1 00:00:01,720 --> 00:00:04,440 Speaker 1: And that's what you really missed with Jenna. 2 00:00:04,440 --> 00:00:07,080 Speaker 2: And Kevin an iHeartRadio podcast. 3 00:00:09,320 --> 00:00:13,000 Speaker 1: Welcome to and that's a really this podcast. We're doing it. 4 00:00:13,119 --> 00:00:18,080 Speaker 1: We're doing it, We're doing it. It's Hamilton. Whoa, It's 5 00:00:18,120 --> 00:00:19,400 Speaker 1: oh yeah. 6 00:00:18,920 --> 00:00:24,920 Speaker 2: Hamilton, Hamilton Pro Shop Baby. This is a big end. 7 00:00:25,000 --> 00:00:27,440 Speaker 2: I mean, I feel like this means even more. Obviously, 8 00:00:27,520 --> 00:00:30,640 Speaker 2: Hamilton is a behemoth of a show. It is beloved. 9 00:00:30,880 --> 00:00:32,640 Speaker 2: It has like done full circle where it was really 10 00:00:32,640 --> 00:00:35,120 Speaker 2: cool and amazing and then people started making fun of 11 00:00:35,159 --> 00:00:38,200 Speaker 2: it because it was so popular, and now I feel 12 00:00:38,240 --> 00:00:39,839 Speaker 2: like it's back to being. 13 00:00:40,240 --> 00:00:41,720 Speaker 1: Do you feel like they're making fun of it kind 14 00:00:41,720 --> 00:00:44,280 Speaker 1: of like they were making fun ofly at some points. Fully, 15 00:00:44,479 --> 00:00:48,360 Speaker 1: I think it's like something here, you're like over stimulated 16 00:00:48,440 --> 00:00:49,599 Speaker 1: by it, and so people are like. 17 00:00:49,720 --> 00:00:53,720 Speaker 2: Becoming so big that like the reason why it became 18 00:00:53,800 --> 00:00:57,520 Speaker 2: so big is now longer no longer considered, and you're 19 00:00:57,560 --> 00:01:00,280 Speaker 2: just looking at it like it is so in reigned 20 00:01:00,320 --> 00:01:03,840 Speaker 2: in that time period we're like, oh, this sounds like 21 00:01:03,840 --> 00:01:06,959 Speaker 2: twenty and fifteen, yeah, right, where you're like, oh, the 22 00:01:07,040 --> 00:01:10,120 Speaker 2: sensibilities of the writing and the blah blah blah blah blah, 23 00:01:10,160 --> 00:01:14,160 Speaker 2: but like whatever the show is good. It's still good, 24 00:01:14,680 --> 00:01:20,840 Speaker 2: so good, Jenna. Yes, so this is a pro shot. Yes, 25 00:01:21,120 --> 00:01:27,440 Speaker 2: can you enlighten me of why or how of what 26 00:01:27,640 --> 00:01:30,240 Speaker 2: the whole thing is with pro shots and Broadway shows. 27 00:01:32,200 --> 00:01:39,600 Speaker 1: Well, I think pro shots are are fairly new, right it. Now, 28 00:01:40,000 --> 00:01:44,560 Speaker 1: that's not to say that filming a full length stage 29 00:01:44,600 --> 00:01:49,840 Speaker 1: production is new. Every production, every Broadway production since the 30 00:01:49,920 --> 00:01:54,320 Speaker 1: Dawn of Time is archived in the New York Public Library. 31 00:01:54,960 --> 00:01:58,000 Speaker 1: You can go and sit in a little room and 32 00:01:58,080 --> 00:02:00,400 Speaker 1: watch any musical that you want. 33 00:02:00,000 --> 00:02:00,760 Speaker 2: I have done it. 34 00:02:01,280 --> 00:02:03,800 Speaker 1: I have not done it, but I wanted to do it. 35 00:02:03,840 --> 00:02:06,680 Speaker 1: I just haven't done it. Like I wanted to go 36 00:02:06,720 --> 00:02:08,839 Speaker 1: back and watch you know, the King and I when 37 00:02:08,840 --> 00:02:12,160 Speaker 1: I was nine, and you know, I just I wanted 38 00:02:12,200 --> 00:02:14,160 Speaker 1: to do it, but I never I never got to. 39 00:02:15,360 --> 00:02:18,160 Speaker 1: You should do that with em I should do that 40 00:02:18,160 --> 00:02:19,639 Speaker 1: with them at some point. I want to know they 41 00:02:19,680 --> 00:02:21,560 Speaker 1: still do that. I'm sure they do, but I think 42 00:02:21,600 --> 00:02:24,720 Speaker 1: they do. They used to shoot them for that purpose only, 43 00:02:24,800 --> 00:02:26,800 Speaker 1: so that was the only place that you could see 44 00:02:27,400 --> 00:02:30,959 Speaker 1: Broadway musicals right like after the fact, after they closed. 45 00:02:31,680 --> 00:02:35,800 Speaker 1: Now we have hit this new era of pro shots 46 00:02:35,840 --> 00:02:40,800 Speaker 1: that kind of started with like newsies on on Broadway 47 00:02:41,400 --> 00:02:44,400 Speaker 1: and you know, obviously now we have like Merrily We 48 00:02:44,600 --> 00:02:48,799 Speaker 1: Roll Along, which you know hit theaters, the revival of 49 00:02:48,919 --> 00:02:54,560 Speaker 1: Jonathan Goff and and now. And I think Hamilton is 50 00:02:54,800 --> 00:02:59,480 Speaker 1: specific and obviously for streamers like Disney. Disney did this 51 00:02:59,520 --> 00:03:04,360 Speaker 1: one for just Plus, But Hamilton was really special because 52 00:03:04,520 --> 00:03:05,880 Speaker 1: a lot of the time, I feel like the pro 53 00:03:05,919 --> 00:03:08,959 Speaker 1: shots are three cameras set up in the back of 54 00:03:09,000 --> 00:03:11,600 Speaker 1: the theater you're performing, and you get like the span 55 00:03:11,680 --> 00:03:15,440 Speaker 1: of like sitting like an audience member. This one in particular, 56 00:03:15,520 --> 00:03:17,919 Speaker 1: and I can't speak to Newsy's because I don't think 57 00:03:17,919 --> 00:03:21,959 Speaker 1: I've ever seen that one. This was shot with Cran's 58 00:03:22,480 --> 00:03:31,320 Speaker 1: steady cams over three three performances, close ups, different shots, 59 00:03:31,360 --> 00:03:36,800 Speaker 1: and it was all to elevate the experience as a viewer, 60 00:03:36,920 --> 00:03:40,200 Speaker 1: to get closer and more intimate to those moments that 61 00:03:40,280 --> 00:03:43,400 Speaker 1: you miss as a theatergoer perhaps, and so this was 62 00:03:43,440 --> 00:03:45,480 Speaker 1: a little bit different because of that. So I think 63 00:03:45,520 --> 00:03:47,680 Speaker 1: that's kind of been the journey of the pro shot. 64 00:03:47,840 --> 00:03:50,680 Speaker 1: But in my experience, yeah, yes, well. 65 00:03:50,520 --> 00:03:52,360 Speaker 2: And I think it was very effective in that way 66 00:03:52,440 --> 00:03:55,160 Speaker 2: because definitely I've seen some of the pro shots and you, yeah, 67 00:03:55,200 --> 00:03:58,520 Speaker 2: you do feel disconnected, yes, And this. 68 00:03:58,560 --> 00:03:59,840 Speaker 1: Is a little far away, right. 69 00:03:59,720 --> 00:04:03,360 Speaker 2: Yeah, and we've both seen the show ir live and 70 00:04:03,400 --> 00:04:07,280 Speaker 2: so this was I think a really fair comparable total 71 00:04:07,360 --> 00:04:10,080 Speaker 2: just seeing it live. Obviously there's the obvious differences, but 72 00:04:10,200 --> 00:04:13,640 Speaker 2: like I thought, this was really beautifully and this was 73 00:04:13,720 --> 00:04:16,480 Speaker 2: never supposed to be seen, Like, this was supposed to 74 00:04:16,480 --> 00:04:20,719 Speaker 2: be just a regular recording recording and then when we 75 00:04:20,760 --> 00:04:22,720 Speaker 2: needed it most, they put it out in the middle 76 00:04:22,720 --> 00:04:23,839 Speaker 2: of the pandemic. 77 00:04:24,360 --> 00:04:27,760 Speaker 1: I do have. So this is the first time I 78 00:04:27,880 --> 00:04:32,320 Speaker 1: watched the pro shot in its entirety. I started it 79 00:04:35,360 --> 00:04:40,839 Speaker 1: watching it. I can't believe I'm revealing this. I started 80 00:04:40,839 --> 00:04:44,560 Speaker 1: watching this and in the middle of it had to 81 00:04:44,600 --> 00:04:47,240 Speaker 1: pause because it was when we found out that Nya 82 00:04:47,320 --> 00:04:52,159 Speaker 1: was missing. So this is the first time that I've 83 00:04:52,480 --> 00:04:59,039 Speaker 1: revisited this pro shot. Interesting, so David never saw the 84 00:04:59,080 --> 00:05:02,720 Speaker 1: full thing, and this is the first time I saw 85 00:05:02,760 --> 00:05:06,760 Speaker 1: the whole thing. So I had like a very strange 86 00:05:06,839 --> 00:05:08,200 Speaker 1: experience coming back to this. 87 00:05:09,800 --> 00:05:10,240 Speaker 2: Wow. 88 00:05:10,880 --> 00:05:17,680 Speaker 1: Yeah, it's it's forever that you know, but but it 89 00:05:17,680 --> 00:05:21,760 Speaker 1: doesn't take away from the beauty of the show and 90 00:05:21,880 --> 00:05:25,000 Speaker 1: the graph that it you know was technically, but it's 91 00:05:25,040 --> 00:05:28,160 Speaker 1: the emotional attachment to the show now. So yeah, so 92 00:05:28,240 --> 00:05:32,840 Speaker 1: there's that part right, but it was part during July 93 00:05:32,960 --> 00:05:36,880 Speaker 1: twenty twenty, so it was a pandemic. Everybody was home. 94 00:05:37,080 --> 00:05:39,760 Speaker 1: There was no Broadway. Can you believe that? No Broadway, 95 00:05:39,880 --> 00:05:44,800 Speaker 1: no Concept Crazy, no movie theaters. Streaming was it? Streaming 96 00:05:44,839 --> 00:05:48,560 Speaker 1: became the thing and has forever, it will forever be, 97 00:05:48,839 --> 00:05:50,440 Speaker 1: or it will kind of maybe. 98 00:05:50,160 --> 00:05:52,480 Speaker 2: And maybe it started ushering in, you know, more pro 99 00:05:52,520 --> 00:05:54,040 Speaker 2: shots being released like Waitress. 100 00:05:54,080 --> 00:05:57,960 Speaker 1: Think so, I think, so that's right. I think that's smily. Yes, 101 00:05:58,279 --> 00:05:59,880 Speaker 1: so we're We're so grateful for it. 102 00:06:01,080 --> 00:06:07,280 Speaker 2: Yeah, and especially a show like Hamilton that has meant 103 00:06:07,320 --> 00:06:11,600 Speaker 2: so much to so many people, and I think to 104 00:06:11,960 --> 00:06:14,200 Speaker 2: be able to expose as many people as possible to 105 00:06:14,360 --> 00:06:17,040 Speaker 2: theater and also do a show that is more accessible 106 00:06:17,080 --> 00:06:20,160 Speaker 2: than I think most shows. Yes, it is a really 107 00:06:20,200 --> 00:06:23,320 Speaker 2: important thing and I think that's really nice to have 108 00:06:23,400 --> 00:06:23,960 Speaker 2: that out there. 109 00:06:24,400 --> 00:06:30,520 Speaker 1: I do love when shows bring in schools, so Hamilton 110 00:06:31,240 --> 00:06:33,560 Speaker 1: in its early days were and I'm sure they still 111 00:06:33,560 --> 00:06:36,320 Speaker 1: do this. We have matinees where they bring in a 112 00:06:36,360 --> 00:06:38,920 Speaker 1: class or a school or number of classes to see 113 00:06:38,960 --> 00:06:43,600 Speaker 1: this to that extent, I think Hamilton, being the show 114 00:06:43,640 --> 00:06:47,400 Speaker 1: that it is, with the history that it has, exposing 115 00:06:47,440 --> 00:06:53,240 Speaker 1: it with this incredibly diverse cast and kind of reimagining it. 116 00:06:52,720 --> 00:06:55,960 Speaker 1: It's like a dream for history teacher to have this 117 00:06:56,520 --> 00:07:01,080 Speaker 1: way into this moment in time in the past. And 118 00:07:01,120 --> 00:07:07,039 Speaker 1: so I think that I appreciate that people can see 119 00:07:07,040 --> 00:07:10,480 Speaker 1: this because I do think that, like for a while, 120 00:07:10,640 --> 00:07:13,800 Speaker 1: I imagine as a Broadway producer thinking about this, You're like, oh, 121 00:07:14,280 --> 00:07:19,480 Speaker 1: why would we stream this for free ish when people 122 00:07:19,680 --> 00:07:22,080 Speaker 1: could buy one hundred dollars seats and come see it, 123 00:07:22,160 --> 00:07:24,280 Speaker 1: And it's kind of gatekeeping in a way. And so 124 00:07:24,880 --> 00:07:28,800 Speaker 1: I love that this is opening up a world where 125 00:07:29,360 --> 00:07:33,000 Speaker 1: theater becomes accessible to the people who can't buy a 126 00:07:33,040 --> 00:07:36,120 Speaker 1: plane ticket and a hotel and a Broadway tip and 127 00:07:36,160 --> 00:07:39,480 Speaker 1: afford a Broadway seat. Like that's it's you know, a 128 00:07:39,520 --> 00:07:40,120 Speaker 1: lot of money. 129 00:07:40,200 --> 00:07:43,000 Speaker 2: So I wish it happened more often because like, obviously 130 00:07:43,640 --> 00:07:46,800 Speaker 2: you don't get more successful than Hamilton is, like that 131 00:07:46,960 --> 00:07:49,840 Speaker 2: is the peak, and so like they can do that, 132 00:07:50,640 --> 00:07:52,720 Speaker 2: and I have to worry about it because those performances 133 00:07:52,760 --> 00:07:56,960 Speaker 2: are still sold out eight times a week and it's 134 00:07:56,960 --> 00:08:01,760 Speaker 2: obvious expensive to film appro shot how they did at least, 135 00:08:02,400 --> 00:08:04,680 Speaker 2: and so you know, they had the budget to the 136 00:08:04,720 --> 00:08:07,240 Speaker 2: bandwidth to do it all. But I'm glad they did 137 00:08:07,280 --> 00:08:10,120 Speaker 2: do that because you're in They don't normally and they didn't. 138 00:08:09,920 --> 00:08:13,200 Speaker 1: Have to totally in the news was going on in 139 00:08:13,240 --> 00:08:18,480 Speaker 1: the world rock Star by the Baby featuring Roddy. 140 00:08:18,280 --> 00:08:27,800 Speaker 2: Rich, that number one movie it was Relic, which no idea, Like, ah. 141 00:08:28,680 --> 00:08:32,440 Speaker 1: I what is this movie? 142 00:08:32,920 --> 00:08:34,920 Speaker 2: I don't know. It was Emily Mortimer, who I love, 143 00:08:35,160 --> 00:08:40,080 Speaker 2: but okay, interesting, right, So like this, this whole time 144 00:08:40,360 --> 00:08:44,040 Speaker 2: was wild. It was because people couldn't go out in public, 145 00:08:44,640 --> 00:08:48,040 Speaker 2: so everybody was streaming everything. That's when sort of like 146 00:08:48,360 --> 00:08:53,040 Speaker 2: Glee started to get rewatched again and TikTok started becoming gigantic, 147 00:08:53,240 --> 00:08:59,240 Speaker 2: all because of COVID. People needed some levity and amidst 148 00:08:59,240 --> 00:09:01,199 Speaker 2: all the horrible less that was happening in the world, 149 00:09:01,440 --> 00:09:04,600 Speaker 2: that's right, that's right to that end. Because things were 150 00:09:04,640 --> 00:09:08,440 Speaker 2: so heavy, it was like having something like pop culture. 151 00:09:08,480 --> 00:09:12,920 Speaker 2: Things really really blew up, like Paul Mescal and Daisy 152 00:09:13,000 --> 00:09:16,240 Speaker 2: Ridley became household names overnight, but couldn't do any press 153 00:09:16,320 --> 00:09:21,280 Speaker 2: or anything for it because Jones Daisy Ridley's from Star Wars. 154 00:09:21,360 --> 00:09:25,040 Speaker 1: Yes, yes, yes, I always yes, I always felt for 155 00:09:25,160 --> 00:09:28,280 Speaker 1: those people, like people who was their first movie or 156 00:09:28,320 --> 00:09:32,800 Speaker 1: like their first I know, I know, but I'm thinking 157 00:09:32,800 --> 00:09:35,560 Speaker 1: of other people as well that like couldn't go out 158 00:09:35,600 --> 00:09:38,040 Speaker 1: and do the things they wanted to. But anyway, it 159 00:09:38,240 --> 00:09:47,080 Speaker 1: affected us all. And yes, pop culture became everything. Uh 160 00:09:47,120 --> 00:09:50,319 Speaker 1: did you say that Petilla was also weeks away from releasing. 161 00:09:49,960 --> 00:09:55,720 Speaker 2: Folklore, Oh, which is an excellent album. Very good. 162 00:09:55,880 --> 00:09:57,959 Speaker 1: Wow, that's big coming from you. 163 00:09:58,400 --> 00:10:00,480 Speaker 2: I can be objective, Jenna, I know. 164 00:10:00,600 --> 00:10:02,280 Speaker 1: I know. I'm just saying I think. 165 00:10:02,160 --> 00:10:04,240 Speaker 2: Folk is a great album. 166 00:10:04,640 --> 00:10:08,920 Speaker 1: It is a great album. Did you like evermore? None 167 00:10:08,920 --> 00:10:09,079 Speaker 1: of it? 168 00:10:09,120 --> 00:10:10,360 Speaker 2: I think Folklore was great. 169 00:10:20,640 --> 00:10:23,040 Speaker 1: Do you remember the first time that you saw Hamilton 170 00:10:23,320 --> 00:10:26,520 Speaker 1: on Broadway? And what test? Did you say? 171 00:10:26,559 --> 00:10:28,280 Speaker 2: It was very very late to it. 172 00:10:28,400 --> 00:10:32,079 Speaker 1: Okay. Did you see Hobby as as Alivan and Hamilton? 173 00:10:32,400 --> 00:10:32,679 Speaker 2: Yes? 174 00:10:32,840 --> 00:10:36,560 Speaker 1: I did, great. Hobby is Lyn's Man excellent? Did you 175 00:10:36,559 --> 00:10:39,080 Speaker 1: see Leslie Odom junior player Aaron No, I don't. 176 00:10:38,920 --> 00:10:41,480 Speaker 2: Think I saw any of the Oh? No, I know, 177 00:10:41,640 --> 00:10:42,439 Speaker 2: did you? 178 00:10:42,559 --> 00:10:44,720 Speaker 1: Yeah? So I was living in New York at the time, 179 00:10:44,920 --> 00:10:49,600 Speaker 1: and my friend Phil was like Phil Heddinger, who we know, 180 00:10:49,880 --> 00:10:52,560 Speaker 1: actor and wonderful friend, was like, I just saw something 181 00:10:52,559 --> 00:10:55,200 Speaker 1: in Atlantic that is going to change and blow your mind. 182 00:10:55,600 --> 00:10:57,559 Speaker 1: He's like, go see Hamilton. Everybody's talking about it. And 183 00:10:57,640 --> 00:10:59,400 Speaker 1: I was like, oh, you know, it's fine. I didn't 184 00:10:59,400 --> 00:11:04,400 Speaker 1: get to it, but it came to Broadway very shortly after, 185 00:11:05,040 --> 00:11:08,920 Speaker 1: and I went with my friend Jackie Burns, our friend 186 00:11:09,000 --> 00:11:11,440 Speaker 1: Jackie Burns to see it. John Graff was in, and 187 00:11:11,480 --> 00:11:13,360 Speaker 1: I was like, John grass in this play, like this 188 00:11:13,480 --> 00:11:17,520 Speaker 1: is so fun. Sat down. I was like, whoo, this 189 00:11:17,600 --> 00:11:21,280 Speaker 1: is gonna be so much fun. Boom life changed. I 190 00:11:21,320 --> 00:11:25,920 Speaker 1: had no idea. So I saw this entire original cast. 191 00:11:27,080 --> 00:11:34,280 Speaker 1: I saw this this production live multiple times, multiple times. 192 00:11:34,320 --> 00:11:36,840 Speaker 2: Oh yeah, I'm sure you were trying to get me 193 00:11:36,880 --> 00:11:37,160 Speaker 2: to go. 194 00:11:37,640 --> 00:11:40,839 Speaker 1: Yes, of course, trying to get everybody to go. And 195 00:11:41,559 --> 00:11:44,760 Speaker 1: I saw Hobby and I saw a few other cast 196 00:11:44,800 --> 00:11:49,480 Speaker 1: members as they switched in and out. But boy, oh boy, 197 00:11:49,480 --> 00:11:52,160 Speaker 1: what a gift, what a treat it was to see 198 00:11:52,160 --> 00:11:52,880 Speaker 1: this cast. 199 00:11:53,160 --> 00:12:00,640 Speaker 2: I special, what stacked ass Like obviously people, No, we 200 00:12:00,679 --> 00:12:02,520 Speaker 2: don't even talk about like the history of the show 201 00:12:02,679 --> 00:12:05,480 Speaker 2: that is out there and has been talked about so much, 202 00:12:05,920 --> 00:12:11,720 Speaker 2: but that wonderful and grueling process of development and seeing 203 00:12:11,760 --> 00:12:16,480 Speaker 2: how each of these characters sings and raps differently according 204 00:12:16,559 --> 00:12:22,240 Speaker 2: to their character, to their voices, Like I forgot the 205 00:12:22,320 --> 00:12:24,720 Speaker 2: extent of that, like the different style, like people just say, oh, 206 00:12:24,720 --> 00:12:27,440 Speaker 2: it's rap or it's hip hop. There's so many that's 207 00:12:27,440 --> 00:12:30,200 Speaker 2: just an umbrella term. Yeah, and there's so many different 208 00:12:30,200 --> 00:12:36,360 Speaker 2: styles within that, and this show like caters to those 209 00:12:36,400 --> 00:12:40,400 Speaker 2: actors doing it or like it fit. Like listening to 210 00:12:40,720 --> 00:12:48,760 Speaker 2: Renee rap is one of the most satisfying things I've 211 00:12:48,840 --> 00:12:54,200 Speaker 2: ever heard. Yeah, and Renee Rap listen to and like 212 00:12:54,320 --> 00:12:57,800 Speaker 2: go into singing and like how her vowels, like her 213 00:12:57,840 --> 00:13:00,360 Speaker 2: mouth shape fits certain vowels, like oh, this is what 214 00:13:00,440 --> 00:13:03,120 Speaker 2: hip hop is all about? Yes, Like how are were 215 00:13:03,120 --> 00:13:06,560 Speaker 2: breaking up syllables and how this is the magic of 216 00:13:06,559 --> 00:13:06,960 Speaker 2: that show. 217 00:13:07,320 --> 00:13:10,040 Speaker 1: I remember being in your house, I think maybe for 218 00:13:10,160 --> 00:13:15,640 Speaker 1: pilot season and playing Hamilton and playing Satisfied for You're like, oh, no, 219 00:13:15,760 --> 00:13:18,520 Speaker 1: you you liked it, And I was like, I think 220 00:13:18,559 --> 00:13:21,320 Speaker 1: I'm gonna get them with this one, because I knew 221 00:13:21,440 --> 00:13:23,360 Speaker 1: if you would listen to it, you'd be like, oh, 222 00:13:23,440 --> 00:13:24,000 Speaker 1: I get it. 223 00:13:24,080 --> 00:13:26,280 Speaker 2: You know. But I'm also an annoying person who doesn't 224 00:13:26,280 --> 00:13:27,160 Speaker 2: like things that are popular. 225 00:13:27,679 --> 00:13:30,600 Speaker 1: I know I don't either, but I got bamboozled into 226 00:13:30,600 --> 00:13:35,400 Speaker 1: seeing this thing. Yes exactly, I got like, I think it. 227 00:13:35,440 --> 00:13:38,080 Speaker 2: I also have a really hard time listening to musicals 228 00:13:38,520 --> 00:13:39,239 Speaker 2: of context. 229 00:13:39,760 --> 00:13:42,240 Speaker 1: I also believe that you should see the show before 230 00:13:42,240 --> 00:13:45,520 Speaker 1: you listen to the the album, right the recording if 231 00:13:45,559 --> 00:13:48,640 Speaker 1: you can't. Obviously this is different. This is one of 232 00:13:48,679 --> 00:13:53,840 Speaker 1: the kind. But the I think what you were saying 233 00:13:53,840 --> 00:13:57,400 Speaker 1: though about like the tailoring of this, I don't know 234 00:13:57,440 --> 00:13:59,000 Speaker 1: if it was the chicken or the egg right like, 235 00:13:59,040 --> 00:14:00,840 Speaker 1: And I don't know if that was just the collaborative 236 00:14:00,920 --> 00:14:06,520 Speaker 1: thing because there were so many people who came through 237 00:14:06,720 --> 00:14:09,760 Speaker 1: the Hamileton doors and the workshops and the you know, 238 00:14:09,800 --> 00:14:13,960 Speaker 1: in the labs that went that came from this. So 239 00:14:14,679 --> 00:14:17,000 Speaker 1: I'm curious, you know, I would be curious to know 240 00:14:19,080 --> 00:14:23,040 Speaker 1: who was it molded to them or did they mold 241 00:14:23,080 --> 00:14:26,560 Speaker 1: did they find the project casting to fit into these roles. 242 00:14:26,720 --> 00:14:29,160 Speaker 1: I think it was a little bit of both, probably. 243 00:14:28,880 --> 00:14:33,520 Speaker 2: But whatever it is, it clearly yeah, you know worked. Also, 244 00:14:35,280 --> 00:14:40,040 Speaker 2: being able to see growth dribble that close up is 245 00:14:40,400 --> 00:14:42,560 Speaker 2: terrifying and so good. 246 00:14:42,360 --> 00:14:45,840 Speaker 1: He is every day And that voice, I. 247 00:14:45,800 --> 00:14:46,440 Speaker 2: Mean, he's so. 248 00:14:48,320 --> 00:14:52,520 Speaker 1: Good, so good, Like it's so subtle and yet so 249 00:14:53,000 --> 00:14:56,480 Speaker 1: dramatic at the same time. Yes, and his voice is 250 00:14:56,760 --> 00:15:00,960 Speaker 1: unreal beautifully camp so clear, but you really do get 251 00:15:00,960 --> 00:15:04,360 Speaker 1: to see the spit up close. It's being in a 252 00:15:04,400 --> 00:15:04,960 Speaker 1: show with him. 253 00:15:05,080 --> 00:15:06,360 Speaker 2: It really works for that character. 254 00:15:07,880 --> 00:15:08,840 Speaker 1: It works for every character. 255 00:15:08,840 --> 00:15:12,000 Speaker 2: It does, I mean it. 256 00:15:11,880 --> 00:15:12,280 Speaker 1: Has to. 257 00:15:13,960 --> 00:15:14,720 Speaker 2: In every character. 258 00:15:16,000 --> 00:15:21,560 Speaker 1: Sometimes it flies more, it projects way more in real life. 259 00:15:21,720 --> 00:15:24,520 Speaker 1: So this was a three D version then yeah, like 260 00:15:24,520 --> 00:15:26,080 Speaker 1: people sit in the front road and gets put on. 261 00:15:26,240 --> 00:15:30,280 Speaker 1: So I think the slash song is yeah, yeah, no, no, 262 00:15:30,320 --> 00:15:34,960 Speaker 1: it's definitely not much every night for sure beautiful. This 263 00:15:35,120 --> 00:15:38,480 Speaker 1: was directed by Tommy Kle Thomas Cale, who also obviously 264 00:15:38,480 --> 00:15:43,880 Speaker 1: directed Hamilton and Everybody is the same. The team was 265 00:15:43,920 --> 00:15:48,160 Speaker 1: the same. Cinematographer was Declan Quinn who did a really 266 00:15:48,280 --> 00:15:53,280 Speaker 1: beautiful job and capturing all this footage. Ah. It's always 267 00:15:53,320 --> 00:15:58,280 Speaker 1: interesting for phots because I think kind of likely where 268 00:15:58,360 --> 00:16:03,360 Speaker 1: you perform for you're performing on a stage for a 269 00:16:03,480 --> 00:16:07,680 Speaker 1: theater of people, but also acting for a camera. So 270 00:16:07,760 --> 00:16:11,040 Speaker 1: there's like this like towing of the line of like 271 00:16:11,720 --> 00:16:13,960 Speaker 1: how do you get how do you get the intimacy 272 00:16:14,000 --> 00:16:17,840 Speaker 1: across without feeling too dramatic, but then also reaching for 273 00:16:18,040 --> 00:16:21,160 Speaker 1: the back row and getting the theater experience that most 274 00:16:21,200 --> 00:16:24,560 Speaker 1: people that you do every night, right, that you're doing, yeah, 275 00:16:24,600 --> 00:16:25,040 Speaker 1: every night. 276 00:16:25,240 --> 00:16:27,320 Speaker 2: I think it helps so that these actors, I don't 277 00:16:27,360 --> 00:16:32,200 Speaker 2: think they're not I don't think they're acting quote unquote 278 00:16:32,200 --> 00:16:33,680 Speaker 2: like stereotypically musical theater. 279 00:16:34,520 --> 00:16:36,880 Speaker 1: I think you're right. I think it's they're giving the 280 00:16:36,880 --> 00:16:37,640 Speaker 1: same performance. 281 00:16:38,040 --> 00:16:41,480 Speaker 2: Yes, like it's still naturalistic, it's enough for theater, but 282 00:16:41,560 --> 00:16:43,760 Speaker 2: like totally they're not like hamming it up. 283 00:16:44,760 --> 00:16:47,320 Speaker 1: No, some of those numbers are a lot bigger obviously, 284 00:16:47,440 --> 00:16:50,360 Speaker 1: like what did I miss and rumor it happened, et cetera. 285 00:16:50,600 --> 00:16:53,760 Speaker 1: That are a hardet bigger, But like, especially like Philips, 286 00:16:53,840 --> 00:16:56,480 Speaker 1: who's like allies of work, it seems like a very 287 00:16:57,120 --> 00:17:00,560 Speaker 1: grounded performance that she gives the same or the camera 288 00:17:00,640 --> 00:17:04,080 Speaker 1: and for the theater or for the audience. 289 00:17:04,280 --> 00:17:06,919 Speaker 2: So I know I'm beating a dead horse here, but 290 00:17:07,040 --> 00:17:09,080 Speaker 2: it just reminds me because I haven't listened to it 291 00:17:09,160 --> 00:17:12,800 Speaker 2: or watched anything since this came out, probably regarding Hamilton 292 00:17:12,800 --> 00:17:17,480 Speaker 2: because it's so everywhere, but especially with the you know 293 00:17:17,520 --> 00:17:21,000 Speaker 2: what's going on in the world, and there seems to 294 00:17:21,040 --> 00:17:25,840 Speaker 2: be such a lack of interest or knowledge of history 295 00:17:25,920 --> 00:17:29,080 Speaker 2: that I feel like this show had everything going against 296 00:17:29,080 --> 00:17:33,200 Speaker 2: it and despite that, became like the biggest runaway hit ever. 297 00:17:33,359 --> 00:17:37,840 Speaker 2: Like it's about historic, it's about history, like historical figures. 298 00:17:39,359 --> 00:17:41,960 Speaker 2: Someone who's not even though he's not the ten dollars bill, 299 00:17:42,720 --> 00:17:45,200 Speaker 2: like it's not I would say, a story that is 300 00:17:45,440 --> 00:17:49,480 Speaker 2: commonly known amongst people in the US, Aligan or Hamilton's story. 301 00:17:50,040 --> 00:17:55,720 Speaker 2: And then you do this stuff, this whole story through 302 00:17:56,359 --> 00:18:00,119 Speaker 2: rapping most of the time, and that on Broadway. I 303 00:18:00,119 --> 00:18:03,359 Speaker 2: feel like it's also sort of like rubbing up against it. 304 00:18:03,760 --> 00:18:08,159 Speaker 2: And then you're doing it with casting people of color 305 00:18:08,760 --> 00:18:12,760 Speaker 2: for these historical figures white white people. Yeah. 306 00:18:12,800 --> 00:18:14,760 Speaker 1: Yeah, And. 307 00:18:17,160 --> 00:18:19,720 Speaker 2: I don't know how it happened. I'm so glad it happened. 308 00:18:20,240 --> 00:18:22,560 Speaker 2: But it's also like so important for so many reasons, 309 00:18:22,600 --> 00:18:25,199 Speaker 2: like you said at the top of this, where like 310 00:18:25,280 --> 00:18:27,800 Speaker 2: we need to be learning these things. We need to 311 00:18:27,840 --> 00:18:31,520 Speaker 2: know history, not just American history, but in general. We 312 00:18:31,560 --> 00:18:33,760 Speaker 2: need to do a better job as Americans learning history. 313 00:18:34,000 --> 00:18:37,399 Speaker 2: But this makes it so accessible in such an easy 314 00:18:37,400 --> 00:18:40,240 Speaker 2: way in and makes it look like people were surrounded 315 00:18:40,280 --> 00:18:42,879 Speaker 2: by so we can put faces to names, and it 316 00:18:42,880 --> 00:18:46,520 Speaker 2: helps us remember what the signs are when history is 317 00:18:46,560 --> 00:18:49,640 Speaker 2: repeating itself. And it was just it was really nice 318 00:18:49,640 --> 00:18:53,440 Speaker 2: to be and also for me, like I I gravitate 319 00:18:53,720 --> 00:18:56,280 Speaker 2: more towards the style of music, and like I remember 320 00:18:56,320 --> 00:18:57,960 Speaker 2: when I went and saw the show for the first 321 00:18:57,960 --> 00:19:00,240 Speaker 2: time and hearing the room where it happened, and I 322 00:19:00,280 --> 00:19:06,760 Speaker 2: was like, wait a minute, Like this can happen on Broadway. Yeah, 323 00:19:06,800 --> 00:19:09,960 Speaker 2: Like I didn't know, Like what. 324 00:19:10,320 --> 00:19:11,560 Speaker 1: I don't think a lot of people knew. 325 00:19:12,040 --> 00:19:15,160 Speaker 2: Yeah, and like and anything is possible. And I think 326 00:19:15,160 --> 00:19:18,119 Speaker 2: that's what sort of like broke it open for so 327 00:19:18,200 --> 00:19:22,960 Speaker 2: many of us who didn't know what theater could be. Yeah, yes, 328 00:19:23,440 --> 00:19:27,800 Speaker 2: and making it accessible and just being like, oh, it's 329 00:19:28,480 --> 00:19:30,720 Speaker 2: it's not only does it work, but people want it. 330 00:19:31,240 --> 00:19:35,199 Speaker 1: Yeah. Well that's also to Len and to Tommy and 331 00:19:35,240 --> 00:19:40,919 Speaker 1: to the creative team that really pushed for what they 332 00:19:40,960 --> 00:19:44,480 Speaker 1: believed in, right, Like they pushed the envelope for what 333 00:19:45,119 --> 00:19:48,240 Speaker 1: had not been done before or maybe not in this way, 334 00:19:48,800 --> 00:19:53,600 Speaker 1: and and people believing in the fact that that would 335 00:19:53,640 --> 00:20:00,159 Speaker 1: be accepted. And I and I always appreciate when for 336 00:20:00,600 --> 00:20:06,080 Speaker 1: doing that kind of work, you know, and so I'm appreciated. 337 00:20:06,080 --> 00:20:10,720 Speaker 1: I'm I'm so glad that you loved it. 338 00:20:11,240 --> 00:20:17,040 Speaker 2: Well. I also just think it's like it's like the 339 00:20:17,200 --> 00:20:21,480 Speaker 2: entertainment business in general is so white, and like it's 340 00:20:21,560 --> 00:20:25,640 Speaker 2: usually getting funded by older white people, and so you're 341 00:20:25,760 --> 00:20:29,520 Speaker 2: seeing stories about white people for white people so often, 342 00:20:30,600 --> 00:20:33,760 Speaker 2: and it's like how often do you get a show 343 00:20:33,840 --> 00:20:38,840 Speaker 2: produced like this where there's literally one white main character 344 00:20:38,880 --> 00:20:43,400 Speaker 2: in it, and it becomes as successful and it's like, yeah, 345 00:20:44,240 --> 00:20:45,560 Speaker 2: if you build it, they will come. 346 00:20:45,880 --> 00:20:48,640 Speaker 1: That's rights so much, build. 347 00:20:48,440 --> 00:20:52,120 Speaker 2: It right, and then it also, I mean I think 348 00:20:52,119 --> 00:20:55,080 Speaker 2: that also then did open the wallets and minds of 349 00:20:55,119 --> 00:20:58,159 Speaker 2: a lot of investors going forward. Obviously it is not 350 00:20:58,560 --> 00:21:04,600 Speaker 2: it is still pretty, but an improvement. I would say, 351 00:21:04,640 --> 00:21:07,359 Speaker 2: you probably you're closer to the theater world than me, 352 00:21:07,560 --> 00:21:08,520 Speaker 2: so you know better than me. 353 00:21:08,680 --> 00:21:11,840 Speaker 1: But no, no, no, it's definitely an improvement. We have 354 00:21:11,920 --> 00:21:14,080 Speaker 1: to do this. They have to. You have to crack 355 00:21:14,119 --> 00:21:17,359 Speaker 1: open the window, crack open the door, push it through 356 00:21:18,119 --> 00:21:21,240 Speaker 1: and prove to people like constantly, I feel like in 357 00:21:21,960 --> 00:21:27,560 Speaker 1: all the facets of art and media, like you're constantly 358 00:21:27,680 --> 00:21:33,240 Speaker 1: having to prove that people will accept it, people will 359 00:21:33,480 --> 00:21:35,879 Speaker 1: want it. It's like k pop demon Hunters. It's like 360 00:21:35,920 --> 00:21:39,520 Speaker 1: all the headlines right now are like, you know, you know, 361 00:21:39,800 --> 00:21:43,440 Speaker 1: Huntrecks and all these girls like they're they're making K 362 00:21:43,600 --> 00:21:47,840 Speaker 1: pop accessible for Americans and for America, and you're like, 363 00:21:47,960 --> 00:21:51,119 Speaker 1: that's what we want. But how many times do we 364 00:21:51,200 --> 00:21:53,919 Speaker 1: have to prove that people want this and will believe 365 00:21:53,920 --> 00:21:55,879 Speaker 1: in it? If you just put the money and the 366 00:21:55,920 --> 00:21:59,320 Speaker 1: gusto and the people behind it, like constantly, oh, people 367 00:21:59,320 --> 00:22:02,119 Speaker 1: won't watch that. People will do this. They're always like 368 00:22:02,119 --> 00:22:03,920 Speaker 1: a fluke yes, yes, just. 369 00:22:03,840 --> 00:22:05,800 Speaker 2: Because that one worked doesn't mean it's like. 370 00:22:05,880 --> 00:22:11,000 Speaker 1: No, right, this is people are you like, give people 371 00:22:11,119 --> 00:22:12,840 Speaker 1: more of the benefit of the doubt. But that's the 372 00:22:12,960 --> 00:22:14,600 Speaker 1: risk that people are not willing to take at this 373 00:22:14,680 --> 00:22:17,159 Speaker 1: time with the industry, Like, it's just a really. 374 00:22:16,920 --> 00:22:20,720 Speaker 2: Tough you know, there's always some excuse, of course, there's 375 00:22:20,760 --> 00:22:21,640 Speaker 2: always some excuse. 376 00:22:21,880 --> 00:22:24,000 Speaker 1: No, of course, and that's my excuse right Nowli said 377 00:22:24,000 --> 00:22:24,440 Speaker 1: it's tough. 378 00:22:25,480 --> 00:22:29,000 Speaker 2: I mean, well, I feel like now it's harder than 379 00:22:29,000 --> 00:22:32,440 Speaker 2: ever to get anything made, right. Yeah, And so that's 380 00:22:32,480 --> 00:22:36,679 Speaker 2: like on top of the normal restrictions or you know, 381 00:22:36,760 --> 00:22:39,479 Speaker 2: parameters that you have to come up against when like 382 00:22:39,640 --> 00:22:42,400 Speaker 2: trying to get something made. On top of it, it's 383 00:22:42,440 --> 00:22:45,640 Speaker 2: also just like, well, the whole industry is shifting. 384 00:22:45,760 --> 00:22:49,800 Speaker 1: So totally, no, totally, but we're breaking we're breaking through. 385 00:22:50,640 --> 00:22:54,879 Speaker 1: I have a question about the pro Shot music Kevin, 386 00:22:54,960 --> 00:22:59,960 Speaker 1: because I read that they miked the performers over three 387 00:23:01,560 --> 00:23:05,359 Speaker 1: three shows that it was true to the move the 388 00:23:05,480 --> 00:23:10,480 Speaker 1: musical right, like and to the performances. The orchestra was 389 00:23:10,520 --> 00:23:15,440 Speaker 1: recorded separately, so they gave the sound team flexibility and 390 00:23:15,480 --> 00:23:18,879 Speaker 1: post production without losing the integrity of the live mix, 391 00:23:19,080 --> 00:23:21,679 Speaker 1: which I thought was very smart on their end. I 392 00:23:21,720 --> 00:23:26,639 Speaker 1: thought the sound was excellent. I thought everybody sounded crystal clear, amazing, 393 00:23:28,000 --> 00:23:32,400 Speaker 1: And I thought that the orchestrations and the and the 394 00:23:32,400 --> 00:23:37,040 Speaker 1: the orchestra sounded beautiful. Yeah, but it still sounded very 395 00:23:37,040 --> 00:23:42,119 Speaker 1: live to me, Like it didn't. There was no like it's. 396 00:23:41,280 --> 00:23:44,120 Speaker 2: That perfect combination of like you don't realize how much 397 00:23:44,119 --> 00:23:46,719 Speaker 2: work went into it that it just feels and sounds 398 00:23:46,840 --> 00:23:51,400 Speaker 2: how it should how you wanted to. Yeah. I mean 399 00:23:51,480 --> 00:23:54,280 Speaker 2: the mix of it and how they did it was incredible. 400 00:23:54,640 --> 00:23:57,399 Speaker 2: I think, like I don't know how involved Linn is 401 00:23:57,440 --> 00:24:02,040 Speaker 2: in like the post production of it all, but him 402 00:24:02,200 --> 00:24:06,040 Speaker 2: and Tommy Kale, I think just have great taste and 403 00:24:06,080 --> 00:24:08,560 Speaker 2: they know what they like. And it's like I keep 404 00:24:08,600 --> 00:24:11,479 Speaker 2: referring back to Tick Tick Boom because it's like I 405 00:24:11,560 --> 00:24:17,959 Speaker 2: believe Lynn really knows this technical stuff. Yeah, and like 406 00:24:18,080 --> 00:24:22,120 Speaker 2: this feels like this doesn't feel like a stereotypical if like, oh, 407 00:24:22,359 --> 00:24:24,520 Speaker 2: somebody who normally directs theater in the director of this 408 00:24:25,280 --> 00:24:29,359 Speaker 2: pro shot like this is an incredibly well made, yes 409 00:24:29,880 --> 00:24:31,879 Speaker 2: pro shot and it feels like somebody who knows exactly 410 00:24:31,960 --> 00:24:33,760 Speaker 2: what they're doing with film cameras on stage. 411 00:24:34,080 --> 00:24:34,520 Speaker 1: Mmmm. 412 00:24:35,440 --> 00:24:38,280 Speaker 2: That sounds so dumb, but it's like a really niche No, 413 00:24:38,440 --> 00:24:41,520 Speaker 2: it's a niche thing to be able to do. 414 00:24:42,160 --> 00:24:44,560 Speaker 1: Yes, it really is, and I. 415 00:24:44,520 --> 00:24:47,240 Speaker 2: Do think it like because they put in the extra 416 00:24:47,240 --> 00:24:50,679 Speaker 2: effort to preserve the actual feeling, which includes the sound 417 00:24:51,480 --> 00:24:53,840 Speaker 2: and the look of it, and you also feel the 418 00:24:53,880 --> 00:24:56,919 Speaker 2: audience in the beginning of it, like well throughout the 419 00:24:57,040 --> 00:25:00,359 Speaker 2: entire thing, Like it really doesn't really feel there's a 420 00:25:00,359 --> 00:25:03,720 Speaker 2: separation there. No, and all those things like mixing and 421 00:25:03,800 --> 00:25:07,200 Speaker 2: sound is how you create that atmosphere. 422 00:25:07,600 --> 00:25:08,760 Speaker 1: Yeah, yeah, yeah, yeah yeah. 423 00:25:08,760 --> 00:25:11,679 Speaker 2: So this came out on Disney Plus in twenty twenty, 424 00:25:11,960 --> 00:25:15,760 Speaker 2: but then in September of twenty twenty five, it actually 425 00:25:15,800 --> 00:25:19,600 Speaker 2: kept put out into theaters to mark the musicals tenth anniversary. 426 00:25:19,720 --> 00:25:21,400 Speaker 1: I missed it, but I would have loved to see 427 00:25:21,400 --> 00:25:23,280 Speaker 1: this on the big screen. Yeah, you and I screwed up, 428 00:25:23,600 --> 00:25:24,160 Speaker 1: Yeah we did. 429 00:25:24,840 --> 00:25:29,159 Speaker 3: We should have gone once again, yeap typical, But it 430 00:25:29,240 --> 00:25:31,120 Speaker 3: still lives on and I love that, and I love 431 00:25:31,160 --> 00:25:35,000 Speaker 3: that the musical is still succeeding all across the country, 432 00:25:35,080 --> 00:25:36,080 Speaker 3: all over the world. 433 00:25:36,560 --> 00:25:41,000 Speaker 1: And then also it's being you know, cast a wider 434 00:25:41,080 --> 00:25:43,560 Speaker 1: net of audiences that can't get to New York or 435 00:25:43,840 --> 00:25:46,880 Speaker 1: to their theater to see it. So it's very, very happy, 436 00:25:46,920 --> 00:25:49,760 Speaker 1: and I'm so glad because finally, when I watched The 437 00:25:49,800 --> 00:25:52,000 Speaker 1: pro Shop and I finished it last night for the 438 00:25:52,040 --> 00:25:55,240 Speaker 1: first time, I was so moved by that second half. 439 00:25:55,240 --> 00:25:58,119 Speaker 1: And I always, I always love listening to the first half. 440 00:25:58,520 --> 00:26:02,840 Speaker 1: It's a gag of wonderful numbers, and I have my favorites. 441 00:26:02,880 --> 00:26:05,199 Speaker 1: I'm curious to hear yours. But then towards the end, 442 00:26:05,200 --> 00:26:07,919 Speaker 1: he obviously the shift change, like the tone changes, and 443 00:26:07,960 --> 00:26:09,800 Speaker 1: it's it's a different and the time and all of 444 00:26:09,800 --> 00:26:11,760 Speaker 1: that has passed, and so it's a little bit of 445 00:26:11,840 --> 00:26:18,440 Speaker 1: a sadder, more nostalgic feel, and with Eliza at the end, 446 00:26:18,440 --> 00:26:26,240 Speaker 1: But that last part with Eliza, Oh, and her walking 447 00:26:26,240 --> 00:26:28,719 Speaker 1: around the stage talking about the things she did, and 448 00:26:28,760 --> 00:26:33,280 Speaker 1: then the gas that her infamous, legendary gasp she does 449 00:26:33,280 --> 00:26:35,440 Speaker 1: at the end that we don't know what actually means 450 00:26:35,480 --> 00:26:38,439 Speaker 1: but all have our own interpretations of it was so moving. 451 00:26:39,280 --> 00:26:42,280 Speaker 2: It was so moving, and I think that's like part 452 00:26:42,320 --> 00:26:47,639 Speaker 2: of the the magic of this show. Every time you 453 00:26:47,720 --> 00:26:49,560 Speaker 2: see that, you still at the. 454 00:26:49,640 --> 00:26:55,000 Speaker 1: End, Yeah, Like he really ties it together perfectly. Lynn 455 00:26:55,160 --> 00:26:57,959 Speaker 1: really tied it together perfectly. He really knows how to 456 00:26:58,119 --> 00:27:03,000 Speaker 1: get you. And you're right, it's it's so oh god, 457 00:27:03,119 --> 00:27:06,840 Speaker 1: still after all this time. But I it's every time, 458 00:27:07,280 --> 00:27:08,840 Speaker 1: every every single time. 459 00:27:08,720 --> 00:27:11,879 Speaker 2: I'm always shocked at the amount of information that is 460 00:27:11,920 --> 00:27:16,480 Speaker 2: given in this show. Like every almost every time somebody talks, 461 00:27:16,600 --> 00:27:19,080 Speaker 2: it is just relaying historical events, right. 462 00:27:19,040 --> 00:27:23,679 Speaker 1: But that's all That's so much, that's so much stuff 463 00:27:24,040 --> 00:27:27,600 Speaker 1: because it's told in an interesting, compelling way that's driven 464 00:27:27,640 --> 00:27:30,840 Speaker 1: by these characters that you already love, that you've grown 465 00:27:30,920 --> 00:27:33,840 Speaker 1: to understand. Like that's what lind does. He like he 466 00:27:33,960 --> 00:27:36,920 Speaker 1: brings out these characters in so many layers and explains 467 00:27:36,960 --> 00:27:39,560 Speaker 1: them to you in such a way that's interesting and 468 00:27:39,880 --> 00:27:44,480 Speaker 1: accessible and layered. And then you're like, oh, I want more. 469 00:27:44,640 --> 00:27:47,719 Speaker 1: I always want more. And then he ties it all up, 470 00:27:47,880 --> 00:27:50,280 Speaker 1: he makes you feel things, and then he's like, Okay, 471 00:27:50,480 --> 00:27:52,440 Speaker 1: this is why I did this. Let me just tell 472 00:27:52,480 --> 00:27:57,600 Speaker 1: you a little bit why. It's like it's so masterfully 473 00:27:57,680 --> 00:28:06,639 Speaker 1: crafted between so boring song, rap, dialogue, movement. It's just 474 00:28:06,920 --> 00:28:18,760 Speaker 1: it is unbelievable. What is your favorite number from this? 475 00:28:18,960 --> 00:28:25,080 Speaker 2: Oh? God, I have a few, but okay, well it's like, Ei, 476 00:28:25,080 --> 00:28:31,280 Speaker 2: there's some songs I like necessarily like, oh my god, 477 00:28:31,400 --> 00:28:35,480 Speaker 2: I just remembered this. Can I tell you this crazy story? Sure, 478 00:28:36,280 --> 00:28:39,920 Speaker 2: there's a friend of mine and he's telling me when 479 00:28:39,960 --> 00:28:46,320 Speaker 2: he goes to when he meets guys that goes on 480 00:28:46,400 --> 00:28:49,320 Speaker 2: dates or anything, and they may be going home together. 481 00:28:50,120 --> 00:28:53,200 Speaker 2: You get what I'm saying. Yeah, he says what he 482 00:28:53,280 --> 00:28:57,240 Speaker 2: always does, his move is he gets home or to 483 00:28:57,720 --> 00:29:01,360 Speaker 2: the other guy's house. So we have to put on Hamilton. 484 00:29:02,400 --> 00:29:03,320 Speaker 1: What is that a test? 485 00:29:04,480 --> 00:29:10,160 Speaker 2: And he actually sits them down and watches Hamilton and 486 00:29:10,920 --> 00:29:16,800 Speaker 2: performs satisfied. He like gets up and performs satisfied. And 487 00:29:16,800 --> 00:29:22,080 Speaker 2: I was like, does this work? Like what is. 488 00:29:24,160 --> 00:29:25,880 Speaker 1: Does it work? Yes? 489 00:29:27,280 --> 00:29:31,000 Speaker 2: It works? I he told me. 490 00:29:32,520 --> 00:29:32,920 Speaker 1: Every day. 491 00:29:33,040 --> 00:29:35,600 Speaker 2: Yeah, we were told. He told me this. We were 492 00:29:35,640 --> 00:29:38,680 Speaker 2: like out at like a club or something in London, 493 00:29:39,280 --> 00:29:42,400 Speaker 2: and I was dying because I thought I misheard him 494 00:29:42,480 --> 00:29:45,640 Speaker 2: over the music. I'm like what, No, I'm like, oh, 495 00:29:45,640 --> 00:29:48,720 Speaker 2: you're kidding, and he's like no, I'm dead serious, and 496 00:29:48,760 --> 00:29:51,400 Speaker 2: then told me examples of how guys reacted. 497 00:29:51,000 --> 00:29:55,800 Speaker 1: To I'm dying that is the craziest move I've ever heard, 498 00:29:56,040 --> 00:30:01,240 Speaker 1: so unhinged, so unhitched, like something like character and would 499 00:30:01,240 --> 00:30:04,680 Speaker 1: do that being said, Satisfied is great. Satisfied is great. 500 00:30:05,560 --> 00:30:07,880 Speaker 2: Oh, wait for it, wait for it? 501 00:30:08,240 --> 00:30:10,320 Speaker 1: Best song of the whole show. Wait for it is 502 00:30:10,360 --> 00:30:12,320 Speaker 1: the one song that's the one. 503 00:30:14,920 --> 00:30:17,000 Speaker 2: Oh Man, his voice on that song is. 504 00:30:17,120 --> 00:30:20,640 Speaker 1: Just best best song of the show. That and NonStop. 505 00:30:21,520 --> 00:30:23,320 Speaker 1: There's something about NonStop. 506 00:30:26,440 --> 00:30:30,320 Speaker 2: Love. NonStop NonStop feels like you're like, Okay, I know 507 00:30:30,400 --> 00:30:32,480 Speaker 2: this is heading towards like an act break. 508 00:30:32,800 --> 00:30:33,680 Speaker 1: Yeah yeah, but. 509 00:30:33,760 --> 00:30:37,800 Speaker 2: It is like the most non cliche, like it's what 510 00:30:37,840 --> 00:30:38,480 Speaker 2: it's supposed to. 511 00:30:38,480 --> 00:30:44,000 Speaker 1: Be, right by telling storytelling, it feels so rich. I 512 00:30:44,080 --> 00:30:46,560 Speaker 1: love it. I love it, but I think it's way 513 00:30:46,640 --> 00:30:48,480 Speaker 1: for it is my favorite song of the whole show. 514 00:30:48,840 --> 00:30:53,640 Speaker 2: Yeah, that's definitely mine. Okay, I thought, like satisfied so 515 00:30:53,680 --> 00:30:58,720 Speaker 2: good that story telling. I really enjoyed more this time 516 00:30:58,720 --> 00:31:02,120 Speaker 2: than I ever have, and it made me realize how 517 00:31:02,240 --> 00:31:05,520 Speaker 2: sad like that whole storyline is. 518 00:31:06,480 --> 00:31:08,720 Speaker 1: I love them though, I love that. I love that 519 00:31:08,880 --> 00:31:11,320 Speaker 1: like she was the one who gave her her sister, 520 00:31:11,440 --> 00:31:13,360 Speaker 1: but then like she's still in love with him, and 521 00:31:13,440 --> 00:31:15,680 Speaker 1: yet they still joke about it, and there's this whole 522 00:31:15,720 --> 00:31:18,960 Speaker 1: thing and then she goes and she's like, Oh, I'm 523 00:31:18,960 --> 00:31:20,640 Speaker 1: so glad you're here. And she's like, I'm not here 524 00:31:20,640 --> 00:31:23,000 Speaker 1: for you, I'm here for my sister. And it's like, oh, 525 00:31:23,040 --> 00:31:24,920 Speaker 1: it's so good. I love the sister story. 526 00:31:25,320 --> 00:31:26,800 Speaker 2: You know you were talking about Act two, how you 527 00:31:26,840 --> 00:31:31,640 Speaker 2: normally listen to Act one more? Yes, same, But I 528 00:31:31,760 --> 00:31:33,840 Speaker 2: really like Act too, how it sort of gets in 529 00:31:33,880 --> 00:31:37,160 Speaker 2: the weeds about like the politics of it, Like they're 530 00:31:37,240 --> 00:31:40,520 Speaker 2: down and dirty, like the not glamorous, fun youthful parts. 531 00:31:40,800 --> 00:31:42,400 Speaker 1: Yeah, like the kabinet battle kind. 532 00:31:42,240 --> 00:31:45,160 Speaker 2: Of thing, you know, love a talkie, love a west Wing, 533 00:31:45,560 --> 00:31:49,600 Speaker 2: And I really got that like political bitch scratched from 534 00:31:49,640 --> 00:31:50,640 Speaker 2: that whole second act. 535 00:31:50,920 --> 00:31:54,600 Speaker 1: Also one last time, George Washington, Chris, I kind of 536 00:31:54,720 --> 00:31:58,920 Speaker 1: oh my god, oh god, that number is just a 537 00:31:59,080 --> 00:32:02,960 Speaker 1: show'stop for truly, That's what. 538 00:32:02,880 --> 00:32:06,440 Speaker 2: I mean, where like I can't imagine other people like 539 00:32:06,560 --> 00:32:09,320 Speaker 2: these songs fit and maybe just because of how they're singing. 540 00:32:09,360 --> 00:32:11,360 Speaker 2: I know this sounds so dumb because obviously all shows 541 00:32:11,360 --> 00:32:13,080 Speaker 2: are written for the people who originate the roles. But 542 00:32:14,240 --> 00:32:18,959 Speaker 2: I know that going into it, but it felt like 543 00:32:19,040 --> 00:32:23,280 Speaker 2: there's so many references to like eighties and nineties and 544 00:32:23,360 --> 00:32:25,720 Speaker 2: early two thousands rap and hip hop and R and B, 545 00:32:27,720 --> 00:32:31,560 Speaker 2: and those are also complex individually like different era like 546 00:32:32,040 --> 00:32:37,200 Speaker 2: eras within those genres. When those guys are singing those melodies, 547 00:32:37,240 --> 00:32:40,959 Speaker 2: like they sound like specific like singers from different eras, 548 00:32:41,000 --> 00:32:44,400 Speaker 2: and their voices matched those singers, like the references so 549 00:32:44,520 --> 00:32:48,160 Speaker 2: perfectly that I was like, oh my god, I'm like, 550 00:32:48,200 --> 00:32:51,920 Speaker 2: this almost sounds like something that I remember, and it 551 00:32:52,040 --> 00:32:55,160 Speaker 2: just makes me feel all warm, Like his voice is 552 00:32:55,200 --> 00:32:55,840 Speaker 2: so stupid. 553 00:32:56,960 --> 00:33:04,800 Speaker 1: Who wins Chris? He is so special? I mean, Washington 554 00:33:04,880 --> 00:33:07,800 Speaker 1: is not my favorite characters in the show. Yeah, yeah, 555 00:33:07,840 --> 00:33:13,000 Speaker 1: and the relationship between them and I and also obviously Camember, 556 00:33:13,200 --> 00:33:17,960 Speaker 1: but it's all h that number. 557 00:33:18,160 --> 00:33:19,760 Speaker 2: And you know what I think the show does a 558 00:33:19,760 --> 00:33:23,680 Speaker 2: good job of is where I think we get a 559 00:33:23,720 --> 00:33:26,040 Speaker 2: little out of hand doing like I feel like we 560 00:33:26,080 --> 00:33:30,320 Speaker 2: try to sanitize these really popular known figures, not just 561 00:33:30,440 --> 00:33:35,040 Speaker 2: historical but like anybody artists whoever when we try to 562 00:33:35,120 --> 00:33:40,080 Speaker 2: like tell their story m hm, and that's so uninteresting 563 00:33:40,960 --> 00:33:43,680 Speaker 2: and it to me, and it like also tries to 564 00:33:43,800 --> 00:33:47,920 Speaker 2: like make people holier than thou, like these people are 565 00:33:47,960 --> 00:33:50,640 Speaker 2: messy and usually these people were still talking about them 566 00:33:50,680 --> 00:33:54,160 Speaker 2: because getting to where they need to be for that 567 00:33:54,240 --> 00:33:59,360 Speaker 2: to happen is messy. And I like that he didn't 568 00:33:59,400 --> 00:34:03,360 Speaker 2: really stand tize Hamilton's story. We're like, sure, some of 569 00:34:03,360 --> 00:34:05,520 Speaker 2: the things are romanticized. 570 00:34:05,240 --> 00:34:08,520 Speaker 1: Sure, like, but the truth is really the. 571 00:34:08,480 --> 00:34:12,120 Speaker 2: Truth is there. And he was a very imperfect person, 572 00:34:12,239 --> 00:34:14,280 Speaker 2: as were all these guys, and they were all trying 573 00:34:14,280 --> 00:34:18,040 Speaker 2: to like figure these things out and right right in 574 00:34:18,160 --> 00:34:21,959 Speaker 2: terms of like what a musical does, I feel like, yes, 575 00:34:22,360 --> 00:34:24,680 Speaker 2: it is the world in which it was really sanitized. 576 00:34:25,120 --> 00:34:28,000 Speaker 1: Yeah yeah, yeah, yeah. We didn't sugarfut this though too 577 00:34:28,120 --> 00:34:31,560 Speaker 1: much and too much yeah yeah yeah, but yeah, and 578 00:34:31,840 --> 00:34:33,480 Speaker 1: I think that made it. Part of it was they 579 00:34:33,520 --> 00:34:36,879 Speaker 1: were both flawed, right, like Burr and Hamilton. They came 580 00:34:36,920 --> 00:34:40,960 Speaker 1: from different backgrounds but yet similar and different, and the 581 00:34:41,000 --> 00:34:43,920 Speaker 1: way that they went about their whole lives was very different, 582 00:34:44,000 --> 00:34:46,480 Speaker 1: which he made very clear in the story. But then 583 00:34:46,880 --> 00:34:49,520 Speaker 1: that they were both like he was having the affair 584 00:34:49,640 --> 00:34:53,560 Speaker 1: and then Lynna the affair, and like all these pieces 585 00:34:54,520 --> 00:34:58,440 Speaker 1: they they were were they driven, like it makes it 586 00:34:58,480 --> 00:35:01,879 Speaker 1: was a question like were they drive and by the 587 00:35:01,920 --> 00:35:06,360 Speaker 1: power and the thing that they wanted right their north star? 588 00:35:07,080 --> 00:35:09,040 Speaker 1: Or were they you know, doing the right thing, so 589 00:35:09,280 --> 00:35:12,000 Speaker 1: and I think that's that's what's masterfully craft Yeah. 590 00:35:11,840 --> 00:35:14,000 Speaker 2: Because the ends. I think also it's like in these 591 00:35:14,080 --> 00:35:17,200 Speaker 2: the answer is usually not one or the other. It's 592 00:35:17,239 --> 00:35:20,160 Speaker 2: like we know where history is, like we know how 593 00:35:20,160 --> 00:35:24,120 Speaker 2: it got there, so it doesn't really necessarily matter, hmm, 594 00:35:25,680 --> 00:35:29,360 Speaker 2: like what the motivations were at different times, because we 595 00:35:29,440 --> 00:35:32,440 Speaker 2: can still track what happened, right, And like it's just 596 00:35:32,680 --> 00:35:37,359 Speaker 2: these people are human and they make mistakes and circumstances 597 00:35:37,360 --> 00:35:40,000 Speaker 2: reveal different parts of yourselves and they're learning and we're 598 00:35:40,040 --> 00:35:45,000 Speaker 2: learning about them through it. And yeah, and there's some 599 00:35:45,040 --> 00:35:50,160 Speaker 2: great music narrating it. You know, well so many lyrics. 600 00:35:51,040 --> 00:35:53,960 Speaker 1: I mean, so many freaking words. I do not any 601 00:35:53,960 --> 00:35:56,160 Speaker 1: of the people who are in the show. I mean 602 00:35:56,200 --> 00:35:58,319 Speaker 1: it's a lot to learn obviously once you're doing it, 603 00:35:58,360 --> 00:36:01,280 Speaker 1: but like every night you cannot be on automatic pilot, 604 00:36:01,400 --> 00:36:02,239 Speaker 1: like you have to. 605 00:36:02,239 --> 00:36:06,080 Speaker 2: Be on how do they do this eight times a week? 606 00:36:07,120 --> 00:36:09,560 Speaker 1: That you really have? Those are the the. 607 00:36:09,520 --> 00:36:11,239 Speaker 2: Athletes, yes? Is there Olympians? 608 00:36:11,440 --> 00:36:16,640 Speaker 1: Yes, yes, especially Hamilton and Burr like that, I mean 609 00:36:16,680 --> 00:36:20,320 Speaker 1: all of them. But like there's so many words. 610 00:36:21,560 --> 00:36:23,440 Speaker 2: So when we were rehearsing for Spelling Bee, and I 611 00:36:23,480 --> 00:36:26,879 Speaker 2: told you that Lynn was rehearsing, was workshopping I think 612 00:36:27,080 --> 00:36:30,360 Speaker 2: a specific number from his new show Warriors. M h, 613 00:36:30,840 --> 00:36:33,399 Speaker 2: that's not a secret people he's making Warriors. I don't 614 00:36:33,400 --> 00:36:35,440 Speaker 2: know what it's about. I don't know what it is, right, 615 00:36:35,640 --> 00:36:39,640 Speaker 2: and I didn't hear anything, right, But obviously we were 616 00:36:39,680 --> 00:36:43,000 Speaker 2: all like, what's going on in there? Any we could see, 617 00:36:43,040 --> 00:36:44,440 Speaker 2: like we know, we hung out with the people that 618 00:36:44,480 --> 00:36:47,440 Speaker 2: were in there, just like super stupid talented group of people, 619 00:36:47,800 --> 00:36:50,400 Speaker 2: and they were just working through like a specific number 620 00:36:51,080 --> 00:36:53,520 Speaker 2: and now they're like going to be doing a proper 621 00:36:55,160 --> 00:36:56,040 Speaker 2: like workshop of it. 622 00:36:56,120 --> 00:36:57,719 Speaker 1: But that was just very exciting. 623 00:36:58,080 --> 00:37:00,560 Speaker 2: Yeah, and so it was really cool to be able 624 00:37:00,600 --> 00:37:05,000 Speaker 2: to see earlier on in the process of like I'm 625 00:37:05,040 --> 00:37:08,439 Speaker 2: sure that has to feel like some sort of weight 626 00:37:09,120 --> 00:37:12,759 Speaker 2: maybe of like what he follows up Hamilton with right 627 00:37:12,920 --> 00:37:14,919 Speaker 2: in the theater world. Obviously he's done tons of things 628 00:37:14,920 --> 00:37:21,200 Speaker 2: since Hamilton that's been wildly successful. But yeah, being able 629 00:37:21,239 --> 00:37:29,080 Speaker 2: to sort of watch him and his creative world, it's. 630 00:37:29,120 --> 00:37:34,520 Speaker 1: Very fascinating, very big big. I wonder how much stress 631 00:37:34,560 --> 00:37:38,719 Speaker 1: he has, like creating the next show because it's obviously 632 00:37:39,640 --> 00:37:43,640 Speaker 1: not Hamilton and it's but it's Lynn, but like, how 633 00:37:43,680 --> 00:37:46,759 Speaker 1: do you kind of drown out the noise of like 634 00:37:47,080 --> 00:37:50,960 Speaker 1: I trusting the next thing, and he is just he 635 00:37:51,000 --> 00:37:53,600 Speaker 1: doesn't do anything without such detail. 636 00:37:53,719 --> 00:37:57,360 Speaker 2: And he did come to the be this weekend, which. 637 00:37:57,160 --> 00:37:59,520 Speaker 1: Is kind how exciting. Was he a good seller? 638 00:38:01,200 --> 00:38:05,440 Speaker 2: Yes? To be fair, though I don't think Jason, who 639 00:38:05,440 --> 00:38:07,360 Speaker 2: plays panch game a really hard word that. 640 00:38:09,440 --> 00:38:12,200 Speaker 1: Yeah, Oh my gosh. 641 00:38:12,239 --> 00:38:14,680 Speaker 2: And his son's friend who's a great speller, was also 642 00:38:14,800 --> 00:38:17,560 Speaker 2: up there with us. It was great to have him. 643 00:38:17,640 --> 00:38:20,000 Speaker 2: He it's like one of his favorite shows, so it's 644 00:38:20,480 --> 00:38:21,879 Speaker 2: a privilege. 645 00:38:22,239 --> 00:38:25,880 Speaker 1: I mean truly, that is the mecca you've had Harry 646 00:38:25,880 --> 00:38:30,280 Speaker 1: Potter and Alexander Hamilton. Should we do some CHARTI takes sure. 647 00:38:30,360 --> 00:38:31,920 Speaker 2: I mean I don't even Yeah, I don't think there's 648 00:38:31,920 --> 00:38:33,000 Speaker 2: any cringe moments. 649 00:38:33,600 --> 00:38:38,000 Speaker 1: No, no, best dance move, my shot, Yeah, it has 650 00:38:38,040 --> 00:38:44,319 Speaker 1: to be my shot. Also the Yorktown, the world, turn 651 00:38:44,440 --> 00:38:50,120 Speaker 1: up number and shout out to the floor. You're sliding 652 00:38:50,200 --> 00:38:55,240 Speaker 1: on the floor. Yes, the minute, Yes, tiniest shoulders. 653 00:38:55,719 --> 00:38:55,839 Speaker 2: Uh. 654 00:38:57,120 --> 00:39:00,239 Speaker 1: Best song wait, I mean he said it? Wait right? 655 00:39:00,719 --> 00:39:03,360 Speaker 1: Performs by a prop I think the bullet. 656 00:39:05,320 --> 00:39:07,120 Speaker 2: I'm gonna go with John's Crown. 657 00:39:07,880 --> 00:39:12,879 Speaker 1: Oh that's a good one too. Best line, Oh my god, 658 00:39:13,440 --> 00:39:18,839 Speaker 1: I mean I don't know. That's that's a big tall 659 00:39:18,920 --> 00:39:22,960 Speaker 1: glass order. What is it tall order? 660 00:39:25,880 --> 00:39:27,719 Speaker 2: What is it tall order? 661 00:39:28,000 --> 00:39:30,240 Speaker 1: Tall order? I don't know why I imagine a glass 662 00:39:30,280 --> 00:39:36,040 Speaker 1: when I say that. Okay, you know what made me laugh? 663 00:39:36,080 --> 00:39:41,080 Speaker 1: You punched the burs. Yes, yes, I don't know a favor. 664 00:39:41,360 --> 00:39:42,200 Speaker 1: I can't pick your favorite. 665 00:39:44,320 --> 00:39:49,080 Speaker 2: Yeah, and with that performs m v P. 666 00:39:52,000 --> 00:39:53,320 Speaker 1: God. I don't know. 667 00:39:53,440 --> 00:39:57,160 Speaker 2: I mean that's an ensemble, like you can't. 668 00:39:59,120 --> 00:40:04,399 Speaker 1: Obviously like Lynn and Leslie and Chris, but like, really 669 00:40:05,320 --> 00:40:07,200 Speaker 1: this is all you can do now? 670 00:40:07,680 --> 00:40:09,920 Speaker 2: No, absolutely not? And a quick shit we found on 671 00:40:09,960 --> 00:40:11,960 Speaker 2: TikTok before we leave, the One and Only Chris Olsen 672 00:40:12,680 --> 00:40:17,200 Speaker 2: just a picture of him crying and he's playing the 673 00:40:17,320 --> 00:40:19,040 Speaker 2: end of Hamilton's I think this might be the best 674 00:40:19,120 --> 00:40:20,160 Speaker 2: ending of a musical of all time. 675 00:40:20,520 --> 00:40:20,920 Speaker 1: I agreed. 676 00:40:21,280 --> 00:40:23,520 Speaker 2: Yeah, I think that's accurate. That sums up our feelings. 677 00:40:23,560 --> 00:40:26,600 Speaker 2: I just think this show is obviously special. Get over yourselves. 678 00:40:26,640 --> 00:40:31,680 Speaker 2: If you think it's cringe, who cares? Yeah, all popular 679 00:40:31,719 --> 00:40:33,480 Speaker 2: things are looked like that at some point. But it's 680 00:40:33,520 --> 00:40:36,160 Speaker 2: such a solid show. There's so much depth to it. 681 00:40:36,239 --> 00:40:40,279 Speaker 2: It's wonderfully rich with character and great music and storytelling. 682 00:40:40,320 --> 00:40:41,600 Speaker 1: It's just go watch the pro shot. 683 00:40:41,640 --> 00:40:47,680 Speaker 2: It's wonderful. Yeah so good. Yeah, dude, kick back. It flies. 684 00:40:47,760 --> 00:40:52,759 Speaker 2: By next week, we're watching That Thing You Do, which 685 00:40:52,840 --> 00:40:55,920 Speaker 2: I don't think I've even seen since the nineties. It's incredible. 686 00:40:56,040 --> 00:41:00,000 Speaker 2: It's Tom Hanks's writing and directorial debut. It's I just remember, 687 00:41:00,040 --> 00:41:04,280 Speaker 2: are making me feel all warm inside and that's great music. 688 00:41:05,200 --> 00:41:07,560 Speaker 2: So watch That Thing You Do. You can thank us later, 689 00:41:07,840 --> 00:41:10,160 Speaker 2: I hope, if it's still good, if it holds up, 690 00:41:10,200 --> 00:41:12,000 Speaker 2: we'll see. That's the truth. 691 00:41:12,080 --> 00:41:12,520 Speaker 1: Mess Bye. 692 00:41:13,000 --> 00:41:16,080 Speaker 2: Thanks for listening and follow us on Instagram at and 693 00:41:16,239 --> 00:41:18,440 Speaker 2: that's what you really miss pod. Make sure to write 694 00:41:18,520 --> 00:41:20,759 Speaker 2: us a review and leave us five stars. See you 695 00:41:20,800 --> 00:41:21,160 Speaker 2: next time.