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Catapulting into the limelight after originating the role of Michael Mell in Be More Chill on Broadway, George Salazar speaks candidly about struggling with his identity growing up, as a child of a Filipino immigrant and an Ecuadorian immigrant. Watch the full video of this episode here.He recently created a video exploring his self discovery, titled “My Identity”, as part of a virtual commission he received from Works & Process, the performing arts series at the Guggenheim. George also opens up about his goals as an artist moving forward - creating work for people that look like him, so they too feel like anything is possible. Born and raised in Florida, George shares that theater and Broadway weren’t a part of his family’s life - “I didn’t know what a musical was,” he says. But he loved entertaining, and admits he was always the class clown in school. George “accidentally” discovered theater his junior year of high school, after singing his own Weird Al inspired parody in computer class and being asked to audition for the school's production of Little Shop of Horrors. George earned a BFA in Musical Theater from University of Florida, moved straight to NYC, and made his Broadway debut a few years later. In this episode, we talk about:  The inspiration behind “My Identity”  Why he decided to move to LA  How he discovered theater  Interning in NYC during FL summer stock seasons, because no one would cast him The exact moment he freed himself from the need for validation  How and why his artistic process during The Lightning Thief was different from others Connect with George: Watch "My Identity" Instagram: @georgesalazar Twitter: @georgesalazar Web: www.thegeorgesalazar.com/ Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

“The key to success is figuring out how to survive in an industry that needs you, but doesn’t want you.”Keith Powell is best known as series regular James “Toofer” Spurlock on NBC’s Emmy-winning sitcom 30 Rock, where he received the 2008 Screen Actors Guild Award for Comedy Ensemble. Recently, Keith has mostly focused on writing and directing. He is currently writing a feature for Film 44 and HBO Films, and is set to direct his first film, Buffalo. Keith also directs for TV, having helmed an episode of NBC’s Superstore. After 30 Rock, Keith wrote, directed and starred in every episode of his web series, Keith Broke His Leg (which also starred his wife), for which he won two Indie Series Awards - Best Comedy and Best Actor. Keith boasts a strong theatre background as well having previously run his own theater company, and performed at The Old Globe in San Diego. You can currently catch Keith playing Garret on NBC’s Connecting, and Dr. Vance on This Is Us.Although born in Philadelphia, Keith spent much of his childhood in Monterey, CA before moving back east around the age of twelve, and making Delaware home. After many years participating in community theater (along with other Delaware natives like John Gallagher Jr. and Aubrey Plaza), Keith attended NYU and made New York City his home. During our conversation, Keith talks in detail about what the filming process was like for Connecting on NBC, a show set entirely on Zoom and mostly shot on iPhones. He also takes us back to his days with 30 Rock, the show where “he learned how to work in TV”, and shares his journey to landing the role of Toofer. Keith opens up about struggling to find “his own artistic comedic voice” after 30 Rock ended, and how a minor surgery led to the first inspirations for his own web series, Keith Broke His Leg. He now lives in Los Angeles, and along with directing, writing, and acting, each year Keith also mentors a new group of students fresh out of NYU as they begin navigating their careers in LA. In this episode, we talk about:  What a typical shoot day for Connecting involved  His Grandmother’s saying - “What's yours will know your face.” How he views himself as an artist and storyteller  His experience working on 30 Rock  Starting his own theater company after college, and Lynn Redgrave performing The inspiration behind Kevin Broke His Leg  Being resilient in an industry full of rejection Connect with Keith: Instagram: @bykeithpowell Twitter: @keithpowell Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

As the host of NY1’s “On Stage” and a microphone for the theatre community, this Emmy Award winner's stories have shifted from Broadway openings and red carpet events, to how people are surviving and pivoting while Broadway is on hold.Frank DiLella is the Emmy Award winning host of “On Stage” on Spectrum News NY1, the news channel’s weekly half-hour theater program. His celebrity interviews, along with his in-depth reporting of the theatrical scene, have helped make him a household name in the theater and entertainment communities in New York City, as well as around the globe. Since joining NY1 in 2004, he has interviewed many legendary artists including Tom Hanks, Vanessa Redgrave, Nathan Lane, Elton John, Liza Minnelli, Patti LuPone, Bette Midler, Bernadette Peters, Hugh Jackman, Lin-Manuel Miranda, James Earl Jones, Chita Rivera, Jane Fonda, Ben Vereen, Angela Lansbury, Tony Kushner, Andrew Lloyd Webber and more. Frank is the recipient of 3 New York Press Club Awards including 1 in 2019 for his special on the Broadway revival of Angels in America – and the other in 2020 for his special on Network. He’s made multiple big and small screen appearances as “himself” including The Prom – opposite Meryl Streep, Smash, The Little Voice, and The Forty Year Old Version. Frank is also an adjunct professor teaching theater journalism at his alma mater Fordham University at Lincoln Center. Born and raised in Philadelphia, Frank always loved theater as a kid (but he also loved watching Dateline NBC and America’s Most Wanted). He grew up performing, and participated in the school musicals throughout his childhood. Frank fell in love with New York City, and after moving to attend Fordham University to pursue Broadway aspirations, an Intro to Media Studies class and an internship at Spectrum News NY1 altered his course. During our conversation, Frank talks about how he created an outlet for himself in the industry, and became a voice in the community. “Being on air, and being a reporter, and being in journalism...” is similar to acting and to theater because you are still telling stories, he shares. He also reveals that “that little fix or high” you get when you’re on stage happens all the same while he is on air reporting, or hosting events. Frank opens up about his work during COVID - and how he sees himself as a microphone/platform for the community, helping them get the word out there in both good times and bad. In this episode, we talk about:  Being a theater kid  Moving to NYC to pursue performing  The callback and internship opportunities which helped determine his career path  How he worked his way up the ladder at NY1 Covering the 2007 Broadway stagehand strike The one thing he always says to his students  Filming “The Prom” with Meryl Streep Connect with Frank: Instagram: @fdilella Twitter: @fdilella Watch "On Stage" Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Let's face it -- 2020 was a dumpster fire, at best. In this episode, Diana Salameh, the Director of Marketing and Communications at Serino Coyne, co-hosts the final episode of the year - a year which has been unprecedented for the theatre industry. And not only for performers. Serino Coyne, the nation's longest-running theatrical advertising agency, was just embarking on the beginning of the Spring theater season - openings, etc - when Broadway suddenly shut down.Diana and Alan discuss everything from their favorite shows they were able to see before everything closed, the blossoming of virtual storytelling mediums, and missing the shared experience of seeing live theater in general. Reminiscing on seeing SIX in early March, Diana shares her excitement for Broadway to reopen because SIX is “the kind of show that New Yorkers and tourists, everybody is going to need to lift our spirits... and help us escape.”Like all theatre lovers, Alan and Diana both agree there’s nothing quite like sitting in a room full of strangers and going on an emotional journey with them. But in lieu of live theater, they discuss two productions from this year that were able to recreate this sort of communal shared experience really well - Hamilton and What The Constitution Means To Me. Diana also opens up what she has been doing in order to remain connected with her clients and their fans. She shares “the thing that has been the biggest rock for me is the Broadway Women’s Alliance”, a community of women on the business side of Broadway. Founded officially in January of this year, and focused on connection and empowerment, the Broadway Women’s Alliance has held about a dozen events for over 500 women in the industry during the course of the lockdown.In this episode, we talk about:  The first shows they saw in 2020 Seeing SIX the musical Diana’s Christmas theater tradition with her best friend  New creativity being born on virtual mediums  Which of Henry VIII wives they each would be  The Tony Awards  The Macy’s Thanksgiving Day Parade  Connect with Diana: Instagram: @_dianasalameh Twitter: @_dianasalameh Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. Thank you to our friends Jukebox The Ghost for our intro and outro music. You can find them on Instagram, Twitter, and Facebook @jukeboxtheghost or via the web via jukeboxtheghost.com.A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Krystal Joy Brown is a singer, dancer and actor who made her Broadway debut in 2009 in Hair. She is best known for her portrayal of Diana Ross in the Broadway musical Motown: The Musical. Her other Broadway credits include Leap of Faith, Big Fish, and Hamilton, where she will return to the role of Eliza when the industry returns. She is also a two-time Adele and Fred Astaire nominee for best female dancer in a Broadway show. Krystal voices the character of Netossa in the DreamWorks/Netflix animated series She-Ra Princesses of Power, and her other TV appearances include the Disney film MAGIC CAMP (Disney+), NBC’s Law & Order: SUV, Hulu’s Deadbeat, ABC’s Castle, Disney’s Sydney to the Max, and most recently, Hallmark Channels "One Royal Holiday" with Aaron Tveit & Laura Osnes. Krystal is an avid activist in mental health, wellness, and social justice, and co-host’s the podcast, HOW WE DO THIS.Krystal grew up in the DC area, part of a family where many worked for the government - her mother for FEMA, her grandparents for the Pentagon, and her father as a police officer. For Krystal, being civilly and civically engaged was ingrained early on, and was always important. She recently hosted several virtual letter writing parties with VoteWriters.org, an organization that focuses on providing Voter ID assistance, which is now assisting Georgia voters for the runoff election.During our conversation Krystal illustrates how she has brought her activism to her art. While performing in Motown: The Musical, and in the streets protesting Treyvon Martin’s murder, she created a podcast called HOW WE DO THIS (a “female feminist political podcast”), which became a platform for conversations about mental health. And now, as part of the company of Hamilton, she takes an active role on the Hamilton Racial Justice Task Force. Krystal also champions self care. She opens up about going to therapy for the first time, and how it helped unlock her ability to be vulnerable onstage, and more deeply connect with audiences as Eliza Hamilton.In this episode, we talk about:  Growing up in a politically active family  Her reaction to the 2016 election  AOC, and being “radical”  Ancestral healing  The Hamilton Racial Justice Task Force  The importance of understanding and processing your internal life, before using it in your work onstage Connect with KJB: On the web: https://www.thekjb.com Twitter: @KrystalJoyBrown Instagram: @KrystalJoyBrown Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael James Scott is an actor and singer who originated the role of Genie in the Australian production of Disney's musical Aladdin, which opened in Sydney in August 2016. He received a Helpmann Award in 2017 for Best Performance by a Featured Actor in a Musical for his work in this production. Michael reprised his role as the Genie on the North American tour, The West End, and most recently, Broadway (where he will return when theaters reopen). He also originated the role of The Minstrel on Broadway in Something Rotten!, as well as Dr. Gostwana in the original Broadway company of The Book of Mormon. Other Broadway credits include Mamma Mia, Tarzan, All Shook Up, The Pirate Queen, Elf, and Hair. Off-Broadway, he co-starred in Here’s to the Public! opposite Donna McKechnie and was also part of the concert cast of Jerry Springer: The Opera at Carnegie Hall. Michael can be seen in the new Showtime TV series Black Monday, and recently released his first studio album, A Fierce Christmas, available now on all music platforms. Michael was born in Baltimore, MD, but moved to Orlando, FL with his family when he was five years old. As a child he “just wanted to sing and dance” no matter where he was - the grocery store, the doctors office, etc, and according to his mom, Michael sang before he spoke. Recognizing his creative energy and talent, one of Michael’s elementary school teachers helped guide him towards the world of auditioning for TV and commercials, and participating in children's singing groups, and he “was hooked”. Michael later earned his BFA from The Conservatory of Theatre Arts program at Webster University in St. Louis, MO; and while in college, he went on to be the standby for Ben Vereen on the international tour of Fosse.While Michael might now be well known for his role as the Genie, in our conversation he admits that the role was never even on his radar. He opens up about the preconceived notions that came along with the role, the pressure - and shares that once the creative team behind Aladdin gave him permission to just be himself, he was able to bring his inner singing and dancing child from youth onto the stage with him. Michael also talks to us about the inspiration behind his brand new debut studio album, A Fierce Christmas, which is out now. Citing the current pandemic, as well as the “racial awakening” in the country, Michael says of his album, “this was my protest… I’m gonna protest with joy.” In this episode, we talk about:  The year 2020 being the year of the “pivot” The impact of the theater community on society as a whole  Having parents who just said “yes” The inspiration behind and production of his album, A Fierce Christmas  His “Ah ha” moment while playing the Genie  The advice Ben Vereen once gave him Connect with MJS: Get his album and visit him online: https://www.michaeljamesscott.com/ Twitter: @iammjscott Instagram: @iammjscott Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Nik Walker is an artist, educator, and activist who made his Broadway debut in Motown The Musical. He spent 3 years with the Broadway and touring companies of Hamilton, adding both Aaron Burr and George Washington to his resume. Other stage credits include Peter and the Starcatcher (off-Broadway), and regional productions at La Jolla Playhouse, The Old Globe and The Denver Center, to name a few. He can also be seen on TV in Law & Order: SVU. Nik is a self-proclaimed cinefile and theme park nerd, and co-hosts his own movie analysis podcast called Little Justice The Podcast. He also co-hosts a video series on Broadwayworld.com called The Chaos Twins. Nik currently leads the Broadway cast of Ain’t Too Proud playing Otis Williams, and is an adjunct professor at his alma mater, New York University.Nik shares that his mother worked a job as a news anchor when he was growing up, so she wasn’t really home a lot. So it was movies that played babysitter and kept his imagination going. But movies and stories played an even bigger and more important role in focusing him as a child after he was diagnosed with ADHD, eventually leading to his early involvement in theater. And later, a BFA in Theater from NYU. During our conversation, Nik speaks candidly about coming to Broadway with very little dance background, sharing that Motown was his first brush with dancing professionally and getting paid for it. He shares memories of intense dance training for Ain’t Too Proud while still on tour with Hamilton - 5 hours of dance a day, and a performance of Hamilton in the evening - and the sense of pride he gained as a result of “being comfortable with letting go of your comfort zone”. Nik also opens up about the journey he has taken during the COVID pandemic which brought him back to NYU, this time as a professor. And while he acknowledges performing in Ain’t Too Proud and teaching at the same time will be a lot of work, he not only feels rewarded by his new job, but knows he is contributing to the education and growth of the next generation of theater artists. In this episode, we talk about:  His affinity for Jeff Goldblum, and Jurassic Park (together, and separately)  His love for theme parks  Becoming a professor at NYU His joy as part of Ain’t Too Proud  Being an activist  The necessity for change within the Broadway community Connect with Nik: Listen to Little Justice, the Podcast Instagram: @nikkywalks Twitter: @nikkywalks Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

She thought theater was something she just needed to get out of her system, but many years and a successful career later this performer opens up about pursuing your dreams to avoid regret, and participating in the new virtual era theater finds itself in.No stranger to the stage, Carolee Carmello is a Broadway veteran with fourteen Broadway shows on her resume. She is a three-time Tony Award nominee and a 5-time Drama Desk nominee, winning the 1999 Drama Desk Award for Outstanding Actress in a Musical for her portrayal of Lucille Frank in Parade. Carolee’s other Broadway credits include the original casts of Falsettos, Lestat, The Addams Family, and Tuck Everlasting. In the last several years she received rave reviews for her role as Mrs. Lovett in the off-Broadway revival of Sweeney Todd, as well as Dolly in the US national tour of Hello, Dolly (which shutdown in March when theaters were closed). Carolee can now be seen in a fun new take on your favorite Dickens classic called Estella Scrooge: A Christmas Carol with a Twist, a virtual production that brings together casts and creatives from some of Broadway’s biggest shows. Carolee grew up in Albany, NY, where watching movie musicals on TV as a kid was how she learned about theater. She later participated in a few community theater productions for fun while attending the University of Albany (where she majored in Business and French), never thinking she would actually make a career out of performing. In our conversation Carolee opens up about the “combination of things” which lead to her decision to move to the city after college, and give herself a year to make things happen (Hint: There’s no people like show people). A year turned to two years, which eventually turned into an incredibly successful career performing in some of Broadway’s most iconic shows. Carolee also shares her memories of being on tour with Hello, Dolly in Buffalo, NY in March the night theaters were shut down, which led to her work on the new virtual production Estella Scrooge: A Christmas Carol with a Twist. Filmed entirely on greenscreen, alone in a room with only sticks and toilet paper rolls to act with, Carolee and the Broadway community are finding all new ways to bring theater to their audiences. In this episode, we talk about:  The Tony Awards in the time of COVID-19 Her experience with community theater while studying business in college  Learning about Actor’s Equity for the first time  What made her decide to pursue theater Working on Estella Scrooge  The Ratatouille Musical on TikTok Connect with Carolee: Instagram: @caroleecarmello Twitter: @caroleecarmello Watch the Estella Scrooge trailer Visit the Estella Scrooge website Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

When he’s not pursuing his dreams onstage, this performer spends his spare time translating musicals like Hamilton from English to Japanese, on a mission to bridge the gap between Japanese and American musical theater audiences.Gen Parton-Shin is a Japanese-British actor who made his professional debut as Angel in the Official Japanese cast of Rent in 2008. While pursuing his dreams in the US, he furthered his career with leading roles in Japan's official Broadway productions of next to normal (Gabe), Dracula (Jonathan), Bare (Jason), and Rocky Horror Show (Rocky). Gen also played the lead role in an original Japanese musical Mitsuko ~Love Crosses All Borders~ in 2010, composed by Frank Wildhorn (Jekyll and Hyde, The Civil War). He has been a part of numerous musical/play readings in NYC, including Other World (directed by Gabriel Barr and written by Hunter Bell and Jeff Bowen of Title of Show), off-Broadway’s K-pop, and Mafatu (produced by Broadway veteran Telly Leung). He co-founded a company called Broadway in Japan, which introduced Broadway musical theatre faculty to Japanese aspiring musical theatre performers, offering invaluable education opportunities in Japan. Gen has also appeared on TV, including roles on Season 4 of Netflix's Unbreakable Kimmy Schmidt, and The Other Two on Comedy Central. In addition, Gen has self-produced three solo cabaret shows, and in the latest one he translated and performed “My Shot” from Hamilton in Japanese.During our conversation, Gen describes his musical theater journey which has taken him from the stages of Japan, to those of New York. He shares that while performing in Japan, he wasn’t always satisfied with the translations they were given to work with; thus sparking his drive and desire to see if he could do the job himself. Gen has now translated about three fifths of Hamilton into Japanese, comparing the process to completing a puzzle which he really enjoys. He also shares that one of his life missions is “to bridge Japan and the U.S.”, which he has begun to do with his foray into translation, hoping to make American musical theater easier for Japanese audiences to listen to and process.In this episode, we talk about:  Why he identifies as a Third Culture Kid  Completing the One-Year Conservatory program at T. Schreiber Studio on a tourist visa How he was inspired to start translating musicals into Japanese  The intricacies of translating English to Japanese  Why he thinks musical theater is so popular in Japan  Takarazuka Revue - the all female musical theater troupe in Japan Connect with Gen and watch two of his Hamilton translations: Watch Hamilton's "My Shot" Watch Hamilton's "Helpless" Check out 35mm, A Musical Exhibition IG: @GenPartonShin Twitter: @GenPartonShin Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

From The Land Down Under to The Big Apple, this singer-songwriter, pianist, writer and comedian just released his new album, Beetlejuice: The Demos! The Demos! The Demos!, and is showing other Australians that it’s possible to make the leap and find yourself working on a Broadway musical (or two).Eddie Perfect is an Australian singer-songwriter, pianist, comedian, writer and actor. He is now also a Tony Award Nominee after receiving a nomination for best original score for Beetlejuice the musical. During the same season, Eddie also wrote songs and vocal arrangements for King Kong on Broadway. Eddie is a four time nominee and two time Helpmann Award winner for his work in Australia. In 2009, his biographical musical comedy Shane Warne: The Musical won the 2009 Helpmann Award for Best New Australian Work. This production also received a Victorian Premier's Literary Award and a Green Room Award. Eddie has recorded solo albums and written and performed in numerous cabaret shows, including Songs from the Middle with the Brodsky Quartet. Following his songwriting career on Broadway, Eddie returned to Australia where he waits to star as Franklin Hart Jr. in Dolly Parton's musical 9 to 5 once the COVID-19 pandemic subsides. And most recently he released his fifth album, Beetle Juice: The demos! The demos! The demos!, a new album of demos created for his Tony-nominated score to Beetlejuice. The album also contains 17 cut songs that will be new to everyone's ears.During our conversation, Eddie candidly talks about his process for creating. He describes “kind of a weird trance I go into when I make stuff, where I really think about what it would be like to be in the audience watching it.” He focuses on what he wants an audience to think, feel, or learn in a particular moment. Reflecting on the process for Beetlejuice, Eddie shares that he wrote the opening number for the show over a 5 year period. He also recalls it was during their first previews that Beetlejuice really started building it’s cult like fan base. And it was this fanbase that served as some of the inspiration behind releasing the Beetlejuice demos in the first place. Eddie was blown away by the unique creative responses many fans of the show have had, saying he’s “never experienced anything like that.” His new demo album serves to broaden the universe of Beetlejuice a little bit “for those fans that do really riff off the work.” In the episode, we talk about:  The intense Beetlejuice fandom  The Beetlejuice preview when they knew the show had struck a chord with people  Reading the reviews of the original 1988 film to cheer them up after their DC reviews  Australia being an importer of Broadway shows  Being in a period of his life now where he is confident with his writing and his process  Working with the cast and creatives of Beetlejuice Juggling work on Beetlejuice and King Kong simultaneously Connect with Eddie: Listen to Beetlejuice: The Demos! The Demos! The Demos! @TheEddiePerfect on Twitter @EdmundPerfect on IG Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Michael Riedel is an American theater critic, broadcaster, and columnist. He has been a controversial yet very influential Broadway columnist in the NY post for over 20 years. Michael is also the co-host of “Len Berman and Michael Riedel in the Morning” on 710 WOR in New York City, weekdays from 6-10am. Michael’s book Razzle Dazzle: The Battle for Broadway won the 2015 Marfield Prize for arts writing and is widely considered to be the successor to The Season, William Goldman's classic 1967 book about Broadway. His next book, Singular Sensation: The Triumph of Broadway, arrived November 10, 2020. Get the book here: https://amzn.to/3jXpHhz.During our conversation, Michael shares how he carved a unique path for himself as both a critic and columnist - how he managed to be a reporter, as well as get his opinion out there. Being a traditional critic, seeing show after show and writing reports, never appealed to him. Rather, he enjoyed hanging out with theater people and getting to know them, “collecting the gossip, and putting it all together”. After life as a columnist, or a “sprinter” in his words, Michael opens up about the initial doubts and panic he had about writing his first book. And that it was during all of the research and interviews when he discovered the narrative he wanted to share, and found joy in putting together all the pieces of the puzzle. Razzle Dazzle: The Battle for Broadway has since received interest from TV networks. Michael also takes us through the inspiration and story behind his newest book "Singular Sensation: The Triumph of Broadway", chronicling Broadway through the 90’s and its recovery after September 11th, 2001 - illustrating how Broadway rallied and “showed the world that New York could not be brought to its knees”. In this episode, we talk about:  The story behind Singular Sensation: The Triumph of Broadway, and the forward he added in light of COVID-19 How Rent ushered in a new era of broadway after years of British dominance  Fixing Alan Rickman’s air conditioner while working for Elizabeth I. McCann  Maintaining friendships and relationships with people you’ve written about  How he conducted interviews for his newest book  Seeing The Lion King for the first time, recalling “pandemonium” in the theater  His writing process Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Jeanna de Waal originated the title role of Diana, Princess of Wales in Diana at La Jolla Playhouse and at the New York Stage and Film Powerhouse Theatre reading at Vassar College. Her previous Broadway credits include starring as Lauren in Kinky Boots and Heather in American Idiot. Jeanna originated the role of Dawn in the A.R.T. production of Waitress by Sara Bareilles, and the role of Mary Barrie in the A.R.T. production of Finding Neverland, both directed by Diane Paulus. She has previously appeared off-Broadway in Orwell in America at 59E59 Theatre, and played Chris Hargensen in MCC Theatre's reimagined production of Broadway's Carrie. Other notable credits include her West End debut in the Queen musical We Will Rock You, Glinda in the National Tour of Wicked and Janet in The Rocky Horror Show at The Old Globe. In addition to the stage, she can be seen in the recurring role of Sophia in the Netflix/Marvel series Iron Fist. Jeanna is also an amazing entrepreneur, and is the founder Broadway Weekends, the first theater camp for adults led by Broadway performers. Amid the COVID-19 shutdown, her company pivoted and became Broadway Weekends At Home. They continue to host theater classes virtually for people of all ages.Nonetheless, performing was surely in the stars for Jeanna. Her first professional job out of school was the Queen musical We Will Rock You on the West End. During this production, Jeanna became friends with cast members of Broadway's Hair, in London at the time, and simultaneously she finally received her green card. Suddenly she knew it was time to go to New York. Jeanna shares with us the journey that took her from attending open calls in Times Square, landing her her Broadway debut role in American Idiot, to working consistently from the time she was 21 to 27 years old. Jeanna later opens up about leaving Kinky Boots behind, and her commitment to booking a show in which she could originate a lead role. It was during this period of down time, when she was without a schedule and a “purpose”, that she was inspired to found Broadway Weekends with her sister. These days, the classroom may be virtual (temporarily), but until Diana is able to open on Broadway next year, Jeanna is getting a kick out of bringing to others all the things she gained from her own education in theater - friendships, freedom to trust your body, self-confidence, camaraderie, and more.In this episode, we talk about: The inspiration and motivation for founding Broadway Weekends  Growing up in England and attending a performing arts boarding school  What attracted her to theater in the first place Her journey from performing on the West End, to her Broadway debut  Re-discovering her purpose and self worth after leaving Kinky Boots  The spiritual nature of theater  Her journey so far with Diana, the new musical Connect with Jeanna: IG: @thebigdewaal Twitter: @thebigdewaal BroadwayWeekends Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Hailed by the New York Times for her “attractive soprano voice,” and for having “total control of the stage,” (Broadway World) coloratura soprano Meghan Picerno currently stars as Christine Daae in The Phantom of the Opera on Broadway. In 2017 Meghan collaborated with legendary director Hal Prince as Cunegonde in his production of Candide at the New York City Opera. She quickly became one of the most sought-after Cunegondes in the world and reprised the role at San Francisco Symphony, Princeton Symphony, and the Gran Teatre del Liceu in Barcelona. Meghan next took on the role of Christine Daae in the US Premiere and 1st National Tour of Andrew Lloyd Webber’s Love Never Dies. She has represented Andrew Looyd Webber’s body of work by special invitation in performances on the ITV Television broadcast of the Classic BRIT Awards in 2018, making her Royal Albert Hall debut with the Royal Philharmonic Orchestra, and a guest appearance on the Live at Chelsea Concert Series honoring his 70th birthday. After Love Never Dies, Meghan joined The Phantom of the Opera family as Christine on the World Tour, premiering the iconic piece in Tel Aviv, Kuala Lumpur, Malaysia, Singapore and the Philippines. This past fall she made her Broadway debut as leading lady, Christine Daae, in The Phantom of the Opera, and was hailed as one the Top Broadway replacements of 2019 by BroadwayBox.Like many people during COVID-19, Meghan is back home spending time with her parents. In this episode she shares how she dealt with the initial blow when Broadway was shut down - finding herself in a bit of an identity crisis not being able perform and sing, the one she thing she loves more than anything else in the world. She talks candidly about coming out the other side, and feeling now like she is awake again - “it’s kind of magical,” she shares. Meghan also takes us on the whirlwind journey that began by meeting Hal Prince and landing a leading role in Candide, to touring with Love Never Dies and Phantom of the Opera as Christine, to making her Broadway debut in The Phantom of the Opera this past fall. Until the curtains on Broadway rise again, she is finding time to give back and help people, “one part of theater” she really loves, by hosting workshops, master classes, and private voice lessons, and getting inspired by her students.In this episode, we talk about: Adapting to the new virtual normal as a performer  Music as an emotional outlet  The plans she has for her future  Working for Renee Fleming in grad school Her time living and studying in Vienna, Austria  Competing in Plácido Domingo's Operalia, The World Opera Competition Working with Hal Prince, and Andrew Lloyd Webber Connect with Meghan: IG: @meghanpicerno On the web: https://www.meghanpicerno.com Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Anthony Veneziale, also known by his stage name ‘Two-Touch’, is the conceiver and co-creator of the improvisational hip-hop comedy musical group Freestyle Love Supreme, as well as the FLS Academy. He has been performing and teaching improv for more than 20 years and is a leader in the field of musical improvisation. Anthony has used these techniques for endeavors with names such as Tommy Kail, Lin Manuel Miranda, Daveed Diggs, and numerous others. He co-founded Speechless Inc, an “an improv thinking company that helps humans create, collaborate, and find their authentic voice”. For several years Anthony has worked with, and been involved in studies by, Dr. Charles Limb out of UCSF Sandler Center, who is renowned for his research on brain activity during musical improvisation. Anthony was most recently seen on Broadway in the limited run of Freestyle Love Supreme, and has appeared on TV in Sex and the City, All My Children, Looking, Bartlett, and the Hulu documentary We Are Freestlye Love Supreme, which documents the groups 15 year history. Never once did Anthony think he could make a living out of doing improv. But, he says, “I loved it so much that I continued to do it until people paid me for it”. During our conversation, Anthony reiterates how interested he is in the affects improvising has on people's brains. This is evident in his creation of and work with the companies Speechless Inc., and Freestyle Love Academy. Even more so, he is interested in the affects improv can have on a community. In their classes at FLS Academy, they work to create an environment where people feel authentically themselves, where they are seen and recognized as their authentic selves, and are then able to encourage others to do the same. Improv has proved to be “a fabulous tool to help people do that”. Anthony also shares more on the work he has been a part of with Dr. Charles Limb, who uses an fMRI machine to create 3D models of the brain, and identify when subjects are in a “flow state”. For some, this flow state is a “runner’s high” while running, and for others, improv is the key. In this episode, we talk about:  The parts of the brain associated with a “flow state” Discovering hip hop music when he was 10 years old  Auditioning for his college improv troupe  How he got his stage name, Two Touch  The mission and work of Freestyle Love Supreme Academy, and Speechless Inc. How isolation during COVID affects our brains  Alan and Anthony play an improv game called Convergence  Connect with Anthony: IG: @freestylelovesupreme, @FLS_Academy Twitter: @AnthVeneziale, @freestylelove, @FLS_Academy Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Listen to a quick discussion about the 74th annual Tony Award nominations that were announced yesterday for the shortened 2019-2020 Broadway season. While COVID-19 and the resulting Broadway shutdown did ensure that shows like SIX, Company, and Sing Street would not yet see their opening nights, the shows that were able to make the eligibility cutoff - Moulin Rouge, Jagged Little Pill, Tina, and a handful more were each able to walk away with a hefty number of nominations. Slave Play, with its 12 nominations, just became the most nominated play ever.Special guest co-host Lauren LeBeouf joins me for this quick episode to discuss what the nominations mean to us, the possible complete lack of a 2020-2021 season, and so much more.Find complete info about The Tony Awards via TonyAwards.com.Connect with Lauren IG: @LaurenLeBeouf IG: @stuck_theseries Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Isabella Rossellini is an Italian-American actress, author, philanthropist, filmmaker and model. She is the daughter of Swedish actress Ingrid Bergman and Italian film director Roberto Rossellini. A Golden Globe and Emmy award nominee, she started out her career as a successful model, appearing on the covers of numerous magazines such as Elle, Harper's Bazaar, Vogue, and Vanity Fair. She is also noted for her successful tenure as a Lancôme model and spokesperson. Isabella has worked as an actress in films directed by extraordinary talents such as Robert Zemeckis, David O’Russell, and David Lynch, to name a few. Some of her most notable American films include Blue Velvet, Wild at Heart, White Nights, Cousins, Death Becomes Her, Fearless, Big Night, Crime of the Century (for which she received a Golden Globe nomination), and most recently, Joy. She has also appeared Off Broadway in many performances. Isabella holds a masters degree in animal behavior and conservation, which has lent itself to her many award winning short films about animals and sex. Her latest project, Sex and Consequences, follows suit as a one-of-a-kind, 40-minute comedy about biodiversity and the multiple ways animals reproduce, which will be live-streamed from her farm 60 miles outside New York City beginning October 16th.During our conversation, Isabella gives us an in depth look on how her hit series Green Porno came about. Robert Redford had been re-inspired by short films, and reached out to a series of people in his universe about creating films focused on the environment for the Sundance channel. She remembers having a light bulb moment - she could make a “very comical” film by transforming herself into different animals and showing how they mate. Thus, Green Porno, a series of short films on animal sexual behavior, was born. She credits her time studying costume design with giving her the ability to envision the costumes for each animal. And her newest show, Sex and Consequences, will explore similar ideas. With in person live performances limited due to COVID, Isabella is hoping to reconnect with audiences through her live-streamed Zoom performance, a method that many singers and musicians have found success with during this time. Although Isabella’s family is Hollywood royalty, to her her parents are still “Mama’ and “Father.” And towards the end of our conversation, Isabella reflects on the gift they gave to her and her siblings - “If our parents gave us a gift it was to always try to do what was interesting to us… It was always try to, follow your curiosity, follow your interest… They did and we’re doing it too.In this episode, we talk about: How an interest in short films, and the advent of YouTube, provided an opening for Green Porno The reason she enjoys exploring sexuality in her work  The makings of Sex and Consequences  What appeals to her about storytelling  How her parents, Ingrid Bergman and Roberto Rossellini, met and fell in love, and the way Hollywood reacted  Celebrity in Europe versus America  Her thoughts on working for, being let go by, and being re-hired by Lancôme  How the ideas of self expression and beauty have changed over the years Connect with Isabella: IG: @isabellarossellini Get tickets for SEX AND CONSEQUENCES Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Amber Ardolino is a dancer, singer and actress who made her Broadway debut in Hamilton, and was also in the original Chicago company. She is currently part of the Broadway cast of Moulin Rouge!. Amber has previously been seen as Mopsa in Head Over Heels on Broadway, Sherrie in Rock of Ages in Las Vegas, as well as on national tours of Flashdance, West Side Story, Legally Blonde, and both the Philip and Eliza tours of Hamilton. She recently sang a duet with former Head Over Heels co-star Bonnie Milligan on the new concept album Within Earshot, a new musical with music and lyrics by Jackson Teeley, and a book by Sarah Galante. The album is now available on all streaming platforms. When Broadway returns, Amber will reprise her roles in Moulin Rouge! as a swing, and the understudy for Satine, Arabia, and Baby Doll.Amber covers 10 tracks in Moulin Rouge! including Satine, Arabia, Baby Doll, La Chocolate, and the Can-Can girls. During our conversation, Amber delves into what life is like as a swing, revealing that she started covering La Chocolate after someone was injured on stage, and that when she actually made her initial Moulin Rouge! debut, she went out in a costume she had tried on once, wearing no make-up, and her hair thrown up into a wig. If it sounds chaotic, it’s because it can be. But Amber says that’s kind of the most exciting part and what she enjoys most about swinging, “you could go on at any moment.” She also gets candid with us about what life has been like as a performer during the pandemic, sharing there was a moment when for the first time ever, she doubted being in musical theater. But after opening up about her experience with anxiety and depression, she shares that the most important thing this pandemic has taught her is how important it is to take care of yourself. In this episode, we talk about:  Building stamina as a swing  Being on stage with Aaron Tveit and Karen Olivo Her decision to pursue musical theater  Creating content on instagram, and why she loves TikTok Being authentic on social media  Spending 3 years performing with Hamilton The Within Earshot concept album Her experience navigating depression and anxiety Connect with Amber: Listen to Within Earshot IG: @amberardolino Twitter: @ArdolinoAmber Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

John Lloyd Young is a multi-award winning performer, who originated the role of Frankie Valli in Broadway’s Jersey Boys. He is the only American actor to date to have received a Lead Actor in a Musical Tony Award, Drama Desk Award, Outer Critics Circle Award and Theatre World Award for a Broadway debut. John also starred in Jersey Boys on London’s West End, and was hand-picked by director Clint Eastwood to reprise his role in the Warner Bros. film adaptation. As a concert artist he has played to sold-out crowds at the Hollywood Bowl and has appeared at Carnegie Hall, the White House, the Kennedy Center, Lincoln Center, Radio City Music Hall, Café Carlyle, and with the National Symphony Orchestra conducted by Marvin Hamlisch. John served as a member of the President’s Committee on the Arts and Humanities, appointed by Barack Obama, and as a member of the Committee, Young represented the United States on the first U.S. Cultural Mission to the Republic of Cuba. John’s five-star-rated solo album of classic R&B, My Turn..., debuted as a best-seller on Amazon. And next up, he can be seen online when his concert “John Lloyd Young’s Broadway” streams live from The Space in Las Vegas on October 3rd. Throughout our conversation, John comes back to the importance of and the reverence he has always had for what he believes to be the most important element of a Broadway show - the audience. What he has learned to be true is if you invest in your audience, they’ll stay and be with you even in hard times. John shares how he found other creative outlets in the “dicey years” after Jersey Boys ended, and hopes that when the smoke from the pandemic clears, and audiences and performers alike are allowed back inside theatres, “hopefully we’ll be a little more humble and appreciate the privilege” of being able to be creative for a living. In this episode, we talk about:  Working on the President’s Committee on the Arts and Humanities under Barack Obama The importance of investing in your audience as a performer  What he’d like his return to Broadway to look like  The choices you have when you get pigeon-holed as a particular role  The moment when he knew Jersey Boys would be a hit  The lessons he hopes creatives will take away from this pandemic His visual arts career  Connect with JLY: IG @JohnLloydYoung Twitter: @GenuineJLY JohnLLoydYoung.com/live (to get tix to his events!) Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Mo Brady is a jack of all trades - a broadway actor turned social media specialist turned podcaster. After working for many years as a performer in Seattle, Washington, Mo made his Broadway debut in The Addams Family musical in 2010. He later landed work as a recurring character on the second season of the NBC TV hit show Smash. These days, Mo works as the Communications Project Manager for Broadway Cares Equity Fights AIDS, and continues to host a wildly popular podcast, which he also co-created, called The Ensemblist. Amassing a following over the years, The Ensemblist has become an “online advocate for the talented artists working in theatre ensembles.” Now boasting not only a podcast, but a website and a social presence as well, they are “creating conversations about what it means to be a successful artist in the theatre.”Mo spent a few years working as a full time performer in Seattle, including in shows at The 5th Ave Theatre. In 2010, he made the jump to New York City, and six weeks after his arrival, he had landed his first Broadway show - The Addams Family musical. After a year on Broadway, Mo shares how his offer to volunteer for Broadway Cares turned into a full time job, and how he at one time was balancing working this full time job with filming episodes of Smash in Long Island City at the same time. When Mo later realized he didn’t really love being an actor in NYC the way he had in Seattle, and that he wasn’t feeling as fulfilled, he decided to let his agents go and focus on his Broadway Cares job. In doing so, he was also able to revisit his initial idea for The Ensemblist, which had struck him while in The Addams Family. He loved the people he had performed with, and wanted to share their stories - the stories of the ensemble. These days you can catch Mo twice a week on The Ensemblist podcast, proudly championing Broadway’s underdogs, by visiting BPN.fm/theensemblist.In this episode, we talk about:  Finding community in the theater  His hands on experience at Whitman College  Working as a performer in the Seattle theater scene  Being a part of The Addams Family musical  Why and how he decided to let performing go (for now) The inspiration behind The Ensemblist, and how it has grown since the beginning  Being a dad, and what the surrogacy process was like Connect with Mo: IG @theensemblist IG: @daddy_papa_and_me_make3 On the web Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices

Alice Lee is an actress, singer and musician who made her Broadway debut in 2008 when she joined the cast of Spring Awakening. Her other New York theater credits include Spider-Man Turn Off the Dark on Broadway, as well as Off-Broadway productions of Bare and Heathers: The Musical. While she is no stranger to the stage, she is also no stranger to the screen. Alice was a contestant on the ABC reality TV show Rising Star in 2014, with other television credits that include Smash, The Mindy Project, Switched at Birth, 2 Broke Girls, Take Two, Zoe’s Extraordinary Playlist, and many more. She can also be seen in the Netflix film Sierra Burgess Is a Loser, and last year's hit indie movie Brittany Runs a Marathon. While she lived in NYC, Alice performed in numerous concerts at Rockwood Music Hall, where she frequently debuted original material. Coming up next she can be seen online performing through the Times Square Alliance Broadway Busker’s Concert series.Alice was born and raised in the north suburbs of Chicago, the only child of parents who immigrated from South Korea. She shares that music entered her life at a very early age, and recalls learning to play instruments and sing long before she knew she wanted to be a performer. Her dad is also a great singer, and when Alice was young they would sing karaoke together. While she dabbled in the drums and clarinet, the two instruments she still plays today are the piano and guitar. When deciding what course of study to pursue in college, Alice researched the programs at NYU. And feeling like she didn’t quite fit into either the musical theater or the classical vocal performance categories, she opted to earn her BM in Music Business. It was while she was a freshman at NYU that Alice attended a performance of Spring Awakening, and in her own words, became “obsessed”. So when she found out they were holding open calls for replacements, Alice went and auditioned - and booked her first Broadway show.In our conversation, Alice candidly talks about growing up and feeling different, but so badly wanting to fit in. And while she and her parents never had any conversations specifically about race, she recalls that she was always aware of the differences, and of other people's attitudes towards them. Alice also lovingly recalls visiting family in South Korea every two years as she grew up, memories which she holds onto and celebrates as part of her identity. Shortly after quarantine began this year, Alice left her apartment in Los Angeles where she lives alone to go spend time with her parents outside Chicago. While there Alice shares she has been spending her time writing, recording demos and making pop music. “This is my frickin destiny” she realized this summer, affirming her vision for her next big dream - to become the first big Asian-American pop star. In this episode, we talk about: Deciding to major in Music Business  Why she moved from NYC to LA about 5 years ago  Her experience on the reality TV show Rising Star on ABC Being recognized in public for her performances  Activism on Instagram Growing up the child of immigrants The joy she finds in writing and making music Connect with Alice:IG @aliceheyalice Connect with The Theatre Podcast: Support us on Patreon: Patreon.com/TheTheatrePodcast Twitter & Instagram: @theatre_podcast Facebook.com/OfficialTheatrePodcast TheTheatrePodcast.com Alan's personal Instagram: @alanseales Email me at feedback@thetheatrepodcast.com. I want to know what you think. A very special thanks to our patrons who help make this podcast possible!Cheryl Hodges-Selden, Paul Seales, David SealesIf you would like to see your name in this show notes or get a shout out on the pod itself, visit ttp.fm/patreon to become a member and show your support! Learn more about your ad choices. Visit megaphone.fm/adchoices