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[0:03] Sean Chandler: Hi everyone, I'm your host, Sean Chandler, and you're listening to Your Program Is Your Ticket. A discussion of smaller theater works and the people and organizations that make it happen. My guest today is the multi-talented David Gow, and we're featuring his new YouTube series, The Lip Sync Fables, an adorable new show where kids tell classic fables while a crew of some of our best theater actors act them out while lip syncing their audio. Now, fans of Your Program Is Your Ticket may remember that David was an earlier guest of the podcast when I interviewed him about Where Has Tommy Flowers Gone, a Terrence McNally play in which he starred and produced, giving one of the most fleshed out and detailed performances I've had the pleasure of watching.

By the way, that's episode number 37. Check it out. David is part of my Theater Is for Everyone series where I'm interviewing theater artists outside of the major locales and influences to give them a chance to be heard, discuss their work selection and production processes, while touching on their triumphs, challenges, and misconceptions. Please keep in mind that our interviews are recorded at different times to optimize schedules, just in case the audio sounds different. I'm super excited, so let's bring him on.

[1:13] Sean Chandler: Hi David, and welcome back to Your Program Is Your Ticket.

[1:17] David Gow: Hello, hello. Thanks for having me. Good to see you, Sean.

[1:20] Sean Chandler: It is my pleasure. I think the last time we saw each other was at a play, Small World and the public, right?

[1:28] David Gow: Yeah, um, my husband David said that he remembers it being a seawall. There was like two plays together. Did you see a seawall? With uh Jake Gyllenhaal?

[1:39] Sean Chandler: No, I wished. That sounds great. I thought it was at the St. Joan, the Joan of Arc musical.

[1:47] David Gow: Oh, oh, okay. Yeah, you're right. I think so, yeah. Yeah, I did say I know I saw it. I liked it. I thought it was good like that.

[1:55] Sean Chandler: Yeah, I think that's where it was. It was either before the show or at intermission. It was one of those things where I saw you and it took my brain a while. I was like, I know him. His name is Sean. Why do I know? Oh, right. We had an interview.

[2:09] David Gow: Well, I'm sure your head was spinning because you, when we had our last interview or first interview, it was for when you produced and performed in Terrence McNally's Where Has Tommy Flowers Gone.

[2:23] Sean Chandler: Yes, and I remember, I mean, is this not a before and after of our world that we did that interview on stage in person, and now here we are doing it virtual in two different countries.

[2:36] David Gow: I know, right. Well, just everyone out there, what he's referring to is that I'm in Toronto, Canada right now, Toronto, Ontario. So I still live in New York. I'll be back there soon. Um it was I just remember seeing the show after we interviewed, and I was so impressed with your performance. I really was. So many actors, one of my biggest pet peeves of actors is when they what I call ride the script when they're performing. They just put some emotion into it and say the dialogue, and um, but I am so impressed when actors make a thousand decisions for their performance, or a hundred decisions if it's one scene or whatever, and it just adds such tremendous detail to the performance, and it pulls the audience in. They start connecting, they're like little hooks. And I remembered you did that wonderfully. Wonderfully.

[3:32] David Gow: Oh, thank you. I appreciate that. That was my first time producing anything in New York, and I'm very glad I didn't know how hard it was going to be, or I would never have done it. On top of that, it's maybe the biggest part I've ever played in my life. Um so it was an extremely challenging but artistically fulfilling experience. I have very fond memories for that play. I thought it was great. I really did. Did you ever get a chance to meet Terrence McNally or talk to him on email or no?

[4:11] Sean Chandler: He was supposed to come to the show, and then something happened where he couldn't. Um I did get word that he was very excited that that particular play had been remounted. Because he wrote it in like 1968, 1969. It's a very peculiar format and almost never done because it's so hard. Um so that I appreciated that he felt like he was touched that someone had found this, you know, relic of his that almost never gets done. So I did not get to meet him, but that was special to hear.

[4:48] David Gow: Right. Well, you'll be happy to know he is a very, very nice man. Uh Dave, my David and I met him at like our LGBTQ writing symposium in Los Angeles, and he was very open and warm. And I'm sure that that warmth that you felt from his wanting, if he could to come see the show is absolutely genuine from him. One of the coolest celebrities I've ever met. And of course, I'm a writer, so I was like, uh I know. He's the one. I've done. It actually was fun because I did that show um in like the fall, and then in the spring, I was cast in Mothers and Sons, which he wrote in like 2016, and it was almost like foreign after of him as a writer from 40 years and seeing stylistically how he had changed. Um literally anything he's written, I'm in love with. He's the one.

[5:44] Sean Chandler: So yeah, he's absolutely masterful. I got a chance to see Mothers and Sons on Broadway, and it was so, so, so, so good. So beautiful.

[5:53] David Gow: Yeah.

[5:54] Sean Chandler: Okay, well, um let's start by having you introduce or reintroduce yourself to our listeners. Uh tell us about your early experience, training, education as an actor, and some of your favorite roles thus far, please.

[6:10] David Gow: So I'm David Gow. I was on what was it, episode 34, 37?

[6:17] Sean Chandler: 37.

[6:19] David Gow: 37. Um, I studied acting at the University of North Carolina School of the Arts. I graduated in 2016 and moved straight to New York. I've been here ever since. I have done some small parts in TV and Madam Secretary, The Good Fight, John Glazer Loves Gear. Um, but my favorite things that I've been a part of are things that I've produced and things that are on stage. Theater's my first love. And um after I did the first show that I produced in New York, because I had previously produced a show in the Hollywood Fringe Festival and done the Edinburgh Fringe Festival, which should be a bucket list for every actor. It's just the most magical theater environment that exists on the planet. Um, and then I the first show that I produced in New York was Where Has Tommy Flowers Gone, which we just talked about, and then in 2019, right before the pandemic, I produced a show called Deku Does a Bronco that actually I found in Scotland that was part of the Fringe Festival, and it takes place originally it was done outside on a swing set because the whole set is a swing set, and I watched the show outside.

For seven years I thought, how can I bring the show to New York and how can I do this inside a theater? And we did it in 2019, and we built a swing set on stage at the Royal Family Productions Theater, I think on 45th Street, 43rd Street, somewhere in Midtown. My favorite theater experiences have been the ones that I have built from the ground up where you pick the show, you get the rights to build the artistic team, you build the cast, you find the theater, you raise money, everything about that, having your hand in every single decision, while it is excruciatingly more difficult, is the most rewarding. And then I've also done regional theater. I've done a couple of shows at Luna Stages in New Jersey.

I'm about to go back to Shakespeare and Company on Saturday for the fifth time. I'm doing Angelo in Measure for Measure. And just trying to get back on my feet after the pandemic, like everybody else. And so this project that we're about to talk about was sort of a product of the pandemic of I am starved to make something. And with the limitations of the pandemic, what can I make? And this is sort of what came from that.

[9:00] David Gow: I interviewed a gentleman who was a mentor and a coach to various actors, and he, I don't want to say he coined this, but the term that he used was COVID born. This was COVID born, and I thought that's smart because COVID flipped a lot of things and really had us thinking outside of the box, and everybody did what they could because they wanted to be their creative outlet that they had lost.

[9:34] Sean Chandler: Totally. I've been referring to this as this is my COVID baby, basically. This is one of a few gifts in all the horribleness that I try to remind myself of that if not for the pandemic, this would not be happening.

[9:49] David Gow: Right. Yeah. We still would rather that the pandemic never happened and would just go away. But I think my opinion was that it affected, as far as a business, I think it affected theater the worst. I really do. It just because of the closeness of the audience, the um, I don't want to say lack of control, but less control on stage. It's very difficult, it was very difficult for people to do a COVID-directed show in the middle of it because everyone had to be, you know, socially distanced and masks and all of that. And I mean, Broadway shut down for almost two years. I mean, that's a multi-billion dollar business. And I swore in the beginning, I was like, oh no, they won't shut down Broadway. It makes too much money. Well, was I ever wrong?

[10:44] David Gow: Well, and it's crazy that I still feel like we are our industry is being hit the most by it. Not even in terms of, you know, people getting COVID, but my other friends that are not in the arts, if they are sick, if they have COVID, they work from home virtually. Unless if you aren't a guaranteed contract, you know, when I just did Luna Stages, I was filling in for an actor who got COVID, and I did two out of the four weeks of the run, and he didn't get paid. He was just home, you know. And we still not only was their entire livelihood wiped, but now we've we are still one of the fields that is suffering because of it.

[11:33] Sean Chandler: Right. Yeah. Um it's so absolutely common now to read about the various shows that are in New York, and I'm sure this spreads all over the United States, who you know, if you test if you go in and I believe they test actors every single time they walk in the theater, yeah, and if you've got it, then you're out of your show and understudies come in and cover your part. So um that's becoming very, very common, and rightfully so. I mean, you know, but I let people go home and recover and feel bad and not infect other people, even though um for the people out there there's um like your masked most of the time when you're in rehearsal. Um I actually saw Funny Girl um I went and saw Julie Banco in it, who's terrific, by the way. And uh I she was performing and the understudy for Ramin Karimloo, um he came out and literally was pulling a mask on stage off of his face, like he had forgotten about it. That's how ingrained it.

[12:46] David Gow: Yeah. I mean, understudies are the heroes this year. I my friend Jason Korbach is the understudy in Into the Woods right now, and he has now done Rapunzel's Prince, The Wolf, Cinderella's Prince, and did the baker for opening night. And you know, historically, a lot of times the understudies never got to sniff this stage, but yeah, they are saving productions by themselves right now. It's incredible.

[13:12] Sean Chandler: Wow, yeah, it's a huge feat. Loved Under the Woods, by the way. Please tell your friend who's the understudy that it's a terrific show. It's a revival, but it's almost concert produced for those of you who are out there. I would recommend it. It's just amazing that the talent bench is so deep for that show. It's crazy.

[13:52] David Gow: And I love that because you know they did it at Encores where they pride themselves on two weeks' rehearsals, kind of holding the script, very simple, bare bones. And it was so successful that when they transferred it to Broadway, they really didn't pimp it out anymore. They're just sort of there telling the story, and I love how simple it is. I actually think it does a service to this story because it's a masterpiece. Oh, yeah. And honestly, I well, I uh respect it for what it is and the fact that I do think it's a masterpiece piece of theater. I had not really cared for it. I thought I thought it was a little too long before. Exact same length in this production, but it just flew by under it.

Yeah, and my husband loves that that musical, and he's sitting next to him. He cried like six times during it, and um it's it just I was absolutely thrilled. Um so go see it if you can. If there are tickets available, I think they're extending it, if I'm not mistaken. That's the rumor. That's the rumor, yeah. Very cool. All right. Uh tell us about the lip sync fables. Talk about the creation and development of the series, please.

[15:07] David Gow: Okay, so I got this idea when I was I was doing the Waverly Gallery at Shakespeare and Company, and they had a new play festival, and uh six or seven-year-old girl had written a short play that she had all of these legendary Shakespearean trained actors perform, which you know, the premise was like the princess and and the tiger or something like that, and it started and it was hilarious, and then as it kept going, I actually got very moved by it, and I was kind of looking around like, is anyone else crying at this show? Because there was something so beautiful to see adult actors empower the vision of a child, and I thought that is very interesting. I'm compelled by that. I would like to see more of that.

So I thought about the idea for a while. And this was around the time where I had finished producing two shows in New York. And like I had alluded to earlier, it just takes everything out of you. It's so challenging. And everything is harder in New York. I mean, I've been at a theater where I've said to the theater, Oh, we left um a wrench up there. Can we borrow a ladder? And they'll say, Yeah, it's $50 for the hour. And you're like, can I just have a ladder for two minutes? So it's very, very taxing and difficult. And also, in terms of fundraising, it's really challenging. You know, I'm from Houston, Texas, and so most of my network when I need to fundraise is in Houston. And frankly, my pitch is just not very strong to go back to Houston and say, Hey, I want to put on a show in New York that you're not gonna see, and it's gonna be a donation, not an investment, but please give me your money.

That's just very challenging. And the distribution of it is not as much, you know, you have to be in New York, buy a ticket, go see the show. So I did think to myself, I want to challenge myself to produce something that is gonna have more of a distribution to a larger market. I want to do something on camera. So then I thought, what if I paired these two thoughts together? And I sit down with a bunch of kids who beforehand I say, all you have to do is write an original bedtime story, fairy tale, whatever you want it to be. There are no rules, you can come up with whatever you want. And so I did it during the pandemic, and I would lie in bed and I shot it for two days. I had 10 kids one day and 10 kids the second day.

And we had two cameras, one on me, one on the kid. And when the kid would talk, depending on their comfortability, when the the camp we were rolling at them, I would put a mask over my face, and then we switched the camera mask on the kid. I would take mine off. And I would say, read your story, and I'm just, you know, I'm gonna ask a bunch of annoying questions during it, just so we can have some banter back and forth. And it was magic. It was, you know, the stories were so unexpected. And that was the fun thing about it is that this is a project where I have no control over the script. I have no idea what they're gonna come in with, which made it so fun. And then my banter with them was hilarious.

Some of them thought it was funny, some of them would push back of like, can I just get through this? You know, and that was even more funny when they would sort of lecture me of like you need to listen. So that was really fun. And so then I had I think 19 stories in total. And I thought, well, I can't produce 19 of these because this will be difficult. Let me start with the first six or seven. So I did all that in Houston, and then I came back to New York, and I I, you know, it's a weird ask to people of like, hey, here's this story about a witch, a monkey, and a fairy. Do you want to come play one of them and dress up a lip sync to the kids? So I should explain. So the premise of this, I also was inspired by drunk history from Comedy Central, which is incredible.

If you don't know it, you should watch it. But the premise is they get a historian or an expert on a topic, get them legitimately drunk, and then they say, Tell me about Harriet Tubman or Alexander Hanson. They say it, and whatever they say, then they act out and produce with costumes and actors, and the actors are lip-syncing the inebriated dialogue. So that was my premise for this of we're gonna get the kids' story, and no matter what their delivery is, whatever the content of the story is, we're doing it. And I had actors agree to it. And I think part of it, I I don't know. I was amazed how many people said yes, and I part of it might have been that they were interested in the project, but I think a lot of it was people were starved to make something and work with their friends, and that I felt that energy a lot when we were shooting of a lot of it felt like a reunion of like we're on set together and our friends and we're doing this, and we're all acknowledging we're being ridiculous and silly, but it was really special.

I mean, it it came at a time where I feel like it seemed the most discouraging and hopeless of when we were gonna make art again. I love that my avenue back into it was through kids. It's pretty special.

[20:45] Sean Chandler: Well, the this series is called Theater is the theater is for everyone series. Um, and I think that in your case, it's theater is for everyone everywhere and in multiple mediums. So I think that you're you're really sort of expanding that uh out, and and now I know that you did part of it in Houston, right? You said yeah and then the other part of it in New York, so you're using you're using all ages you're using different talent levels um I I I think it's really cool. One of the things I like about you is that you have a constant need to produce and um that just uh really enforces the drive that you have uh and that that's the number one thing that I tell people when they ask about you know what do you need to to make it to get seen to be at at at just a level at a different level an upper level so to speak and um I just tell them you have to have drive you're gonna hit so much rejection and difficulty that you you know you gotta be like okay I'm gonna take that hit and and keep going.

[21:59] David Gow: I myself have have a two-day pity party rule where if I get rejected or something I just like I whine to David and I eat junk food well more than I already do and you know for a couple days and and then I get back on the horse. So what I found is that just that just gets shorter and shorter and shorter. And it's like okay well they don't want me but try again some you know somewhere else.

[22:19] Sean Chandler: Yeah that's super healthy. I mean I have I also I have I think I actually might have talked about this last time we chatted but I have an audition log for every audition I do and so I've now sort of tricked my brain to thinking even if I don't get it I get to go add to the audition log. So I it's always sort of a gift and motivation because I'm watching that number go up and it's a weird thing that I've now I've found a way to just sort of secretly find a piece of joy even when I get rejected.

[22:53] David Gow: Yeah. Well, and I always tell people, and this is I'm a writer, so I've had people usually it's people auditioning for me, um, or I'm part of the process. But I tell people, you know what, just because you may not get this part doesn't mean that you haven't been noticed. Um, and it the people that are sitting at that table you're auditioning for, there's a reason, and they want you to be good. And uh there's been many times where I've had somebody audition for me not perfect for the show, but I remembered them later on. So it's just because it's a no doesn't mean it's the complete no. It's just maybe no for now. And that's important to remember, I think.

[23:37] David Gow: Totally. And that's that's actually another thing I love about producing is that I have so many friends that are brilliant and talented that I am watching them go to auditions and get discouraged and rejected alongside of me. And so when I produce, to be able to give my talented peers a gift of like, let's come make this thing together is the ultimate reward. I mean, I think I had 34 actors, 35 actors in this, and a third of them I went to college with. Um, and and also to your point about like drive and and making work yourself, people ask me a lot. So, do you want to produce more than act? Are you a producer? Um, and actually I don't even know that I identify as the producer or there's certain things about it that I don't know that I'm that great at.

I just am obsessed with acting and performing, and I found producing is the fastest way to get that going. So I really do it as a means to act because I'm super impatient and I don't like sitting still. So that's another gift that producing and making your own work is yes, I'm auditioning, but why wait? Just go make something yourself.

[24:56] Sean Chandler: I hear that so often, David. I hear people say, nobody would would give me a part or would would would hire me. Um, so I just went went and created something for myself. And I think that's really smart. I really do. Is that do you is that the kind of advice that you give people when they're asking for your thoughts about it?

[25:20] David Gow: Yes. I have found I think each time I've done it, I've learned something and become more intentional the next time. So the first time I did it, where is Tommy Flowers Gone, I thought, let me pick a show I can get the rights to that's a really good showcase for me as an actor. And then the next time I did it, I thought a little bit more with a marketing hat on of let me try to get a cast that will bring in an audience, and let me try to get a show that's a little bit more current and up to date and maybe more appealing. So, you know, the McNally play is two and a half hours long and from the 60s. The next one I did decade as a bronco was about an hour 15 and a little bit more current. And there's so many little things to think about of the location and what time you're doing the show.

And you know, you just have to it's I so I had it from the lens of not just what do I want to do as an actor, but also what is going to be appealing to the audience where I can even get people to come see the show. And um and so that was part of it for this project, but also it's a project of you know, if I myself am not excited about it, then what's the point? No one else is gonna be excited about it. It has to be something that I'm proud of and I'm thrilled about, so that I'm motivated to really promote the project. Um so it's interesting. I'm curious to see when this ends and the smoke is cleared. Well, my big takeaway from this one will be, but also the best thing, the best way to learn how to produce is just do it because you learn by doing it, and I feel like I've gotten better and wiser and more creative each time I've done it.

[27:11] Sean Chandler: Definitely. I mean, whenever I go do a play or production, um, it uh I'm I'm always thinking, even if it's not, you know, gangbusters successful, if you focus on really learning, like paying attention, having an open mind and able to hear your criticism. Um it it it's it's helpful to do that.

[27:35] David Gow: Okay, well, what did I learn from this that I can take to the next? And if you do that, you're constantly building the blocks of I think a really good career because you know better and you're teachable, even when it's tough.

[27:50] David Gow: Yes, and it and it's harder to do that, I think, when you produce because it's your baby, so you have the thinnest skin about it.

[27:57] David Gow: However, it's the most valuable way to move on and be successful the next time.

[28:01] Sean Chandler: Oh, absolutely.

[28:02] David Gow: Indeed.

[28:03] David Gow: Um, you know, I hope that you stand back and objectively look at your success.

[28:09] David Gow: I know you're in it, so it's constantly like the processes and what's the next step and all of that, but I am very impressed by the way you work and the way that you talk, and I hope you give yourself a chance to go, wow, look how far I've come.

[28:24] David Gow: And um because it's pretty dazzling to me.

[28:29] Sean Chandler: It is.

[28:29] David Gow: I I am impressed by I'm like I'm hobbled by you and your work ethic.

[28:34] Sean Chandler: Oh, thank you.

[28:35] David Gow: I appreciate it.

[28:36] David Gow: It I'm most proud, again, I I said this, but I'm most proud when it's a concept I came up with.

[28:43] David Gow: I mean, to think like if I can find text messages from friends in 2019, 2020 of what if we did this for a web series and now the web series is coming out today, is pretty special to me.

[28:56] David Gow: So yeah, I am proud of it.

[28:59] David Gow: I I mean again, I'm more proud of the stuff that I've made than anything that I audition and book for.

[29:04] David Gow: Because then you're just a piece of a puzzle, which is still wonderful, and I love doing it, but this is you know, this would not exist if not for me.

[29:13] David Gow: And so those are the ones that I am the most proud of.

[29:16] Sean Chandler: Wow.

[29:16] Sean Chandler: That's very, very cool.

[29:18] Sean Chandler: Okay.

[29:18] Sean Chandler: I want to keep talking about the lip sync fables, but I have two sort of sidebar questions for you.

[29:26] David Gow: Okay.

[29:27] Sean Chandler: What does the audition log consist of?

[29:30] David Gow: I'm curious about that.

[29:32] David Gow: Okay.

[29:33] David Gow: So I I have I'm I'm going, I'm picturing it in my head because they're all the columns.

[29:39] David Gow: So it's it's who is part of the project, and I have every single name of producer, director, writer, casting assistant, casting director, everybody.

[29:51] David Gow: Where the project is, what was it?

[29:54] David Gow: Was it a tape, was it live?

[29:57] David Gow: How many sides?

[29:59] David Gow: Um, then my sort of the base facts of it.

[30:05] David Gow: Sent in, never heard back, or it's sent in, got a callback, they liked it, but blah blah blah.

[30:10] David Gow: Then I have the outcome, whatever that is, call back, didn't get it.

[30:15] David Gow: And then I have additional thoughts where I might say, I I actually thought I did a really good job in this, and I coached with someone before, and I was excited about it, but it didn't go whatever.

[30:27] David Gow: Or I might say, Yeah, this was I did this audition when I was in tech for another show and I felt really rushed, or I learned from this, blah blah blah.

[30:36] David Gow: And it's like a I mean, I don't journal.

[30:40] David Gow: I should, but I don't.

[30:41] David Gow: But this is the closest version of journaling I have because I can go back and look at my first audition in 2016, and I can say exactly who was in the room, what I thought, what they said, and then I have six years of connections on there that then I can invite to shows, or I can remember next time I go on an audition, I shouldn't say nice to meet you because we did meet, you know, it's just such a good um stabilizing thing for me.

[31:10] David Gow: And then I it makes my auditions feel like trophies, sort of, even if I don't book them.

[31:17] David Gow: Um, and then when I hit a hundred mark, I throw myself a little party.

[31:22] David Gow: And by party, maybe I go buy ice cream or something.

[31:26] David Gow: But we just celebrated our 300th, like a month ago.

[31:30] Sean Chandler: Wow.

[31:31] Sean Chandler: Geez.

[31:32] Sean Chandler: Okay, I love that that your party is like a daily occurrence for me, because I eat ice cream almost every day.

[31:38] David Gow: And it shows.

[31:39] Sean Chandler: No, I don't.

[31:40] David Gow: Yes, I do.

[31:41] Sean Chandler: Who am I kidding?

[31:42] David Gow: Good for you.

[31:43] Sean Chandler: Yeah, right.

[31:44] Sean Chandler: Um and then my Okay, my next question is kind of stupid, but it's about Houston and it's about theater.

[31:54] Sean Chandler: But I want to know if somebody else has this feeling.

[31:57] Sean Chandler: Um Is it me?

[31:59] Sean Chandler: Because I I trained in Houston for a restaurant job that I had got probably twenty-five years ago.

[32:05] Sean Chandler: And uh it's was for a restaurant called Bira Paredes.

[32:08] David Gow: Are you familiar with that restaurant?

[32:11] David Gow: Uh yes.

[32:12] David Gow: I don't think I've been there, but I know it, yeah.

[32:14] Sean Chandler: Okay.

[32:15] Sean Chandler: Well, I trained to be a manager uh for a store in Southern California where I lived up until I was fifty, and um they sent me out there to train there.

[32:26] Sean Chandler: One of the things that I realized as I was driving through Houston is that it looks like a big bullseye because they're they call them the loops, but there are big looping freeways, like two or three that circle around the city and sort of like go together into like a bullseye.

[32:47] David Gow: And I I know this because I got lost on them.

[32:50] David Gow: I'm not very I'm horrible with directions, but I just remember driving around one and not knowing where I was.

[32:56] Sean Chandler: Do you th do you agree with that assessment?

[32:59] David Gow: A hundred percent.

[33:00] David Gow: And when I was a kid, I used to call it like a spaghetti bowl.

[33:04] David Gow: And at one point there's like four that go over each other.

[33:07] David Gow: But no, that's very accurate and actually Houston locals will identify where someone lives by saying, Do they live in or out of the loop?

[33:17] David Gow: Like that is a marker for geography.

[33:20] David Gow: Uh but and a bullseye, I haven't heard that, but that's spot on.

[33:24] David Gow: I'm gonna I'm gonna steal that from you and copyright it to Houston people, because that's absolutely you have my permission.

[33:31] Sean Chandler: That was just an observation I had.

[33:34] Sean Chandler: Again, mostly because I I got lost a lot there.

[33:37] Sean Chandler: I still get lost every time I go home and I was born there, so that's funny.

[33:45] David Gow: Houston's nice though.

[33:46] David Gow: I really like it.

[33:47] David Gow: It's very, very nice uh uh neighborhood and lots of uh uh artistry and creativity.

[33:54] David Gow: I might one of my uh uh uh favorite Texas cities for sure.

[34:00] Sean Chandler: Yeah, okay.

[34:02] Sean Chandler: Yeah, yeah, yeah.

[34:03] Sean Chandler: Oh no, go ahead.

[34:04] Sean Chandler: Say please continue.

[34:05] David Gow: I would say it's just an interesting thing of I didn't, you know, I I didn't my perspective on it when I was a kid versus when I go back and visit it now.

[34:14] David Gow: I think it's technically now the most diverse city in the whole country.

[34:19] David Gow: Um and it's really the theater scene is blossom.

[34:23] David Gow: It's a it's a great city.

[34:25] David Gow: I think it is it is in opposite direction of um as Texas becomes maybe more conservative, Houston is becoming more liberal, and it's interesting how the disparity is growing more and more as time goes on.

[34:43] Sean Chandler: Wow, you're I didn't I didn't realize this, but again, it's the last time I was there, uh Reality Bites was a new movie in the theaters, and Lisa Lope was singing stay all over the radio.

[34:57] David Gow: That's what I remember from it.

[34:58] Sean Chandler: And you were probably what three, four years old.

[35:02] David Gow: So maybe that's why that's why it's different.

[35:06] Sean Chandler: I'm sure it's my different energy.

[35:08] David Gow: Right.

[35:08] David Gow: Indeed, absolutely.

[35:09] Sean Chandler: Okay.

[35:10] Sean Chandler: Um uh tell us about the creative team and ensemble of the lip sync fables.

[35:16] Sean Chandler: Who do you have working with you?

[35:19] David Gow: Okay.

[35:19] David Gow: I'm so excited to talk about this because I love this group so so much.

[35:24] David Gow: So the first part of this I did in Houston because I just know more families there, and I had more reach of meeting kids in Houston.

[35:36] David Gow: But also my cousin Jack Brain is a brilliant young filmmaker.

[35:43] David Gow: And we sort of have like a uh you scratch my back, I'll scratch yours, where I did a short film of his, and so he filmed this, and then I just did a feature film of his.

[35:53] David Gow: So we were kind of, and he'll edit the green screen for one of my episodes.

[35:57] David Gow: So he's amazing, and so I I thought for the Houston part with the children, that will be executed great by him, not get out in two days, great.

[36:08] David Gow: Then I came uh back to New York, and Mariah Pepper Burkowitz, who is my right-hand lady, she helped me produce both my um theatrical shows in New York, and I will not produce anything without her.

[36:26] David Gow: She's fantastic.

[36:28] David Gow: I said, I have this idea, and she said, great.

[36:30] David Gow: And then our other friend Katie Alien, who I went to school with, helped me.

[36:34] David Gow: So the three of us kind of tackled this, and then when I started casting it, it's funny because you know, again, I'm going off the script of the kids.

[36:44] David Gow: So I sort of have permission to do anything.

[36:47] David Gow: If it's a fox, a fox can literally be anyone.

[36:51] David Gow: So I did have the luxury of, you know, there are certain people that I would love to work with, but when I'm producing a theatrical play, can't give me maybe a four-week rehearsal and four-week run time commitment.

[37:08] David Gow: Whereas with this, if I say, meet at this spot and I'll get you out in three hours, it opens up the doors to a lot of people.

[37:15] David Gow: And this cast is phenomenal.

[37:18] David Gow: I think we have eight people with Broadway credits.

[37:21] David Gow: Um we have Maya Abney, who is one of the fighters in the Black Panther Marvel movies who's doing stunts and quarter staff fighting in this.

[37:32] David Gow: We have Catherine Cohen, who just released a Netflix special, The Twist, She's Gorgeous.

[37:37] David Gow: We have Ryan Mueller, who's on a Bridget Tunnel TV show, Billy Cohen, who's on the National Tour of the Bands visits, Kennedy Kanagawa's in the woods right now.

[37:46] David Gow: I mean, it just goes on and on.

[37:48] David Gow: It's an embarrassment of riches.

[37:50] David Gow: And what was fun is then I got to cater to their skill set a little bit.

[37:56] David Gow: So if they needed dancers, I got JJ Neiman and Samara Nixon Fleming, who are brilliant dancers.

[38:03] David Gow: He's in Book of Mormon on Broadway right now.

[38:06] David Gow: Um just it was it was an endless possibility because of the world the kids created and because of the abilities of my friends.

[38:15] David Gow: That again, I couldn't necessarily get for eight weeks, but all of them wanted to make something, and I could get them for two or three hours.

[38:22] David Gow: And it was fantastic.

[38:24] David Gow: I can't wait for people to see everything they're doing.

[38:27] David Gow: And then the filming in New York part was fun because we mainly filmed it outside, unless it was raining.

[38:32] David Gow: We had to do a plan B once, but we're doing it in different parks here in New York.

[38:37] David Gow: We don't have to record sound because we're just using the audio from the kids.

[38:41] David Gow: So filming it was me saying action, Tomas, um, who was our brilliant New York cameraman filming it, and then someone holding a speaker under the actor with the kid's voice, and the actor just ended up sinking to what the kids are saying.

[38:57] David Gow: And it was hilarious.

[38:59] David Gow: I mean, we it was such a laid-back set, but also it was funny watching people take it so seriously and being professional while dressed up like a fairy and getting in a fight with a wand, you know.

[39:15] David Gow: So in terms of a collection of talent, again, 34 actors, I've never worked with so many talented people with so much ability and reach.

[39:27] David Gow: I don't know that I ever will, but this this specific format lended itself to that I got to have my dream cast come in and do it, and it was I still can't believe it.

[39:40] David Gow: I mean, I watched the trailer and I'm like, how did I get all of these people?

[39:43] David Gow: It's it's just so exciting.

[39:47] Sean Chandler: Well, I watched the trailer as well, and I think there there was a trailer specific to episode one that came out today, if I'm not mistaken.

[39:58] David Gow: I last night I posted the teaser for episode one that's coming today.

[40:01] Sean Chandler: Yeah.

[40:02] Sean Chandler: And it is it looks like such a fun series and very, very professionally done.

[40:11] Sean Chandler: Um funny.

[40:13] Sean Chandler: The kids that you have on there are great.

[40:16] Sean Chandler: And I love that they're so naturally themselves.

[40:19] Sean Chandler: That's the great thing about kids, is like, like you had said, you know, they'll they'll come back at you if if they think they can or if they should.

[40:27] David Gow: Yeah, and I well, what was funny?

[40:29] David Gow: Sorry to cut you off is that the actress for episode one, she came in, and you know, her mom's there, she has her headshot, she's ready to go.

[40:38] David Gow: She's like made this gorgeous um script for herself, but she didn't need to.

[40:43] David Gow: You know, some of the kids came and memorized, some just had a printed sheet of paper.

[40:46] David Gow: Hers was like perfectly stapled, and she drew pictures.

[40:50] David Gow: And I'm like, oh, this is clearly not her first time doing something.

[40:53] David Gow: And I found out she plays young black widow on a hawkeye.

[40:59] David Gow: So I'm like, oh, you you're doing us a favor by showing up right now.

[41:03] David Gow: She was like young Scarlet Johansson.

[41:05] Sean Chandler: So that's the actress in the first episode.

[41:07] Sean Chandler: She's a total pro.

[41:09] David Gow: Wow, that's very cool.

[41:11] Sean Chandler: Yeah.

[41:12] Sean Chandler: Now, did are all of the fables written by the kids, or do you do any like, do you bring in any like classic fables that are pre-written or how does that is it original?

[41:25] David Gow: They're all they're all original.

[41:26] David Gow: I did say to some of the parents, would do you are because some of them wanted to be a part of it but weren't necessarily able to write something.

[41:35] David Gow: And so I said, Do you do you want to write your own, or do you want mom to write one, or do you want us to give you one? And for the most part, they read their own, and those are the best ones. But in rare cases, for really young ones, they would say, could you have a story for us? And I would have my brother write one because I was like, I can't, I don't want my my voice or narrative in this, and I want to be actually surprised from the reading it to me. Um but what's I mean, again, the original content stories of the kids were the best ones, but even the ones that my siblings wrote, their delivery of it is still magic because coming from them, it's just it's it it obviously hits different than when a 30-year-old is reading it. So it really worked any you any way that it was done, but the best ones were the original stories, and those are the ones that I had picked for the series.

[42:29] Sean Chandler: Okay, so every every story thus far is creatively new.

[42:36] David Gow: I think all five out of six, yes.

[42:38] Sean Chandler: Five out of six, okay. Wow, that's that's great.

[42:45] David Gow: Yeah. Um that's it's uh I I love the trailers. I thought they were hilarious, I thought they were adorable. Everyone looks like they're having a great time. Um, and that's that's gotta be so wonderful to see for you that this vision is is not just going to be successful, because I know it will be successful, um, but it's creating happiness in in people. And right now it's creating happiness in the people because it's not released yet, but and the people that did that worked for you that actually executed the cast and the crew, it it looks like they had a great time. And that I think is a spirit that translates into uh what I saw at least. It looked like they were having so much fun, and um including you laying in bed in your pajamas.

[43:38] David Gow: Holding at the best time. Right. And what comfort what a comfortable costume. My day consisted of changing pajamas for each kid, but besides that lying in bed and just listening to kids be entertaining. It was a good day.

[43:57] Sean Chandler: Now, did you direct all of the episodes yourself, or did you bring in other directors to or the different directors for different parts?

[44:04] David Gow: I directed all of the stuff we did in New York where we came to life. Um, where we brought the stories to life. With the kids, they actually really didn't need direction. I would just say, okay, we're gonna read it one time and then we'll do it one more time and I'll ask you questions. Um but the New York stuff, I actually um reached out to someone to direct it, but then more and more I was prepping for the shoot in New York, once we're bringing the stories to life, more I was like, it doesn't really need a full-blown director because so much the kids have already given us, and I already have such a clear vision in my head of what I want to do with these that I just said to them, I think I just need to do this myself.

And I'm glad that I did because I think because I got first access to the stories from the kids, and then I didn't film it until four or five months later because the stories were just sort of marinating in my head with images that I think I had to be the one to execute it. Um but then, you know, the the hilarious part, and I wish we'd been filming all of this, is you know, I have a hat on, and I'm trying to be a serious director, and I am saying to, you know, now when you put the cheeseburger on your head as the monkey, can you try to squat? You know, just the direction is ridiculous. It's not, you know, it's nothing too deep. But everyone was so ready to play, which made it so much fun. No one was like, this is silly.

Why are you asked having me do this? They just they were very happy to be ridiculous. And in public, I might add. I mean, people would walk by as I would have a princess, a drag queen princess sprinting across a bridge, you know.

[45:51] Sean Chandler: And everyone was just, this is what we're doing.

[45:56] David Gow: I do have to say that I have seen stuff like that in New York. Um anyway. But I was gonna be more like this is just a Tuesday for us.

[46:07] Sean Chandler: This is my exactly.

[46:09] David Gow: No joke. Um talk about the we've talked about the production process uh a little bit. Um what is it like preparing to what was it like preparing the the show?

[46:29] Sean Chandler: It's hard, it's it's it's a hard question to ask because there were two two separate systems of preparation, it feels like.

[46:36] David Gow: Right. Uh like your preparation for web being with the kids and then with uh the adult uh theater actors. Um what were their similarities and differences?

[46:48] David Gow: The the shoot with the kids was interesting because I've never worked with kids before, and I really wanted to do everything the correct way. So um I looked into waivers, you have to have the parents sign, and I'd be very transparent. This is exactly what's gonna happen. The parent was in the room the whole time. Right. And uh I reached out to a couple family friends, but for the most part, I got really lucky of I emailed a former director of mine that now works with children's theater, and I was like, Do you have any kids that'd be interested? And she was like, I have 20. I mean, it's uh great. And then it was kids that were just dying to perform and to be on camera. So that that was more just learning the appropriate way to go about working with kids on camera.

The New York shoot was interesting because I was determined not to fundraise at all for this project because fundraising is so challenging. And I just wanted to see what what happened if I produced something and I did it with um duct tape and love. And so I found um I'm writing that down. Duct tape and love. I actually just pulled out from Todd Flaherty, who wrote, produced, directed, acted, and edited a feature film that is at Outfest right now that I was in that's brilliant. And he did the whole thing in 17 days for 20,000. It's incredible. And it's a brilliant film. Everyone stay tuned for Chrissy Judy. Um is it called? I'm sorry. Say that again.

[48:24] Sean Chandler: Chrissy Judy.

[48:26] David Gow: Chrissy Judy. And just for Mirda Outfest, it's incredible. Um so I didn't want to spend money on this, so I found Tomas, who is a brilliant DP who had his own equipment, and I said, again, shoestring budget. Can I give you a stipend to film two episodes in one day? And we'll just knock it out. And he said, yes. And so we filmed all of this in three days, two episodes each day, which is wild. And then it goes into um location scouting, and if it's in the park, you have to get permission from certain parks to film there. Or one day we had a whole park shoot and it said it was gonna rain. So then we did a plan B of where can I go in studio to do it in front of a green screen, and then we'll just figure it out, and it's actually one of the better ones, I think.

Wow. And then you know, lots of trips to Party City to get costumes. And I said, Actress, please don't rip the tag off because this is going right back tomorrow. Right. And then just, you know, I had never really had to do a shot list before, and I would never show anyone publicly the shot list I did because it is not standard shot list professional level at all. But that was fun to learn and play with. And then the most fun part was just the casting part of I have so many talented friends that I had always wanted to work with, and I haven't gotten to, and trying to write them a formal email of like, will you please come and play Princess Number Two who can transform into a turtle and a Panther and them saying yes, and then me saying, What do you have in your closet?

And us just piecing it together. And then the tricky part was editing it, not with money, and so just doing it, you know, that took a long time to do. Um but yeah, I I would say the location scouting, scheduling, and editing were the three big things, and somehow trying to squeeze in two completely different episodes in one day was a challenge, but it was really fun.

[51:03] Sean Chandler: Now, would you say that the editing part was the biggest, most unexpected challenge you had to deal with while producing the series?

[51:13] David Gow: No question. I mean, I wrapped filming with the New York actors last summer. And or maybe September. And then I thought I was going to do eight episodes, so I was gonna do one more day of filming, but then I was out of town working. And so then I it got to about February, March, where I thought I don't want to put this off anymore. Six is good enough, and maybe we'll do a season two if people like it. And so I'd say from March until June, I've been editing it, and it's not a skill set. I mean, I had help, but it's not a skill set that I've ever flexed before. But it's a now something I actually have found I love doing and I feel comfortable doing it. So no question, that was the hardest, most tedious part.

[52:03] Sean Chandler: Wow. Um I know that editing is very, very difficult. And it got as as from the stuff I had to to put together over COVID, it got infinitely more difficult because oftentimes there's three different people in three different parts of the country who were contributing uh various things. I remember um I uh we were recording five songs from my uh musical running. It's called running a a new musical, and imagine that. And I we had the singers singing to something called a tr a click track and some very very light piano and we had to send that to an engineer who fortunately for the click track was able to lay that down and then we had to I mean it was just it's so much that I actually because I was part of it made an actual video that's on my running a new musical uh page it's it's really interesting how it's created it's so fun I had no idea it'd be that hard I had a friend in Seattle who I went to college with write a jingle for it and then I had my cousin in Houston doing the green screen and then I'm editing it here in New York but I'm having someone sending me sound effects and I'm using another person who I did a photo shoot with for the cover. It's so many moving pieces which is why it's so important to have a good tribe of artists that you love and trust.

[53:40] David Gow: I use the same photographer for everything. I mean it's it's so I mean once you find someone that you like working with it and is talented lock them in and employ them for life because it's so beneficial to have a tribe that you of artists that you trust and you like making stuff with I totally agree uh we we use the same engineer in recording all of our music but that's usually in Chicago with the actors being there and singing the music right there. But um yeah I yeah take care of take care of all your people if you can but really uh hold hold those technicians close and I mean I I've I work around typically his schedule if we need to do something we know that that's the person we want because they also know your style they know your imprint they know your your writer's voice because they've done other work with you so it's a lot less setting up and explaining and all of that because they they get it so I I think that's an excellent point I really do.

[54:42] Sean Chandler: Yeah it's artistic developed shorthand that you have with people it's great.

[54:47] David Gow: There you go. That's that's how I should have said it.

[54:50] Sean Chandler: No no no art I think I like the artistic shorthand way better than I said.

[54:58] David Gow: So I think that thank thank you for that. I'm gonna take it I'm gonna write that down. Artistic shorthand that's great.

[55:06] David Gow: That's uh uh just written under here under duct tape in love and Chrissy Judy.

[55:13] Sean Chandler: Right. Let's see we'll let's see if we can get a third one before the interviews over I'll do my best.

[55:18] David Gow: Yeah. I'm counting on you.

[55:25] Sean Chandler: We're coming down to the uh the the final uh part of the interview here um now I know that um a lot of people when COVID 19 unfortunately came into play and we had the shutdown a lot of people started using forms of media that surprised them uh people that I interviewed for my Act Two Places series which is a series of interviews that um I did with people with uh artistic directors and actors and that just to explain how they reacted and then got through start are still getting through um the pandemic, um, they said that they opened their minds a lot to various forms of media that they never ever thought that they would use.

[56:14] Sean Chandler: Um, did you which I think in a way sort of like gave a lot of people who maybe had that in the back of their mind permission to uh use different medias, and and a lot of them are saying, you know, we we became trained in this stuff, and now we intend to use a lot of it in uh our our live productions. Um is do you does that resonate with you?

[56:40] David Gow: Did you ever feel that way?

[56:43] David Gow: Yeah, I feel like in general I've been playing catch up with media, and I because I have always felt late to the game, and it doesn't sort of um I'm I don't pick it up really quickly. I mean, I think I got an Instagram when I was producing where Tsunami Flower's gone, because everyone is telling me you have to promote this show. Um and I and the same thing for this project, someone said you have to get a TikTok so you can promote this show. So I think I'm posting my first TikTok ever today um for the sake of promoting the show. But it's interesting because I went to a very classical theater school training that I already know since I graduated six years ago, the change the change in the education has tried to catch up to more modern times where they're teaching more self tapes and more media stuff and how to make your own stuff because it is a huge part of not just promoting yourself, but creating art, like you said.

[57:45] David Gow: And I think if artists turn if old school artists turn their nose up to it, they are doing a disservice to themselves because that is totally the direction that art is going in. And I, while again, it doesn't come naturally to me, it does help promote, and there is a lot of valuable artistic content that is being made. So I'm still learning it. I mean, I've never even really had a YouTube channel before this. So I'm I had my friend Tyler Martin, who's brilliant at it. Like, here are the tags, here's the audiences you need to hit, here's the timing that you know, there's so much that I'm learning that again, you know, I might look back on this and think I did it all wrong and I'll be ready for the next one. But it is really important.

[58:33] Sean Chandler: We all have to play the game if we want to keep up with everybody.

[58:36] Sean Chandler: Wow. Um yeah, I I hear you. I sometimes think I don't really have time to run six different social media accounts.

[58:47] Sean Chandler: It's every once I mean if you're if you're trying to be creative and use a creative mind to do creative projects, um I don't know how much time sometimes I have in between like doing this, um, which I had a long time to develop and put on various social medias and my writing. It it sometimes my mind can't really stretch that far.

[59:13] Sean Chandler: And that and I'm like 57, I'm three years away from 60, so you grew up with this, I designed. So it's right.

[59:21] Sean Chandler: That's my disadvantage as well. I know it's for this, I was like, okay, so I'll just put it on YouTube, and people will say, okay, but on Facebook you should do this, and in Instagram, you need to do this differently, and then you need to get a TikTok, and then on YouTube you should do this, and this. I mean, it's so much that I can't do it all by myself.

[59:41] Sean Chandler: I sort of have like a uh a handler for me for each different platform that's coaching me of how to do this. It's a lot, and we'll see. I don't know how I will do it a lot of these, but I'm gonna try.

[59:54] David Gow: I'm gonna try.

[59:55] Sean Chandler: Yeah, lucky you. Usually it's me trying to figure it out.

[59:59] Sean Chandler: I'll be in uh like Zoom meetings for Broadway Podcast Network where this podcast is um featured, and uh we'll they'll have the uh social media people on and uh and and like the influencer people on, and they'll be like, okay, do this and this and this, and you should see the look on my face.

[1:00:18] Sean Chandler: It's like oh my god.

[1:00:22] David Gow: Yeah, right.

[1:00:23] Sean Chandler: So, you know, we do what we can, right?

[1:00:26] David Gow: Totally and the and the important thing is this is my first venture into it, so we'll see how it goes.

[1:00:32] Sean Chandler: Right. Well, you know what? I think the priority for the artist is to make the best product.

[1:00:38] Sean Chandler: That's the number one priority. Because if you have a crappy product, you can put it all over the all over the internet, and it's still a crappy product. So there needs to be that that standard of doing the best that you possibly can.

[1:00:50] David Gow: So I feel you, David Gow. I really do.

[1:00:52] Sean Chandler: Um if you could have three wishes for it, the lip sync fables, what would they be?

[1:01:01] David Gow: Okay. First one would be just that we get the word out there that we get viewers, subscribers, maybe enough traction that we get a season two, you know, sort of just the generic. I hope that people go watch it.

[1:01:20] David Gow: Second one is I hope people appreciate the level of talent that is in this. I mean, some of the things the actors are doing has nothing to do with me or the kids. It's just their own brilliance. And I hope that's not lost on people.

[1:01:40] David Gow: And I think the third thing is, and maybe I'm just sappy and it's just gonna be me, but I hope that beyond the funny-ness that is in this. This platform I hope exists to show, like in this instance, kids' voices were not ignored and they were elevated. And I think that's very special, which is why I made this. And I hope people recognize the heart in that as well.

[1:02:35] Sean Chandler: Uh those I think are absolutely attainable uh wishes, uh, in my opinion, just from what I've seen. I think it's going to be a very, very successful series.

[1:02:47] Sean Chandler: I think you will have a season two. That's just be predicting. Um, and I I'm hearing an awful lot about how much people are enjoying working with uh uh the child actors, bringing them in and and that element and how it just just gives whatever the project is such a dynamic feel to it and a real um uh uh a feeling of of uh intimacy real reality i mean again like i said kids will just say whatever they want usually so you know and i and i think people connect to that and i could just see people like giggling over some i know i was when i was watching um your trailers so i i think that those are all great wonderful wonderful uh goals and i i think that for sure you've got those.

[1:02:50] David Gow: Oh okay um I do want to say that I think that we actually have hit three great phrases because I wrote down covet baby oh that's right okay we got three we got covet baby and uh what else do we have we have duck tip in love and artistic shorthand there we go my work here is done ladies and gentlemen uh we can all sleep yeah that's really the only reason I came on here was to promote three catchphrases right why not yeah you are you're very multi-talented um uh before we go please tell our audience where and how they can access the lip sync fables so it's all on YouTube just type in the lip sync fables there is a YouTube channel under that name if you subscribe to it every single time an episode gets posted you will get notified they're gonna come out every Thursday for the next six weeks.

[1:02:50] David Gow: Oh and I should say this I also um picked a children's children's book author of the week that I featured in each episode. So the first one that's coming out in the episode today is Jill Twists.

[1:04:57] David Gow: And we're promoting the book that is someone new, but also Jill Twist was the one who wrote the Marlon Bundo book for John Oliver about Mike Pence's bunny, and she's brilliant. So I had that for each episode. Um and so then after the six episodes air, I'll air one-on-one interviews with the authors and talking about their book and their process.

[1:05:19] David Gow: Um but so yes, on YouTube, they'll be there every Thursday. And also I'm David F. Gow on Instagram, and I'll be posting about the show and um how to see more of it.

[1:05:32] Sean Chandler: Very cool.

[1:05:33] Sean Chandler: And I love that you're keeping it simple.

[1:05:35] Sean Chandler: That's very, very cool.

[1:05:36] Sean Chandler: I have so many accounts that I'm I'm like, I they're just out there.

[1:05:40] David Gow: So yeah.

[1:05:41] David Gow: Yeah, it is.

[1:05:42] David Gow: So uh just go to YouTube and find us and it'll be there.

[1:05:45] Sean Chandler: Great.

[1:05:46] Sean Chandler: And subscribe.

[1:05:48] Sean Chandler: And subscribe, please.

[1:05:49] Sean Chandler: I mean, one for yourself so you know when videos come, but also it really is important of you know, the life of this show is to just to get momentum on the show. So we would really appreciate it.

[1:06:02] David Gow: Yes, absolutely.

[1:06:03] David Gow: And comment and put nice comments on there and all that stuff.

[1:06:07] Sean Chandler: Yeah, exactly.

[1:06:09] Sean Chandler: David Gow, it has absolutely been a complete pleasure to interview you again.

[1:06:16] Sean Chandler: And I think this project is reaches out to so many factions of performers, uh, like I said, media, um, and and I think it's it's going to be a huge hit for you.

[1:06:29] Sean Chandler: And uh I I can't wait to uh to watch the first episode.

[1:06:34] Sean Chandler: If it's if it's anything as funny and cool as um as the trailers, I I think that I think you're really on to something here.

[1:06:42] Sean Chandler: And and I appreciate you being on this series.

[1:06:45] Sean Chandler: Uh you are a such a mega talent, in my opinion, and um I'm sure that's shared with a lot of other people.

[1:06:53] Sean Chandler: And um, you know, thank you.

[1:06:55] Sean Chandler: Thank you for being on on the show.

[1:06:56] Sean Chandler: You were you're marvelous.

[1:06:58] David Gow: Thank you so much.

[1:06:59] David Gow: I've this has been such a fun reunion.

[1:07:01] David Gow: I love chatting with you.

[1:07:02] David Gow: I will come on anytime.

[1:07:04] David Gow: You can always talk shot.

[1:07:06] David Gow: I love doing this with you.

[1:07:07] Sean Chandler: Well, thank you.

[1:07:08] Sean Chandler: That's very, very cool.

[1:07:10] Sean Chandler: Umce again, David.

[1:07:12] Sean Chandler: Thank you for returning to the show.

[1:07:13] Sean Chandler: You've been uh outstanding, and I wish you many broken legs for all the wonderful work you do in the future.

[1:07:20] David Gow: Thanks, David.

[1:07:22] David Gow: Thank you.

[1:07:23] Sean Chandler: Well, folks, the 11 o'clock number has been sung and the bows have been taken, so it's time to lower the curtain.

[1:07:28] Sean Chandler: Once again, a big thanks to my guest, actor, producer, David Gow.

[1:07:32] Sean Chandler: Do check out the Lip Sync Fables on YouTube.

[1:07:35] Sean Chandler: You can find more episodes of your program is your ticket on the Broadway Podcast Network, who has honored me with a place on their incredible theater podcast platform.

[1:07:43] Sean Chandler: Broadway Podcast Network is all about creating an engaging, immersive, user-friendly experience where theater stories of all kinds can be easily found, shared, and enjoyed.

[1:07:53] Sean Chandler: Please visit them on my landing page at BPN.fm slash white i t.

[1:08:04] Sean Chandler: Your program is your ticket is also on Facebook at Facebook.com, your program is your ticket.

[1:08:08] Sean Chandler: I'm on Twitter at at program ticket, Instagram and YouTube at your program is your ticket, iTunes, Stitcher, Player FM, Podcast Addict, Podbean, Pocket Casts, Deezer, Tune In, Listen Notes, and the UK based theater platform, Thespi.

[1:08:24] Sean Chandler: FYI, I appreciate all good ratings, reviews, and subscriptions.

[1:08:28] Sean Chandler: A quick note of thanks to the Communicator Awards for honoring your program issue ticket with four awards.

[1:08:33] Sean Chandler: An award of excellence for individual episodes in the Arts and Culture category, and three awards of distinction.

[1:08:39] Sean Chandler: Two for my Act Two Places series, one in the entertainment category, and one in the educational category, and one for me in the features host category.

[1:08:47] Sean Chandler: Isn't that nice?

[1:08:48] Sean Chandler: I'm extremely grateful for the honor and I owe it all to my wonderful guests, listeners, and my Broadway Podcast Network family.

[1:08:55] Sean Chandler: Folks take a little time to visit theater websites and see what they have to offer, give them all great ratings and reviews, and most importantly, donate, donate, donate.

[1:09:03] Sean Chandler: As always, thanks for listening.

[1:09:04] Sean Chandler: We'll see you next time.

[1:09:06] Sean Chandler: And remember, theater is for everyone.