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Speaker 1: Well, what's up.

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Speaker 2: It's way up with Angela Yee and I have two

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Speaker 2: people here that have three names.

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Speaker 1: All right, Tanya lewis Lee and James.

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Speaker 2: Monroe I Gohart. Thank you guys both for joining me today, Thank.

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Speaker 3: You for having pleasure, Thank you glad to be here.

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Speaker 1: And I want to say, like I am just blown away.

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Speaker 2: I went to go see the play that You're in

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Speaker 2: a Wonderful World, the story about Louis Armstrong.

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Speaker 1: I always call him Louis Armstrong.

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Speaker 2: You know either one, but I mean absolutely incredible just

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Speaker 2: seeing you sitting here. James Monroe, I Golhart, you killed

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Speaker 2: that role, that voice you have to do, because that

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Speaker 2: couldn't be easy.

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Speaker 3: No, but it's it's a lot of fun to be

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Speaker 3: able to step into that man's shoes and his life

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Speaker 3: miss nothing but like a wonderful history lesson for me

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Speaker 3: every day. But it's also that moment of like giving

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Speaker 3: honor back to a person who without him, I would

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Speaker 3: not be able to do what I do. I'm standing

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Speaker 3: on his shoulder, so it feels good to be able

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Speaker 3: to do it every night.

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Speaker 2: And Tanya lewis Lee, you are a co producer exactly

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Speaker 2: of this play. Me how you ended up getting involved

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Speaker 2: and you know, I am maya work so much from

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Speaker 2: aftershak thank you, and just the meaning that goes behind

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Speaker 2: everything that it is that you decide to be involved with.

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Speaker 1: I already know is going to be quality work.

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Speaker 4: I appreciate that. I really appreciate that. Angela and I

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Speaker 4: have to say, you know the same thing with the show,

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Speaker 4: right Like people have asked me to produce Broadway in

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Speaker 4: the past. I know it's a hard business, so I've

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Speaker 4: always said no. But when I got exposed to the show,

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Speaker 4: I saw first of all what it was about, how

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Speaker 4: entertaining it is. I learned a lot about Lewis Armstrong.

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Speaker 4: It's a story about a black man in our world

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Speaker 4: and his journey, and I think it has real impact

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Speaker 4: and its history and it's entertaining. But I came on

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Speaker 4: too it because of Vanessa Williams and her partner Liz Curtis.

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Speaker 4: They invited me to a showcase one night. I got

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Speaker 4: to see James and the four amazing women who were

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Speaker 4: in the show.

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Speaker 2: Everybody in that show, but yes, all your wives were amazing.

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Speaker 2: I was like, I don't know who because they all

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Speaker 2: had a different sound to them, but they all like

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Speaker 2: blew me Away exactly with how they sing and their

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Speaker 2: presence and their story and just so relatable.

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Speaker 4: They are and they're amazing. And then I knew Branford

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Speaker 4: Marsalis had come on to do the orchestrations. Uh, we

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Speaker 4: have Ricky Tripp.

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Speaker 3: And do it, DeWitt Fleming Junior as our Ricky Tripp

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Speaker 3: as our choreographer, and Dwitt Fleming Junior is our tap choreographer.

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Speaker 3: And also with Branford Marcellus, we have Daryl Waters, who

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Speaker 3: is one of the greatest Broadway legends around. There isn't

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Speaker 3: a show around that doesn't have Darryl Waters a part

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Speaker 3: of it. And Darryl and Branford together made our music

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Speaker 3: sound so authentic and so cool.

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Speaker 1: It was phenomenal.

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Speaker 4: And a brother by the name of Orange Squire wrote

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Speaker 4: the script. Yes, okay and so, and then James co

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Speaker 4: directs the show with Christina sej and Chris Renshaw.

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Speaker 2: I mean Tony Award winning James and more that one, Okay,

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Speaker 2: I just wanted co directing as well the show that

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Speaker 2: he we threw that in there.

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Speaker 4: It's an amazing creative team behind the scenes as well

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Speaker 4: as on the stage.

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Speaker 2: So how could I say, no, see, I told you

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Speaker 2: once I knew she was like, I know that there's

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Speaker 2: so many things you could do exactly, but Broadway, you said,

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Speaker 2: is difficult.

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Speaker 1: So can you talk about why?

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Speaker 2: Because you know, we don't know the ins and outs

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Speaker 2: of what goes on behind the scenes. And I try

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Speaker 2: to go and support like as much as I can,

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Speaker 2: because one thing I always say this when I go

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Speaker 2: to Broadway plays, I don't see enough of us, you know,

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Speaker 2: going to see those plays and I'll go see Jaja's

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Speaker 2: African hair braiding. I went to go see for Colored Girls.

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Speaker 2: She's amazing, fantastic everything that I can. Obviously, the Lion King,

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Speaker 2: I saw that a couple of times. But talk to

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Speaker 2: me about why is it so difficult for both of you?

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Speaker 4: Well, I think, well you could certainly speak to the

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Speaker 4: to the creative, because I think it's a lot putting

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Speaker 4: on a musical. I mean, they're so complex. But from

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Speaker 4: my perspective where I entered into this show, you know,

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Speaker 4: you got to get butts and seats every night, and

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Speaker 4: I think letting people know that Broadway is out there,

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Speaker 4: especially a show and I will say this is a

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Speaker 4: black show, to let black people know that this is

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Speaker 4: a show that speaks to their experience. That's for them,

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Speaker 4: So reaching our audience. When people tend to do, you know,

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Speaker 4: promote Broadway the old Way, they like to promote Broadway.

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Speaker 4: So letting people know that we're out there and getting

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Speaker 4: people to come in every night is a challenge.

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Speaker 1: And what about you, James and roal Igelhart, I keep saying, no.

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Speaker 3: Please, go ahead. You know you can just call me James, James, Jmi, uncle,

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Speaker 3: Jimmy never never Jimmy. No, no, no, no, no.

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Speaker 1: Jimmy.

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Speaker 3: I get flashbacks when I was a kid. You know.

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Speaker 3: I'm also I'm just looking at me. I'm That's not

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Speaker 3: a Jimmy or a Gym. I'm a James. I'm a Jaymi,

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Speaker 3: I'm a Jay, but I'm just a James. But I

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Speaker 3: always find it funny. Whoopy Goldberg said this, I'll pick

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Speaker 3: that name up. I just dropped. She said that it

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Speaker 3: was funny that people used to call it Broadway the

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Speaker 3: Great White Way all the time. There's even a song

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Speaker 3: with a Great White Way. But she said we should

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Speaker 3: change it to the Great Bright Way because the lights

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Speaker 3: are bright, and so are the stars, no matter what

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Speaker 3: color they are. And so the thing about it is.

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Speaker 3: Sometimes you have to change the perception of what Broadway is.

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Speaker 3: And a lot of what our folks thought Broadway is

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Speaker 3: was that it was a thing that was not for them,

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Speaker 3: and they have to understand that, yes, it is there

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Speaker 3: is for them. These stories that we're telling are not

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Speaker 3: just these white stories. They're telling all stories. They're telling

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Speaker 3: humanistic stories. And yes, our show is a black show,

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Speaker 3: but our show is also a show about this amazing

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Speaker 3: human being that everyone can relate to. He's not just

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Speaker 3: this old guy that sang with Barbara Streisan. These women,

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Speaker 3: these unsung heroes of his life. Without them being there,

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Speaker 3: they he wouldn't be who he was. And there's not

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Speaker 3: a husband out there who is worth his salt that

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Speaker 3: will be honest with themselves, that will say that if

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Speaker 3: they are successful in any way, they know damn well

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Speaker 3: they wife had a lot to do with it. I've

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Speaker 3: been married twenty three years, so I can tell you

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Speaker 3: these ladies. I wouldn't be where I am if wasn't

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Speaker 3: for that lady. So these women help shaped him. And

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Speaker 3: when I think when people of color and see our show,

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Speaker 3: they go, oh, I get that. There's a moment in

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Speaker 3: our show where they can go oh, I get that too,

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Speaker 3: and Broadway needs to. We're starting to more let folks

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Speaker 3: know that this is for everyone because we're telling everyone's

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Speaker 3: story now, we're not just telling one side.

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Speaker 4: And you can get tickets from various different ways too,

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Speaker 4: I mean because Broadway is expensive too, but there are

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Speaker 4: ways you can go to t K t Yes, you

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Speaker 4: can get rush tickets. Like if you're looking for ways

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Speaker 4: to get really good seats at better prices, there are

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Speaker 4: ways to do.

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Speaker 3: There's a place called today Ticks that has great prices

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Speaker 3: for people. So every regular you know, person who goes, oh,

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Speaker 3: I want to see that show, go on today tics

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Speaker 3: dot com. My friends work.

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Speaker 1: Exactly.

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Speaker 3: Oh my god.

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Speaker 4: And it's still there.

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Speaker 3: And it's a funny. It's fun experience with the family,

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Speaker 3: not when it's you know, thirteen below, but it's a fun.

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Speaker 2: I was like, they're not going to wait for us.

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Speaker 2: We got to be on time. But the other thing,

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Speaker 2: you can't three, You better be there at three. And

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Speaker 2: I will say then.

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Speaker 3: Being in a show of color on Broadway is because

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Speaker 3: of our reputation with CP times. We deliberately start on

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Speaker 3: time every night I have done. I did Memphis Black Show,

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Speaker 3: I did Aladdin. There was more brown people than Disney

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Speaker 3: expected for us to be there for us every show

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Speaker 3: I've ever been in our stage, messins like no were

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Speaker 3: starting on time. You ain't gonna talk about us, about us,

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Speaker 3: we cannot.

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Speaker 1: They're not holding the doors. When they say three, they

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Speaker 1: mean three, they don't mean three thirty.

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Speaker 3: No, we are on time. You walk into three thirty.

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Speaker 3: You've missed one of the wives.

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Speaker 2: I saw in an interview you said that Lewis Armstrong

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Speaker 2: would be a rapper today because he was pretty hood.

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Speaker 3: Oh he was pretty hood. He was madhood.

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Speaker 1: I mean I didn't know anything about his story.

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Speaker 2: Like I know obviously like the huge songs that are

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Speaker 2: but again like this was the history of Louis arnsteng

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Speaker 2: of jazz. Also, he was from New Orleans and that's

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Speaker 2: where jazz originated.

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Speaker 3: And he was madhood. I mean, the fun thing is

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Speaker 3: one of my you know, being a I do freestyle

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Speaker 3: raps with my friends and we battle. People don't know

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Speaker 3: that Lewis was a battler. He would battle. They what

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Speaker 3: they would do is a trailer would drive up. He'd

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Speaker 3: be in his trailer. They tie them tyler wheels. Another

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Speaker 3: trailer would drive up and they Tyler wheels and these

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Speaker 3: boys would go head to add horn for horn and

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Speaker 3: Lewis rarely lost and this would blow folks out. And

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Speaker 3: he even said, there's this wonderful interview he did with

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Speaker 3: Dick Cavit years ago where he said, you know, my

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Speaker 3: kicks was just blowing that cat out the wagon. You

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Speaker 3: know that he loved that, going head for head, going

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Speaker 3: after people, battling dudes like rappers do. He was. He

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Speaker 3: was very very hood and in the best way possible,

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Speaker 3: you know, he he was. He knew how black he was,

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Speaker 3: and he was very appreciative of that and he owned it.

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Speaker 3: He never tried to beat anything else. I think what

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Speaker 3: happened was once you get to Hollywood, there's a way

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Speaker 3: they want to present to you. And Lewis never changed himself,

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Speaker 3: but how they presented him, and that's something he couldn't control.

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Speaker 3: That was the machine can control how he's presented. And

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Speaker 3: they tried to, you know, water him down. But now

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Speaker 3: when they said cut, he was still the brother that

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Speaker 3: he was, and that's what makes him so much fun

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Speaker 3: to me. You know.

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Speaker 2: I think some of the things and speeches and what

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Speaker 2: we saw in this play also is so representative even

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Speaker 2: today of what's going on. I was like, they couldn't

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Speaker 2: have timed this better because obviously, when you were getting

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Speaker 2: ready for this play, we didn't know who the president

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Speaker 2: was about to be. And seeing a lot of our

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Speaker 2: rights getting rolled back, seeing a lot of things happening,

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Speaker 2: seeing DEI initiatives being taken away, you know, and knowing

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Speaker 2: that we didn't come from a space where we were

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Speaker 2: starting at an equal point, and the way that it's presented,

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Speaker 2: like we're not worthy or deserving of things. We're being

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Speaker 2: handed things that we don't deserve, like we don't have

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Speaker 2: to work a thousand times harder to be in certain positions.

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Speaker 1: And watching this it made me emotional.

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Speaker 2: It felt like and I know you're acting, but it

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Speaker 2: did feel like there's times that you get very emotional

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Speaker 2: even when you're on that stage.

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Speaker 3: I was like, is he for there is not a

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Speaker 3: moment that The two moments that get me are the

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Speaker 3: political moment of the Little Rock nine and also a

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Speaker 3: wonderful world. It gets me every time. And the reason

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Speaker 3: why the political moment gets me was it's always gotten

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Speaker 3: me just because to know that, you know, I used

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Speaker 3: to say, well, you know, you know, my family went

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Speaker 3: through that to know that we're going through the now,

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Speaker 3: you know what I mean.

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Speaker 1: Crazy.

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Speaker 3: This show was written in I think around twenty and

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Speaker 3: seventeen and then sort of being presented in twenty nineteen

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Speaker 3: all the way up to now, and they've been Orrin

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Speaker 3: has been you know, finessing it all the way up

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Speaker 3: until our opening night. So those scenes were written before

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Speaker 3: any of this stuff sorted happening. It's just amazing how

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Speaker 3: technology has changed, but human beings have not.

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Speaker 4: What's the line that Louis Lewis says about, like, it's

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Speaker 4: not bad that black people he.

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Speaker 3: Says, He says, he says, I love my country. He goes,

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Speaker 3: but it's not wrong for black people to be upset

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Speaker 3: at America. That's not un American. To be upset with

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Speaker 3: your country does not mean you're un American. It actually

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Speaker 3: means you're more American because you care about what happens

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Speaker 3: in your country and you wanted to make sure that

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Speaker 3: everybody is taken care of. That's what you care about.

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Speaker 3: And he felt that way, and that line's in there

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Speaker 3: to let people know. Look, just because I'm mad, someone

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Speaker 3: says to him, you're being unpatriotic. It's not unpatriotic to

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Speaker 3: be upset at your country. It's more unpatriotic to not

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Speaker 3: care and be blase about it. You've got to say something.

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Speaker 3: If you cared, you're going to be emotional about it

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Speaker 3: and do something about it.

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Speaker 2: I hate when people are like, well move then leave

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Speaker 2: the country. Then like, why should I leave?

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Speaker 3: And by the.

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Speaker 4: Way, I'm as American as they get. Where am I going?

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Speaker 3: We're not from here, and you know, and that's a

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Speaker 3: whole different. But don't be mad at me because because

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Speaker 3: I used because I live the dream of the American,

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Speaker 3: because I live the American dream. Don't be upset.

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Speaker 4: But that's what's so great about the show, right, Like,

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Speaker 4: because we're having this conversation. I was saying to someone

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Speaker 4: earlier that, you know, I brought Spike and my kids

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Speaker 4: to the show, and Spike was really surprised. He's like,

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Speaker 4: I didn't know Lewis Armstrong spoke out against President Eisenhower.

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Speaker 4: I didn't know that he stood up.

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Speaker 1: And lost a lot of work because of it.

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Speaker 3: There's a fun moment that we couldn't put in the

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Speaker 3: show just because it actually named people. But when Lewis

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Speaker 3: spoke out, there was a you guys, remember when Laura

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Speaker 3: Ingram told Lebron James to shut up and dribble. Okay, Well,

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Speaker 3: when he spoke out about the Little Rock nine, Uh,

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Speaker 3: there was a newscat anew a new a press release

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Speaker 3: and you could find it where just he says, Louis

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Speaker 3: Amschanx just shut up and play. Wow. Now that was

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Speaker 3: during the Eisenhower era, and it's almost the exact same

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Speaker 3: thing said about Louis for speaking out that they said

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Speaker 3: about Lebron only a couple of years ago. So the

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Speaker 3: press is still doing that that this happened to Lewis.

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Speaker 3: He was blacklisted because he spoke out and said, we

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Speaker 3: need to be upset. And I know I'm not going

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Speaker 3: to go to Russia and represent our country unless they

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Speaker 3: do something about this, you know, going down going on

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Speaker 3: down there on Little Rock. And once that happened, it

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Speaker 3: was it.

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Speaker 2: Yeah, I mean, it was just so many things that

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Speaker 2: of course, and like you said, I didn't know Lewis

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Speaker 2: Armstrong story before watching this, So I was excited about

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Speaker 2: that because I love to see, like, you know, the

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Speaker 2: real stories of what happened, because I already knew it

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Speaker 2: was going to be a who just even seeing like

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Speaker 2: you know, it starts off with him letting you know

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Speaker 2: he had four wives.

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Speaker 1: He did it four.

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Speaker 2: Times, and so I was like, all right, this already

294
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Speaker 2: about to be right, No bopraa a little bit, just

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Speaker 2: seeing the different women. And what was interesting that each

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Speaker 2: woman brought something different to him and to his life.

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Speaker 2: To get to it was like he needed different things

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Speaker 2: at different times.

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Speaker 3: That's exactly what it was. And he was you know,

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Speaker 3: we don't really get to we say it in our show,

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Speaker 3: but we're not deliberate. But he was you know, only

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Speaker 3: in his teens when he was with his first wife,

303
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Speaker 3: played by the amazing Dion Figgins, and he was in

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Speaker 3: his early twenties to almost you know, he got to

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Speaker 3: about thirty when he met Lil Harden and actually litl

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Speaker 3: Hard needs to musical all by herself.

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Speaker 1: Yeah, she was his manager.

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Speaker 3: She was his manager. She was also the band leader.

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Speaker 3: She was the arranger of a lot of the music

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Speaker 3: for Freney of Louis Armstrong fans out there, of the

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Speaker 3: Hot five, of the Hot seven, she was the arranger

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Speaker 3: of those songs.

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Speaker 1: She was no joke.

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Speaker 3: She was no joke. She was producer, riter. She if

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Speaker 3: she had been a man, she'd be up there with

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Speaker 3: Fatz Waller and Jelly Roll Morton and the rest of

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Speaker 3: those jazz greats.

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Speaker 2: But she knew what her limitations were as a woman,

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Speaker 2: that she wasn't ever going to get those accolades. So

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Speaker 2: she was going hard for her man, yes, to get that, and.

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Speaker 3: She pushed him out there. She's without little hard and

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Speaker 3: we would not have Louis Armstrong. Louis was totally okay

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Speaker 3: with playing, you know, second trumpet behind King Joe Oliver,

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Speaker 3: which is another legend whatever, and he was like, I'll

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Speaker 3: be fine, and she was like, no, you need to

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Speaker 3: be out front. You have the talent. And if she

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Speaker 3: hadn't pushed him, we wouldn't have what we have today.

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Speaker 3: It's because of her. And then there was a moment

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Speaker 3: where you know, somehow, I don't know what it is

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Speaker 3: with males or guys. I'm a man, so I admit it.

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Speaker 1: You tell us.

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Speaker 3: We go, we go, we go, we go, we go,

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Speaker 3: we go through this moment when we hit a certain age,

334
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Speaker 3: we were like, ah, oh lord, I need to do

335
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Speaker 3: something different, which is really stupid, and he did and

336
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Speaker 3: he went up with this younger girl and he realized,

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Speaker 3: well this was that lasted about two or three years,

338
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Speaker 3: he was like, yeah, I need to grow up. And

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Speaker 3: he met Lucillo, who he stayed married to for thirty

340
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Speaker 3: eight years.

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Speaker 2: Yeah, she got the She got the one that was like, okay,

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Speaker 2: I did everything I had to do.

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Speaker 4: But I and she also knew what she had to

344
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Speaker 4: do keep him on the street.

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Speaker 3: Yeah, she's the one that made him grow up.

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Speaker 2: But imagine, I mean being a young jazz musician traveling

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Speaker 2: the world.

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Speaker 3: Like I said, he's a hood. I mean, think about

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Speaker 3: the everybody and they were all money. You get a

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Speaker 3: little bit of fame. You going like that?

351
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Speaker 4: I know, Well there are groupies everywhere, yes, right, and

352
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Speaker 4: even groupies for Louis Armstrong.

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Speaker 3: Straight, I'm not Louis Armstrong, okay, but I've asked. I've

354
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Speaker 3: had some ladies of a certain age walk up to

355
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Speaker 3: me and say some questionable things after the show, and

356
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Speaker 3: I was like, one, but you did a great job.

357
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Speaker 3: I'm like, one, I'm married in two you could beat

358
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Speaker 3: my grandma. What happened? I listened, I listened to Louis

359
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Speaker 3: drum and I was I was like, ma'am, ma'am, ma'am.

360
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Speaker 3: I don't want to know.

361
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Speaker 1: I don't want to know what lot it, Tanya. You're

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Speaker 1: married to Spike Lee.

363
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Speaker 2: You're the strong woman that's you know, at his side,

364
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Speaker 2: and you're doing your thing too.

365
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Speaker 1: Do you deal with the groupie situation when it comes

366
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Speaker 1: to him?

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Speaker 4: You know, Spike and I have been married thirty one years,

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Speaker 4: so I don't know at this point, I don't think so.

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Speaker 1: But you know, you have done with it in the past,

370
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Speaker 1: you know, you know.

371
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Speaker 4: It's always something, you know, people knocking you over to

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Speaker 4: get to people.

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Speaker 2: But oh, that's so annoying, it is, Yeah, but it's

374
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Speaker 2: all right. And people tugging him over to get to you. Yeah, well,

375
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Speaker 2: you know how it happens exactly. And then what I

376
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Speaker 2: wasn't mad at was the third young soft wife leaving

377
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Speaker 2: with the drummer.

378
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Speaker 3: She was that really happened. That's one of my favorite

379
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Speaker 3: part of his story. And this girl left with his

380
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Speaker 3: drummer and his white drummer at that.

381
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Speaker 1: Oh, they didn't get exactly.

382
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Speaker 4: I didn't know.

383
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Speaker 3: Alpha left with his white drummer. And then what Alpha

384
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Speaker 3: did was she basically kind of erased herself from public eye.

385
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Speaker 4: She started passing.

386
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Speaker 3: No, no, not not passing, but she just didn't do

387
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Speaker 3: anything in the public eye. And she had enough money

388
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Speaker 3: to have her for herself buried in the Hollywood Cemetery

389
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Speaker 3: with all the rest of the stars.

390
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Speaker 1: Oh my god.

391
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Speaker 3: She was like, nah, I'm leaving this life. I'm leaving

392
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Speaker 3: this business. And me and the drummer they went off

393
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Speaker 3: and had a great life, and no one after that moment. No,

394
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Speaker 3: you can't find any more information about her.

395
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Speaker 1: She was like, damn interested.

396
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Speaker 2: I'm kind of not mad at her, but she got.

397
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Speaker 3: It look back exactly, I'm done. And the funny part

398
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Speaker 3: is there's an interview with Lewis where someone said, how

399
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Speaker 3: do you feel about you drummer? Take and he's like, well,

400
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Speaker 3: you know, this is domb that's his business. Now, I'm fine.

401
00:17:36,080 --> 00:17:38,080
Speaker 3: And he knew he was wrong. He's way too old

402
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Speaker 3: for her. He knew he shouldn't have been there, and

403
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Speaker 3: so he just kind of let it goes like, look,

404
00:17:41,600 --> 00:17:43,440
Speaker 3: I'm gonna let it go. It's fine.

405
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Speaker 2: And the accountability of knowing he wasn't really around, he

406
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Speaker 2: was doing what he wanted to do, well, it's so funny.

407
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Speaker 4: When I watched that scene, She's like, damn, can we

408
00:17:50,440 --> 00:17:52,520
Speaker 4: just go for a walk or something. You always playing

409
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Speaker 4: that trumpet And I look at that scene and I

410
00:17:54,160 --> 00:17:56,960
Speaker 4: say to myself, Honey, he ain't gonna go for a walk.

411
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Speaker 4: He's gonna keep playing his form. That's who he is.

412
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Speaker 4: You know, like you, there are certain people you just

413
00:18:03,480 --> 00:18:05,520
Speaker 4: can't expect certain things from.

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Speaker 1: You know. Now, another part was the whole Step and

415
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Speaker 1: fetch It?

416
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Speaker 2: Yeah, so can we talk about that, because just even

417
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Speaker 2: seeing like Louis Armstrong, seeing step and fetch It and

418
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Speaker 2: the things at that time that they had to do

419
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Speaker 2: to be successful. But to pretend to not be smart,

420
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Speaker 2: to pretend to be this person that they weren't, to

421
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Speaker 2: pretend to not know how to read music even though

422
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Speaker 2: you do, because white people got intimidated by that. But

423
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Speaker 2: tell us the story of Step and fetch It, because

424
00:18:31,720 --> 00:18:34,119
Speaker 2: when we hear step and fetch It, we automatically just

425
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Speaker 2: think sell out, we think, we think all of those things.

426
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Speaker 3: The cool thing about Lincoln Perry is he was one

427
00:18:40,800 --> 00:18:45,320
Speaker 3: of the smartest entertainers in Hollywood and he came up

428
00:18:45,359 --> 00:18:49,440
Speaker 3: with this character that was literally he would do in vaudeville,

429
00:18:49,480 --> 00:18:51,800
Speaker 3: and black folks thought it was funny, so he did

430
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Speaker 3: it in a movie. The problem with doing it in

431
00:18:54,760 --> 00:18:57,080
Speaker 3: a movie are the same problems we actually have today.

432
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Speaker 3: You're driving down the street and a dude in a

433
00:19:00,880 --> 00:19:03,720
Speaker 3: really really cool car. Now this boy thinks he is

434
00:19:03,720 --> 00:19:06,000
Speaker 3: in fast and the furious. The rest of us are

435
00:19:06,040 --> 00:19:09,080
Speaker 3: just trying to get home because when men, somehow, or

436
00:19:09,119 --> 00:19:12,200
Speaker 3: even when regular people watch movies or TV, they forget

437
00:19:12,200 --> 00:19:14,520
Speaker 3: that it's TV and movies and think it's real. When

438
00:19:14,520 --> 00:19:19,760
Speaker 3: Stepenfetchit came out, the general populist thought, whoa, Well, that's

439
00:19:19,800 --> 00:19:22,480
Speaker 3: what will pop their eyes, because that's how black people are,

440
00:19:22,720 --> 00:19:25,160
Speaker 3: and it was a character that Lincoln played. People didn't

441
00:19:25,200 --> 00:19:27,040
Speaker 3: know that. By the time Lincoln was his name was

442
00:19:27,080 --> 00:19:29,400
Speaker 3: above the title. He was making more than the president

443
00:19:29,440 --> 00:19:31,760
Speaker 3: at the time. Lincoln came back to New York with

444
00:19:31,800 --> 00:19:35,080
Speaker 3: four Cadillacs, and the NAACP at first was upset that

445
00:19:35,160 --> 00:19:37,200
Speaker 3: he was in town until they realized he was in town.

446
00:19:37,359 --> 00:19:38,720
Speaker 3: Then they were like, oh my god, it's Lincoln par

447
00:19:38,840 --> 00:19:40,600
Speaker 3: Lincoln Parry. And then after he left and they went

448
00:19:40,640 --> 00:19:42,320
Speaker 3: back to calling him Acoon and Uncle Tom and all

449
00:19:42,320 --> 00:19:45,240
Speaker 3: that kind of stuff. Lincoln made so much money and

450
00:19:45,280 --> 00:19:48,080
Speaker 3: he was doing so well. But as the times changed,

451
00:19:49,359 --> 00:19:51,240
Speaker 3: black folks, of course wanted to get away from that

452
00:19:51,280 --> 00:19:54,239
Speaker 3: type of caricature. And instead of them saying thank you

453
00:19:54,280 --> 00:19:57,320
Speaker 3: for what you've done, but we're gonna move on. They

454
00:19:57,359 --> 00:20:00,200
Speaker 3: decided to shun him and then Stepenfetchit became a term

455
00:20:00,240 --> 00:20:03,160
Speaker 3: that you use to talk about other people and say

456
00:20:03,240 --> 00:20:05,479
Speaker 3: you're cowtow and you're cooning your this and that. It

457
00:20:05,520 --> 00:20:09,600
Speaker 3: literally was a character he created, and he died very,

458
00:20:09,800 --> 00:20:12,159
Speaker 3: very upset about that because he really felt like he

459
00:20:12,200 --> 00:20:13,480
Speaker 3: was the first one of the first black people to

460
00:20:13,520 --> 00:20:15,600
Speaker 3: have his name above the title of movies. He was

461
00:20:15,640 --> 00:20:18,760
Speaker 3: the star of films, and he in his mind he

462
00:20:18,840 --> 00:20:21,359
Speaker 3: was like, look, they know we're lying. He didn't realize

463
00:20:21,359 --> 00:20:23,520
Speaker 3: that the white people did not realize. They didn't realize

464
00:20:23,560 --> 00:20:24,040
Speaker 3: he was lying.

465
00:20:24,080 --> 00:20:24,960
Speaker 1: It's kind of like day.

466
00:20:27,080 --> 00:20:29,760
Speaker 2: When he stepped away from the Chappelle Show, he was like,

467
00:20:30,200 --> 00:20:32,960
Speaker 2: it's different when we're laughing at right than it is.

468
00:20:33,040 --> 00:20:34,399
Speaker 1: When are they laughing.

469
00:20:36,240 --> 00:20:37,720
Speaker 3: Say in the show, are you laughing with me or

470
00:20:37,760 --> 00:20:42,320
Speaker 3: laughing at me? And that particular scene we we did manipulate,

471
00:20:42,359 --> 00:20:43,959
Speaker 3: like kind of there's moments in Hamilton where they kind

472
00:20:44,000 --> 00:20:45,000
Speaker 3: of manipulate a scene of time.

473
00:20:45,359 --> 00:20:48,960
Speaker 1: So he has you guys, okay, Louis.

474
00:20:48,800 --> 00:20:51,120
Speaker 3: Armstrong and Lincoln Perry did know each other and did

475
00:20:51,119 --> 00:20:53,680
Speaker 3: have conversations, and we decided to take those different moments

476
00:20:53,720 --> 00:20:57,080
Speaker 3: of time and put them into one thing. But Louis

477
00:20:57,400 --> 00:21:02,399
Speaker 3: loved his smile, and he knew that he was gonna

478
00:21:02,400 --> 00:21:06,240
Speaker 3: stay himself. But also there was a certain way to

479
00:21:06,600 --> 00:21:09,399
Speaker 3: navigate through things, so it wasn't like he was delivered.

480
00:21:09,400 --> 00:21:12,480
Speaker 3: Where Lincoln created a character, Lewis always said, I'm not

481
00:21:12,520 --> 00:21:14,720
Speaker 3: gonna create a character. I'm just gonna be me. And

482
00:21:14,760 --> 00:21:16,119
Speaker 3: if they like me, they're gonna like me. And if

483
00:21:16,160 --> 00:21:17,560
Speaker 3: they hate me, they're gonna hate me. But I will

484
00:21:17,640 --> 00:21:21,479
Speaker 3: just be me. The problem is that the perception in

485
00:21:21,520 --> 00:21:23,800
Speaker 3: those films when he was in when he was doing

486
00:21:24,160 --> 00:21:27,080
Speaker 3: just being himself, he was so nice and so you know,

487
00:21:27,160 --> 00:21:31,320
Speaker 3: admirable that white folks went, oh, well, see he's he's

488
00:21:31,400 --> 00:21:35,280
Speaker 3: not like the others. He's he's a good black man.

489
00:21:35,320 --> 00:21:37,879
Speaker 3: They don't realize how angry to listen. I've heard some

490
00:21:38,040 --> 00:21:42,840
Speaker 3: tapes at the at the Louis Armstrong Museum, there are

491
00:21:43,200 --> 00:21:45,399
Speaker 3: Lewis love to tape his conversations and there are tapes

492
00:21:45,400 --> 00:21:47,520
Speaker 3: of him talking about people calling him a coon and

493
00:21:47,600 --> 00:21:51,320
Speaker 3: Uncle Tom, and the language he used would make fifty

494
00:21:51,400 --> 00:21:54,400
Speaker 3: cent blush. I mean, he and his wife they would

495
00:21:54,440 --> 00:21:56,280
Speaker 3: talk and his friends would talk and they were serious,

496
00:21:56,320 --> 00:21:58,639
Speaker 3: but he knew how people perceived him. But he also

497
00:21:58,760 --> 00:22:02,440
Speaker 3: knew He said, perceive me how you want. But if

498
00:22:02,440 --> 00:22:05,800
Speaker 3: I can show a positive light as a black man

499
00:22:06,119 --> 00:22:08,119
Speaker 3: so that you can see that we're not the savages

500
00:22:08,160 --> 00:22:10,560
Speaker 3: you think we are, then I will do that and

501
00:22:10,600 --> 00:22:13,520
Speaker 3: I will use my money to help the cause without

502
00:22:13,520 --> 00:22:17,960
Speaker 3: you knowing. And so both he and Lincoln did that. Unfortunately,

503
00:22:17,960 --> 00:22:20,600
Speaker 3: they got lumped up into this group of people like

504
00:22:20,760 --> 00:22:24,080
Speaker 3: with bilbo Jangles and had a mcdoniel where they would say, oh,

505
00:22:24,119 --> 00:22:26,359
Speaker 3: look what you're a butterfly, McQueen, look what you're doing,

506
00:22:26,640 --> 00:22:30,320
Speaker 3: not realizing that these black people broke the barrier and

507
00:22:30,640 --> 00:22:33,639
Speaker 3: took all the craps so that the new generation in

508
00:22:33,680 --> 00:22:36,800
Speaker 3: the sixties and seventies could come in, so that eighties great,

509
00:22:37,119 --> 00:22:38,919
Speaker 3: you know, so we can have the Denzel Washingtons we

510
00:22:39,080 --> 00:22:41,879
Speaker 3: have now without those folks breaking down and dealing with

511
00:22:41,920 --> 00:22:44,960
Speaker 3: what they had to deal with. And unfortunately, Stephen Fetchit's

512
00:22:45,040 --> 00:22:50,280
Speaker 3: name became a bad verb and really, and that man,

513
00:22:50,440 --> 00:22:52,959
Speaker 3: that man's story. That's the other one I want to do,

514
00:22:53,400 --> 00:22:54,280
Speaker 3: not me playing.

515
00:22:56,600 --> 00:22:58,359
Speaker 1: World too, Yes, you said you.

516
00:23:00,400 --> 00:23:01,680
Speaker 3: Koperry is the one.

517
00:23:01,800 --> 00:23:06,400
Speaker 2: Now, let's have a moment of honesty here, sure, James Monroe,

518
00:23:06,480 --> 00:23:07,000
Speaker 2: I go heart.

519
00:23:07,119 --> 00:23:07,960
Speaker 1: Yes, I saw that.

520
00:23:08,000 --> 00:23:10,760
Speaker 2: You said originally you weren't even thinking about playing the

521
00:23:10,880 --> 00:23:14,640
Speaker 2: role of Lewis Armstrong. You just wanted to produce it,

522
00:23:14,800 --> 00:23:16,960
Speaker 2: be a part of it, a part of it. Now,

523
00:23:17,000 --> 00:23:18,320
Speaker 2: when did that change for you?

524
00:23:20,320 --> 00:23:23,040
Speaker 3: Having a moment honest? Okay, the show is open, not

525
00:23:23,119 --> 00:23:26,080
Speaker 3: gonna be a little more honest. I was watching Ken

526
00:23:26,160 --> 00:23:28,399
Speaker 3: Burns Jazz and saw Louis Armstrong and thought that'd be

527
00:23:28,440 --> 00:23:31,440
Speaker 3: a great role to play. But unfortunately someone was already

528
00:23:31,440 --> 00:23:34,080
Speaker 3: playing the role, okay, and that was a person I knew,

529
00:23:34,359 --> 00:23:36,480
Speaker 3: and I'm not going to take a job from a brother, okay.

530
00:23:36,560 --> 00:23:38,240
Speaker 3: So I was like, look, anything I can do to

531
00:23:38,440 --> 00:23:40,280
Speaker 3: make the show as good as it can be. How

532
00:23:40,320 --> 00:23:43,400
Speaker 3: can I help? And then when the show closed, they

533
00:23:43,720 --> 00:23:47,919
Speaker 3: talked about recasting and that's when I said, well, let

534
00:23:48,000 --> 00:23:50,159
Speaker 3: me let me show you what I can do and

535
00:23:50,200 --> 00:23:52,760
Speaker 3: they were like, oh snap, and I was like, yeah,

536
00:23:52,880 --> 00:23:54,679
Speaker 3: that's this is what I do. And that's how it

537
00:23:54,680 --> 00:23:55,160
Speaker 3: came about.

538
00:23:55,400 --> 00:24:00,119
Speaker 2: Because that iconic voice, how were you able to master that?

539
00:24:01,359 --> 00:24:03,600
Speaker 3: A lot of work. It's like going to the gym.

540
00:24:03,640 --> 00:24:05,560
Speaker 3: The vocal cords is a muscle, and so I have

541
00:24:05,640 --> 00:24:08,960
Speaker 3: a wonderful vocal coach named Derick Rosenblad who helps me out.

542
00:24:09,000 --> 00:24:11,280
Speaker 3: And I also see my E and T twice a

543
00:24:11,320 --> 00:24:12,680
Speaker 3: month to make sure my chords are okay.

544
00:24:12,840 --> 00:24:14,440
Speaker 1: Yeah, because that's a it's a lot.

545
00:24:14,720 --> 00:24:17,440
Speaker 3: But also I'm thanks. My wife is the most understanding

546
00:24:17,440 --> 00:24:19,360
Speaker 3: woman in the world. I'm a hermit. When I go home,

547
00:24:19,359 --> 00:24:21,520
Speaker 3: I don't talk. I'm chilling that I just I just

548
00:24:21,560 --> 00:24:24,040
Speaker 3: relax and if I'm either getting ready for.

549
00:24:23,960 --> 00:24:26,160
Speaker 1: The show, the same thing.

550
00:24:26,760 --> 00:24:29,920
Speaker 3: Oh yeah, she knows. She's like, you know, I walk

551
00:24:30,000 --> 00:24:31,800
Speaker 3: in and she's like, should you be talking? I'm like,

552
00:24:31,800 --> 00:24:33,520
Speaker 3: I have something to say? What should you? Can you

553
00:24:33,520 --> 00:24:34,520
Speaker 3: write it down? Text me.

554
00:24:38,200 --> 00:24:39,080
Speaker 1: All the us right?

555
00:24:39,200 --> 00:24:42,520
Speaker 2: Can we get my man to play to train?

556
00:24:42,640 --> 00:24:44,800
Speaker 4: Or is it not speaks not talk? No?

557
00:24:44,960 --> 00:24:47,480
Speaker 3: Because but also she wed I made the joke before,

558
00:24:47,520 --> 00:24:50,240
Speaker 3: but she'll look at me sometimes. Should go listen money,

559
00:24:50,280 --> 00:24:52,080
Speaker 3: I mean, honey, you need to be quiet because you

560
00:24:52,160 --> 00:24:53,800
Speaker 3: have a job to do, because if I talk too much,

561
00:24:53,840 --> 00:24:56,160
Speaker 3: you know, to mess me up. But we've we when

562
00:24:56,160 --> 00:24:57,600
Speaker 3: I said I was going to do the role, we

563
00:24:57,640 --> 00:25:00,520
Speaker 3: had a deep conversation about how the how my life

564
00:25:00,640 --> 00:25:02,600
Speaker 3: and how our life was going to be. So even

565
00:25:02,640 --> 00:25:05,040
Speaker 3: the kids are like, pop, should you be talking? I'm like,

566
00:25:05,080 --> 00:25:08,320
Speaker 3: you're right quiet now.

567
00:25:08,359 --> 00:25:10,879
Speaker 2: Look I want to ask you this, Tanya Lewis Lee,

568
00:25:10,960 --> 00:25:14,120
Speaker 2: when you were watching this, his last wife, his fourth wife, right,

569
00:25:14,760 --> 00:25:17,639
Speaker 2: she dealt with a lot from him. And I have

570
00:25:17,720 --> 00:25:20,119
Speaker 2: to say in the audience, I was watching like girl,

571
00:25:20,320 --> 00:25:22,119
Speaker 2: like you know how we are like don't So he

572
00:25:22,160 --> 00:25:25,600
Speaker 2: done went on the road, had a baby by somebody else, right,

573
00:25:25,760 --> 00:25:27,600
Speaker 2: But she took him back and.

574
00:25:27,640 --> 00:25:29,280
Speaker 1: Forgave him and was like you're not going on the

575
00:25:29,359 --> 00:25:29,960
Speaker 1: road without me.

576
00:25:30,119 --> 00:25:32,359
Speaker 2: For because when I was first watching it, and I

577
00:25:32,440 --> 00:25:34,600
Speaker 2: respect it now because it did work out. It could

578
00:25:34,640 --> 00:25:37,159
Speaker 2: have went either way, but you know, for us sitting there,

579
00:25:37,200 --> 00:25:41,000
Speaker 2: we're like, girl, really, but you know.

580
00:25:41,240 --> 00:25:44,719
Speaker 4: It's so it's so interesting to me because I think

581
00:25:44,800 --> 00:25:47,360
Speaker 4: she probably she saw what could be. And by the way,

582
00:25:47,400 --> 00:25:49,639
Speaker 4: I love that scene where he comes and he's like

583
00:25:50,000 --> 00:25:51,720
Speaker 4: when they're like, okay, we're going to you to go

584
00:25:51,800 --> 00:25:54,479
Speaker 4: back out on the road, and Lewis was like, no,

585
00:25:54,600 --> 00:25:56,720
Speaker 4: I don't. I don't want to go because you know me,

586
00:25:57,040 --> 00:26:00,080
Speaker 4: he knows himself. And she's like, oh, honey, please know

587
00:26:00,119 --> 00:26:02,560
Speaker 4: way I'm letting you go by yourself anymore, and like

588
00:26:02,680 --> 00:26:05,760
Speaker 4: she is there for him and I think they really

589
00:26:05,800 --> 00:26:09,879
Speaker 4: built something. I'm watching this show on Netflix called Asura.

590
00:26:10,040 --> 00:26:14,760
Speaker 4: It's a Japanese show and it is about sort of

591
00:26:14,800 --> 00:26:20,320
Speaker 4: how infidelity infiltrates relationships and how women and families deal

592
00:26:20,359 --> 00:26:22,560
Speaker 4: with it in a kind of humorous way. And I

593
00:26:22,600 --> 00:26:28,200
Speaker 4: think just because someone is unfaithful doesn't mean a relationship

594
00:26:28,240 --> 00:26:31,359
Speaker 4: has to end. It's really about figuring out what's working

595
00:26:31,400 --> 00:26:33,960
Speaker 4: between you two and how you work through it and

596
00:26:34,000 --> 00:26:36,960
Speaker 4: what's the what's the commitment that you make to each

597
00:26:36,960 --> 00:26:39,119
Speaker 4: other and how do you move forward from that? You know,

598
00:26:39,200 --> 00:26:42,199
Speaker 4: And it seemed obviously they stayed married for thirty eight

599
00:26:42,280 --> 00:26:43,480
Speaker 4: years until he died.

600
00:26:43,359 --> 00:26:45,200
Speaker 2: And it was a different day and age back then too,

601
00:26:45,760 --> 00:26:47,520
Speaker 2: you know exactly. Yeah, I feel like things have we

602
00:26:47,640 --> 00:26:49,960
Speaker 2: seen ease by you and even before that, we know,

603
00:26:50,359 --> 00:26:53,399
Speaker 2: it ain't like we had social media, right because let

604
00:26:53,440 --> 00:26:55,520
Speaker 2: me tell you, Louis Armstrong today would be sliding in

605
00:26:55,640 --> 00:26:58,040
Speaker 2: MD you you wouldn't believe.

606
00:26:59,240 --> 00:27:00,600
Speaker 1: You know, I don't know if I had thirty eight

607
00:27:00,640 --> 00:27:01,560
Speaker 1: years when it lasted.

608
00:27:01,680 --> 00:27:04,160
Speaker 4: Well, I always laugh because I say he's a jazz musician,

609
00:27:04,240 --> 00:27:07,520
Speaker 4: and you know, jazz musicians have that reputation and like I.

610
00:27:07,480 --> 00:27:10,560
Speaker 1: SA right.

611
00:27:13,560 --> 00:27:17,440
Speaker 3: True, But you know, he's also what I love about

612
00:27:17,520 --> 00:27:23,000
Speaker 3: Lewis was that he's he was very honest about his life.

613
00:27:23,680 --> 00:27:26,400
Speaker 3: And we had this we had this like this ongoing

614
00:27:26,440 --> 00:27:30,639
Speaker 3: message with the show was that we said, jazz is

615
00:27:30,680 --> 00:27:33,320
Speaker 3: about the choices you make in between the notes, and

616
00:27:33,359 --> 00:27:35,239
Speaker 3: so that's kind of how he lived his life. He's like,

617
00:27:35,600 --> 00:27:38,000
Speaker 3: are you okay with the choices that you made? And

618
00:27:38,080 --> 00:27:39,879
Speaker 3: if you're okay with those choices, and you've had a

619
00:27:39,920 --> 00:27:42,600
Speaker 3: wonderful world. And he knew that he made a lot

620
00:27:42,600 --> 00:27:46,600
Speaker 3: of mistakes, and he whenever it came to Lucille, he

621
00:27:46,640 --> 00:27:49,560
Speaker 3: owned up to them. He knew that she was the one.

622
00:27:49,600 --> 00:27:52,840
Speaker 3: He knew that the two women that he really really

623
00:27:53,320 --> 00:27:56,600
Speaker 3: messed up were Lil Hardened, and they became. The fun

624
00:27:56,640 --> 00:27:58,400
Speaker 3: part that we couldn't put in the show is Lil

625
00:27:58,400 --> 00:28:02,080
Speaker 3: Harden and Lewis stayed friends, and Lil Harden played at

626
00:28:02,080 --> 00:28:05,960
Speaker 3: his funeral, but she got the last laugh. She died

627
00:28:06,359 --> 00:28:09,840
Speaker 3: at his funeral. What Lil Harden had a heart attack

628
00:28:09,920 --> 00:28:12,199
Speaker 3: at his funeral, so he was it's his funeral, but

629
00:28:12,240 --> 00:28:16,080
Speaker 3: the story was about him. She stayed him, and that's

630
00:28:16,119 --> 00:28:18,720
Speaker 3: what I always thought. It was funny about them, but Lucille, it's.

631
00:28:18,600 --> 00:28:19,600
Speaker 1: Like proposing at a wedding.

632
00:28:20,840 --> 00:28:23,920
Speaker 3: Lucille was there for him, and he knew that the

633
00:28:23,960 --> 00:28:28,760
Speaker 3: one woman who had his back. And every interview you

634
00:28:28,800 --> 00:28:31,040
Speaker 3: see from the time time he gets older, he always.

635
00:28:30,760 --> 00:28:32,639
Speaker 4: Well, my parents. I was talking to my parents this

636
00:28:32,680 --> 00:28:35,000
Speaker 4: weekend and they were talking about Oh yeah, I remember.

637
00:28:35,119 --> 00:28:37,960
Speaker 4: Whenever he was talking, he would always blow kisses at Lucille.

638
00:28:38,040 --> 00:28:40,560
Speaker 4: He was always talking about Lucille, Lucille, Lucille.

639
00:28:40,880 --> 00:28:43,480
Speaker 3: Remember that every there's a there's a song where he

640
00:28:43,560 --> 00:28:47,840
Speaker 3: does there's the version of this. Sorry, there's a song

641
00:28:47,840 --> 00:28:49,440
Speaker 3: we have in our show and I've lost it because

642
00:28:49,440 --> 00:28:52,440
Speaker 3: I'm losing my mind constantly. But he in this recording

643
00:28:52,440 --> 00:28:56,120
Speaker 3: that there's that the recording of the song, he mentions Lucille.

644
00:28:56,160 --> 00:29:00,800
Speaker 3: He always made sure he talked about her because she

645
00:29:00,960 --> 00:29:04,800
Speaker 3: could have left right, and she decided he got it right,

646
00:29:04,920 --> 00:29:09,360
Speaker 3: and he never ever forgot because she also she could

647
00:29:09,360 --> 00:29:11,120
Speaker 3: have She did.

648
00:29:11,080 --> 00:29:13,600
Speaker 1: By the house saying listen, you need a roof over

649
00:29:13,640 --> 00:29:13,920
Speaker 1: your head.

650
00:29:14,320 --> 00:29:17,280
Speaker 3: So he knew, he knew, he knew where the real

651
00:29:17,320 --> 00:29:18,880
Speaker 3: life was and let her know.

652
00:29:19,520 --> 00:29:21,120
Speaker 1: It was such a fascinating story.

653
00:29:21,160 --> 00:29:23,520
Speaker 2: And you guys, the whole cast I was when I'm

654
00:29:23,520 --> 00:29:26,200
Speaker 2: watching it and I'm watching just even the choreography of

655
00:29:26,240 --> 00:29:29,120
Speaker 2: it singing, it was I was like, how are they

656
00:29:29,120 --> 00:29:31,400
Speaker 2: not falling off this thing? Like it was when I

657
00:29:31,400 --> 00:29:34,120
Speaker 2: tell you, incredible. There's not a moment that I felt like,

658
00:29:34,720 --> 00:29:37,360
Speaker 2: even the parts that were very interactive with the audience.

659
00:29:37,680 --> 00:29:40,440
Speaker 2: I love that, you know that we had the opportunity

660
00:29:40,480 --> 00:29:43,480
Speaker 2: to get involved and sing along. Although the crowd sounded

661
00:29:43,680 --> 00:29:45,320
Speaker 2: you know, yeah.

662
00:29:45,840 --> 00:29:49,320
Speaker 3: You know, everybody came. Everybody, everybody can be a cuiet.

663
00:29:49,440 --> 00:29:51,680
Speaker 3: We're supposed to be involved.

664
00:29:52,880 --> 00:29:54,680
Speaker 2: But no, it was amazing. So I just want to

665
00:29:54,680 --> 00:29:58,120
Speaker 2: say congratulations. I feel like, and this is coming to

666
00:29:58,160 --> 00:29:59,880
Speaker 2: a close on Broadway February twenty.

667
00:29:59,720 --> 00:30:02,600
Speaker 1: Third, February twenty three, So how do Somebody was asking

668
00:30:02,640 --> 00:30:03,760
Speaker 1: me this, and I was like, I don't really know.

669
00:30:03,800 --> 00:30:04,720
Speaker 1: How do they decide?

670
00:30:05,360 --> 00:30:09,520
Speaker 2: You know, because I know sometimes plays they they see

671
00:30:09,640 --> 00:30:11,480
Speaker 2: they extended, some of them ended.

672
00:30:11,400 --> 00:30:13,520
Speaker 1: Up being on Broadway forever, are still there.

673
00:30:13,520 --> 00:30:15,040
Speaker 4: But how do they go after two weeks?

674
00:30:15,120 --> 00:30:16,680
Speaker 1: Yeah, I saw a couple of those.

675
00:30:17,000 --> 00:30:19,520
Speaker 4: Yeah, well I think you know, it's it's a few things.

676
00:30:19,560 --> 00:30:21,520
Speaker 4: I mean, again, like I said earlier, you got to

677
00:30:21,520 --> 00:30:24,040
Speaker 4: get butts in the scenes or otherwise you're losing.

678
00:30:24,160 --> 00:30:25,320
Speaker 1: It was packed. When I was there.

679
00:30:25,400 --> 00:30:25,720
Speaker 3: Yeah.

680
00:30:25,800 --> 00:30:28,440
Speaker 4: Yeah, well I wish every night was like that. Unfortunately,

681
00:30:28,480 --> 00:30:31,520
Speaker 4: it's taken us a little while to find our audience.

682
00:30:31,840 --> 00:30:34,400
Speaker 4: And you know, with Broadway, you know, there could be

683
00:30:34,440 --> 00:30:37,640
Speaker 4: another show that's coming in and there's the theater behind us.

684
00:30:37,480 --> 00:30:40,080
Speaker 2: And it's at Studio fifty four, which is iconic. Yeah yeah,

685
00:30:40,160 --> 00:30:41,640
Speaker 2: as wells.

686
00:30:41,400 --> 00:30:44,560
Speaker 3: Thing to come there. And also, you know, Broadway goes

687
00:30:44,560 --> 00:30:48,280
Speaker 3: through waves and this is an interesting character and that's

688
00:30:48,320 --> 00:30:51,320
Speaker 3: another issue with it. You know, like we said, most

689
00:30:51,320 --> 00:30:53,080
Speaker 3: people know when they think of Louis Armstrong, they have

690
00:30:53,120 --> 00:30:55,160
Speaker 3: one thought. They don't think of like, you know, there's

691
00:30:55,160 --> 00:30:57,960
Speaker 3: a whole life that you don't know, right, and when

692
00:30:57,960 --> 00:30:59,440
Speaker 3: people come to see it, they're like, oh my god,

693
00:30:59,440 --> 00:31:02,880
Speaker 3: I had no idea. So with this was this was

694
00:31:02,920 --> 00:31:05,680
Speaker 3: a risk. We took one and I'm proud of the

695
00:31:05,720 --> 00:31:07,200
Speaker 3: risk that we took. And the people that have seen

696
00:31:07,240 --> 00:31:08,560
Speaker 3: it love it, and the people that are going to

697
00:31:08,560 --> 00:31:11,080
Speaker 3: see it are going to love it. And this this

698
00:31:11,120 --> 00:31:13,520
Speaker 3: will have a life afterwards. But this is just one

699
00:31:13,520 --> 00:31:15,280
Speaker 3: of those you know, unfortunate.

700
00:31:16,840 --> 00:31:19,400
Speaker 2: To come back, you know, because you never know what

701
00:31:19,440 --> 00:31:21,240
Speaker 2: can happen, but you got to make sure you see it.

702
00:31:21,240 --> 00:31:24,440
Speaker 2: It's so good, like such a great date night situation.

703
00:31:24,920 --> 00:31:26,920
Speaker 2: A lot of my friends their first time going to

704
00:31:26,920 --> 00:31:29,600
Speaker 2: Burrowick was because I took them, you know, to a play,

705
00:31:29,640 --> 00:31:32,400
Speaker 2: which I love because everybody that goes is like, I

706
00:31:32,440 --> 00:31:34,720
Speaker 2: need to like come out more and go see plays more.

707
00:31:34,800 --> 00:31:37,520
Speaker 2: It really is such an experience. But this one is

708
00:31:37,640 --> 00:31:38,360
Speaker 2: really special.

709
00:31:38,640 --> 00:31:42,280
Speaker 4: It's a fun show. And I have heard people say, oh, oh,

710
00:31:42,480 --> 00:31:45,000
Speaker 4: it's not what I expected. It's different from what I expected.

711
00:31:45,360 --> 00:31:48,400
Speaker 2: Yeah, no, absolutely, I feel like movie, well, that's where

712
00:31:48,400 --> 00:31:50,960
Speaker 2: we really wanted to, you know, let people know the truth.

713
00:31:51,120 --> 00:31:54,320
Speaker 3: Like, his story is really interesting, it's really fun and

714
00:31:54,400 --> 00:31:55,880
Speaker 3: you can get into it. So for those of you

715
00:31:56,120 --> 00:31:58,480
Speaker 3: who love jazz, this is a show for you. For

716
00:31:58,560 --> 00:32:01,800
Speaker 3: those of you who just really love the Real Housewives

717
00:32:01,840 --> 00:32:04,280
Speaker 3: or whatever city, this is the show for you. For

718
00:32:04,360 --> 00:32:05,720
Speaker 3: those of you who want to For those of you

719
00:32:05,800 --> 00:32:07,840
Speaker 3: who want a history lesson, this is the show for you.

720
00:32:08,120 --> 00:32:10,000
Speaker 3: For those shows. For those people who just want a

721
00:32:10,000 --> 00:32:12,160
Speaker 3: great musical with great music, great dancing, and just a

722
00:32:12,200 --> 00:32:14,520
Speaker 3: great showmanship, this is the show for you. We have

723
00:32:14,720 --> 00:32:17,840
Speaker 3: everything in our show, but we're also letting you know

724
00:32:18,040 --> 00:32:21,960
Speaker 3: one of the heroes of American music, and without him

725
00:32:22,200 --> 00:32:24,760
Speaker 3: and what he did, our music would not be what

726
00:32:24,840 --> 00:32:25,480
Speaker 3: it is today.

727
00:32:25,720 --> 00:32:29,080
Speaker 2: Man, just hearing what a wonderful world after watching that

728
00:32:29,160 --> 00:32:32,520
Speaker 2: whole play and that final like it was, it just

729
00:32:32,680 --> 00:32:34,560
Speaker 2: was like, oh, it just summed it all up.

730
00:32:35,320 --> 00:32:38,239
Speaker 4: And thinking about the world we're in now too, right

731
00:32:38,400 --> 00:32:39,960
Speaker 4: writing in this moment.

732
00:32:39,680 --> 00:32:42,120
Speaker 2: You sitting it like dang, this happened. Then this is

733
00:32:42,120 --> 00:32:45,800
Speaker 2: happening again right now. And then I got to ask you, Tanya,

734
00:32:45,800 --> 00:32:48,960
Speaker 2: because you're always working. I know you had your children's books, documentaries,

735
00:32:49,000 --> 00:32:51,280
Speaker 2: things that are important to you, monster after Shock.

736
00:32:51,560 --> 00:32:53,080
Speaker 1: What else are you working on right now?

737
00:32:53,120 --> 00:32:55,400
Speaker 4: Well, I'm just I'm in the woodshed right now, so

738
00:32:55,520 --> 00:32:58,720
Speaker 4: I'm writing a couple of things and developing some projects.

739
00:32:58,760 --> 00:33:02,760
Speaker 4: So stay tuned. Twenty twenty five, Yeah, twenty twenty five

740
00:33:02,840 --> 00:33:05,240
Speaker 4: is a year of work. I'll let you know when

741
00:33:05,240 --> 00:33:06,239
Speaker 4: I'm ready to let you know.

742
00:33:06,440 --> 00:33:08,240
Speaker 1: And for you, James, what's next for you?

743
00:33:09,000 --> 00:33:10,920
Speaker 3: I am working on a brand new musical called The

744
00:33:10,920 --> 00:33:12,880
Speaker 3: funcn Teene Rapture, written by a friend of my name,

745
00:33:13,080 --> 00:33:16,120
Speaker 3: Lee Summers, and it's all about It's this wonderful nineteen

746
00:33:16,200 --> 00:33:19,200
Speaker 3: seventies funk fable about a young man named George Preston

747
00:33:19,200 --> 00:33:21,000
Speaker 3: who wants to learn to be a funk master. And

748
00:33:21,040 --> 00:33:23,640
Speaker 3: it's really funny and really fun and the music is

749
00:33:23,680 --> 00:33:25,840
Speaker 3: awesome and we're hoping people get down to it when

750
00:33:25,840 --> 00:33:27,400
Speaker 3: they do it. And for you people out there who

751
00:33:27,400 --> 00:33:31,160
Speaker 3: have little kids, if your children watch Disney Super Kiddies,

752
00:33:31,560 --> 00:33:34,120
Speaker 3: you'll probably hear my voices mister Puppy Pause or Disney's Kiff,

753
00:33:34,120 --> 00:33:36,000
Speaker 3: you'll hear my voices Martin, and so you know, I'm

754
00:33:36,080 --> 00:33:37,720
Speaker 3: usually around on somebody's children show.

755
00:33:38,800 --> 00:33:41,240
Speaker 2: Well, thank you both so much. I really appreciate its pleasure.

756
00:33:41,320 --> 00:33:45,720
Speaker 4: Thank you so much. Angela well