, Trunchbull was, I had, and you can also, there's so many things that happen in your life that you can draw from. And I tell people this all the time, pay attention. Pay attention to the world because the people around you, the human zoo, humans are weird people. Humans are weird creatures. We're weird. We are. We do weird stuff.

[9:54] Joel Crump: Right.

[9:55] Christopher Sieber: And pay attention to it. We sit at tables and talk. And talk. And eat. For a camera. This is weird. Very weird. Whatever. Right. You know, I had a teacher and her name was Miss Erickson in first grade. And I am not kidding you, if I had a picture of her today, I would show you she looks exactly like Agatha Trunchbull. I'm not kidding. I'm not kidding. But instead of the brown, she wore all black.

[10:21] Joel Crump: Yeah.

[10:22] Christopher Sieber: She wore all black. Oh, my God. And she was like, she was, well, Trunchbull actually had somewhat of a figure. You know, she was like, brr, brr. But Miss Erickson was like a column of person. She was like, she was big and round. She was like a bollard or whatever you put those things in front, you know, in front of banks.

[10:39] Joel Crump: Right.

[10:40] Christopher Sieber: This tiny head with the bun. She was Miss Trunchbull. She was Miss Trunchbull. But she was like so tight. But it was all black. All black all the time. Nice.

[10:47] Joel Crump: No.

[10:49] Christopher Sieber: That's where it came from. Yeah. That's where it came from. And also the idea, because she would go around and flick you on the back of the head. Oh, she was evil. Oh, she was just evil. Oh, my goodness. Oh, and the worst thing, you'll love this. The worst thing is we had music class in the classroom because I went to a very, very small elementary school. Okay. And she didn't like this sound.

[11:09] Joel Crump: No clapping.

[11:10] Christopher Sieber: No clapping or snapping.

[11:12] Joel Crump: No snapping.

[11:13] Christopher Sieber: So whenever you clapped, you had to go. No.

[11:17] Joel Crump: Wait.

[11:20] Christopher Sieber: The entire class. Imagine. I'm going to come to the show in the front row. When you come out, I'm just going to go. Can you imagine?

[11:25] Joel Crump: No.

[11:27] Christopher Sieber: She hated this. She hated this sound. This was first grade. I know. It's where you're a kid and you're supposed to be. You're supposed to become somebody. Anyway, so that was easy.

[11:37] Christopher Sieber: So looking at Trunchbull and seeing, I was like, oh, my God, it's Miss Erickson.

[11:41] Joel Crump: Right.

[11:43] Christopher Sieber: But the fun part about that, too, is going on the experience of Farquaad because Farquaad was the most evil person, but he loved every second of it. Oh, yeah. And he knew it. Oh, yeah. There are evil characters where they don't know they're evil.

[11:57] Joel Crump: Right.

[11:58] Christopher Sieber: Kind of like those ladies in Death Becomes Her. They don't know they're evil.

[12:00] Joel Crump: No.

[12:02] Christopher Sieber: Though they're just in a fight with each other and the collateral damage around.

[12:06] Joel Crump: Right.

[12:07] Christopher Sieber: But Farquaad was, he knew exactly what he was doing, and he loved every minute of it. And the characters that don't know they're bad, like Agatha. Agatha Trunchbull, she didn't really know she was bad. She just had a way things were supposed to be.

[12:21] Joel Crump: Exactly.

[12:22] Christopher Sieber: And nobody followed her rules because she's insane.

[12:24] Joel Crump: She's crazy.

[12:25] Christopher Sieber: Exactly. So, but playing those characters, the big over the top. Excuse me. I'm talking with my mouth full. Okay. The good thing about it is you can do anything you want. As long as it sometimes makes sense. Most of the time makes sense. It is your world, and it's your choice, and that's the coolest thing. You can do whatever you want. Go for it. Do it.

[12:55] Christopher Sieber: If it doesn't make sense and it doesn't, if people don't buy it, like I was saying earlier, if people don't buy it and what you're selling, they're not going to believe it. But there is still a way that even over a crazy, crazy over-the-top character like Lord Farquaad, it was nuts. Right. But in that same sense, when you're so big, you can get away with anything. As you did. Because he's such an outrageous character. Yes. Yeah. Yeah. So Tag of the Trunchbull is similar to that, but a little more evil. Exactly. All right. Wow, that was a long-winded question. Considering your extensive Broadway career, how does Death Becomes Her compare to your other projects? And you know, what really drew you to Death Becomes Her?

Well, what drew me, it's funny how one goes in one's career. When I first started, I would go to every single audition ever. Right. And I said yes. And I still have a yes problem. I still say yes to everything. Because it's cool. Because you never know. You never know. But when I was just a little older than you, because you're 16 now. 16, yes. When I was 18, I would move to New York. Wow. And I would go to every single audition. I had no idea what I was doing. None. Right. But I went in. And at each time, 1% better, knowing and figuring out what this world is. Exactly. I had no idea. Yeah. And I auditioned like crazy. And that's when I met casting directors. And that's when I met writers, directors.

I met people. But that took decades. That took decades to do, to build upon. Yeah. Which then comes into people starting to trust you. Your casting directors, your writers, your directors, all those people start to trust you and know that you're consistent and know that you can handle material. Exactly. That's when things really start happening easier. It seems easier. It's never easy. Right. But they start asking for you, rather than you going into audition. An audition. Because they know. Offer only over here. Well, no, I do not. I will audition. I have no problem with that. I have no problem with that. I will tell you that I don't think I'm very good at it. But I will go in. It's fine. If they want to see me, I'm happy to do it.

I am not one of those people. It's like, no, no, I will. Because it's they want to make sure and they want to be sure. And I don't want to waste my time and I don't want to waste their time. But as it progresses, people start asking you to, can you read this material for me? Can you look at this? Can I have you just sing this song, see how it sounds? And that's how everything for me kind of works right now is I just have made a ton of great friends. Yeah. Incredibly talented. I mean, I cannot believe some of these are my friends. I mean, it's ridiculous. It's so amazing and so grateful for it. But that comes with decades of doing this. Right. And you're good at it, I must say. Well, you know, I didn't know anything.

And like when if somebody is out there starting out, I'm not really more talented than you. I've just been doing this longer. I really have. I just I've just been doing it longer so I know what I'm doing at this sort of. Right. Whatever. But that as far as that goes, that's what happened with Death Becomes Her. So to answer your question, it was my friend, Marco Panet, who wrote our book. Right. Is a friend of mine for 30 years, and he has produced every TV show from the 90s on. And when I did my first sitcom, that's where we met. And he said, hey, we should do something together. 30 years later, doing that something. Yeah. 30 years later, he says, hey, I've got this thing. Would you like to read it?

We're just doing a reading and just, you know, play. I was like, sure. And it happened to be Death Becomes Her. And it was Ernest Menville and Jennifer Samard was already part of it. And she was just kind of we were just picked to do the reading. It wasn't like cast. It was like, we're just going to try. We're just going to read it. Right. And then the first time we did it. Oh, and Nicole Scherzinger was Viola Van Horn. Okay. Michelle Williams is playing now. Yeah. And so we did this reading. It's just music stands in front of. That's it. There's no set. There's no nothing. We just kind of know the music and we kind of know the words, but everything is right in front of us. Right. We stopped the show.

It's a 29 hour. We stopped the show three or four times during a reading that never, ever happens. Not during a reading. No, no, no. So as far as how it came to me, it was literally kind of just said, want to do something? That's how it happened. You were like, let's do it. And then we clearly, because Jennifer and I are so close. I mean, that's your show wife forever. My show wife forever. And Megan and I have been friends for a long time, but never worked together. But we know how each other worked. And so it just, the chemistry just kind of came together like that right away. And that's, you're like, how wonderful is that? And now, now you get to play Ernest. I get to play Ernest eight times a week.

How great is that? Yeah, it's really cool. I have a few more for you guys, but let's, let's take a bite. Shall we? It's just staring at us. How do you prepare for a humorous show like Death Becomes Her? How do you get yourself ready to play Ernest? And then also being on stage with people like Megan Hilty and Jennifer Simard. I mean, all three of you and, and Michelle, you guys are all so funny. Everybody on stage, including the ensemble, everybody involved in the operation is so funny. How do you not break? Well, because I think we don't break on stage because we have already worked through what the comedy is, but when it comes down to it, the only thing that will normally break me or pretty much anyone on that stage, because we've worked through things so much, the only time we'll ever break is if something is just ridiculous that is out of our control.

Right. Because we, we control all the timing of the show as far as what we do. Right. So if there's Mike Nichols, Mike Nichols used to say, surprise your fellow actors and just to keep your, keep each other alive. Yeah. And it's so minuscule. I mean, it's so small. If you say a word in a different way, you know, just like teeny tiny little things for your fellow actor on stage, because it could, you know, a show is a long running show. It can become autopilot. Right. Yeah. But you make it new every day by just doing those little, little tiny things. And as you know, as a performer, it's like there's a little adjustments every single performance. Right. It's never the same. It's never the same.

And the audience is never the same, but when you tell the truth and you are genuine in your part, whether you're doing drama or comedy, it's the same thing. You're still telling the story. And yes, the story is hilarious and the story is ridiculous. The story is absurd, but again, you have to believe it all. You have to believe that you have to live in that world. Right. And so once you get past the crazy, because you have all this rehearsal time to giggle and laugh. And, you know, there are times in rehearsals where we just stop rehearsal because it's just so funny. Right. It's just so silly. But the less you react, you're very silly people. That's what we did with Spamalot. You're very silly people doing very serious things.

So that's the idea. And you play it straight. You always play it straight. Yeah. Brooks and I have been, we almost made our Broadway debut together in a show called Paper Moon back in 1993. And he and I, he is one of the funniest people of all time. Right. But during prom, we, that whole show was kind of written, improvised. We, Bob Martin wrote the book and we added to it and they let us, we just kind of improvised things that ended up in the show. There's so many, there's so much of us in the prom. And you can tell. And you can tell. And it looks improvised. Right. I mean, the show, when you watched it, when you watched us do it, it looked like we were just making it up. Right. Because it was rehearsed that way because we would just, and just all of a sudden it would.

I mean, you have Brooks as Beth Leavel and Josh Layman and you. Michael Potts, that's like a dream team. Crazy, crazy fun. But Brooks every now and then, because Trent, my character, Trent Oliver is one of the most boring people on the face of the planet. And that's the way I liked him. I liked him created. And so I would say things that were funny, but the audience would think so. And it would just, but Trent in his way would just think he's so brilliant. Because he also went to Juilliard. He went to Juilliard, but he's also a former member of Actors' Equity. So something bad happened. So Brooks would, Brooks would lean over to me and says, you're losing them. Or like, you're ruining it. Oh my gosh.

So that was during the show. And then during Spamalot too, like David Hyde Pierce and I would be huddled at the feet of God. There was a scene where the big feet come down and we'd be, you know, hiding at the feet of God. And we giggled for a year and a half in that show. I can only imagine. We did not not laugh. We were always laughing. And we always tried to get, I mean, Hank Azaria was the one that was, we called him the weak antelope on the prairie. The weak antelope on the prairie. Because he's, he was easy to break. Hank was easy, but we didn't try to, we didn't do much to break it. It just happened. But there was, there's a moment in, I'll just go on with this, but Prince Herbert's father, who was me, I'm this gigantic Scottish Northern Englishman, and Prince Herbert, who's a little feet with a bone arrow.

And there was a line that Christian Borel had. And I, Lancelot says to him, he's like, well, these are nice curtains, aren't they? And he says, aren't they lovely? I just found them. It's this clever little shop on the Thames. And then that was the end and then I'd interrupt them. Well, Hank's last performance, everyone loved Hank and his final performance. So all the girls in the ensemble were off stage left. And he has to break through these doors. He has to stab Michael McGraw and kill Michael McGraw and then kill David Hyde-Pierce and then run up the stairs and go like this. And then like, right, like that. And so all the girls in the ensemble decided that was a great time, stage left, right in his eye view to take off all of their clothing and stand in the wings just like that.

All just what God gave him. Why yes. And Hank burst through the doors and he sees this out of the corner of the eye. He looks over and he loses his mind. He forgets everything. He forgets everything. He forgets to kill Michael McGraw. He forgets to kill David Hyde-Pierce. Then he runs up the stairs and he realizes it. Then he runs back downstairs. In the meantime, David Hyde-Pierce and Michael McGraw said, all right, we'll kill each other. And they run into each other and they fall and collapse. That has happened. The girls are still off stage left, just going, ah. So he runs up the stage and Hank, this is his last show. He doesn't know what's happening. Right. Chris, what do we think about this? What have we done? Holy. You have a show to do. Oh, my gosh. This, this is a holy cow. Okay, let's try it. Oh, God.

[24:46] Christopher Sieber: Oh, my goodness. Oh, my God. That's good. This is really good. Holy. Get some with the cake. I want to get some of this cake. Hey, guys, it's a marble cake. It's with cream and strawberries and pistachios. It is out of this world. It's amazing. And I have a show to do. What a way to get ready for a Thursday night show. Well, Chris, thank you so much for joining me here at Carmine's. Come on. This has been the best. We ate, we chatted, we had this strawberry shortcake. Ah. Yes. Make sure you guys go see him as Ernest Menville in Death Becomes Her on Broadway, right down the street from Carmine's. Right over there. Right over there. Chris, thank you so much. You're welcome, my friend. Nice to see you. Great to see you. All right, let's eat. Let's, let's dig in. Broadway time.