January 31, 2024 • 17 mins
Michael Riedel and Christine Nagy chat with Broadway star Caesar Samayoa about his role as Dr. Emilio Amigo in HOW TO DANCE IN OHIO, the musical adaptation of the HBO documentary about young adults with autism. He said the role was "life changing." HOW TO DANCE IN OHIO is playing at the Belasco Theatre.
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(00:02):
iHeartRadio Broadway presents Inside Broadway, thepodcast about everything theater. It's where you
hear what happens from the ticket windowto the stage door, with the stars
and creative forces that make it allcome alive. Here are your hosts wo
Rs Michael Riedle and Light FM's ChristineNagy. There is a beautiful show playing
(00:25):
on Broadway. It's an original musicalcalled How To Dance in Ohio at the
Belasco Theater on Broadway. And Michaelour guest today Caesar Samma Yoa who stars
as Doctor Amigo. Thank you somuch for being here, Thanks for being
on Inside Broadway. And we shouldsay it's a landmark Broadway show because it's
about autistic kids who are going toa dance, but it uses actors who
(00:49):
are autistic in the show. Ithink for the first time, the first
time that I've ever heard of yet. It's like I was thinking of Oklahoma.
Who is the woman's name who wasthe first star of a show who
was truly a paraplegic, Ali AliSally Striker, Ali Striker, Yeah,
yeah, I believe it's from NewJersey as well. She is from New
(01:10):
Jersey. I think Bridgwood, NewJersey exactly the trivia power inside. So
Caesar tell for people who have notseen How to Dance in Ohio, what
is it about? Oh my gosh. It's based on the award winning documentary
of the same name, and ittakes place in a in a therapy group
and the Social Skills of therapy groupfor autistic young adults, where doctor Amigo,
(01:34):
who I play, uses a formaldance as a as a teaching moment
to kind of burst open, youknow, parts of your life. And
that's really what the show is about. It's about taking that next step in
your life. Yeah, it's it'sa beautiful, touching show. I really
really enjoyed it. Cal's Yeah,it's got to be like such an incredible
experience for you. You do seemlike you're really connecting with your cast members
(01:59):
and the storyline and everything that's happening. Absolutely, this has been life changing
from the first day. From thefirst day walking into that rehearsal room,
I don't think. I don't knowhow I'm going to go back to another
rehearsal room because it's so inclusive andopen. In our theater and rehearsal rooms,
well, the important thing I havea little familiarity with autism, and
(02:21):
I think in the show because aswe know, autistic people can be closed
off and isolated, and it's thedancing that allows them to express a part
of themselves that they don't know howto express in any other way. I
mean, what's so beautiful in thisshow is that we see what it takes
to get to the dance, sowe see every moment. That is a
(02:42):
huge milestone for everybody in the cast. Really not just for our core seven
who are the autistic actors in theshow, but also for their therapists and
their friends and their parents in theshow as well. You kind of see
a life change happening all around.I think that and all of us who
just all awkward in school and goingto a school dance, it's just so
(03:04):
relatable. I didn't go at allbecause it would have been too embarrassing.
I would view it was one ofthe most awkward things for me to go
to a school dance, and Irelate to everything that's happening, and I
hear this from our audience over andover again. This is so relatable to
their lives. Yeah. That andalso how the theater is set up because
if you have any sensory sensitivities orissues. Absolutely, Again, I feel
(03:30):
like that's good for everyone. Forus, I think they should be in
every theater, to be honest,and even backstage, we have we have
ways to communicate with each other howwe're doing today. We have we have
like little signs outside our door thatare red or yellow or green, which
means you know red, I'm like, it's a tough day, Like maybe
don't come knocking on this dressing roomdoor, and green has come on in
(03:53):
and like, ask me anything,whatever you need. So there's a scale
of severity of autism. The kidsin your show, you know where they
are on that scale? Do youhave a range of all sorts of people,
because autism is a complicated thing thatmost people don't understand. Absolutely.
Autism runs a spectrum, as weknow, and our show strives to show
(04:14):
as many parts and colors of thatspectrum as possible. And I hear from
our creators that down the line,as this is done throughout the country,
we hope to see even more thatmay not be represented in our show.
Right now, this is definitely openingthe door, but the door is only
slightly cracked open now, And Ican't wait to see what happens with this
show as we keep going. Andyou played doctor Amigo, who is a
(04:39):
real person because this is based ona true story on the documentary that we're
able to see. So what washis feeling about the show and your portrayal.
Oh, it was incredible meeting doctorAmigo. He was so proud.
I remember when we were bowing openingnight and we got to bout with our
counterparts from the documentary. And asdoctor Amiga was watching each one of his
(05:02):
clients go up on that stage andbow in front of thousands of people for
the first time, he turned tome and said, their lives, their
lives will be forever changed at thismoment. They're crossing a threshold right now
just being here in front of thousandsof people socially that they will never be
able to go back. So fromthis moment forward, their lives have changed.
(05:26):
And I see that with everybody involvedin this show as well. Now,
what happened to you? Almost beforeopening night? You got hit by
something on the set. Yes,and a piece of the set had a
bit of a headbutt, and youknow, and I had to go to
the r and get stitches, andI didn't finish the show that night,
and a slight concussion with the NewYork Times coming the next day, so
(05:48):
a lot of stuff. You getthose stitches in now many drugs is like,
possibly give me because I'm not goingto miss the New York Times critic.
Oh, it was quite perform.Did you perform the next night?
We perform night. We definitely performedthe next night. But thank god,
it could have been much worse.What happened exactly, you know, we
(06:11):
a piece of the set basically ina in a blackout, like whacked into
into my head. Yeah. Peopledon't understand that the actual there's danger in
Broadway shows now because the sets areso complicated and automated and automated. And
I learned this when I would sortof hang backstage with friends of mine and
various shows over the years. Yousee the on stage choreography, but you
also have to memorize the backstage choreographybecause you have to know exactly where to
(06:35):
be so you don't get knocked onthe head by a set that's being flown
up. Absolutely, the backstage choreographyis to the inch actually, because you
can't you can't be in the wrongplace. There are pieces of set sets
going up and down and moving allthe time, and for the split second
that you may not be paying attention, something can really happen. Well,
(06:55):
it's dark and dark, yes,and it's very loud. There's the show
going on, so you can't hearand you can't see. Wow, come
to Broadway. That's right where youcan get killed. Not by the critics
mindset. So says, just giveus your background. How did you get
into this racket? Oh, mygosh, you know, I got into
(07:16):
this because of a teacher. Youknow, my parents are from Watemala and
we came to this country and thearts really were not part of our lives.
And I had a fourth grade teacherwho really introduced me to the arts.
And from that moment I kind ofwas hooked. And did your family
embrace this, that your love ofthe arts? They did. It took
(07:40):
a minute. Full embrace happened whenI got into college and really went into
a conservatory program and I started workingprofessionally. But from that point on,
my god, they're just biggest fansever. Full embrace happens when you show
them your first professional paycheck and theythink there's going to be our I know,
(08:01):
here's a real contract. I'm goingto be important exactly. Well,
another show that you were a partof, I feel like you're in these
beautiful I know every theater production isa community, but like real community based
shows, and that's Come From Away. Oh yeah, it's such a beautiful
show. Well, it's just twoincredible shows that I've seen you in.
(08:22):
I'm sure there's many, many more, but these are both such special productions
I feel, I mean, they'vebeen life changing, to be honest,
And what's been so special about itthe community that these stories are about,
you know, to be able toportray people, real people that changed the
world in very you know, andwhat seems small, like a small way
(08:46):
but really has kind of made ahuge domino effect, has been just one
of the biggest honors of my life. Yeah, oh, I'm sorry.
I was going to say, oncesomething that Comes From Away closes, or
it's time for you to move on, you choose you move on. It's
got to be so difficult because again, I seeing you in that production,
I just felt you were so connectedwith your past and it is it is
(09:09):
a very difficult, Yes, leavinga show I Come from Away. I
was part of that show for fiveyears, from the first developmental production in
Laoya to Broadway. But you know, there comes a time where do you
do realize you have to move onright and keep exploring. This is what
we do where artists, we're creativepeople. And I will cherish my time.
(09:31):
I've come from away. It's notso hardware in your show where everybody
hates everybody. Those were the showsI like. I used to like to
write about those shows in the artpost. That's like, fye, my
contract's done. Well. You knowthe great story the wonderful Marsha Lewis,
who was Mama Morton in the Revivalof Chicago originally at City Center. Wonderful
(09:56):
actress Marshall Lewis long Forgarden, butshe was great anyway. She was in
the road company of Fiddler on theRoof with Topel, Oh Wow, Fran
and Barry Weisler production. So itcost about twelve cents but let him say
it anyway. So and Topel wasincredibly mean to Marcia because you know,
(10:16):
Marsha with this short, squat rotundadorable woman. But Topel would say things
like Topel would not have a wifewho looks like this, He would not
have a wife who looks like andso they had. They were on the
road for a year together and hewouldn't look at her. You know,
they'd sing their duets together and hewould look at the audience because he kept
saying, complaining to the producers Topelwould not have a wife who looks like
(10:39):
He was incredibly mean. So theycome into Broadway at the mince Cough Theater
I think they were at, andthe final performance, Topel sings do you
Love Me? And Marcia said taxiand walked off, left the show,
walked out the stage door and wasgone, oh I love it? Is
(11:01):
there any experience that was that wasnot my exit? Well, if you
wrack around this knock around this businesslong enough, you'll come to work with
somebody you hate. I don't wishthat upon anybody, right, Please don't
let that be. Well, let'sjust say, how to dance in Ohio
(11:22):
is all peace and love, enjoy. So we want to go there at
the Blasts. Yeah. By theway, if you're at the Blasco,
have they taken you upstairs to seeDavid Blasko's apartment. I got to see
it and his safe is still upthere. It is see the same.
I did not see the safe istoo heavy, they can't move it.
Wow, safe is still up there. Well, I'm convinced all of this
(11:43):
kind of stuff happened because of theghosts. Oh he is the ghost right
that they have you seen him atall? I have not seen. I
have castmates who just swear that theyswear they've seen him up in the box
or hanging around yeah, or justwell, well, Chris Christine doesn't know
this, but he used to.He was He was from San Francisco.
He was Jewish, but he thoughthe was a priest. So he would
dress up as a priest with acollar. And he had this big apartment
(12:07):
above the Belasco Theater that he built, and he would bring the chorus girls
up, and he had a confessionaland they would have to confess their sins
to him, and for each sin, they had to remove an article of
clothing. Oh my god, Sothat's what's happening. Elaine Stritch told me
she had a blast. But everybodyelse our next show write that story.
(12:35):
Oh I did. It's in manyof my books. Trust me, as
I will never look at that stagedoor and backstage the same every a man
with a priest collar invites you upfor a confessional. No, we're not
going there. Look for the safeget some stage. Yes, thank you,
Caesar, Samma Yoa. You cancatch them in How to Dance in
Ohio at the Belasco Theater on Broadway. Thank you for these beautiful shows that
(12:58):
you were a part of, andthank you so much for me. Thank
you, thank you, Caesar,thank you. All right, So Michael,
let's catch up a little bit.You saw Shucked right before it closed.
I unfortunately did not get to seeit. I understand there's going to
be a movie version, though thereis. Well, that's the new thing
now. The trend is you takethe Broadway musical and you make the Broadway
(13:20):
musical into a musical movie. Theydid that with Mean Girls, and they're
doing it was Shocked and something elsetoo. I can't remember what it is
now. But if the play isthe musical successful on Broadway, then they
want to turn it into a moviemusical, which I don't know. Sometimes
those movie musicals don't translate all thatwell. We'll see how Shock does.
I thought Shocked would be more successfulfrankly on Broadway than it was like that,
(13:43):
it would run longer, right,I thought I had a chance to
get it. I had good thingsabout you. There was a lot of
kind of serious stuff coming out ofCOVID, a lot of political things,
and Shocked was just a show whereyou're just going to go and have a
good time, right, And theyhad the great advertising campaign, all the
corns in some ways. Yeah,and I can't remember the witty lines now,
but they had a lot of wittylines, tons of fun, and
(14:05):
it just you know, it's toughto catch on. I really do believe
the situation for Broadway right now isyou have to have a brand name show
and a star to sell tickets.So if you get Hugh Jackman in Gypsy
Mama Rose, you sell a tonof tickets. But every producer tells me,
(14:26):
you've got to have a show basedon a title that people know,
and you have to have a star. So this is why we're seeing a
lot of shows that are based onfavorite trees. Yes, and The Notebook,
which is coming Oh okay, soit's just invited to see The Notebook
going into previews pretty soon. Thisis The Notebook, the musical based on
the movie The Notebook, with who'sin that movie The Notebook James Garner and
(14:50):
oh but it was Ryan Gosling andRachel McAdams, right, they were the
young, the young, but JamesGarner was the old guy and the wife
was oh, famous actress I can'tremember her name now, did a lot
of John Cassavetty movies. She wasthe one who at Alzheimer's Yeah, touching
story, Yeah it is. Itis a pretty deep story. So now
(15:11):
I'm wondering, am I going tobe crying when I go see this song?
You know it's funny. My friendChris Jones, who's the drama critic
for the Chicago Tribune, he toldme. He said, yeah, God,
I thought it's another another movie madeinto a musical. It's going to
be by the numbers and boring.And he said it was incredibly moving and
touching with a beautiful score. Sohe was. He gave it a rave
(15:31):
review. The reason it's coming toNew York is because Chris's review in Chicago
was so strong for oh good,Yeah, so it could be surprise,
could surprise. Okay, yeah,so I'll come back with a positive review
for you about why do you sayit? Towards the end of February,
it's going into previews like mid Februarywas the end of the month. That's
the only plan I have now fora show. So we need something.
(15:52):
I'm going to the opera. Ohvery nice. If you want to see
La ron Dene with me? Reallyyou're inviting me? Do you want to
go to see The Swallow by Puccini? It has a great, great score.
Sure you have the proper clothes forit. What do I have to
wear a ball gout and I godressed? You know, my sweatpants?
Whatn't wait? Wait, why doyou get to go dressed as a radio
(16:15):
guy? You have to dress upfor the Something's not right, that's true.
But yeah, no, no,we're going to go to the We're
going to see more opera in thespring. I found to see more,
you know, since COVID kind ofgot out of the habit of going to
concerts and opera, and I loveclassical music. I love the opera,
and they have a good, goodrundown at the Met this spring. So
my New Year's resolution was to seemore opera, especially anything by Wagner that
(16:40):
runs for seven hours. Okay,I mean this sounds beautiful. I have
never been to the opera in mylife. You haven't never have you ever
seen the Jackie Mason routine about theopera? No Jackie Masons in the opera.
All the Jews go to the operaand they fall asleep. It's the
biggest bedroom in the city. Becausethe guy goes out and he says,
I stabbed her, I stabbed her, I stabbed her in the heart.
(17:02):
And then she sings, he stabbedme, he stabbed me, he stabbed
me in the heart. And thenthe chorus goes, he stabbed her,
stapped her, stabbed her in theheart. And that's the opera. Got
it for four hours. Can't wait, it'll be exciting. All right.
That's it for us here. Ididn't said to see you next time, Fie.
iHeartRadio Broadway presents Inside Broadway, thepodcast about everything theater. It's where you
hear what happens from the ticket windowto the stage door, with the stars
and creative forces that make it allcome alive. Here are your hosts wo
Rs Michael Riedle and Light FM's ChristineNagy. There is a beautiful show playing
(00:25):
on Broadway. It's an original musicalcalled How To Dance in Ohio at the
Belasco Theater on Broadway. And Michaelour guest today Caesar Samma Yoa who stars
as Doctor Amigo. Thank you somuch for being here, Thanks for being
on Inside Broadway. And we shouldsay it's a landmark Broadway show because it's
about autistic kids who are going toa dance, but it uses actors who
(00:49):
are autistic in the show. Ithink for the first time, the first
time that I've ever heard of yet. It's like I was thinking of Oklahoma.
Who is the woman's name who wasthe first star of a show who
was truly a paraplegic, Ali AliSally Striker, Ali Striker, Yeah,
yeah, I believe it's from NewJersey as well. She is from New
(01:10):
Jersey. I think Bridgwood, NewJersey exactly the trivia power inside. So
Caesar tell for people who have notseen How to Dance in Ohio, what
is it about? Oh my gosh. It's based on the award winning documentary
of the same name, and ittakes place in a in a therapy group
and the Social Skills of therapy groupfor autistic young adults, where doctor Amigo,
(01:34):
who I play, uses a formaldance as a as a teaching moment
to kind of burst open, youknow, parts of your life. And
that's really what the show is about. It's about taking that next step in
your life. Yeah, it's it'sa beautiful, touching show. I really
really enjoyed it. Cal's Yeah,it's got to be like such an incredible
experience for you. You do seemlike you're really connecting with your cast members
(01:59):
and the storyline and everything that's happening. Absolutely, this has been life changing
from the first day. From thefirst day walking into that rehearsal room,
I don't think. I don't knowhow I'm going to go back to another
rehearsal room because it's so inclusive andopen. In our theater and rehearsal rooms,
well, the important thing I havea little familiarity with autism, and
(02:21):
I think in the show because aswe know, autistic people can be closed
off and isolated, and it's thedancing that allows them to express a part
of themselves that they don't know howto express in any other way. I
mean, what's so beautiful in thisshow is that we see what it takes
to get to the dance, sowe see every moment. That is a
(02:42):
huge milestone for everybody in the cast. Really not just for our core seven
who are the autistic actors in theshow, but also for their therapists and
their friends and their parents in theshow as well. You kind of see
a life change happening all around.I think that and all of us who
just all awkward in school and goingto a school dance, it's just so
(03:04):
relatable. I didn't go at allbecause it would have been too embarrassing.
I would view it was one ofthe most awkward things for me to go
to a school dance, and Irelate to everything that's happening, and I
hear this from our audience over andover again. This is so relatable to
their lives. Yeah. That andalso how the theater is set up because
if you have any sensory sensitivities orissues. Absolutely, Again, I feel
(03:30):
like that's good for everyone. Forus, I think they should be in
every theater, to be honest,and even backstage, we have we have
ways to communicate with each other howwe're doing today. We have we have
like little signs outside our door thatare red or yellow or green, which
means you know red, I'm like, it's a tough day, Like maybe
don't come knocking on this dressing roomdoor, and green has come on in
(03:53):
and like, ask me anything,whatever you need. So there's a scale
of severity of autism. The kidsin your show, you know where they
are on that scale? Do youhave a range of all sorts of people,
because autism is a complicated thing thatmost people don't understand. Absolutely.
Autism runs a spectrum, as weknow, and our show strives to show
(04:14):
as many parts and colors of thatspectrum as possible. And I hear from
our creators that down the line,as this is done throughout the country,
we hope to see even more thatmay not be represented in our show.
Right now, this is definitely openingthe door, but the door is only
slightly cracked open now, And Ican't wait to see what happens with this
show as we keep going. Andyou played doctor Amigo, who is a
(04:39):
real person because this is based ona true story on the documentary that we're
able to see. So what washis feeling about the show and your portrayal.
Oh, it was incredible meeting doctorAmigo. He was so proud.
I remember when we were bowing openingnight and we got to bout with our
counterparts from the documentary. And asdoctor Amiga was watching each one of his
(05:02):
clients go up on that stage andbow in front of thousands of people for
the first time, he turned tome and said, their lives, their
lives will be forever changed at thismoment. They're crossing a threshold right now
just being here in front of thousandsof people socially that they will never be
able to go back. So fromthis moment forward, their lives have changed.
(05:26):
And I see that with everybody involvedin this show as well. Now,
what happened to you? Almost beforeopening night? You got hit by
something on the set. Yes,and a piece of the set had a
bit of a headbutt, and youknow, and I had to go to
the r and get stitches, andI didn't finish the show that night,
and a slight concussion with the NewYork Times coming the next day, so
(05:48):
a lot of stuff. You getthose stitches in now many drugs is like,
possibly give me because I'm not goingto miss the New York Times critic.
Oh, it was quite perform.Did you perform the next night?
We perform night. We definitely performedthe next night. But thank god,
it could have been much worse.What happened exactly, you know, we
(06:11):
a piece of the set basically ina in a blackout, like whacked into
into my head. Yeah. Peopledon't understand that the actual there's danger in
Broadway shows now because the sets areso complicated and automated and automated. And
I learned this when I would sortof hang backstage with friends of mine and
various shows over the years. Yousee the on stage choreography, but you
also have to memorize the backstage choreographybecause you have to know exactly where to
(06:35):
be so you don't get knocked onthe head by a set that's being flown
up. Absolutely, the backstage choreographyis to the inch actually, because you
can't you can't be in the wrongplace. There are pieces of set sets
going up and down and moving allthe time, and for the split second
that you may not be paying attention, something can really happen. Well,
(06:55):
it's dark and dark, yes,and it's very loud. There's the show
going on, so you can't hearand you can't see. Wow, come
to Broadway. That's right where youcan get killed. Not by the critics
mindset. So says, just giveus your background. How did you get
into this racket? Oh, mygosh, you know, I got into
(07:16):
this because of a teacher. Youknow, my parents are from Watemala and
we came to this country and thearts really were not part of our lives.
And I had a fourth grade teacherwho really introduced me to the arts.
And from that moment I kind ofwas hooked. And did your family
embrace this, that your love ofthe arts? They did. It took
(07:40):
a minute. Full embrace happened whenI got into college and really went into
a conservatory program and I started workingprofessionally. But from that point on,
my god, they're just biggest fansever. Full embrace happens when you show
them your first professional paycheck and theythink there's going to be our I know,
(08:01):
here's a real contract. I'm goingto be important exactly. Well,
another show that you were a partof, I feel like you're in these
beautiful I know every theater production isa community, but like real community based
shows, and that's Come From Away. Oh yeah, it's such a beautiful
show. Well, it's just twoincredible shows that I've seen you in.
(08:22):
I'm sure there's many, many more, but these are both such special productions
I feel, I mean, they'vebeen life changing, to be honest,
And what's been so special about itthe community that these stories are about,
you know, to be able toportray people, real people that changed the
world in very you know, andwhat seems small, like a small way
(08:46):
but really has kind of made ahuge domino effect, has been just one
of the biggest honors of my life. Yeah, oh, I'm sorry.
I was going to say, oncesomething that Comes From Away closes, or
it's time for you to move on, you choose you move on. It's
got to be so difficult because again, I seeing you in that production,
I just felt you were so connectedwith your past and it is it is
(09:09):
a very difficult, Yes, leavinga show I Come from Away. I
was part of that show for fiveyears, from the first developmental production in
Laoya to Broadway. But you know, there comes a time where do you
do realize you have to move onright and keep exploring. This is what
we do where artists, we're creativepeople. And I will cherish my time.
(09:31):
I've come from away. It's notso hardware in your show where everybody
hates everybody. Those were the showsI like. I used to like to
write about those shows in the artpost. That's like, fye, my
contract's done. Well. You knowthe great story the wonderful Marsha Lewis,
who was Mama Morton in the Revivalof Chicago originally at City Center. Wonderful
(09:56):
actress Marshall Lewis long Forgarden, butshe was great anyway. She was in
the road company of Fiddler on theRoof with Topel, Oh Wow, Fran
and Barry Weisler production. So itcost about twelve cents but let him say
it anyway. So and Topel wasincredibly mean to Marcia because you know,
(10:16):
Marsha with this short, squat rotundadorable woman. But Topel would say things
like Topel would not have a wifewho looks like this, He would not
have a wife who looks like andso they had. They were on the
road for a year together and hewouldn't look at her. You know,
they'd sing their duets together and hewould look at the audience because he kept
saying, complaining to the producers Topelwould not have a wife who looks like
(10:39):
He was incredibly mean. So theycome into Broadway at the mince Cough Theater
I think they were at, andthe final performance, Topel sings do you
Love Me? And Marcia said taxiand walked off, left the show,
walked out the stage door and wasgone, oh I love it? Is
(11:01):
there any experience that was that wasnot my exit? Well, if you
wrack around this knock around this businesslong enough, you'll come to work with
somebody you hate. I don't wishthat upon anybody, right, Please don't
let that be. Well, let'sjust say, how to dance in Ohio
(11:22):
is all peace and love, enjoy. So we want to go there at
the Blasts. Yeah. By theway, if you're at the Blasco,
have they taken you upstairs to seeDavid Blasko's apartment. I got to see
it and his safe is still upthere. It is see the same.
I did not see the safe istoo heavy, they can't move it.
Wow, safe is still up there. Well, I'm convinced all of this
(11:43):
kind of stuff happened because of theghosts. Oh he is the ghost right
that they have you seen him atall? I have not seen. I
have castmates who just swear that theyswear they've seen him up in the box
or hanging around yeah, or justwell, well, Chris Christine doesn't know
this, but he used to.He was He was from San Francisco.
He was Jewish, but he thoughthe was a priest. So he would
dress up as a priest with acollar. And he had this big apartment
(12:07):
above the Belasco Theater that he built, and he would bring the chorus girls
up, and he had a confessionaland they would have to confess their sins
to him, and for each sin, they had to remove an article of
clothing. Oh my god, Sothat's what's happening. Elaine Stritch told me
she had a blast. But everybodyelse our next show write that story.
(12:35):
Oh I did. It's in manyof my books. Trust me, as
I will never look at that stagedoor and backstage the same every a man
with a priest collar invites you upfor a confessional. No, we're not
going there. Look for the safeget some stage. Yes, thank you,
Caesar, Samma Yoa. You cancatch them in How to Dance in
Ohio at the Belasco Theater on Broadway. Thank you for these beautiful shows that
(12:58):
you were a part of, andthank you so much for me. Thank
you, thank you, Caesar,thank you. All right, So Michael,
let's catch up a little bit.You saw Shucked right before it closed.
I unfortunately did not get to seeit. I understand there's going to
be a movie version, though thereis. Well, that's the new thing
now. The trend is you takethe Broadway musical and you make the Broadway
(13:20):
musical into a musical movie. Theydid that with Mean Girls, and they're
doing it was Shocked and something elsetoo. I can't remember what it is
now. But if the play isthe musical successful on Broadway, then they
want to turn it into a moviemusical, which I don't know. Sometimes
those movie musicals don't translate all thatwell. We'll see how Shock does.
I thought Shocked would be more successfulfrankly on Broadway than it was like that,
(13:43):
it would run longer, right,I thought I had a chance to
get it. I had good thingsabout you. There was a lot of
kind of serious stuff coming out ofCOVID, a lot of political things,
and Shocked was just a show whereyou're just going to go and have a
good time, right, And theyhad the great advertising campaign, all the
corns in some ways. Yeah,and I can't remember the witty lines now,
but they had a lot of wittylines, tons of fun, and
(14:05):
it just you know, it's toughto catch on. I really do believe
the situation for Broadway right now isyou have to have a brand name show
and a star to sell tickets.So if you get Hugh Jackman in Gypsy
Mama Rose, you sell a tonof tickets. But every producer tells me,
(14:26):
you've got to have a show basedon a title that people know,
and you have to have a star. So this is why we're seeing a
lot of shows that are based onfavorite trees. Yes, and The Notebook,
which is coming Oh okay, soit's just invited to see The Notebook
going into previews pretty soon. Thisis The Notebook, the musical based on
the movie The Notebook, with who'sin that movie The Notebook James Garner and
(14:50):
oh but it was Ryan Gosling andRachel McAdams, right, they were the
young, the young, but JamesGarner was the old guy and the wife
was oh, famous actress I can'tremember her name now, did a lot
of John Cassavetty movies. She wasthe one who at Alzheimer's Yeah, touching
story, Yeah it is. Itis a pretty deep story. So now
(15:11):
I'm wondering, am I going tobe crying when I go see this song?
You know it's funny. My friendChris Jones, who's the drama critic
for the Chicago Tribune, he toldme. He said, yeah, God,
I thought it's another another movie madeinto a musical. It's going to
be by the numbers and boring.And he said it was incredibly moving and
touching with a beautiful score. Sohe was. He gave it a rave
(15:31):
review. The reason it's coming toNew York is because Chris's review in Chicago
was so strong for oh good,Yeah, so it could be surprise,
could surprise. Okay, yeah,so I'll come back with a positive review
for you about why do you sayit? Towards the end of February,
it's going into previews like mid Februarywas the end of the month. That's
the only plan I have now fora show. So we need something.
(15:52):
I'm going to the opera. Ohvery nice. If you want to see
La ron Dene with me? Reallyyou're inviting me? Do you want to
go to see The Swallow by Puccini? It has a great, great score.
Sure you have the proper clothes forit. What do I have to
wear a ball gout and I godressed? You know, my sweatpants?
Whatn't wait? Wait, why doyou get to go dressed as a radio
(16:15):
guy? You have to dress upfor the Something's not right, that's true.
But yeah, no, no,we're going to go to the We're
going to see more opera in thespring. I found to see more,
you know, since COVID kind ofgot out of the habit of going to
concerts and opera, and I loveclassical music. I love the opera,
and they have a good, goodrundown at the Met this spring. So
my New Year's resolution was to seemore opera, especially anything by Wagner that
(16:40):
runs for seven hours. Okay,I mean this sounds beautiful. I have
never been to the opera in mylife. You haven't never have you ever
seen the Jackie Mason routine about theopera? No Jackie Masons in the opera.
All the Jews go to the operaand they fall asleep. It's the
biggest bedroom in the city. Becausethe guy goes out and he says,
I stabbed her, I stabbed her, I stabbed her in the heart.
(17:02):
And then she sings, he stabbedme, he stabbed me, he stabbed
me in the heart. And thenthe chorus goes, he stabbed her,
stapped her, stabbed her in theheart. And that's the opera. Got
it for four hours. Can't wait, it'll be exciting. All right.
That's it for us here. Ididn't said to see you next time, Fie.
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