WEBVTT - Jesse Tyler Ferguson

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<v Speaker 1>Hey, everybody, it's Bruce. Welcome back to the table. We

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<v Speaker 1>are at the Sunset Tower Bar. I could not be

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<v Speaker 1>more excited. It is a beautiful day in sunny SoCal.

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<v Speaker 1>Are you gonna eat yeah, oh yeah, I'm gonna do

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<v Speaker 1>like I do, my typical chop salad with chicken. Oh

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<v Speaker 1>that's good. I love the chop sad. Yeah. Today we're

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<v Speaker 1>having lunch with an acclaimed Broadway actor, a Tony winner,

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<v Speaker 1>an acclaimed television star, an Emmy winner, a gentleman who

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<v Speaker 1>has launched a podcast or our show is similar? Do

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<v Speaker 1>I ask similar questions? You're like a star, You're great

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<v Speaker 1>at this. No, you're a great conversation a star. So

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<v Speaker 1>sit back and let's enjoy lunch with this incredibly funny

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<v Speaker 1>man and talented actor, Jesse Tayler Ferguson.

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<v Speaker 2>I'm Bruce Bosi and this is my podcast Table for two.

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<v Speaker 1>If you pulled up a chair today on Table for two,

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<v Speaker 1>we're sitting with an incredible actor, very acclaimed actor. I'm

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<v Speaker 1>one of the most successful television shows we all know,

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<v Speaker 1>Modern Family, which I've a lot of questions about a

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<v Speaker 1>Tony Winner. Yes, incredibly all around great guy. I know

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<v Speaker 1>you Jesse Tyler Ferguson, Welcome to Table for two.

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<v Speaker 3>I'm so glad finally doing this. I know me too,

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<v Speaker 3>Like we tried to do this.

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<v Speaker 1>Like a year ago we did. Jess and I sort

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<v Speaker 1>of have a similar podcast going on, which is I

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<v Speaker 1>do lunch, Jesse does dinner, and I know that the

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<v Speaker 1>genesis for me was I believed in the romance of

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<v Speaker 1>a meal and the intimacy of a connection and felt

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<v Speaker 1>that in this world of podcast and zoom is, one

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<v Speaker 1>of the things that went away was the connectivity being

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<v Speaker 1>in the same room, which is an ask for people

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<v Speaker 1>because it's not like they flip up their screen, but

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<v Speaker 1>in the nuances our lunch today, things happen. What was

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<v Speaker 1>your motivation to create you know dinners on You.

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<v Speaker 4>Said it so much more elegantly than I do, and

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<v Speaker 4>I explained mine just like the romance of it is

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<v Speaker 4>exactly spot on.

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<v Speaker 3>I just feel like.

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<v Speaker 4>There's something about having a meal with someone your guards

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<v Speaker 4>let down a little bit more. You know, it's a

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<v Speaker 4>it's something you do with people you care about. So

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<v Speaker 4>even if it's like someone I don't know so well,

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<v Speaker 4>it does feel soon intimate that we're having a shared

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<v Speaker 4>meal and you know, there's also the the you know,

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<v Speaker 4>you hear us ordering our food and like you sort

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<v Speaker 4>of get a sense of like what we're like is

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<v Speaker 4>real people, which.

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<v Speaker 3>I think is interesting.

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<v Speaker 4>But you know, the same thing for you know, you

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<v Speaker 4>know during the pandemic when sort of everything switched to

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<v Speaker 4>zoom and then it kind of just stayed that way.

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<v Speaker 4>I thought, if I'm going to do this, I want

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<v Speaker 4>to look for a reason where like I have.

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<v Speaker 3>To be sitting with someone real time, and.

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<v Speaker 4>Like the rules of this podcast and is as you

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<v Speaker 4>well know, like you have to be in person and

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<v Speaker 4>you have to you must arrive at the same place

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<v Speaker 4>and share a meal together. And it's just it's part

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<v Speaker 4>of it's part of what makes the podcast special.

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<v Speaker 1>Yeah, you're right, and the like normally, like Jeff, we're

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<v Speaker 1>at the tower and Jeff allows us to use this

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<v Speaker 1>private space. But sometimes we're in the terrace. Yeah, and

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<v Speaker 1>you know, and there's noise or we have the mullet

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<v Speaker 1>king Eric behind you. It will come and you know,

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<v Speaker 1>you know, and it's all about the interaction of again connectivity.

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<v Speaker 1>That's cool. So when you do Dinners on Me, which

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<v Speaker 1>and I love that you have the same you know,

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<v Speaker 1>the same thought process is there some sort of common

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<v Speaker 1>thread with humans that you're finding, because you know, I

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<v Speaker 1>think we both we kind of sit in the same

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<v Speaker 1>room in regard to the same kind of guests, very

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<v Speaker 1>you know, entertainment oriented journeys. Who have you found anything

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<v Speaker 1>that well.

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<v Speaker 4>It's been mostly and maybe you found this too when

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<v Speaker 4>you're when you were starting off. I mean, you have

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<v Speaker 4>a I know, you know a lot of really incredible

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<v Speaker 4>entertaining people, and so like I went to my own

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<v Speaker 4>rolodext first, and so that sort of set the tone

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<v Speaker 4>of like who was going to then come in? And

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<v Speaker 4>you know, because I have such wonderful people who said

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<v Speaker 4>yes so early on, like Tracy Ellis Ross and Jesse

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<v Speaker 4>Williams and Julie Bowen and Chelsea Clinton, who's a buddy

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<v Speaker 4>of mine. Like, because I was able to sort of

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<v Speaker 4>set the tone with these incredible guests, I've been able

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<v Speaker 4>to get other people who I don't know as well on,

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<v Speaker 4>like Aquafina and I just had I mean a Savari

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<v Speaker 4>on recently and I've never met her before, Paul Vegus,

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<v Speaker 4>someone I don't know.

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<v Speaker 1>Yeah, So you find it harder or easy?

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<v Speaker 4>Yeah, interesting, I find it a little harder to interview

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<v Speaker 4>the people I know really really well.

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<v Speaker 1>Me too, Yeah, because you kind of sink into something. Yeah,

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<v Speaker 1>that's and it.

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<v Speaker 4>Feels like weird and fraudulent to almostly be asking questions

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<v Speaker 4>that you know the answers to.

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<v Speaker 1>Yeah, it's true. And you have to be careful of

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<v Speaker 1>being too inside, right because you get too inside and

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<v Speaker 1>the people that have pulled up the chair and I

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<v Speaker 1>love the figurative, the idea that you and I are

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<v Speaker 1>having lunch and there are people yes on wood that

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<v Speaker 1>are having lunch or in their cars and they I mean,

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<v Speaker 1>I get feedback which is like, yeah, it really wonderful.

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<v Speaker 3>I feel like you're fly on the wall.

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<v Speaker 1>The do you have. I mean it's so hard. People

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<v Speaker 1>ask me like who are some of my favorite guests?

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<v Speaker 1>And I never have an answer for them, just because

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<v Speaker 1>it's all about.

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<v Speaker 4>The conversations that surprised you. You thought it would go

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<v Speaker 4>one way and it ended up being a whole other conversation.

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<v Speaker 1>Oh that's yeah. Yeah, yeah, yeah, I think you know

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<v Speaker 1>with Anna, who is so intimidating, so I bring her

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<v Speaker 1>up not to be so name drop because she saw her,

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<v Speaker 1>but she was really there was a lot of humility

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<v Speaker 1>and there was a lot of generosity in this conversation

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<v Speaker 1>where people are so look at her as being so

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<v Speaker 1>stoic and some cold.

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<v Speaker 3>Yes.

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<v Speaker 1>Tom Ford was he that's his table over there, and

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<v Speaker 1>he was very Uh, I didn't want to talk about fashion.

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<v Speaker 1>Oh interesting, you know fashion? Was like not. You know,

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<v Speaker 1>he wears his uniform, which is you know what you've

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<v Speaker 1>seen him in his whole life. He's like, so, yeah,

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<v Speaker 1>you know with the nuances of what you know, but

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<v Speaker 1>nothing stands out. It's all a bo right blur, like

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<v Speaker 1>from blur, think God were recording me exactly. So you

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<v Speaker 1>born and raised in Albuquerque.

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<v Speaker 4>Yeah, well no, I was born in Montana. But the yeah,

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<v Speaker 4>I only lived in Montana for the first year of

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<v Speaker 4>my life.

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<v Speaker 1>It's so funny, I said to Brian two nights ago,

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<v Speaker 1>to Montana. It's great, beautiful. I hadn't been there since

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<v Speaker 1>I was born.

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<v Speaker 4>And then my dad threw his seventieth birthday party there

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<v Speaker 4>in Missoli, Montana, which is the town I was born in,

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<v Speaker 4>and so I I went to that. That was That's

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<v Speaker 4>the basically the first time I got to experience Montana

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<v Speaker 4>and it's gorgeous.

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<v Speaker 1>It's beautiful. Yeah. So Albuquerque ways like I mean, it's

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<v Speaker 1>an interesting journey from Albuquerque to eventually being on Broadway, Like,

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<v Speaker 1>that's not how did that?

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<v Speaker 3>How did you traverse that?

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<v Speaker 4>Well? I mean I became when I was young. I

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<v Speaker 4>found a lot of comfort in theater. I didn't have

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<v Speaker 4>a lot of a lot of friends at school, and

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<v Speaker 4>I found my people to be, you know, the artistic types.

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<v Speaker 4>And there was no big theater program or there was

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<v Speaker 4>really the zero theater program in my grade school and

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<v Speaker 4>also my high school, and so I had to look

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<v Speaker 4>for extracurricular places to do that. And there was a

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<v Speaker 4>pretty good children's theater company in Albuquerque, New Mexico that

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<v Speaker 4>I joined, and I just found myself to be so

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<v Speaker 4>much more myself and comfortable around these other kids who

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<v Speaker 4>were like, you know, playing theater games right zip zaps

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<v Speaker 4>ofp and I just I just really blossomed. And so

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<v Speaker 4>it was something that I think when I think about

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<v Speaker 4>like how I fell in love with theater, I think

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<v Speaker 4>it's because theater felt like it was finally a safe

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<v Speaker 4>space for me, and I was able to really you know,

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<v Speaker 4>explore parts of myself that I just felt like I

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<v Speaker 4>couldn't do yeah at school, I you know, I think

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<v Speaker 4>at that certainly at that young, young age. I didn't

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<v Speaker 4>know that I was gay. I didn't know what that meant.

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<v Speaker 1>But so because you said safe place, which made me

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<v Speaker 1>want to you know, because I certainly didn't either, but

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<v Speaker 1>I certainly knew I was different. And the other kids

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<v Speaker 1>who have this like ability to sense things and be mean, yeah,

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<v Speaker 1>you I they sense they since and they they're the

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<v Speaker 1>ones that would tell me like, oh you're gay, right

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<v Speaker 1>and an usually not nice.

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<v Speaker 3>Way, usually usually followed by get them right.

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<v Speaker 1>Well, you know you're so self conscious. Yeah, I don't

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<v Speaker 1>understand that.

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<v Speaker 4>Age when you're self conscious about everything, right, so you

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<v Speaker 4>don't want to get called out for anything, right, So

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<v Speaker 4>uh yeah, when I say safe space, I think that

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<v Speaker 4>I didn't realize even what I was trying to be

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<v Speaker 4>safe from, but it just felt like more secure around

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<v Speaker 4>these people. And that's I think that I do think

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<v Speaker 4>that theater in that way sort of saved me, protected me.

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<v Speaker 4>So that's why I have this great, great affinity for it, right,

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<v Speaker 4>And it just always feels.

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<v Speaker 1>Like it came like your tribe. Yeah yeah, and when

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<v Speaker 1>you went to did you get out of Albuquerque when

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<v Speaker 1>you were going to college or you moved to New York? Right?

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<v Speaker 4>Yeah, I mean, I was able to go to New

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<v Speaker 4>York when I was in high school as part of it.

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<v Speaker 4>So I was part of a French exchange program, and

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<v Speaker 4>it was our year to go to to like Paris

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<v Speaker 4>and spend some time in France, like basically a month

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<v Speaker 4>in France. And there's also an opportunity to go to

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<v Speaker 4>New York City for like five days with my local

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<v Speaker 4>community theater. Okay, and my parents said, you have to

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<v Speaker 4>choose one or the other, and I chose to go

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<v Speaker 4>to New York for five days rather than France for

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<v Speaker 4>a month.

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<v Speaker 1>Wow.

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<v Speaker 4>I had never been to Broadway and it was just

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<v Speaker 4>like you might watched the Tony Awards, and I had

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<v Speaker 4>this just this like kind of a fantasy version of

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<v Speaker 4>like what New York was in my head, and I

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<v Speaker 4>needed to see if it was actually real because I

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<v Speaker 4>was getting to that point where like I was going

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<v Speaker 4>to graduate from high school at some point in the

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<v Speaker 4>near future, and I wanted to know if that's where

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<v Speaker 4>I should go. And I just had a feeling that

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<v Speaker 4>it was it was going to feel right, and so

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<v Speaker 4>I had to take the opportunity to go to New

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<v Speaker 4>York for for a week.

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<v Speaker 1>And did you see do you remember what you saw?

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<v Speaker 1>Uh huh, okay, tell me and what.

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<v Speaker 4>Ye yes, well it was nineteen ninety two or three, right.

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<v Speaker 1>You're sure? I mean literally there's a full like because

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<v Speaker 1>I was eighty four. So the theater that was, you know, yeah.

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<v Speaker 3>Like the original of the Kaja Phone.

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<v Speaker 1>Oh yeah, I saw that, the original Dream amazing, It's incredible,

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<v Speaker 1>the original Sweeney incredible because I grew up in Yeah, yeah, yeah, but.

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<v Speaker 3>I saw well.

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<v Speaker 4>The shows that we were scheduled to see were Fan

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<v Speaker 4>of the Opera, Guys and Dolls with Naple Lane and

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<v Speaker 4>Faith Prince, that incredible revival.

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<v Speaker 1>What else was it?

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<v Speaker 3>I think it was Cats and The Secret Garden.

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<v Speaker 4>Okay, and I think I played hooky And I didn't

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<v Speaker 4>see Cats because it was my first night in New

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<v Speaker 4>York and I really desperately wanted to see Falsettos, which

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<v Speaker 4>was not on our list of shows to see from

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<v Speaker 4>Albuquerque in Mexico. The Blue Hairs of Albuquerque, Mexican were

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<v Speaker 4>not interested in seeing Falsettos, a quirky William Finn musical

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<v Speaker 4>about you know, same sex couple, and I had. I

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<v Speaker 4>was aware of it because I'd seen it on the

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<v Speaker 4>Tony Ward. So I went to the t kt S

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<v Speaker 4>booth and bought a ticket to go see Falsettos by myself.

0:11:03.200 --> 0:11:05.240
<v Speaker 4>And that was the very first Probably show I ever saw.

0:11:06.400 --> 0:11:08.839
<v Speaker 4>That's a good one. That's a really good one.

0:11:08.880 --> 0:11:10.559
<v Speaker 1>I mean, it's a it's a good one, and it's

0:11:10.559 --> 0:11:14.640
<v Speaker 1>a great story. It says a lot about your strength too.

0:11:14.760 --> 0:11:16.320
<v Speaker 3>Yeah, it was part of that.

0:11:16.679 --> 0:11:19.720
<v Speaker 4>I felt like, I, yeah, I was afraid to ask

0:11:19.840 --> 0:11:23.360
<v Speaker 4>about that show to the people who were planning this trip.

0:11:23.600 --> 0:11:25.880
<v Speaker 3>I didn't even tell my parents that thought I was

0:11:25.920 --> 0:11:27.000
<v Speaker 3>going to do that. You know, I hear.

0:11:27.040 --> 0:11:28.600
<v Speaker 4>I had a free ticket to Probably show and I

0:11:28.679 --> 0:11:30.240
<v Speaker 4>let it go and I spend money, with my own

0:11:30.240 --> 0:11:33.280
<v Speaker 4>hard money to see something else. But I did feel like, Okay,

0:11:33.280 --> 0:11:35.240
<v Speaker 4>I'm here in the city by myself. No one knows

0:11:35.240 --> 0:11:38.960
<v Speaker 4>who I am. I felt comfortable and securely going up

0:11:39.000 --> 0:11:40.680
<v Speaker 4>to the booth and buying a ticket for it. Almost

0:11:40.679 --> 0:11:42.160
<v Speaker 4>felt like I was going into like a you know,

0:11:42.640 --> 0:11:44.800
<v Speaker 4>I guess I'm like like looking at a porn magazine

0:11:44.840 --> 0:11:46.559
<v Speaker 4>or something like. Yeah, I was afraid that something need

0:11:46.559 --> 0:11:48.640
<v Speaker 4>to do this. Yeah, and yet it was just a

0:11:48.640 --> 0:11:49.320
<v Speaker 4>Probably musical.

0:11:49.920 --> 0:11:53.000
<v Speaker 1>No. But unless it's the same feeling, especially because of

0:11:53.040 --> 0:11:55.360
<v Speaker 1>the subject matter of the show, I think that made

0:11:55.400 --> 0:11:57.959
<v Speaker 1>it makes it seem like you were doing something maybe

0:11:58.880 --> 0:12:01.400
<v Speaker 1>you are you hide I was hiding a little bit, yeah,

0:12:01.640 --> 0:12:04.440
<v Speaker 1>you know, and that's brave.

0:12:05.000 --> 0:12:05.440
<v Speaker 3>Yeah.

0:12:05.600 --> 0:12:10.120
<v Speaker 4>It was definitely a moment that solidified my desire to

0:12:10.160 --> 0:12:12.280
<v Speaker 4>move to New York. Right, And not only that, but

0:12:12.320 --> 0:12:15.720
<v Speaker 4>that show is so imprinted so much on me. Like

0:12:15.800 --> 0:12:18.320
<v Speaker 4>I you know, I obviously knew who William Finn was.

0:12:18.400 --> 0:12:20.720
<v Speaker 4>I was a fan of his music, but you know,

0:12:20.760 --> 0:12:22.199
<v Speaker 4>I was looking through the program, I was like, oh,

0:12:22.200 --> 0:12:23.760
<v Speaker 4>it's just the director James of Pine.

0:12:23.800 --> 0:12:23.880
<v Speaker 1>Oh.

0:12:23.960 --> 0:12:25.640
<v Speaker 4>He directed you know, Sending the Park with George and

0:12:25.679 --> 0:12:27.840
<v Speaker 4>Into the Woods, Like these are shows that I absolutely loved.

0:12:27.880 --> 0:12:31.640
<v Speaker 4>And you know, I put those two names on my

0:12:31.720 --> 0:12:33.400
<v Speaker 4>dream board like people I would love to work with

0:12:33.440 --> 0:12:36.120
<v Speaker 4>one day. And you know, I mean, if we fast

0:12:36.160 --> 0:12:37.960
<v Speaker 4>forward a little bit, that's exactly what happened. I mean

0:12:38.120 --> 0:12:39.880
<v Speaker 4>I got to work with both of them on the

0:12:39.880 --> 0:12:41.679
<v Speaker 4>twenty fifth annual putin Kunty spelling basis.

0:12:41.720 --> 0:12:44.280
<v Speaker 1>Oh my god, right, you were so amazed. That was

0:12:44.320 --> 0:12:44.840
<v Speaker 1>so good.

0:12:44.880 --> 0:12:45.280
<v Speaker 3>Thank you.

0:12:46.520 --> 0:12:50.120
<v Speaker 1>Did you then graduate and go and pursue the career?

0:12:50.360 --> 0:12:52.400
<v Speaker 1>I should know this. She didn't know, Well, did you

0:12:52.440 --> 0:12:53.000
<v Speaker 1>go to the I.

0:12:53.000 --> 0:12:54.000
<v Speaker 3>Didn't go to college.

0:12:54.040 --> 0:12:56.120
<v Speaker 4>Per se I went to. I always say I didn't

0:12:56.160 --> 0:13:01.800
<v Speaker 4>take college. I got a certificate of Complete from the

0:13:01.840 --> 0:13:06.120
<v Speaker 4>American Musical Dramatic Academy, which is a two year program. Okay,

0:13:06.200 --> 0:13:07.839
<v Speaker 4>if had some great talent that it's come out there,

0:13:08.960 --> 0:13:09.679
<v Speaker 4>yeah like you.

0:13:11.440 --> 0:13:14.360
<v Speaker 3>But yeah, you know, I auditioned for like regional theaters.

0:13:14.360 --> 0:13:17.440
<v Speaker 4>I wasn't part of the Actors Equity Association at that point.

0:13:17.480 --> 0:13:20.520
<v Speaker 4>I was doing non non union work and taking whatever

0:13:20.520 --> 0:13:21.080
<v Speaker 4>I could get.

0:13:21.320 --> 0:13:24.840
<v Speaker 1>Right it had it been so different now the age

0:13:24.840 --> 0:13:29.120
<v Speaker 1>you were at in the nineties doing this versus where

0:13:29.240 --> 0:13:33.760
<v Speaker 1>we're at now for a young person, because not only

0:13:33.800 --> 0:13:37.959
<v Speaker 1>is the whole casting different because you know of representation

0:13:38.120 --> 0:13:43.320
<v Speaker 1>and justifiably so you know, it's do you think could

0:13:43.320 --> 0:13:47.520
<v Speaker 1>it be replicated your my experience and yeah, I mean

0:13:48.040 --> 0:13:49.120
<v Speaker 1>I do social media.

0:13:49.760 --> 0:13:51.160
<v Speaker 3>Yeah, well, I mean it's also different.

0:13:51.840 --> 0:13:54.720
<v Speaker 4>I do think that there is still a deep desire

0:13:54.960 --> 0:13:58.679
<v Speaker 4>to discover untapped talent and new talent and fresh talent,

0:13:58.840 --> 0:14:02.040
<v Speaker 4>right which you know I was No one had hired

0:14:02.080 --> 0:14:05.080
<v Speaker 4>me before, so like I was, you know, an unknown commodity, and.

0:14:04.920 --> 0:14:08.320
<v Speaker 3>Soone's actual audition the first thing I really booked.

0:14:08.360 --> 0:14:10.760
<v Speaker 4>That that sort of puts some wind in my sales

0:14:10.920 --> 0:14:13.800
<v Speaker 4>was the revival of On the Town that they did

0:14:14.120 --> 0:14:16.240
<v Speaker 4>the Delacorte Theater, directed by George C.

0:14:16.360 --> 0:14:16.640
<v Speaker 5>Wolf.

0:14:16.679 --> 0:14:19.119
<v Speaker 1>Yeah, of course, right, And you know, he.

0:14:19.760 --> 0:14:21.920
<v Speaker 4>Had just come off of directing Angels in America and

0:14:22.000 --> 0:14:24.600
<v Speaker 4>Jelly's Last Jam and bringing the noise, bringing the funk.

0:14:24.680 --> 0:14:28.400
<v Speaker 4>He was is extremely prolific. His next job is doing

0:14:28.920 --> 0:14:30.600
<v Speaker 4>Gypsy with Ador McDonald on Broadway.

0:14:31.640 --> 0:14:32.160
<v Speaker 1>Wait for that.

0:14:32.200 --> 0:14:34.200
<v Speaker 3>I cannot wait for that. I mean, come on, So

0:14:34.240 --> 0:14:34.640
<v Speaker 3>you know, the.

0:14:36.160 --> 0:14:38.440
<v Speaker 4>Having him sort of believe in me and give me

0:14:38.600 --> 0:14:40.880
<v Speaker 4>my first big opportunity, which was also a big speaking

0:14:40.920 --> 0:14:42.400
<v Speaker 4>role in On the Town. It wasn't like I was

0:14:42.440 --> 0:14:45.280
<v Speaker 4>just casting the ensemble and I had never been given

0:14:45.320 --> 0:14:47.600
<v Speaker 4>really much of an opportunity to even have a speaking role.

0:14:47.520 --> 0:14:49.600
<v Speaker 3>On stage, which I was fine with.

0:14:49.760 --> 0:14:50.960
<v Speaker 1>Was summer are we talking?

0:14:51.120 --> 0:14:53.160
<v Speaker 4>This is nineteen ninety seven and the show and did

0:14:53.200 --> 0:14:55.160
<v Speaker 4>have transferred to Broadway in nineteen ninety eight and also

0:14:55.240 --> 0:14:58.160
<v Speaker 4>bombing pretty miserably on Broadway. It ended up transferring to

0:14:58.160 --> 0:15:01.640
<v Speaker 4>the Gershwin Theater, which is the large house on Broadways more.

0:15:01.480 --> 0:15:04.520
<v Speaker 3>Wicked and running successful for twenty something years.

0:15:04.400 --> 0:15:08.320
<v Speaker 1>Right, nineteen ninety nine, Yeah, gets shorted. Yeah, so that's

0:15:08.320 --> 0:15:10.200
<v Speaker 1>a big break. It was a big break. That's sort

0:15:10.240 --> 0:15:14.400
<v Speaker 1>of like, you're not you're not a waiter, you're working actor.

0:15:14.480 --> 0:15:15.960
<v Speaker 4>Well I was, you know at the time, I was

0:15:16.120 --> 0:15:19.000
<v Speaker 4>bartending at the winter Garden Theater or Cats was playing.

0:15:19.360 --> 0:15:21.040
<v Speaker 4>It's like, you know, Cats like was punishing me, Like

0:15:21.320 --> 0:15:23.440
<v Speaker 4>you played hockey on us the first time, New York.

0:15:23.480 --> 0:15:25.280
<v Speaker 3>Now you're gonna have to watch the show every night.

0:15:26.000 --> 0:15:31.880
<v Speaker 4>For a year, right, you know karma, that's what they

0:15:31.920 --> 0:15:35.320
<v Speaker 4>call karma. And actually I actually really do like kind

0:15:35.320 --> 0:15:37.640
<v Speaker 4>of love Cats secretly. And there's production in New York

0:15:37.720 --> 0:15:40.320
<v Speaker 4>right now. That's Cat's been set in the ballroom scene

0:15:40.880 --> 0:15:42.760
<v Speaker 4>in New York and it is the most incredible thing

0:15:42.800 --> 0:15:45.080
<v Speaker 4>I've ever seen my own. Yeah, I hope it transfers

0:15:45.080 --> 0:15:48.880
<v Speaker 4>to Broadway called Cat's Agelica Ball. Anyway, I was working

0:15:48.880 --> 0:15:51.040
<v Speaker 4>at the winder Garden Theater and when I was auditioning

0:15:51.160 --> 0:15:53.320
<v Speaker 4>On the Town and a lot of the cast members

0:15:53.320 --> 0:15:55.880
<v Speaker 4>of Cats were also auditioning for On the Town as well.

0:15:56.080 --> 0:15:58.800
<v Speaker 4>It's a big dance show, right, and so naturally they were,

0:15:58.840 --> 0:16:01.360
<v Speaker 4>you know, three great parts for guys who dance, and

0:16:01.440 --> 0:16:04.840
<v Speaker 4>I wasn't much of a dancer. And I remember my

0:16:04.880 --> 0:16:07.280
<v Speaker 4>friend Abe Silva, who is now a great writer and

0:16:07.320 --> 0:16:10.280
<v Speaker 4>director and you know working on Pomeroyal right now. He

0:16:10.360 --> 0:16:11.720
<v Speaker 4>was in the cast of Cats, And he tells me

0:16:11.760 --> 0:16:14.320
<v Speaker 4>this funny story about when I finally got the job.

0:16:15.080 --> 0:16:18.440
<v Speaker 3>Then he and his like dressing roommate.

0:16:18.160 --> 0:16:20.600
<v Speaker 4>Were like talking about their callbacks from the town, and

0:16:20.640 --> 0:16:22.800
<v Speaker 4>someone's like, did do you even know who this is? Like,

0:16:22.800 --> 0:16:25.600
<v Speaker 4>as they're putting on their cat make did you hear

0:16:25.640 --> 0:16:26.440
<v Speaker 4>anything about on the town?

0:16:26.480 --> 0:16:27.200
<v Speaker 3>Do you know who got it?

0:16:27.280 --> 0:16:29.240
<v Speaker 4>And like it's one of the guys across the room

0:16:29.360 --> 0:16:35.720
<v Speaker 4>was like, yeah, the bartender got it, like putting the

0:16:35.720 --> 0:16:36.480
<v Speaker 4>whiskers on their.

0:16:36.360 --> 0:16:39.280
<v Speaker 3>Face, but the bartend, the bartender got it.

0:16:39.320 --> 0:16:41.480
<v Speaker 4>But then the thing is, after like I mentioned to you,

0:16:41.520 --> 0:16:43.320
<v Speaker 4>I mean, it was a short run in the park.

0:16:43.360 --> 0:16:45.400
<v Speaker 4>It was a few months, and then after that I

0:16:45.600 --> 0:16:47.640
<v Speaker 4>didn't have a job. So I went back. I went

0:16:47.680 --> 0:16:49.200
<v Speaker 4>back to the Winter Garden, I went back to like

0:16:49.320 --> 0:16:51.320
<v Speaker 4>the gift shop I was working on. It's had several jobs,

0:16:51.720 --> 0:16:54.040
<v Speaker 4>back to Starbucks, Like you know, I did whatever I

0:16:54.080 --> 0:16:55.880
<v Speaker 4>could do to make some money. It wasn't I mean,

0:16:55.920 --> 0:16:59.320
<v Speaker 4>it was a huge break and obviously people were now

0:16:59.360 --> 0:17:00.680
<v Speaker 4>aware of me, and it I.

0:17:00.680 --> 0:17:02.320
<v Speaker 3>Think boomed me into other opportunities.

0:17:02.360 --> 0:17:04.159
<v Speaker 4>But I was still like in a place where I

0:17:04.160 --> 0:17:13.960
<v Speaker 4>had to pay my bills.

0:17:15.320 --> 0:17:18.960
<v Speaker 1>Do you have your tribe from those years, because I

0:17:18.960 --> 0:17:21.520
<v Speaker 1>find that my friends that are actors, yeah, they have that.

0:17:21.720 --> 0:17:22.840
<v Speaker 3>Yeah, I do.

0:17:23.680 --> 0:17:26.359
<v Speaker 4>You know Via Delaria who starred opposite of me and

0:17:26.400 --> 0:17:28.400
<v Speaker 4>on The Town she played my girlfriend.

0:17:28.440 --> 0:17:33.600
<v Speaker 3>Can you believe that that is? Is that great? Great?

0:17:33.800 --> 0:17:34.000
<v Speaker 1>Great?

0:17:34.240 --> 0:17:36.000
<v Speaker 4>I mean this twenty one year old kid and like

0:17:36.000 --> 0:17:40.240
<v Speaker 4>this forty something year old lesbian playing love interests and

0:17:40.480 --> 0:17:40.879
<v Speaker 4>we had.

0:17:40.760 --> 0:17:41.640
<v Speaker 3>Such good chemistry.

0:17:41.720 --> 0:17:42.160
<v Speaker 1>Oh my god.

0:17:42.200 --> 0:17:44.320
<v Speaker 4>Well she's remained one of my very very close friends.

0:17:44.760 --> 0:17:46.639
<v Speaker 4>George Wolf is still a very good friend of mine.

0:17:47.480 --> 0:17:48.720
<v Speaker 4>A lot of people who are in that show, but

0:17:48.720 --> 0:17:51.560
<v Speaker 4>then also other friends of mine who were up and

0:17:51.560 --> 0:17:53.320
<v Speaker 4>coming actors, and you know sort of I would see

0:17:53.400 --> 0:17:56.720
<v Speaker 4>auditions and become friends with them, and they're they're part

0:17:56.760 --> 0:17:58.320
<v Speaker 4>of my closest friends still so to this day.

0:17:58.320 --> 0:18:00.600
<v Speaker 1>So right, yeah, that's an amazing when you're in New

0:18:00.680 --> 0:18:06.000
<v Speaker 1>York now, you know, having been raised there and it's

0:18:06.040 --> 0:18:07.720
<v Speaker 1>changed so much to the city and it's you know,

0:18:07.840 --> 0:18:09.840
<v Speaker 1>it's still my heart. It's still my favorite place in

0:18:09.880 --> 0:18:13.000
<v Speaker 1>the world. But like I see, it's like almost like

0:18:13.119 --> 0:18:15.440
<v Speaker 1>I say, ghosts, but like on the corners, Like do

0:18:15.480 --> 0:18:18.320
<v Speaker 1>you do you? You know, you know, like you have

0:18:18.440 --> 0:18:20.800
<v Speaker 1>like now how you live. You have an apartment. You

0:18:20.800 --> 0:18:23.320
<v Speaker 1>you're successful, so you live a certain way. But like, yes,

0:18:23.520 --> 0:18:24.600
<v Speaker 1>when you.

0:18:24.240 --> 0:18:26.080
<v Speaker 4>The Starbucks on eighty fourth and Broadway, that's where I

0:18:26.119 --> 0:18:27.439
<v Speaker 4>used to work and I walk in there and I'm like,

0:18:27.720 --> 0:18:29.840
<v Speaker 4>I used to work here and like no, I'm ordering

0:18:29.840 --> 0:18:32.639
<v Speaker 4>your coffee and you know it's but I always tell

0:18:32.680 --> 0:18:34.560
<v Speaker 4>them it's like I used to be behind there, Like

0:18:34.600 --> 0:18:37.520
<v Speaker 4>I used to work there all the time.

0:18:38.000 --> 0:18:38.720
<v Speaker 1>Yeah, all the time.

0:18:38.760 --> 0:18:41.920
<v Speaker 4>I mean when I go into the Golden Theater, which

0:18:41.960 --> 0:18:44.840
<v Speaker 4>is where Falsetto's played, right, whenever I see a show

0:18:44.840 --> 0:18:46.359
<v Speaker 4>in the Golden I'm like, this is where I sat

0:18:46.480 --> 0:18:47.000
<v Speaker 4>right on my.

0:18:46.960 --> 0:18:49.160
<v Speaker 1>First you from that day.

0:18:49.280 --> 0:18:50.119
<v Speaker 3>I don't know if I do.

0:18:50.240 --> 0:18:53.240
<v Speaker 4>I mean, I definitely photos of me that we or right,

0:18:53.280 --> 0:18:54.359
<v Speaker 4>I don't know if I have a photo of me

0:18:54.400 --> 0:18:56.440
<v Speaker 4>outside of falset Know. I think I took a photo

0:18:56.520 --> 0:18:59.560
<v Speaker 4>of the Marquis, photos of pigeons on that trip.

0:19:00.040 --> 0:19:03.760
<v Speaker 3>You don't watch in Albuquerque, New Mexico, right, I guess not?

0:19:03.920 --> 0:19:06.639
<v Speaker 1>You don't, don't you Like when you first saw what

0:19:06.760 --> 0:19:08.520
<v Speaker 1>is this most ugly bird you've ever seen?

0:19:08.840 --> 0:19:10.040
<v Speaker 3>Was just fascinatd buy it.

0:19:10.119 --> 0:19:12.760
<v Speaker 4>I mean it's sort of like when you travel to

0:19:12.800 --> 0:19:15.400
<v Speaker 4>other I mean I was just in Morocco and there's

0:19:15.440 --> 0:19:17.199
<v Speaker 4>cats everywhere, and I was kicking photos of cats, like

0:19:17.320 --> 0:19:18.880
<v Speaker 4>I must look like such a tourist right now.

0:19:19.000 --> 0:19:21.080
<v Speaker 3>But it was the photos of that week in.

0:19:21.119 --> 0:19:23.040
<v Speaker 4>New York, my first week, And you're ridiculous because it's

0:19:23.080 --> 0:19:25.880
<v Speaker 4>just a lot of Theata marquees and pigeons.

0:19:27.440 --> 0:19:29.200
<v Speaker 1>That is you need, you need to make it back

0:19:29.200 --> 0:19:29.359
<v Speaker 1>to that.

0:19:29.440 --> 0:19:30.679
<v Speaker 4>Yeah, And I think I even took a photo of

0:19:30.680 --> 0:19:32.840
<v Speaker 4>like the gap because it was like, I've never seen

0:19:32.840 --> 0:19:36.680
<v Speaker 4>a gap that wasn't inside the mall, like a gap

0:19:36.680 --> 0:19:38.880
<v Speaker 4>that actually a butt of a sidewalk.

0:19:40.440 --> 0:19:44.200
<v Speaker 1>Cars. That's crazy, that's so funny. Yeah, because things that

0:19:44.240 --> 0:20:06.760
<v Speaker 1>used impress me. Right. Thanks for joining us on Table

0:20:06.800 --> 0:20:10.560
<v Speaker 1>for two. Before the break, our guest Jesse Tyler Ferguson

0:20:10.760 --> 0:20:14.639
<v Speaker 1>was telling us about his journey from Albuquerque to Broadway.

0:20:15.240 --> 0:20:18.240
<v Speaker 1>I'm curious to hear about some of Jesse's most interesting

0:20:18.280 --> 0:20:24.399
<v Speaker 1>experiences on stage. There's nothing quite like sitting in a

0:20:24.480 --> 0:20:27.840
<v Speaker 1>dark theater when the lights go down and the curtain

0:20:27.880 --> 0:20:31.240
<v Speaker 1>goes up. The experience that you guys deliver.

0:20:31.520 --> 0:20:32.560
<v Speaker 3>Yeah, it's my favorite thing.

0:20:33.119 --> 0:20:37.400
<v Speaker 1>Has there ever been like when you're on stage, what's

0:20:37.400 --> 0:20:40.600
<v Speaker 1>the funniest and weirdest thing that annis members are kooky?

0:20:40.880 --> 0:20:47.359
<v Speaker 1>Especially like they like what I can't hear you totally anything,

0:20:47.880 --> 0:20:51.600
<v Speaker 1>Any stories that you've been like, oh no.

0:20:51.840 --> 0:20:53.880
<v Speaker 4>Well, you know Take Me Out, which was the last

0:20:53.880 --> 0:20:56.040
<v Speaker 4>show I did on Broadway, and they did involve a

0:20:56.080 --> 0:20:59.080
<v Speaker 4>lot of male nudity. It's about a baseball team and

0:20:59.160 --> 0:21:01.280
<v Speaker 4>a lot of the the scenes take place in the

0:21:01.320 --> 0:21:04.400
<v Speaker 4>locker room, specifically the showers, and they're very integral scenes

0:21:04.440 --> 0:21:08.280
<v Speaker 4>because it's about homophobia and masculine toxic masculinity and behave

0:21:08.359 --> 0:21:10.440
<v Speaker 4>and how like someone coming out of the closet changes

0:21:10.440 --> 0:21:13.440
<v Speaker 4>the whole dynamic of the locker room antics and behaviors

0:21:13.480 --> 0:21:17.080
<v Speaker 4>and relationships. I was not in any of these naked scenes.

0:21:17.080 --> 0:21:19.960
<v Speaker 4>I played Jesse Williams, who played the star player Darren Lenning.

0:21:20.000 --> 0:21:23.560
<v Speaker 4>I played his account business manager, so no one needed

0:21:23.560 --> 0:21:26.320
<v Speaker 4>to see the business managers, you know. Although I always

0:21:26.440 --> 0:21:28.960
<v Speaker 4>begged Richard Greenberg just to write a scene of one

0:21:29.040 --> 0:21:31.399
<v Speaker 4>last scene where it's just Mason Marzak showering at home

0:21:31.400 --> 0:21:37.200
<v Speaker 4>by himself, sadly, just all by himself.

0:21:38.280 --> 0:21:39.120
<v Speaker 1>Life has gone.

0:21:41.920 --> 0:21:46.440
<v Speaker 4>But because I guess I just I think theaters audiences

0:21:46.480 --> 0:21:49.439
<v Speaker 4>have changed so much, and and I just feel like,

0:21:49.480 --> 0:21:51.399
<v Speaker 4>I just feel like such a lack of respect for

0:21:52.119 --> 0:21:55.439
<v Speaker 4>what it means to be in a sacred space and

0:21:55.720 --> 0:21:57.639
<v Speaker 4>a lot of you know, I mean, we did everything

0:21:57.640 --> 0:22:00.520
<v Speaker 4>we could to protect his cast, but there were photos

0:22:00.520 --> 0:22:02.480
<v Speaker 4>that leaked out of some of the cast members.

0:22:02.560 --> 0:22:06.240
<v Speaker 1>Of course, when Joe did it, I'm known how a

0:22:06.280 --> 0:22:08.040
<v Speaker 1>phone I was taking a sneak in a.

0:22:08.000 --> 0:22:10.280
<v Speaker 3>Picture taking of they had to sneak in a whole camera.

0:22:11.560 --> 0:22:14.920
<v Speaker 4>But I think because some photos did lead the audience

0:22:14.920 --> 0:22:16.919
<v Speaker 4>members that then started coming because it was a big

0:22:17.000 --> 0:22:18.560
<v Speaker 4>press thing, you know. It was like they have the

0:22:18.600 --> 0:22:22.760
<v Speaker 4>Tony nominations. Both Jesse Williams and myself and another cast member,

0:22:22.800 --> 0:22:25.639
<v Speaker 4>Michael Oberholtzer all got nominated in the same category, and

0:22:25.680 --> 0:22:29.239
<v Speaker 4>then that was immediately overshadowed by new pictures leaking out, right,

0:22:29.400 --> 0:22:32.000
<v Speaker 4>And I just felt so bad for the company because

0:22:32.000 --> 0:22:35.320
<v Speaker 4>it was a celebrated revival. Now the conversation was about penises, right,

0:22:35.960 --> 0:22:38.600
<v Speaker 4>and but that did bring a lot of different people

0:22:38.640 --> 0:22:42.000
<v Speaker 4>into the theater who didn't necessarily come to see the play.

0:22:42.440 --> 0:22:45.080
<v Speaker 4>They wanted to see the spectacle and I was like, Wow,

0:22:45.080 --> 0:22:46.720
<v Speaker 4>you're gonna guys are gonna be so bored by about

0:22:46.720 --> 0:22:50.119
<v Speaker 4>two and a half hours of really important thoughts and.

0:22:50.119 --> 0:22:55.879
<v Speaker 3>Conversations for like two minutes of nudity. And I remember.

0:22:55.520 --> 0:22:58.840
<v Speaker 4>Having to navigate that behavior amongst audiences, you know, the

0:22:59.080 --> 0:23:01.840
<v Speaker 4>whistles that would have and sometimes when Jesse would walk

0:23:01.880 --> 0:23:04.840
<v Speaker 4>out even fully clothed, like just on the anticipation like

0:23:05.119 --> 0:23:10.480
<v Speaker 4>what's coming, and that was that was always really really rough,

0:23:10.600 --> 0:23:13.679
<v Speaker 4>and I was I don't know if I ever handled

0:23:13.680 --> 0:23:16.800
<v Speaker 4>it super well. I would usually like shoot really evil

0:23:16.880 --> 0:23:22.280
<v Speaker 4>looks towards those parts of the audience, but I do, Uh,

0:23:22.600 --> 0:23:25.440
<v Speaker 4>you know, I've had many mishaps on stage that have

0:23:25.440 --> 0:23:28.360
<v Speaker 4>have nothing to do with with misbehaving audiences, are completely

0:23:28.440 --> 0:23:29.040
<v Speaker 4>my own faults.

0:23:29.160 --> 0:23:32.600
<v Speaker 1>Right, Well, that's the fun of it, Yeah, in the

0:23:32.640 --> 0:23:37.960
<v Speaker 1>weird way as as you know, I assume as the performer, Yeah,

0:23:38.119 --> 0:23:41.320
<v Speaker 1>because each night is not going to be the same, right,

0:23:41.640 --> 0:23:45.120
<v Speaker 1>and so something can go wrong, something cannot be where

0:23:45.119 --> 0:23:47.080
<v Speaker 1>it's supposed to be, someone can forget the line, you

0:23:47.080 --> 0:23:48.679
<v Speaker 1>can trip, you can fall, and you sort of have

0:23:48.760 --> 0:23:52.160
<v Speaker 1>to figure out how to navigate this and not have

0:23:52.920 --> 0:23:55.480
<v Speaker 1>necessarily the audience be sol away.

0:23:55.280 --> 0:23:57.960
<v Speaker 4>Right, right, Well, nothing's worse than when you completely go

0:23:58.080 --> 0:23:59.560
<v Speaker 4>up and you don't know what's next, and there's a

0:23:59.560 --> 0:24:01.720
<v Speaker 4>whole lot of God was wondering if beat or not.

0:24:02.840 --> 0:24:05.160
<v Speaker 4>It's it's awful that hasn't happened to me a lot,

0:24:05.240 --> 0:24:07.320
<v Speaker 4>Like personally, I'm gonna this is gonna make me like

0:24:07.640 --> 0:24:11.000
<v Speaker 4>I'm gonna sound like I'm like really trying to I'm

0:24:11.000 --> 0:24:14.040
<v Speaker 4>not the problems, you know what I'm saying. But there

0:24:14.080 --> 0:24:16.320
<v Speaker 4>was a moment and Take Me Out. Take Me Out

0:24:16.320 --> 0:24:20.320
<v Speaker 4>was Jesse Williams first Broadway show, and he was unbelievable

0:24:20.320 --> 0:24:25.040
<v Speaker 4>in it, incredible, and he had such an ease on stage.

0:24:25.160 --> 0:24:27.639
<v Speaker 4>I was like, how is this possible? Like how are

0:24:27.680 --> 0:24:30.280
<v Speaker 4>you this comfortable on your first Broadway outing? But there

0:24:30.280 --> 0:24:32.440
<v Speaker 4>were sometimes where he was so relaxed he really did

0:24:32.520 --> 0:24:33.720
<v Speaker 4>forget what was next.

0:24:33.920 --> 0:24:34.080
<v Speaker 1>Right.

0:24:34.480 --> 0:24:38.800
<v Speaker 4>And there's a tradition on Broadway where they record for

0:24:38.840 --> 0:24:41.400
<v Speaker 4>the archives of LINC considered archives a lot of these

0:24:41.440 --> 0:24:44.240
<v Speaker 4>performances and they're not available for public concention. You have

0:24:44.280 --> 0:24:45.879
<v Speaker 4>to like have a reason to see them. You have

0:24:45.920 --> 0:24:47.119
<v Speaker 4>to go to the library, you have to watch them

0:24:47.160 --> 0:24:48.760
<v Speaker 4>in a cubicle, but they a lot of these shows

0:24:48.760 --> 0:24:51.479
<v Speaker 4>are archive. You can watch incredible performances. I have lin

0:24:51.480 --> 0:24:54.000
<v Speaker 4>considered library. So we who had the honor of having

0:24:54.040 --> 0:24:57.719
<v Speaker 4>our show recorded for Lincoln. That's great, that's very very exciting.

0:24:58.480 --> 0:24:59.400
<v Speaker 3>And Jesse of.

0:24:59.320 --> 0:25:00.960
<v Speaker 4>Course was, you know, not too worried about it, and

0:25:01.000 --> 0:25:02.879
<v Speaker 4>like there's nudity involved in this as well, and like

0:25:02.920 --> 0:25:04.280
<v Speaker 4>you know that was all gonna be recorded, and like

0:25:04.520 --> 0:25:06.240
<v Speaker 4>they knew that they would, everyone would be protected and

0:25:06.240 --> 0:25:08.600
<v Speaker 4>the stuff and not leak. And anyway, he was walking

0:25:08.600 --> 0:25:11.040
<v Speaker 4>to the theater and next door at the Saint James,

0:25:11.320 --> 0:25:15.280
<v Speaker 4>Bradley Cooper was recording, was working on Maestro. They were

0:25:15.280 --> 0:25:17.800
<v Speaker 4>doing scene scenes from Mestre at the Saint James Theater.

0:25:17.920 --> 0:25:22.040
<v Speaker 4>So there were massive, you know, film trucks outside basically

0:25:22.040 --> 0:25:24.479
<v Speaker 4>sharing the street with Vice. And so Jesse's walking down

0:25:24.520 --> 0:25:26.240
<v Speaker 4>the street to our stage door and seeing all these

0:25:26.280 --> 0:25:28.760
<v Speaker 4>like huge film trucks and he's from the world of

0:25:28.760 --> 0:25:30.679
<v Speaker 4>Hollywood and straighten out of me and he's like he

0:25:30.720 --> 0:25:33.040
<v Speaker 4>knows what a film truck looks like, the trailers and stuff,

0:25:33.119 --> 0:25:35.320
<v Speaker 4>and he's like, this is a way bigger deal recording

0:25:35.359 --> 0:25:36.639
<v Speaker 4>this thing for Lincoln set up, And I thought he

0:25:36.680 --> 0:25:38.680
<v Speaker 4>didn't know that Bradley Cooper was next door doing my struck.

0:25:38.880 --> 0:25:41.000
<v Speaker 4>So we came in already like freaking out, like what

0:25:41.080 --> 0:25:43.159
<v Speaker 4>is happening here? So you put him at ease, like

0:25:43.200 --> 0:25:45.680
<v Speaker 4>that's not actually for us, this like tiny little band

0:25:45.840 --> 0:25:46.360
<v Speaker 4>is for us.

0:25:46.560 --> 0:25:48.000
<v Speaker 3>That's all you know, someone else.

0:25:48.680 --> 0:25:50.720
<v Speaker 4>But we could do a big scene between Jesse and

0:25:50.800 --> 0:25:57.880
<v Speaker 4>I and Jesse completely goes up and he thinks I'm

0:25:57.960 --> 0:26:01.560
<v Speaker 4>upset with him because he assumed that I'm annoyed because

0:26:01.560 --> 0:26:03.720
<v Speaker 4>of we're recording this for you know.

0:26:03.680 --> 0:26:04.360
<v Speaker 3>The archives.

0:26:04.400 --> 0:26:07.160
<v Speaker 4>Sure here he is sort of like his mind goes everywhere,

0:26:07.200 --> 0:26:08.639
<v Speaker 4>but like what the next line is. It's like, oh god,

0:26:08.720 --> 0:26:10.760
<v Speaker 4>Jesse epsot with me, this is the recording that's gonna

0:26:10.760 --> 0:26:12.600
<v Speaker 4>be the library in the middle of a scene and

0:26:12.640 --> 0:26:15.080
<v Speaker 4>he's just not saying anything. He's just tail spinning right,

0:26:15.280 --> 0:26:17.080
<v Speaker 4>and somehow we get back on. But it was a

0:26:17.240 --> 0:26:19.119
<v Speaker 4>it was like a good forty five seconds of just

0:26:20.040 --> 0:26:20.679
<v Speaker 4>pure terror for.

0:26:20.760 --> 0:26:21.199
<v Speaker 3>Both of us.

0:26:21.240 --> 0:26:26.320
<v Speaker 1>Feel like forever, forever, forever. Do you sometimes then have

0:26:26.400 --> 0:26:29.680
<v Speaker 1>to sort of say, like give the hint, like say

0:26:29.720 --> 0:26:33.679
<v Speaker 1>something that's not written to sort of hopefully trigger Bruce.

0:26:33.760 --> 0:26:35.320
<v Speaker 4>I went so far to my body, I don't remember

0:26:35.359 --> 0:26:37.920
<v Speaker 4>what happened. I was like also like watching myself from

0:26:37.960 --> 0:26:39.280
<v Speaker 4>the ceiling. I was like, what are we doing?

0:26:39.320 --> 0:26:40.760
<v Speaker 3>What are we doing? No one's talking, No one's talking.

0:26:41.359 --> 0:26:43.400
<v Speaker 4>And I think we both kind of like repeated lines

0:26:43.400 --> 0:26:45.440
<v Speaker 4>a few times, like said things that we'd already said,

0:26:45.880 --> 0:26:46.399
<v Speaker 4>sort of time to.

0:26:46.359 --> 0:26:49.760
<v Speaker 3>Fill the space, and and.

0:26:49.200 --> 0:26:51.159
<v Speaker 4>Jess was like rubbing his head and like, you know,

0:26:51.200 --> 0:26:52.680
<v Speaker 4>it was like it was a lot of there was

0:26:52.680 --> 0:26:54.520
<v Speaker 4>a lot of It was like a.

0:26:54.480 --> 0:26:59.040
<v Speaker 1>Really long I bet that's nerve wrecking. That's certainly nerve wrecking.

0:26:59.240 --> 0:27:02.399
<v Speaker 1>And it's you know, my feeling is from an audience member,

0:27:02.440 --> 0:27:06.600
<v Speaker 1>like the decorum that people come now, but all over life,

0:27:06.600 --> 0:27:08.679
<v Speaker 1>so it's not just theater, but like how you dress.

0:27:09.400 --> 0:27:11.560
<v Speaker 1>And Matthew Broderck always says this, like when you go

0:27:11.600 --> 0:27:13.560
<v Speaker 1>to the theater, like who were a tie? Yeah, Like

0:27:13.640 --> 0:27:17.199
<v Speaker 1>he has a very specific feeling about people that don't

0:27:17.560 --> 0:27:20.280
<v Speaker 1>dress to go to the theatre. You know, it's right,

0:27:20.359 --> 0:27:23.480
<v Speaker 1>and I get it, Yeah, totally, No, for sure, Yeah,

0:27:23.520 --> 0:27:24.320
<v Speaker 1>I mean you're going out.

0:27:24.359 --> 0:27:26.240
<v Speaker 4>I have a funny sort of Matthew though, it's like

0:27:26.359 --> 0:27:28.240
<v Speaker 4>kind of that it's gonna be a little counterintuitive to.

0:27:28.160 --> 0:27:31.600
<v Speaker 3>What he just said. Okay, Oh, I was at his very.

0:27:31.440 --> 0:27:36.359
<v Speaker 4>First performance in New York of Plaza Suite and Matthew and.

0:27:36.320 --> 0:27:38.360
<v Speaker 3>I our buddies. We actually work out at the same

0:27:38.359 --> 0:27:39.639
<v Speaker 3>gym sometimes we train together.

0:27:40.680 --> 0:27:42.720
<v Speaker 1>Love him left him so much. I mean, there's nobody like.

0:27:42.680 --> 0:27:43.120
<v Speaker 3>Hi, there's nothing.

0:27:43.880 --> 0:27:46.160
<v Speaker 4>So, you know, he's on the stage with his wife,

0:27:46.200 --> 0:27:49.080
<v Speaker 4>the incredible Sara Juska Parker. They're in the scene and

0:27:50.240 --> 0:27:53.320
<v Speaker 4>I notice Sarah looking down at his wrist, and the

0:27:53.359 --> 0:27:57.760
<v Speaker 4>Plaza Suite takes place in nineteen forties, you know, at

0:27:57.800 --> 0:28:01.480
<v Speaker 4>the Plaza Hotel. Matthew Broderick is wearing his Apple Watch

0:28:01.720 --> 0:28:06.280
<v Speaker 4>on stage and then it starts chiming no alerts on stage,

0:28:06.400 --> 0:28:08.720
<v Speaker 4>so she's just like, are you I could tell like,

0:28:08.760 --> 0:28:09.760
<v Speaker 4>She's like, are you kidding me?

0:28:09.840 --> 0:28:10.160
<v Speaker 3>Right now?

0:28:10.560 --> 0:28:12.879
<v Speaker 4>He very quietly sort of takes off the watch and

0:28:12.920 --> 0:28:15.399
<v Speaker 4>puts it into his you know, nineteen forties briefcase and

0:28:15.480 --> 0:28:17.960
<v Speaker 4>just leaves. He can't leave the stage to them on stage,

0:28:18.320 --> 0:28:20.399
<v Speaker 4>but I was like, I laughed so hard, like you

0:28:20.440 --> 0:28:25.800
<v Speaker 4>were incredibly unprofessional that so he can't be exclaining too

0:28:25.880 --> 0:28:27.800
<v Speaker 4>much about people not dressing right, you know what, He's

0:28:27.840 --> 0:28:31.360
<v Speaker 4>wearing his Apple watch on stage for a sold out

0:28:31.400 --> 0:28:32.840
<v Speaker 4>performance Applausea.

0:28:32.440 --> 0:28:44.240
<v Speaker 6>Suite, Jesse, you end up being on one of the

0:28:44.240 --> 0:28:49.440
<v Speaker 6>most successful sitcoms and everyone is next level in this

0:28:49.520 --> 0:28:53.360
<v Speaker 6>and that clearly the chemistry and the just connection is

0:28:53.480 --> 0:28:54.040
<v Speaker 6>so real.

0:28:54.680 --> 0:28:57.240
<v Speaker 1>How did that jump happen? And when did you kind

0:28:57.280 --> 0:29:00.760
<v Speaker 1>of guys realize, oh shit, we're in thing big here.

0:29:00.960 --> 0:29:04.880
<v Speaker 4>Yeah, it's you know, I never anticipated I mean, here

0:29:04.920 --> 0:29:06.920
<v Speaker 4>we have. You've heard me talk so much about theater,

0:29:07.000 --> 0:29:09.080
<v Speaker 4>and truly that's where I thought my career was going

0:29:09.120 --> 0:29:12.560
<v Speaker 4>to stay. And I never anticipated moving to Los Angeles,

0:29:12.600 --> 0:29:17.040
<v Speaker 4>never anticipated doing a sitcom. But I did have the

0:29:17.040 --> 0:29:20.640
<v Speaker 4>opportunity to to be a part of a show called

0:29:20.640 --> 0:29:24.200
<v Speaker 4>The Class pretty early on, and it was an incredible

0:29:24.360 --> 0:29:27.160
<v Speaker 4>company of people, starting Jason Ritter, Lizzie Kaplan, John Burnenthal

0:29:27.280 --> 0:29:30.200
<v Speaker 4>who just went an enmy for the Bear, had some

0:29:30.240 --> 0:29:32.480
<v Speaker 4>incredible theater talent, Julie Houlston, Sam.

0:29:32.240 --> 0:29:35.160
<v Speaker 3>Harris, and I.

0:29:35.440 --> 0:29:37.040
<v Speaker 4>It was a great show, and I moved to LA

0:29:37.200 --> 0:29:39.160
<v Speaker 4>to do that and it was canceled after a year,

0:29:39.480 --> 0:29:40.880
<v Speaker 4>and I was sort of that place where I was

0:29:40.920 --> 0:29:42.280
<v Speaker 4>deciding whether or not it was just going to move

0:29:42.280 --> 0:29:44.760
<v Speaker 4>back to New York and you know, pick up where

0:29:44.760 --> 0:29:47.480
<v Speaker 4>I left off with theater and do what I knew best,

0:29:47.680 --> 0:29:48.880
<v Speaker 4>or if I was going to stick it out for

0:29:48.920 --> 0:29:51.080
<v Speaker 4>a little while here and just sort of see what else.

0:29:50.960 --> 0:29:51.479
<v Speaker 3>Might come up.

0:29:51.480 --> 0:29:55.080
<v Speaker 4>And then the writers strike happened, the rider strike previous

0:29:55.160 --> 0:29:57.360
<v Speaker 4>to the last one we had, and it shut down

0:29:57.400 --> 0:29:58.800
<v Speaker 4>the industry just like this last one did.

0:29:58.840 --> 0:30:01.120
<v Speaker 3>And I sort of felt like I needed to see.

0:30:01.000 --> 0:30:06.360
<v Speaker 4>It through and I ended up booking a job shortly

0:30:06.400 --> 0:30:09.640
<v Speaker 4>after the strike was resolved. But it was kind of

0:30:09.640 --> 0:30:11.800
<v Speaker 4>in a moment of panic, and it was I think

0:30:11.840 --> 0:30:13.520
<v Speaker 4>a lot of people were scrambling for work just because

0:30:13.520 --> 0:30:16.160
<v Speaker 4>everyone needed to do something to take money.

0:30:16.360 --> 0:30:18.760
<v Speaker 3>And the show I ended up doing.

0:30:20.160 --> 0:30:22.520
<v Speaker 4>It was problematic because I think, first of all, it

0:30:22.600 --> 0:30:24.760
<v Speaker 4>was written and created by one of my dear friends,

0:30:24.760 --> 0:30:27.760
<v Speaker 4>Abraham Higabotham, who also was a writer on Modern Family,

0:30:28.000 --> 0:30:30.000
<v Speaker 4>but he was a first time show runner, and I think,

0:30:30.200 --> 0:30:32.680
<v Speaker 4>you know, he didn't have the ability to sort of

0:30:33.440 --> 0:30:35.040
<v Speaker 4>take charge of what he wanted the show to be,

0:30:35.080 --> 0:30:37.360
<v Speaker 4>and it kind of just disintegrated and it ended up

0:30:37.400 --> 0:30:39.840
<v Speaker 4>being the first show canceled that year. And so I

0:30:39.880 --> 0:30:40.920
<v Speaker 4>was really at a place where I was like, I

0:30:40.960 --> 0:30:42.760
<v Speaker 4>think my tail has been doing my legs, like it's

0:30:42.800 --> 0:30:44.920
<v Speaker 4>time to go back. It's time to go back to

0:30:44.920 --> 0:30:48.520
<v Speaker 4>New York. And then the script from Modern Family came

0:30:48.560 --> 0:30:52.880
<v Speaker 4>to me, and I was my agent, knew I wanted

0:30:52.880 --> 0:30:54.240
<v Speaker 4>to move back to New York, and like, you know,

0:30:54.280 --> 0:30:56.240
<v Speaker 4>you probably don't even want to audition for this, knowing

0:30:56.280 --> 0:30:57.600
<v Speaker 4>you want to go back to New York, but just

0:30:57.640 --> 0:30:59.960
<v Speaker 4>take a look at it. And I remember reading it

0:31:00.120 --> 0:31:05.160
<v Speaker 4>on my like first generation iPhone in a coffee shop

0:31:05.360 --> 0:31:09.160
<v Speaker 4>and falling in love with it and really seeing opportunity

0:31:09.200 --> 0:31:14.040
<v Speaker 4>for to be a pop culture touchstone for, you know,

0:31:14.080 --> 0:31:15.800
<v Speaker 4>the fight for marriage equality, which we were in the

0:31:15.960 --> 0:31:18.360
<v Speaker 4>in the depths up. I thought, these are two incredibly

0:31:18.360 --> 0:31:21.760
<v Speaker 4>well drawn characters. I think that this could really resonate,

0:31:21.800 --> 0:31:25.000
<v Speaker 4>this could make this could make change. It felt unlike

0:31:25.040 --> 0:31:28.320
<v Speaker 4>anything I'd ever read before, because it was obviously incredibly

0:31:28.360 --> 0:31:30.600
<v Speaker 4>hilarious but grounded in so much.

0:31:31.720 --> 0:31:34.080
<v Speaker 3>I just could tell how much how much there was

0:31:34.120 --> 0:31:34.560
<v Speaker 3>to mind.

0:31:34.440 --> 0:31:38.160
<v Speaker 4>From these characters, right, you know, I played and read

0:31:38.200 --> 0:31:40.479
<v Speaker 4>many different gay roles, and it just felt like this

0:31:40.680 --> 0:31:43.520
<v Speaker 4>was really going so much deeper under the surface than

0:31:43.680 --> 0:31:46.680
<v Speaker 4>anything else IDE ever read for, or auditioned for or played.

0:31:47.240 --> 0:31:52.640
<v Speaker 4>And so yeah, I went into that process obviously deeply

0:31:52.680 --> 0:31:55.120
<v Speaker 4>wanting it, but kind of also feeling like I was

0:31:55.240 --> 0:31:58.480
<v Speaker 4>so incredibly right for it. I wasn't it wasn't that

0:31:58.520 --> 0:32:00.719
<v Speaker 4>a nice feel it was it was also I think

0:32:00.720 --> 0:32:02.160
<v Speaker 4>because I felt like I was I was like, listen,

0:32:02.200 --> 0:32:03.400
<v Speaker 4>if this doesn't work out, I'm just going to go

0:32:03.440 --> 0:32:05.840
<v Speaker 4>back to New York and do theater. Like I really

0:32:05.880 --> 0:32:09.280
<v Speaker 4>have a great backup plan. I'm I feel like I'll

0:32:09.280 --> 0:32:13.000
<v Speaker 4>be welcome back with open arms. And so I just

0:32:13.040 --> 0:32:16.200
<v Speaker 4>I didn't feel a ton of pressure around the whole experience,

0:32:16.240 --> 0:32:18.280
<v Speaker 4>which is incredible because it's the experience that changed my

0:32:18.400 --> 0:32:18.960
<v Speaker 4>entire career.

0:32:19.280 --> 0:32:21.720
<v Speaker 1>Yeah, the process is so now you're going to audition.

0:32:21.800 --> 0:32:25.479
<v Speaker 1>Are you auditioning with different other actors to see what

0:32:25.480 --> 0:32:28.680
<v Speaker 1>the couple will look like a little bit? And yeah,

0:32:28.720 --> 0:32:30.400
<v Speaker 1>what was that like? And then when did you know?

0:32:30.760 --> 0:32:30.880
<v Speaker 3>You?

0:32:30.920 --> 0:32:34.640
<v Speaker 1>Guys hit? I mean the relationship between the two of you, Yeah,

0:32:34.760 --> 0:32:37.320
<v Speaker 1>is amazing. And you're also playing the less sort of

0:32:37.600 --> 0:32:41.040
<v Speaker 1>flame boying and he's straight and he's playing the more.

0:32:41.320 --> 0:32:44.640
<v Speaker 4>It's like, you know, yeah, how well, ironically, they would

0:32:44.680 --> 0:32:46.680
<v Speaker 4>only want to see me for Cam, which was the

0:32:46.680 --> 0:32:48.960
<v Speaker 4>part that Eric Ston Street ended up playing. They didn't

0:32:48.960 --> 0:32:50.400
<v Speaker 4>want to see me for Mitchell, which is the well

0:32:50.480 --> 0:32:52.960
<v Speaker 4>I did a play, right, So I went in an

0:32:53.000 --> 0:32:55.360
<v Speaker 4>audition for Cam, but I read it as if I

0:32:55.520 --> 0:32:57.960
<v Speaker 4>was from the viewpoint of Mitchell, so I think the

0:32:58.040 --> 0:33:01.400
<v Speaker 4>casting within moments they realized, oh, he's in for the

0:33:01.440 --> 0:33:03.080
<v Speaker 4>wrong part. Even though I told him I was coming

0:33:03.080 --> 0:33:04.680
<v Speaker 4>in for the wrong part, right, they still made me

0:33:04.720 --> 0:33:07.840
<v Speaker 4>read for Cam and so I auditioned again for Mitchell.

0:33:08.120 --> 0:33:11.160
<v Speaker 4>And after that it happened very quickly. I was I

0:33:11.160 --> 0:33:12.960
<v Speaker 4>auditioned for Mitchell in front of the creators. I didn't

0:33:12.960 --> 0:33:16.080
<v Speaker 4>have to have a pre screen or anything. And right

0:33:16.080 --> 0:33:18.680
<v Speaker 4>after that, I tested for the network and I booked it.

0:33:18.880 --> 0:33:20.880
<v Speaker 4>So I was one of I think I was the

0:33:20.960 --> 0:33:25.080
<v Speaker 4>first cast member nailed down. Sophia Aagara had a development

0:33:25.080 --> 0:33:29.960
<v Speaker 4>deal with ABC and Fox, so she was already being

0:33:30.000 --> 0:33:32.120
<v Speaker 4>talked about for the role of Gloria. They were tailoring

0:33:32.120 --> 0:33:33.760
<v Speaker 4>the role for her. But beyond that, I was the

0:33:33.800 --> 0:33:36.600
<v Speaker 4>first person that they knocked down. So because I was

0:33:37.480 --> 0:33:41.040
<v Speaker 4>cast as part of this couple, I then got to

0:33:41.080 --> 0:33:44.360
<v Speaker 4>do chemistry reads with so many different people and I

0:33:44.480 --> 0:33:47.800
<v Speaker 4>auditioned for different cams. And it's interesting because it was

0:33:47.840 --> 0:33:49.880
<v Speaker 4>the role I initially went in for, so I knew

0:33:50.480 --> 0:33:53.040
<v Speaker 4>I knew the vantage point of like, you know what

0:33:53.160 --> 0:33:55.600
<v Speaker 4>the material he was reading as well very well, but

0:33:55.640 --> 0:34:01.240
<v Speaker 4>everyone find Josh Gadd auditioned fl it to actually some

0:34:01.240 --> 0:34:03.440
<v Speaker 4>people who ended up being our friends in the show,

0:34:03.560 --> 0:34:08.440
<v Speaker 4>like they Audi reported it. Initially, I remember reading with

0:34:08.560 --> 0:34:12.640
<v Speaker 4>just you know, so many different sizes and types and gay, straight, black, white,

0:34:13.200 --> 0:34:15.400
<v Speaker 4>and something about when Eric Snunzer came in it just

0:34:15.440 --> 0:34:20.080
<v Speaker 4>felt I don't know, it was we had immediate chemistry

0:34:20.120 --> 0:34:20.520
<v Speaker 4>with him.

0:34:21.239 --> 0:34:24.080
<v Speaker 3>I really enjoyed his take.

0:34:24.239 --> 0:34:27.960
<v Speaker 4>It was incredibly I don't know, it was so big

0:34:28.000 --> 0:34:31.000
<v Speaker 4>but yet grounded at the same time. Later I found

0:34:31.040 --> 0:34:32.839
<v Speaker 4>out here he was basing it off of his mother,

0:34:33.239 --> 0:34:35.799
<v Speaker 4>and so it's someone that he knows so well. So

0:34:35.880 --> 0:34:38.480
<v Speaker 4>even though he was completely flamboyant and was based in

0:34:38.520 --> 0:34:42.840
<v Speaker 4>this like real person, it deeply cares for and it

0:34:43.160 --> 0:34:45.320
<v Speaker 4>just I don't know, it just it just really clicked

0:34:45.360 --> 0:34:48.719
<v Speaker 4>and it felt. It felt really it felt really right.

0:34:49.200 --> 0:34:50.919
<v Speaker 4>You know, Eric and I always talk about, like if

0:34:50.960 --> 0:34:53.160
<v Speaker 4>we were they were passing the show today, if he

0:34:53.200 --> 0:34:55.040
<v Speaker 4>would have a shot at that role because he is

0:34:55.080 --> 0:34:55.680
<v Speaker 4>a straight man.

0:34:55.840 --> 0:34:58.360
<v Speaker 3>Yeah, you know, I don't know if he would. I

0:34:58.360 --> 0:34:59.000
<v Speaker 3>don't know if he would.

0:34:59.440 --> 0:34:59.640
<v Speaker 1>Yeah.

0:35:00.000 --> 0:35:03.640
<v Speaker 4>I also can't imagine that couple with anyone else other

0:35:03.680 --> 0:35:04.080
<v Speaker 4>than him.

0:35:04.200 --> 0:35:06.759
<v Speaker 1>How do you feel about that? I'm very Yeah, I

0:35:06.920 --> 0:35:09.759
<v Speaker 1>feel like we can go back at a time and

0:35:09.800 --> 0:35:12.080
<v Speaker 1>you kind of sounds like you came as an actor

0:35:12.320 --> 0:35:16.440
<v Speaker 1>pursue a career when you didn't have to hide being gay.

0:35:16.640 --> 0:35:20.200
<v Speaker 1>You could be gay and walk into the room. You

0:35:20.280 --> 0:35:22.960
<v Speaker 1>go back ten years and I know people that we

0:35:23.040 --> 0:35:26.120
<v Speaker 1>both know that were you know, you couldn't And so

0:35:26.160 --> 0:35:29.680
<v Speaker 1>you go to Milk and you have Champagne playing Harvey Milk, right,

0:35:29.960 --> 0:35:34.680
<v Speaker 1>So you know, Brian, my husband, would say the movie

0:35:34.719 --> 0:35:36.920
<v Speaker 1>wouldn't have gotten made unless you had a movie star

0:35:37.000 --> 0:35:40.120
<v Speaker 1>right like Sean making it. Now, eventually you have to

0:35:40.120 --> 0:35:42.959
<v Speaker 1>get to the place where an openly gay actor gets

0:35:43.040 --> 0:35:45.440
<v Speaker 1>the part or can be a contended part. And then

0:35:45.480 --> 0:35:48.520
<v Speaker 1>you have now people like yourself and people like Matt Boehmer.

0:35:48.840 --> 0:35:52.040
<v Speaker 1>You know, someone like Matt who would never have worked

0:35:52.040 --> 0:35:54.840
<v Speaker 1>if he was an openly gay man because of the

0:35:55.000 --> 0:35:57.640
<v Speaker 1>nature of the roles that he played exactly. I would

0:35:57.719 --> 0:35:59.439
<v Speaker 1>like to think he would be cast today. I would

0:35:59.480 --> 0:36:01.640
<v Speaker 1>like to think that we're getting to a place where

0:36:01.880 --> 0:36:05.439
<v Speaker 1>we want equal distribution, but we also want the best

0:36:05.480 --> 0:36:06.239
<v Speaker 1>person in the role.

0:36:07.080 --> 0:36:09.120
<v Speaker 4>Yeah, I mean, it's it's tricky, and I you know,

0:36:09.160 --> 0:36:13.239
<v Speaker 4>every time I think about this, I don't fully know

0:36:14.640 --> 0:36:17.120
<v Speaker 4>if I have all the right answers, but I mean, listen,

0:36:17.280 --> 0:36:19.560
<v Speaker 4>I always, I always just reflect back upon myself. I mean,

0:36:19.680 --> 0:36:21.560
<v Speaker 4>because my point of view is really the only place

0:36:21.560 --> 0:36:23.120
<v Speaker 4>I can talk about this from.

0:36:23.440 --> 0:36:23.560
<v Speaker 3>Right.

0:36:23.760 --> 0:36:25.640
<v Speaker 4>I am an actor, and I want the opportunity to

0:36:25.640 --> 0:36:28.320
<v Speaker 4>play roles that are not just gaying. I want to

0:36:28.320 --> 0:36:30.280
<v Speaker 4>play straight part and I have played straight parts. I've played,

0:36:30.520 --> 0:36:33.520
<v Speaker 4>I've played. I have played everything from like a twelve

0:36:33.600 --> 0:36:36.319
<v Speaker 4>year old autistic kid and spelling bee to you know,

0:36:36.680 --> 0:36:39.520
<v Speaker 4>a romantic interest in the class to half of a

0:36:39.560 --> 0:36:40.840
<v Speaker 4>gay couple in modern family.

0:36:41.200 --> 0:36:42.400
<v Speaker 3>I just got to do you know.

0:36:42.400 --> 0:36:44.799
<v Speaker 4>I got to play Truman, Capodi and a reading of

0:36:44.920 --> 0:36:48.680
<v Speaker 4>True you know, just just recently. I love the challenge

0:36:48.680 --> 0:36:52.080
<v Speaker 4>of playing different parts. So to say only gay actors

0:36:52.120 --> 0:36:55.719
<v Speaker 4>should play gay roles sort of kind of contradicts how

0:36:55.760 --> 0:36:56.319
<v Speaker 4>I want people to.

0:36:56.280 --> 0:36:56.640
<v Speaker 3>Look at me.

0:36:56.880 --> 0:36:57.080
<v Speaker 1>Right.

0:36:58.440 --> 0:37:00.719
<v Speaker 3>I do think that, and I we've gotten better.

0:37:00.760 --> 0:37:02.319
<v Speaker 4>I think we are farther to go, But I think

0:37:02.400 --> 0:37:05.680
<v Speaker 4>it's a lot about representation and having opportunity.

0:37:05.000 --> 0:37:07.960
<v Speaker 3>To at least cast people who have that lived experience.

0:37:08.040 --> 0:37:08.480
<v Speaker 1>I agree.

0:37:08.960 --> 0:37:10.840
<v Speaker 3>I think specifically we have a really long way to go.

0:37:10.880 --> 0:37:14.200
<v Speaker 4>All that we are getting better with a representative representation

0:37:14.239 --> 0:37:16.440
<v Speaker 4>of transactors.

0:37:15.440 --> 0:37:19.839
<v Speaker 3>Yes, I'm I'm so proud.

0:37:19.520 --> 0:37:22.200
<v Speaker 4>Of my friend Jinx Monsoon who is now playing a

0:37:22.200 --> 0:37:25.800
<v Speaker 4>lot of CIS roles on She's playing Mamma Morton in Chicago,

0:37:26.000 --> 0:37:28.680
<v Speaker 4>she played Audrey and Little Shop of Horrors. Like that

0:37:28.760 --> 0:37:31.480
<v Speaker 4>seems like that's movement forward, right, But she's not a

0:37:31.480 --> 0:37:34.160
<v Speaker 4>CIS woman, right. So it's like, I do think we

0:37:34.200 --> 0:37:35.759
<v Speaker 4>have to remind ourselves that we are all actors. We

0:37:35.760 --> 0:37:38.960
<v Speaker 4>should be given opportunities that are not just who we are,

0:37:39.120 --> 0:37:41.040
<v Speaker 4>not the mold of who we are. But also we

0:37:41.080 --> 0:37:42.920
<v Speaker 4>have to make sure that those opportunities are actually indeed

0:37:42.920 --> 0:37:46.120
<v Speaker 4>being given, yes, and that people are being considered.

0:37:45.800 --> 0:37:48.279
<v Speaker 1>Right, And I think, I mean, so it is. It

0:37:48.320 --> 0:37:52.239
<v Speaker 1>is a very it's still it's complicated. It is. There's

0:37:52.280 --> 0:37:54.000
<v Speaker 1>a business piece to it, if you sit on one

0:37:54.040 --> 0:37:56.920
<v Speaker 1>side of the room, there's an artistry piece to it.

0:37:57.120 --> 0:37:59.879
<v Speaker 1>There's just a humanity piece. And I think you're right.

0:38:00.520 --> 0:38:03.720
<v Speaker 1>You want to play roles. You're an actor, that's your feeling.

0:38:04.000 --> 0:38:06.080
<v Speaker 4>I also think about when they're talking about people who

0:38:06.080 --> 0:38:08.760
<v Speaker 4>with some movies, I think about someone like gab Rasadabe

0:38:08.840 --> 0:38:11.000
<v Speaker 4>who no one knew who she was and she comes

0:38:11.000 --> 0:38:14.920
<v Speaker 4>out in this movie that absolutely blows people away. Precious,

0:38:14.920 --> 0:38:16.960
<v Speaker 4>and she's incredible in it. She has an Oscar nomination.

0:38:17.320 --> 0:38:20.839
<v Speaker 4>She was she had no career before that beyond like,

0:38:21.080 --> 0:38:23.200
<v Speaker 4>why can't these opportunities be given to people who are

0:38:23.200 --> 0:38:24.640
<v Speaker 4>part of the LGBTQ community.

0:38:24.800 --> 0:38:27.560
<v Speaker 3>Yeah, like we don't have to know who everyone is.

0:38:27.680 --> 0:38:51.839
<v Speaker 7>Yeah, welcome back to Table for two. Since his time

0:38:51.880 --> 0:38:55.640
<v Speaker 7>on Modern Family, Jesse Tyler Ferguson has started a podcast,

0:38:55.960 --> 0:39:00.200
<v Speaker 7>Dinner Zombie, acted in the play Take Me Out, and

0:39:00.480 --> 0:39:04.640
<v Speaker 7>just released a short documentary called It's Okay about the

0:39:04.680 --> 0:39:07.719
<v Speaker 7>recent drag bands in the United States.

0:39:09.200 --> 0:39:10.640
<v Speaker 3>Yeah, it's about a Drag Story Hour.

0:39:12.239 --> 0:39:16.520
<v Speaker 4>The director is David France, who directed How to Survive

0:39:16.520 --> 0:39:19.640
<v Speaker 4>a Plague about the AIDS crisis, and also I worked

0:39:19.640 --> 0:39:22.600
<v Speaker 4>with him on a documentary called Welcome to Chechenie about

0:39:22.600 --> 0:39:24.799
<v Speaker 4>the gay purge and Checchnia, and he came to us

0:39:24.800 --> 0:39:26.719
<v Speaker 4>with this idea of doing something about Drag Story Hour

0:39:26.760 --> 0:39:28.160
<v Speaker 4>because it's such a hot button topic.

0:39:28.280 --> 0:39:28.480
<v Speaker 1>Yeah.

0:39:28.800 --> 0:39:32.239
<v Speaker 4>You know, there were people armed protesters outside of schools

0:39:33.719 --> 0:39:36.919
<v Speaker 4>where these Drag Story Hours are being held. So we

0:39:37.040 --> 0:39:39.440
<v Speaker 4>have found some kids who had never been to a

0:39:39.480 --> 0:39:42.120
<v Speaker 4>drag Story out before, and we followed them and recorded

0:39:42.120 --> 0:39:44.600
<v Speaker 4>their experience, and it's it's really field reporting. I mean,

0:39:44.640 --> 0:39:48.120
<v Speaker 4>it's it's just we watch what happens with them. And

0:39:49.000 --> 0:39:51.640
<v Speaker 4>these two brothers who we follow have both very kind

0:39:51.680 --> 0:39:55.840
<v Speaker 4>of different experiences with it. The younger one is extremely

0:39:55.880 --> 0:39:58.080
<v Speaker 4>open to it. The older one is a little resistant

0:39:58.120 --> 0:40:01.200
<v Speaker 4>and like, what's happening? What it was saying? We also,

0:40:02.560 --> 0:40:04.279
<v Speaker 4>you probably didn't even notice it. It's something I love

0:40:04.320 --> 0:40:07.640
<v Speaker 4>that David did is he put microphone vests on these

0:40:07.680 --> 0:40:10.160
<v Speaker 4>kids so we could hear their heartbeat and their breathing.

0:40:10.560 --> 0:40:12.600
<v Speaker 4>And that's sort of what is underlaid with the film

0:40:12.600 --> 0:40:14.600
<v Speaker 4>because you do hear their heart, you hear them breathing,

0:40:14.640 --> 0:40:17.560
<v Speaker 4>and it's very intimate this film. Yes it is, and

0:40:17.840 --> 0:40:21.920
<v Speaker 4>uh it's we really hear what's happening to them inside

0:40:21.960 --> 0:40:24.200
<v Speaker 4>their bodies as well. But what I love about the

0:40:24.239 --> 0:40:28.080
<v Speaker 4>film is that the book that Shalida the drag Queen

0:40:28.080 --> 0:40:30.360
<v Speaker 4>who is doing the drag Quen story hours reading, is

0:40:30.400 --> 0:40:32.960
<v Speaker 4>a book that I actually read to my kids, and

0:40:33.000 --> 0:40:34.480
<v Speaker 4>it's just about different types of families.

0:40:34.560 --> 0:40:35.240
<v Speaker 1>What's the book.

0:40:35.440 --> 0:40:37.360
<v Speaker 4>The book is called It's Okay to Be Different, and

0:40:37.400 --> 0:40:39.400
<v Speaker 4>it talks about everyone from like you know, some people

0:40:39.440 --> 0:40:41.879
<v Speaker 4>have all their teeth and some people don't like it's

0:40:41.960 --> 0:40:44.200
<v Speaker 4>all different types of Some people have two mommies, some

0:40:44.239 --> 0:40:46.799
<v Speaker 4>people have one mom, some people have two dads. Some

0:40:46.840 --> 0:40:50.000
<v Speaker 4>people you know, are raised by their grandparents. And it's

0:40:50.440 --> 0:40:51.799
<v Speaker 4>happens to be a book that's.

0:40:51.560 --> 0:40:54.239
<v Speaker 3>That's now being banned in schools, and it's it's just like,

0:40:55.080 --> 0:40:58.360
<v Speaker 3>what a part what about this book is causing so

0:40:58.400 --> 0:40:59.200
<v Speaker 3>much fear in people?

0:40:59.360 --> 0:40:59.480
<v Speaker 1>Right?

0:41:00.719 --> 0:41:02.399
<v Speaker 3>And so that that happens to be the book that

0:41:02.520 --> 0:41:03.239
<v Speaker 3>she leads reading.

0:41:03.360 --> 0:41:06.200
<v Speaker 4>So you hear her list reading this book, and you

0:41:06.280 --> 0:41:10.840
<v Speaker 4>see these kids enraptured and engrossed and growing and learning

0:41:10.920 --> 0:41:14.000
<v Speaker 4>as they're experiencing this thing. And for them it's like

0:41:14.040 --> 0:41:16.160
<v Speaker 4>not even a man and address reading the book. It's

0:41:16.200 --> 0:41:19.640
<v Speaker 4>like this fabulous princess with sparkles on reading this dress

0:41:19.719 --> 0:41:20.560
<v Speaker 4>reading this book.

0:41:20.400 --> 0:41:21.480
<v Speaker 1>Rather and uh.

0:41:23.200 --> 0:41:25.319
<v Speaker 4>The documentary is very very simple and very quite by

0:41:25.320 --> 0:41:26.759
<v Speaker 4>the way, feel like didn't see the whole Thing's right,

0:41:26.880 --> 0:41:28.840
<v Speaker 4>nothing big happens, And that's what I love about it.

0:41:28.840 --> 0:41:43.040
<v Speaker 8>It's like, it's okay, is there truth to the rumor

0:41:43.360 --> 0:41:45.600
<v Speaker 8>of a little reunion.

0:41:45.280 --> 0:41:46.720
<v Speaker 3>On Modern Family?

0:41:46.880 --> 0:41:47.240
<v Speaker 1>Yes?

0:41:47.760 --> 0:41:48.560
<v Speaker 3>I don't think so.

0:41:48.760 --> 0:41:49.560
<v Speaker 1>It's damn.

0:41:50.000 --> 0:41:54.040
<v Speaker 4>I mean, there was you know that I've talked about

0:41:54.040 --> 0:41:55.920
<v Speaker 4>this before, but there was a spinoff written for me

0:41:55.920 --> 0:41:56.440
<v Speaker 4>and Eric.

0:41:56.400 --> 0:41:57.880
<v Speaker 1>Well, I was gonna have to say, like, where's the

0:41:57.960 --> 0:42:02.080
<v Speaker 1>road up? Yea, you know the fell, where's the Fonds?

0:42:03.560 --> 0:42:04.560
<v Speaker 1>I mean, I mean.

0:42:04.520 --> 0:42:06.040
<v Speaker 4>There's a piece of me that sort of feels like,

0:42:06.120 --> 0:42:08.480
<v Speaker 4>are we the right characters right now to you know,

0:42:08.520 --> 0:42:11.600
<v Speaker 4>speaking of opening the doors for other people, letting, you know,

0:42:12.560 --> 0:42:14.479
<v Speaker 4>letting other people sort of start telling me stories people

0:42:14.560 --> 0:42:17.560
<v Speaker 4>make with a bit more diversity or lived experience.

0:42:17.600 --> 0:42:17.880
<v Speaker 3>I don't know.

0:42:17.880 --> 0:42:19.239
<v Speaker 4>I just don't know if Mitch and Cam or like

0:42:19.520 --> 0:42:23.080
<v Speaker 4>the characters that necessarily need to be listen, I would

0:42:23.080 --> 0:42:26.080
<v Speaker 4>love to explore more. I would love to do something

0:42:26.120 --> 0:42:29.840
<v Speaker 4>with the entire cast. Yeah, I've been begging people to

0:42:30.400 --> 0:42:32.880
<v Speaker 4>put something together. So I don't think it's for lack

0:42:32.920 --> 0:42:34.080
<v Speaker 4>of interest from the cast.

0:42:34.600 --> 0:42:38.640
<v Speaker 1>I think that that is that's the show, and this

0:42:38.680 --> 0:42:42.360
<v Speaker 1>is how I okay telling you. Then you have your neighbors,

0:42:42.760 --> 0:42:45.520
<v Speaker 1>so like that's like you know the couple that is

0:42:45.719 --> 0:42:48.879
<v Speaker 1>you know conservative, you know, but yet you know, then

0:42:48.920 --> 0:42:51.560
<v Speaker 1>you have like, uh, you know, you're kind of it's

0:42:51.560 --> 0:42:53.880
<v Speaker 1>like Maud, you know, you have all these different things,

0:42:53.920 --> 0:42:57.400
<v Speaker 1>but and there's always some sort of message that's not

0:42:57.440 --> 0:42:59.880
<v Speaker 1>like hit over the head, but you go, oh, like yeah,

0:43:00.360 --> 0:43:04.320
<v Speaker 1>and then you have people like Sophia like coming to

0:43:04.400 --> 0:43:07.520
<v Speaker 1>visit because she's in town. Course there's like fun stuff

0:43:07.560 --> 0:43:09.960
<v Speaker 1>to do with it. Absolutely, I mean the repartee and

0:43:09.960 --> 0:43:11.840
<v Speaker 1>and and you're you know, your kid grew up and

0:43:11.880 --> 0:43:14.120
<v Speaker 1>so she's getting older and maybe there's stuff there for sure.

0:43:14.560 --> 0:43:17.280
<v Speaker 4>No, I mean we the the spin off was basically

0:43:17.360 --> 0:43:21.040
<v Speaker 4>based in them moving out of town to a farm. Yeah,

0:43:21.160 --> 0:43:23.919
<v Speaker 4>and it is sort of like, you know, a little

0:43:23.960 --> 0:43:28.080
<v Speaker 4>bit of green Acres, a little bit you know, brilliant,

0:43:28.280 --> 0:43:31.239
<v Speaker 4>and especially Mitch, she's like it really is not good

0:43:31.239 --> 0:43:32.480
<v Speaker 4>at this when.

0:43:32.360 --> 0:43:34.640
<v Speaker 1>He was rapped with the thing on the boat yea,

0:43:34.719 --> 0:43:35.279
<v Speaker 1>yea yeah. Yeah.

0:43:35.400 --> 0:43:37.319
<v Speaker 4>So I mean it had a lot of a lot

0:43:37.320 --> 0:43:39.600
<v Speaker 4>of potential. And yeah, I think you know, if there's

0:43:39.600 --> 0:43:42.000
<v Speaker 4>probably one thing. I mean, Modern Family was about a family.

0:43:42.080 --> 0:43:45.319
<v Speaker 4>So it's like we were mostly white. Yeah, Sophia and

0:43:45.360 --> 0:43:49.000
<v Speaker 4>en Rico obviously and and Lily are exceptions. But I

0:43:49.040 --> 0:43:51.839
<v Speaker 4>think you know that was a criticism that we got

0:43:51.840 --> 0:43:53.120
<v Speaker 4>a lot is that it was a very white show,

0:43:53.600 --> 0:43:56.080
<v Speaker 4>which you know, we weren't entirely white, we were, but

0:43:56.600 --> 0:44:00.080
<v Speaker 4>the dumpy Pritchet clam was pretty white. But I think

0:44:00.280 --> 0:44:03.320
<v Speaker 4>even in the opportunities to cast other roles in Michigan

0:44:03.400 --> 0:44:05.960
<v Speaker 4>camps where they know, they were really looking toward, you know,

0:44:06.360 --> 0:44:09.720
<v Speaker 4>being extremely more you know, way more diverse, And yeah,

0:44:10.000 --> 0:44:12.120
<v Speaker 4>I think that's something that everyone should be conscious about

0:44:12.200 --> 0:44:12.400
<v Speaker 4>right now.

0:44:12.640 --> 0:44:13.000
<v Speaker 3>Versity.

0:44:13.280 --> 0:44:17.000
<v Speaker 1>Yes, I agree. I think that show has the capability

0:44:17.000 --> 0:44:19.640
<v Speaker 1>of having a lot of diversity in the neighborhood on

0:44:19.680 --> 0:44:22.320
<v Speaker 1>the farm and I love.

0:44:22.160 --> 0:44:23.839
<v Speaker 3>It, and diversity with politics too.

0:44:23.960 --> 0:44:39.560
<v Speaker 1>So yeah, anything on the horizon that a little inside

0:44:39.600 --> 0:44:41.879
<v Speaker 1>skinny table for two lunch.

0:44:41.840 --> 0:44:42.520
<v Speaker 3>I just did.

0:44:43.320 --> 0:44:45.359
<v Speaker 4>I was just mentioning this Truman Capote thing I did.

0:44:45.920 --> 0:44:47.759
<v Speaker 4>I did this reading of it in Tangier.

0:44:48.239 --> 0:44:50.200
<v Speaker 1>Yeah, you kept having Morocco. That's what I'm meant to say, Like,

0:44:50.239 --> 0:44:50.920
<v Speaker 1>what were you doing there?

0:44:50.960 --> 0:44:53.239
<v Speaker 4>I was doing this reading of True, which is a

0:44:53.280 --> 0:44:55.439
<v Speaker 4>play about Trim Capote. It's a one one man show

0:44:55.840 --> 0:44:58.239
<v Speaker 4>and I did it with Rob Ashford and Tangier to

0:44:58.320 --> 0:45:01.319
<v Speaker 4>benefit local chair he wanted to been being a local

0:45:01.440 --> 0:45:03.279
<v Speaker 4>orphanage and we raised a lot of money.

0:45:03.360 --> 0:45:05.399
<v Speaker 3>Was really incredible, but the experience was so good. Yeah,

0:45:05.600 --> 0:45:06.160
<v Speaker 3>play together.

0:45:06.760 --> 0:45:09.200
<v Speaker 4>I'm sort of now wondering if that's something that I

0:45:09.239 --> 0:45:12.279
<v Speaker 4>should maybe be looking at you know.

0:45:12.600 --> 0:45:14.760
<v Speaker 1>Yes, what a great character.

0:45:15.120 --> 0:45:16.920
<v Speaker 3>Oh, when I'm going to do Shakespeare the Park next summer. Oh,

0:45:16.920 --> 0:45:17.600
<v Speaker 3>you are going back.

0:45:17.480 --> 0:45:19.719
<v Speaker 1>To the delacort Okay, yes, just you know that is

0:45:19.760 --> 0:45:21.839
<v Speaker 1>my favorite thing in the world and my favorite I'd

0:45:21.880 --> 0:45:23.239
<v Speaker 1>look forward to it every year. So what are you

0:45:23.239 --> 0:45:24.399
<v Speaker 1>going to do now?

0:45:24.400 --> 0:45:26.319
<v Speaker 4>The Delacorte Theater has been closed this past summer because

0:45:26.320 --> 0:45:28.840
<v Speaker 4>there's renovation. So Oscar used to the artistic director of

0:45:28.840 --> 0:45:30.560
<v Speaker 4>the Public Heada really wants to open it back up

0:45:30.560 --> 0:45:31.200
<v Speaker 4>with a big bang.

0:45:31.600 --> 0:45:34.080
<v Speaker 3>So he's chosen Twelfth Night, which is a great play.

0:45:34.160 --> 0:45:36.160
<v Speaker 1>Great I saw that years ago.

0:45:36.280 --> 0:45:37.200
<v Speaker 3>Yes, with Anne Hathaway.

0:45:37.239 --> 0:45:40.320
<v Speaker 1>Maybe I almost want to say Michelle Fife for Bettle

0:45:40.320 --> 0:45:42.279
<v Speaker 1>maybe a different one that was like an eighty nine.

0:45:42.400 --> 0:45:46.600
<v Speaker 4>Right, Well he attached Thus far, it's very exciting myself,

0:45:47.080 --> 0:45:52.120
<v Speaker 4>the pitt in Neango, Sandra Oh and Peter dinklih God.

0:45:52.280 --> 0:45:54.200
<v Speaker 4>So that's all I know of so far that I've

0:45:54.239 --> 0:45:56.319
<v Speaker 4>committed to it. But that's what I'm doing next time.

0:45:56.320 --> 0:45:59.480
<v Speaker 4>It's the next summer summer of twenty twenty five. Yeah,

0:45:59.480 --> 0:46:01.000
<v Speaker 4>that's a big you'll see me there.

0:46:01.120 --> 0:46:02.120
<v Speaker 3>Yeah, it's gonna be a good one.

0:46:02.239 --> 0:46:04.640
<v Speaker 1>Well, this has been a true joy. Thank you for

0:46:04.680 --> 0:46:07.759
<v Speaker 1>having Jesse Tyler Ferguson for having lunch with me today here.

0:46:08.200 --> 0:46:12.359
<v Speaker 1>I mean just enjoy our beautiful SoCal day and I

0:46:12.400 --> 0:46:16.439
<v Speaker 1>dig you digo. Thank you everyone for pulling up a shair.

0:46:16.920 --> 0:46:26.960
<v Speaker 1>Thank you, thank you for pulling up a chair.

0:46:27.520 --> 0:46:31.560
<v Speaker 5>I love our lunches and never forget the romance of

0:46:31.640 --> 0:46:34.799
<v Speaker 5>a meal. If you enjoy the show, please tell a

0:46:34.840 --> 0:46:38.880
<v Speaker 5>friend and rate and review us on Apple Podcasts. Table

0:46:38.880 --> 0:46:41.799
<v Speaker 5>for two with Bruce Bosi is produced by iHeartRadio seven

0:46:41.880 --> 0:46:45.920
<v Speaker 5>three seven Park and Airmail. Our executive producers are Bruce

0:46:45.960 --> 0:46:50.200
<v Speaker 5>Bosi and Nathan King. Our supervising producer is Dylan Fagan.

0:46:50.480 --> 0:46:53.719
<v Speaker 2>Our editors are Vincent to Johnny and Cas B.

0:46:53.880 --> 0:46:54.400
<v Speaker 1>Bias.

0:46:54.920 --> 0:46:58.360
<v Speaker 2>Table for two is researched and written by Jack Sullivan.

0:46:58.719 --> 0:47:02.760
<v Speaker 2>Our sound engineers are Jo B. Klein, Jess Krainich, Evan Taylor,

0:47:02.960 --> 0:47:07.040
<v Speaker 2>and Jesse Funn. Our music supervisor is Randall Poster. Our

0:47:07.040 --> 0:47:10.040
<v Speaker 2>talent booking is done by Jane Sarkin. Table for two

0:47:10.160 --> 0:47:14.840
<v Speaker 2>Social media manager is Gracie Wiener. Special thanks to Amy Sugarman.

0:47:14.760 --> 0:47:19.440
<v Speaker 1>Uni Scherer, Kevin Yvane, Bobby Bauer, and Alison Kanter Graber.

0:47:19.840 --> 0:47:25.000
<v Speaker 2>For more podcasts from iHeartRadio, visit the iHeartRadio app, Apple podcasts,

0:47:25.440 --> 0:47:33.880
<v Speaker 2>or wherever you listen to your favorite shows.