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Speaker 1: This is Alec Baldwin, and you're listening to Here's the

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Speaker 1: Thing from iHeart Radio, dumn my soul.

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Speaker 2: If you must, let my body turn to dust.

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Speaker 3: Let him mingle with the ashes of the country.

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Speaker 4: Let them curse me to help.

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Speaker 3: Leave it to his story to tell what I did.

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Speaker 2: I did well, and I did it for my country.

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Speaker 1: Let them cry dirty to rate emill understand it later.

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Speaker 1: That's Victor Garber performing the Ballad of Booth from the

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Speaker 1: original off Broadway cast recording of Stephen Sondheim's Assassins in

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Speaker 1: nineteen ninety one. Victor Garber is a prolific actor and

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Speaker 1: singer who originated roles in iconic musicals such as Sweeney

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Speaker 1: Todd and Gotspell. You may recognize him as Jack Bristow

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Speaker 1: in the Intrepid TV series Alias, or from his notable

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Speaker 1: roles in Oscar winning films like Titanic, Argo, and Milk.

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Speaker 1: A six time Emmy Award nominee, Garber found his love

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Speaker 1: for the performing arts as a child, having grown up

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Speaker 1: surrounded by music and theater in Ontario, Canada. I was

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Speaker 1: curious to learn about his roots as a young performer.

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Speaker 3: When I was thirteen or twelve, I went to children's

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Speaker 3: theater at the Grand Theater, which still exists in London, Ontario,

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Speaker 3: and it was like, it's beautiful, built in the early

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Speaker 3: nineteen hundreds. And you know, I played Tom Sawyer when

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Speaker 3: I was like eleven, and it was my first starring

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Speaker 3: role in Boy. I just never stopped. I knew that

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Speaker 3: it was so early that that's what I wanted to do.

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Speaker 3: So I was fortunate and I was in a singing group.

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Speaker 3: And then I moved to Toronto when I was sixteen

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Speaker 3: and then started my life was just kind of went.

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Speaker 2: Did you go to Juilliard? Where'd you go?

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Speaker 3: No?

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Speaker 2: I never studied. You never studied.

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Speaker 1: What was saying this the other day that people who

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Speaker 1: have an instinctual gift.

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Speaker 3: You know, I copied really good actors, but I'm better

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Speaker 3: on the first take. But anyway, yea.

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Speaker 1: When you're working all the time and the cylinders you're

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Speaker 1: firing all the time, that's when I found it easier

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Speaker 1: to act because I.

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Speaker 2: Was always those juices were flowing.

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Speaker 1: And now I don't work that much and when I

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Speaker 1: go to work, I'm literally People don't appreciate this, and

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Speaker 1: you sound like maybe you're the same, which as I

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Speaker 1: stand there, on the first thing, I go, what.

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Speaker 2: Do you do again? Yeah? What do I do? I

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Speaker 2: don't know what I do? And then you kind of

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Speaker 2: get slowly heated up. Yeah.

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Speaker 3: Yeah. I haven't done a place since Hello Dolly twenty eighteen.

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Speaker 1: I saw this article that you did where you talked

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Speaker 1: about you didn't want to sing anymore, you were going

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Speaker 1: to give up singing.

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Speaker 2: It was painful.

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Speaker 1: Yeah, and when what was the moment if that, if

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Speaker 1: I can say there was a moment or two where

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Speaker 1: you realize that your voice was changing.

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Speaker 3: Well, well, you know, Hello Dolly wasn't you know? That

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Speaker 3: role wasn't demanding vocally so much. Although A Penny in

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Speaker 3: My Pocket is one of the trickiest, most difficult songs

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Speaker 3: that seems like it shouldn't be, but it's really a

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Speaker 3: hard song to sing. And I finally, the last day,

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Speaker 3: last performance was the only time I felt like I

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Speaker 3: had gotten where I wanted to be. And it's because

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Speaker 3: if you don't really work on your voice every day,

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Speaker 3: you know, singing is it's a muscle. So I'm actually

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Speaker 3: trying to get my voice back because we're doing this

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Speaker 3: documentary about God's Spell, the nineteen seventy two production that

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Speaker 3: I did with all those people that became famous, and

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Speaker 3: they're doing a.

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Speaker 2: Chardina in that. Well.

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Speaker 3: I got him that job because I was cast in

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Speaker 3: the movie David Green. I played Jesus with David Green,

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Speaker 3: and he one day called me and said, I'm now

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Speaker 3: going to ask you to play another impossible part. You

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Speaker 3: play Jesus, and now I want you to play Liberaci.

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Speaker 3: That's that's too and I I will do it only

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Speaker 3: because you're directing it anyway. But yeah, singing is it's

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Speaker 3: so I want to sing at this Godspell kind of

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Speaker 3: a dinner that we're going to have in January in

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Speaker 3: La because Paul Schaeffer will be there at the piano,

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Speaker 3: and I know he's going to start playing the intro

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Speaker 3: to Save the People, which is the song I started

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Speaker 3: the show with. And I want to be able to

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Speaker 3: approximate something, you know, just to just to be able

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Speaker 3: because everybody will want to sing, and my muscles have

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Speaker 3: so atrophied. So I'm every day I get up and

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Speaker 3: for about five minutes I tried, and I think, no,

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Speaker 3: it's not going to work. So I'm still I'm still hopeful.

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Speaker 1: Well let me then I won't talk about your current

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Speaker 1: singing career. Because there is none. And we'll talk about

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Speaker 1: your former singing career where I'm massively a massive singing Well, no, listen,

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Speaker 1: So you originated the role in Assassins, you do.

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Speaker 2: We're in the first production of Assassins.

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Speaker 1: So in a world that you and I both I'm

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Speaker 1: sure would recognize, is you know that just all the

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Speaker 1: oxygen to get sucked out of the room where you're

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Speaker 1: with Wideman.

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Speaker 3: Yeah, and sometime someunheim is why I came to New York.

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Speaker 3: When I was a kid in Toronto, I heard Anyone

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Speaker 3: Can Whistle, the first actual musical he wrote, well, he

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Speaker 3: wrote the music and lyrics for and I used to

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Speaker 3: play that to death, and we talked about this, and

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Speaker 3: I'd actually written about it. It was like a siren call.

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Speaker 3: That music and that sensibility was what brought me to

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Speaker 3: New York. And then I ended up in Sweeney Todd.

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Speaker 3: You know, I remember so distinctly, and my memory is spotty,

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Speaker 3: but I do remember that first preview of Sweeney Todd

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Speaker 3: when I came back to my dressing room, when I

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Speaker 3: closed the door and I just stopped, and I thought,

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Speaker 3: I have achieved my dream to be in a Sundei musical.

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Speaker 2: Who were your cohorts and Sweeney Todd.

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Speaker 3: Of Angela Lansbury and Lenn carry you now of course

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Speaker 3: it was the original company, the original company. Yeah, so

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Speaker 3: it's hard for me to you know, I see see,

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Speaker 3: and there's been some wonderful productions, but nothing. I remember

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Speaker 3: watching them from the wings every night singing you have

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Speaker 3: a Little Priest, which is one of the sometimes masterpieces.

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Speaker 3: And it will never be ever ever be done like that. Well,

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Speaker 3: of course it won't because they were themselves. But it's

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Speaker 3: when I say it's indelible, it really is. And who

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Speaker 3: directed Sweeney Hal Prince know him?

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Speaker 1: Yeah, But when you go on to do Assassin's I

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Speaker 1: keep focusing on that because I can compare two productions.

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Speaker 1: I've seen Sweeney with different people. I love the movie

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Speaker 1: that Tim did I did yeah, and I know a

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Speaker 1: lot of people didn't care for.

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Speaker 2: It, you know, I really thought it was good.

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Speaker 1: The best thing Johnny deb Ever did Yes and did

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Speaker 1: the barber scene that they do with Sasha Baron.

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Speaker 2: Oh my god. I really love that movie. My daughter

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Speaker 2: Ireland and I my older daughter would watch that all

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Speaker 2: the time. But it was something.

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Speaker 1: But when I saw you do that and you sing

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Speaker 1: that song, and that's when I fell in love with you.

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Speaker 2: I would watch that show with you.

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Speaker 1: Then there's the benefit you did with Patrick Cassidy first.

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Speaker 3: As Carnegie Hall. Yeah, you did a concert for that

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Speaker 3: was that was well, we just sang that song. It

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Speaker 3: was a Songheim, yes good ellis it was like a tribute.

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Speaker 3: Is a song Sondheim tribute And they asked us to

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Speaker 3: do that, and I'll never forget it because I've never

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Speaker 3: been I've never been more nervous in my life. I mean,

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Speaker 3: I you know, Carnegie Hall, and some for some reason

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Speaker 3: I was able to, I guess, just disassociate from the

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Speaker 3: experience and just be in the moment. And I've never

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Speaker 3: sung it better. And I'm so glad it's recorded. I

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Speaker 3: think it is recorded beautiful. Well, thank you, but it

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Speaker 3: was life changing to be a part of that. And

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Speaker 3: then Nathan and I did Wise Guys and that was

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Speaker 3: the end of Sondheim Love Affair. That one didn't go

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Speaker 3: so well, thank go so well. You and Nathan did.

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Speaker 3: Nathan Lane and I we were so excited about it,

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Speaker 3: and the show evolved into I think it became road show.

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Speaker 3: Eventually it's been done and that John Doyle did a

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Speaker 3: production of it. I didn't go near it because I

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Speaker 3: couldn't bear going to see it because it was so

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Speaker 3: such a painful time for me, and for Nathan he

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Speaker 3: saw it everything, because he sees everything. But anyway, that

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Speaker 3: was an unfortunate you know, for many reasons when you go.

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Speaker 1: Into something like that with armed with that crowds. Yeah,

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Speaker 1: people who they have the highest expectations, quite frankly, and

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Speaker 1: so did we you included, Yeah, when it doesn't, do

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Speaker 1: you smell it a mile away? Do you guys are

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Speaker 1: going along, You're going, I don't know what. You're on

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Speaker 1: a phone with your friend and it doesn't, I don't know.

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Speaker 3: Well, it was Nathan and I. We were that's just

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Speaker 3: the two of us. I mean, we were sort of

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Speaker 3: the main characters. So we were always like I don't

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Speaker 3: I'm not sure.

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Speaker 2: I mean, and I don't want to.

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Speaker 3: You know. It was a combination of personalities and of creatives,

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Speaker 3: you know, the side of it that weren't really working

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Speaker 3: together as one would hope. And also I think the

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Speaker 3: concept was kind of a misfire. I think it was

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Speaker 3: they wanted to do it as this kind of Crosby

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Speaker 3: Hope road show kind of thing, and it was much

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Speaker 3: too dark and complicated, so that it never really gelled.

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Speaker 3: And I don't know what it ended up being because

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Speaker 3: I never saw it. But again, you guys were gone

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Speaker 3: and went on with that.

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Speaker 2: Yeah.

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Speaker 3: No, it was many many versions.

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Speaker 2: Of that show. Then who eventually opened, Well, they didn't

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Speaker 2: do a Broadway they didn't.

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Speaker 3: No, No, it wasn't on Broadway. It was it sort

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Speaker 3: of toured around.

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Speaker 1: Now people list you in Wikipedia or these really comment sights.

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Speaker 1: This show was Canadian actor. Do you can view yourself

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Speaker 1: as a Canadian actor? Do Canadians have to have it

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Speaker 1: in there for their cred?

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Speaker 2: Yeah?

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Speaker 3: Yeah, I mean but I've just been you know, I'm

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Speaker 3: about to get the Order of Canada, so I have.

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Speaker 2: To well you careful. So I heard the Canadian actors

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Speaker 2: this show.

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Speaker 3: I normally wear my pin, yeah, jacket, your blazer, Marty Short,

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Speaker 3: Eugene Levy, Paul Schaeffer, and I finally got mine and

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Speaker 3: it was it's it's it's a great honor. It's sort

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Speaker 3: of as big as you can get in Canada. It's

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Speaker 3: like getting a knighthood or something, right, but nobody cares

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Speaker 3: as much. It's an enormous honor and we're going to

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Speaker 3: Ottawa next week, and I was honored at my hometown

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Speaker 3: about month ago as a lifetime It's even a ward

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Speaker 3: in London, Ontario, and they now have this film festival

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Speaker 3: in London, Ontario. I know you'll be charming at the

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Speaker 3: bit to get there, but I'll go if you go.

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Speaker 2: Yeah, okay, you did two Shakespearean actors.

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Speaker 3: I did with Brian Bedford.

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Speaker 2: Oh my god.

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Speaker 1: When I saw you do that, you put a spell

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Speaker 1: on me. I'm not just as an actor, you put

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Speaker 1: a spell on me. So I've tried to do that

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Speaker 1: play so many times and everybody said the same thing.

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Speaker 1: After you guys did it, you don't see it in

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Speaker 1: New York anymore. Why there's a big cast, many people,

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Speaker 1: a lot of people. Ryan and I talked about this

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Speaker 1: even then, that it should be a movie. And it

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Speaker 1: was a life changing experience for me because I'd never

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Speaker 1: really done Shakespeare, and now I'm suddenly doing all these

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Speaker 1: scenes from Shakespeare. Were Forest, I was, Yes, Forest, were Forest,

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Speaker 1: and he was the brit Yes McReady mcredy and Forrest, Yeah,

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Speaker 1: who were rivals.

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Speaker 3: And the story is so.

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Speaker 2: It's one eight story.

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Speaker 1: The biggest riode in New York in the highest death

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Speaker 1: toll from a public ride and history up to that point,

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Speaker 1: one hundred and forty people I think died or something.

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Speaker 2: Yeah, it was you in Bedford.

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Speaker 3: He was really great to work with. He really liked

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Speaker 3: me and so he he was very generous with me.

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Speaker 3: And also we had very little to do on stage

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Speaker 3: to get yes. So that was probably the best thing

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Speaker 3: because I could have gone very right.

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Speaker 2: I like to act alone. Well, I like you over there. Yeah, yeah,

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Speaker 2: I'm here, and I'm just fine on my own.

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Speaker 3: He was remarkable and I loved doing that play.

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Speaker 2: I loved doing it.

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Speaker 1: But it's really hard, and I loved you in that

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Speaker 1: play and that storyline when the boy wants to come

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Speaker 1: with you, the young man come with you.

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Speaker 3: It's such a compelling story and and also it could

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Speaker 3: be so beautiful to look at.

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Speaker 1: So once you come to New York, what year is that?

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Speaker 3: It was in the seventies to do the movie of

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Speaker 3: Godspell early seventies and then stay, well, you know, I

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Speaker 3: had to get a green card. I knew that I

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Speaker 3: always wanted to be on Broadway. That's that was always

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Speaker 3: my dream, and to work with Somendheim, and so I

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Speaker 3: actually worked illegally for a while because I didn't have

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Speaker 3: a Social Security number, but I do now I've had

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Speaker 3: a long time. I was just I had to live

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Speaker 3: in New York City. The first job I did in

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Speaker 3: New York was at the original Roundabout Theater, which was

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Speaker 3: underneath the grocery store on twenty sixth and eighth Avenue Titanique,

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Speaker 3: just before it moved to the new theater. That's where

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Speaker 3: it opened, and I went back there for the first

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Speaker 3: time to see it Titanique, and that was the first

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Speaker 3: theater I'd ever worked in.

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Speaker 1: It was still you know this, so the Roundabout is

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Speaker 1: somewhere else, but that's what's what's the theater there?

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Speaker 3: Now it's not, it's gone. They Titanique was when it

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Speaker 3: was a couple of years ago when they when they

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Speaker 3: opened it before they moved to I think it's Darryl

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Speaker 3: Roth's Theater or one of those theaters I remember seeing

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Speaker 3: there on Union Square. Union Square, Yeah, but before that,

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Speaker 3: the first place they did. It was the first job

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Speaker 3: I ever had with Beatrice straight who you probably won't,

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Speaker 3: do you remember Beatrice Strets I do.

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Speaker 2: Yes.

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Speaker 3: She wanted to, you know, an as for a seven

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Speaker 3: minute scene in Network, and she was a very oh wealthy.

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Speaker 3: That's the word. She was from a very famous family

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Speaker 3: in England. They had a very fancy school over there.

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Speaker 3: She was the most generous and kind of maternal. She

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Speaker 3: was a fantastic woman and she took care of me.

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Speaker 3: And I played Oswald and she played mother Mother. Give

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Speaker 3: me the Sun and that changed my life. I got

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Speaker 3: a Theater World Award. That was the beginning of everything

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Speaker 3: for me. And also the fact that I sort of

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Speaker 3: came into New York doing an Ibsen play saved me

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Speaker 3: from being a musical theater actor, which is what I

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Speaker 3: you know, I longed to do and did, but I

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Speaker 3: didn't want to be typed. And that was kind of

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Speaker 3: a great way of doing it.

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Speaker 1: Once you have a beach head here and you're doing

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Speaker 1: plays here, how quickly after that, like by what year

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Speaker 1: do you pivot where you're making more films and TV?

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Speaker 3: No movie, there was not a steady climb at all.

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Speaker 3: I mean the first movie I did, Paul Schrader cast

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Speaker 3: me in a movie called Light Sleeper, which came out

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Speaker 3: of the book and Susan. Yeah, it's a really good movie.

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Speaker 3: And he is a drug dealer, Yes, he's a Swiss

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Speaker 3: drug dealer. And you know, like, who else but me

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Speaker 3: to play that role. It's a Swiss touch and drug dealing,

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Speaker 3: it's it's I don't come through them though exactly how

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Speaker 3: I spoke that I was young. I was young, but

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Speaker 3: I didn't really get movies were late in my life.

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Speaker 3: I think by Titanic was I was in my forties already,

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Speaker 3: and so yeah, my movie career was very spotty. First

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Speaker 3: Wives Clubs I think was the first movie I did.

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Speaker 3: I did, and that was a long time.

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Speaker 1: But the thing is is that like when you before

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Speaker 1: Alias obviously and after Alias, you know, when you have success,

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Speaker 1: you're as long as you're successful, you're welcome out there.

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Speaker 1: They all want you to come. Did you shoot Alias

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Speaker 1: in the La Yes?

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Speaker 3: Well, JJ Abrams you know, changed my life. You for

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Speaker 3: that show, because that was how he saw me in

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Speaker 3: that role. Was still I'm not sure how he did,

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Speaker 3: but it worked. And Ron Rifkin, you know, two people,

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Speaker 3: and we were both spies and we both were pinching

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Speaker 3: ourselves that we were a part of this, and uh,

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Speaker 3: you know, everything changed after that, but it was never

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Speaker 3: I always felt like I was not really a.

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Speaker 2: Part of the movie world.

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Speaker 3: You felt that way, yeah, you know, I mean my friends,

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Speaker 3: you know, Bill Hurt and Kevin Klein, and you know,

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Speaker 3: because and they were straight and I wasn't. And I

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Speaker 3: think that was a great you think so oh, I

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Speaker 3: know so really yeah, so you know.

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Speaker 1: And it was without getting into great detail. It was

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Speaker 1: conveyed to you by other people's behavior, posture, tonality, like

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Speaker 1: you around people who they weren't.

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Speaker 3: Well, just that I wasn't being seen for roles that

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Speaker 3: I could have been seen. Yes, you know, I may

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Speaker 3: not have gotten. Ironically, the one show that I the

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Speaker 3: movie that I was up for and nearly got was

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Speaker 3: The World according to garb Right and John Lithgal me

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Speaker 3: and a wonderful actor oddly enough too straight man and

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Speaker 3: one gay man and the straight man both. Anyway, I

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Speaker 3: didn't get it.

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Speaker 1: Now, Abrams, there was none of that he wanted you,

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Speaker 1: and that was I.

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Speaker 2: He didn't really give a shit about no.

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Speaker 3: He just he saw something in me, and I had it.

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Speaker 3: You know, I didn't know I could do it, honestly.

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Speaker 1: Well, I mean, I think anything with the guy smart

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Speaker 1: and handsome and charming and urbane is in your field

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Speaker 1: of gravity. But so she becomes a big star on

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Speaker 1: that show, Jennifer and Jennifer. Jennifer Garner is that's her

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Speaker 1: big breakout thing is doing what was the character name

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Speaker 1: against Sidney Sydney, Sidney Bristol, Sidney Bristow. And nothing was

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Speaker 1: more fun than watching Jennifer Garner and some karate tights

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Speaker 1: kicking the shit out of somebody or whatever.

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Speaker 2: She was to use.

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Speaker 3: Masterful, I mean that change television, that show, I know,

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Speaker 3: in what way do you well? Because there was nothing

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Speaker 3: like it ever ever? I mean that that pilot is

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Speaker 3: considered one of the great pilots. It's actually worth seeing

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Speaker 3: the pilot again because it's just one of the great

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Speaker 3: pilots ever done. And JJ directed it and he created it,

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Speaker 3: and then everything you know, and then there were a

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Speaker 3: lot of wannabes after that, but nothing ever, I guess

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Speaker 3: I get stopped all the time about that show. You know,

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Speaker 3: mothers and daughters and people, and there are people just

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Speaker 3: discovering it. And it's thrilling because it meant a lot

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Speaker 3: to me, of course, but I'm always assuming and it

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Speaker 3: sounds to me like you. It was also partly a

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Speaker 3: lack of interest other than being viewed a certain way,

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Speaker 3: and that is that you know, before Alias and certainly

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Speaker 3: after alias. Didn't you want to park yourself up there

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Speaker 3: and just reap the benefits, the benefits in the town,

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Speaker 3: you know, I always find that town there's a success

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Speaker 3: begets success that you go into a big hit show

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Speaker 3: and you're lining up your next show as that show's rapping.

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Speaker 3: I mean, was like stepping on stones over a pond

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Speaker 3: or something.

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Speaker 2: You know. Well, I never live out there.

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Speaker 3: What happened exactly is what you're saying. I did two

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Speaker 3: more pilots. They were interesting, not quite good enough, obviously.

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Speaker 3: The one I did love was Eli Stone. Greg Borlante

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Speaker 3: did and that was That was the first, I think

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Speaker 3: the first series that included music because Johnny Lee Miller

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Speaker 3: played he had an aneurysm and he would go into

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Speaker 3: a fit and everything would be sung. And George Michael

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Speaker 3: was actually on that show. It's actually, it's actually worth seeing.

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Speaker 3: It's really interesting. Eli Stone, it's really that's the name

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Speaker 3: of the episode. That's the name of the show. And

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Speaker 3: we did twelve episodes and I said to Reiner, I

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Speaker 3: remember then, I said, I can't live in la looking

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Speaker 3: for work. I knew I would fall into a very

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Speaker 3: dark hole. And we left. We moved back to New York.

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Speaker 3: He didn't want to leave because he loves the beach.

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Speaker 3: But we're now, we're in you know, Sag Garber, So

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Speaker 3: he's very happy.

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Speaker 1: Actor and singer Victor Garber. If you enjoy conversations about

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Speaker 1: acting in musical theater, check out my episode with Richard Kind.

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Speaker 4: I know I should be much wealthier. I do everything.

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Speaker 4: I have said this before. I am the costco of acting.

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Speaker 4: I come a quantity and I come cheap. And that's

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Speaker 4: why the toilet paper like toilet paper. Yes, instead of

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Speaker 4: buying twelve rolls at the CBS, you got twenty six

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Speaker 4: for the same price. Yes, that's me.

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Speaker 1: To hear more of my conversation with Richard Kind, go

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Speaker 1: to Here's Thething dot org. After the break, Victor Garber

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Speaker 1: discusses Stephen Sondheim's controversial musical Assassins and originating the role

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Speaker 1: of John Wilkes Booth. I'm Alec Baldwin and you're listening

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Speaker 1: to Here's the Thing. Victor Garber originated the role of

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Speaker 1: John Wilkes Booth in the nineteen ninety one off Broadway

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Speaker 1: production of Stephen Sondheim's Assassins. Despite the powerhouse writing and

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Speaker 1: acting talent, the show was initially not well received by audiences.

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Speaker 3: People didn't like it. It was very you know, we

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Speaker 3: were all waving flag. Well I wasn't. I forget what

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00:20:08,720 --> 00:20:11,639
Speaker 3: was going on, but it was all, you know, you know,

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Speaker 3: make America great. It was the New York Theater Workshop,

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Speaker 3: but we were the off Broadway. We were the original production.

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Speaker 3: O god, there's an album to prove it. The first

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Speaker 3: time I heard that music thought, how does anyone create this?

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Speaker 3: This is the just has never been certainly in the

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Speaker 3: modern world. I mean there's just no one ever before since.

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Speaker 1: What I loved about this is what you've always had

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Speaker 1: in these roles you've played in the theater, whether you're.

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Speaker 2: Singing or not.

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Speaker 1: Is great acting inside the singing. Oh thank you, I

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Speaker 1: say to people. You've got to be able to try

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Speaker 1: to do both. So someone said to me, oh, New

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Speaker 1: York City Ballet and American Ballet theater. The someone said

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Speaker 1: to me, well, one is there the better dancers and

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Speaker 1: the other are the better actors. You don't see both, right,

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Speaker 1: So my not insistence, but my panchamp for the man

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Speaker 1: or woman that can sing an act inside the musical

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Speaker 1: theater has always been and you've been always like one

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Speaker 1: of the greatest I've ever seen in my life. And

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Speaker 1: in that song, you hear you acting. You know, the

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Speaker 1: way you play very real. It's real.

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Speaker 2: It's not some you know, other kind of thing.

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Speaker 4: You know.

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Speaker 3: I honestly thank you. It means a lot to hear

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Speaker 3: you say that. But I don't understand how you can't

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Speaker 3: do it if you don't try to be real. You

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Speaker 3: feel that what's going on emotionally, that's what makes it

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Speaker 3: resonate to an audience, and that's God given. I never

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Speaker 3: thought about it, you know, I never thought, how do

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Speaker 3: I act this song? I just lived the moment that

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00:21:41,920 --> 00:21:44,560
Speaker 3: I was in and I happen to be singing. It's

435
00:21:44,600 --> 00:21:46,520
Speaker 3: really simple. But I'm you know, I go to the

436
00:21:46,520 --> 00:21:49,159
Speaker 3: theater a lot, and I'm not going to drop and

437
00:21:49,160 --> 00:21:52,800
Speaker 3: say any names. But it is astonishing to me that

438
00:21:52,920 --> 00:21:57,000
Speaker 3: people think what they're doing is acting. I mean, I

439
00:21:57,160 --> 00:22:01,800
Speaker 3: really just I think I don't believe one word you're saying,

440
00:22:02,080 --> 00:22:04,560
Speaker 3: and the audience is buying it, and everybody's standing good

441
00:22:04,600 --> 00:22:08,679
Speaker 3: times always and always always. But I just find you

442
00:22:08,840 --> 00:22:11,640
Speaker 3: just have to work harder than you think to get

443
00:22:11,760 --> 00:22:13,640
Speaker 3: to that place. And I think a lot of people

444
00:22:13,760 --> 00:22:16,359
Speaker 3: just don't want to put in the extra mileage.

445
00:22:16,400 --> 00:22:18,080
Speaker 2: You know, it's that that it takes.

446
00:22:17,760 --> 00:22:23,680
Speaker 3: To really embody because we're all of us are so complicated.

447
00:22:24,000 --> 00:22:27,359
Speaker 3: People are complicated, and we go through so many in

448
00:22:27,400 --> 00:22:30,080
Speaker 3: a day, so many moods and changes, and you have

449
00:22:30,119 --> 00:22:33,560
Speaker 3: to be able to facilitate that on a stage. I

450
00:22:33,640 --> 00:22:35,320
Speaker 3: just went to see Peter Gallagher and his plane.

451
00:22:35,840 --> 00:22:36,480
Speaker 2: What is he doing?

452
00:22:36,520 --> 00:22:40,600
Speaker 3: He's doing a left on tenth. It's it's charming play

453
00:22:40,680 --> 00:22:43,600
Speaker 3: that that Susan Stroman directed. And we were talking about

454
00:22:43,640 --> 00:22:46,600
Speaker 3: it and he's he's really good and he you know,

455
00:22:46,640 --> 00:22:49,600
Speaker 3: I've known him the whole life. I've known Peter Gallagher.

456
00:22:49,800 --> 00:22:51,800
Speaker 3: I was saying, my god, I just he said, you're

457
00:22:51,840 --> 00:22:53,800
Speaker 3: so great. And he said, and I said, I don't

458
00:22:53,800 --> 00:22:54,399
Speaker 3: know if I could do this.

459
00:22:54,520 --> 00:22:56,240
Speaker 2: He said, it's a chose a week.

460
00:22:57,400 --> 00:22:59,480
Speaker 3: I said, I know, that's what I'm saying.

461
00:23:00,680 --> 00:23:01,760
Speaker 2: I don't know if I can do it.

462
00:23:02,560 --> 00:23:05,520
Speaker 3: He said every he and I thought, and he reminded

463
00:23:05,560 --> 00:23:09,199
Speaker 3: me why I don't think I really want to do that.

464
00:23:09,280 --> 00:23:10,320
Speaker 2: I can't really so much.

465
00:23:10,359 --> 00:23:11,720
Speaker 1: I mean, I want to do it and I will,

466
00:23:12,040 --> 00:23:14,359
Speaker 1: but I couldn't do it so much because of my kids,

467
00:23:14,760 --> 00:23:16,720
Speaker 1: like to have not seen my kids five nights out

468
00:23:16,760 --> 00:23:18,919
Speaker 1: of the week, Monday, year off, Sunday night.

469
00:23:18,960 --> 00:23:20,040
Speaker 2: Are you only have you do eight?

470
00:23:20,040 --> 00:23:22,200
Speaker 3: She was a week, one night off, one night.

471
00:23:22,560 --> 00:23:26,040
Speaker 1: Now, you didn't study, You did not have a professional training.

472
00:23:26,600 --> 00:23:28,800
Speaker 1: And would you recommend people get some of that training

473
00:23:28,800 --> 00:23:30,440
Speaker 1: somehow or you don't think it's necessary?

474
00:23:30,520 --> 00:23:32,760
Speaker 3: Oh no, I definitely think you. I just I wasn't

475
00:23:32,800 --> 00:23:35,760
Speaker 3: able to find the people to I mean, you know,

476
00:23:35,880 --> 00:23:39,199
Speaker 3: Joan Later, who's my singing teacher. She got me through more.

477
00:23:39,280 --> 00:23:43,160
Speaker 3: Joan Later, the great Dame Joan She got me through

478
00:23:43,359 --> 00:23:45,760
Speaker 3: a lot of things in my early years, as you know,

479
00:23:45,800 --> 00:23:49,080
Speaker 3: because she and she talks and she's she's an actor's

480
00:23:49,359 --> 00:23:52,480
Speaker 3: you know, teacher. She loves that. But no, I know,

481
00:23:52,600 --> 00:23:54,800
Speaker 3: I think you do whatever you need to do to

482
00:23:55,640 --> 00:23:58,119
Speaker 3: feel like you know what you're doing on the stage,

483
00:23:58,160 --> 00:24:01,560
Speaker 3: you know. I just I learned from watching great actors.

484
00:24:01,920 --> 00:24:04,800
Speaker 3: I thought, too, what are they doing or not doing?

485
00:24:05,320 --> 00:24:07,640
Speaker 3: And Brian Bedford was one of them in Stratford when

486
00:24:07,680 --> 00:24:10,840
Speaker 3: I saw him in their play. I learned so much

487
00:24:10,880 --> 00:24:14,040
Speaker 3: from watching him and working with him too, And that's

488
00:24:14,040 --> 00:24:16,120
Speaker 3: how I just figured it out.

489
00:24:16,840 --> 00:24:19,400
Speaker 1: I tell people learn to sing. So when you're young,

490
00:24:19,400 --> 00:24:21,640
Speaker 1: when you're training, I said, go and take as much

491
00:24:21,720 --> 00:24:24,800
Speaker 1: voice as you can movement. I said, you're cutting yourself

492
00:24:24,800 --> 00:24:28,600
Speaker 1: off from half the business. And I'll never forget Boyd Gains,

493
00:24:28,600 --> 00:24:29,880
Speaker 1: who I did a movie, but he had a small

494
00:24:29,920 --> 00:24:30,920
Speaker 1: part of the movie I did.

495
00:24:30,840 --> 00:24:31,840
Speaker 2: And I love Boyd Dames.

496
00:24:31,880 --> 00:24:36,119
Speaker 1: And when he did Contacted, like I could be memory,

497
00:24:36,440 --> 00:24:39,120
Speaker 1: and I go seem I'm sitting going, oh my god,

498
00:24:39,200 --> 00:24:42,280
Speaker 1: look at this guy, this guy who's always been a

499
00:24:42,320 --> 00:24:45,080
Speaker 1: wonderful stage actor and worked in film and television, but

500
00:24:45,160 --> 00:24:47,439
Speaker 1: like this is like his defining moment to play that

501
00:24:47,480 --> 00:24:51,119
Speaker 1: guy who was seeking some release and some freedom in

502
00:24:51,119 --> 00:24:54,719
Speaker 1: his life by dancing, you know, and enjoying himself. I

503
00:24:54,840 --> 00:24:57,320
Speaker 1: watched Boyd Gains in Contact. I almost died. I thought,

504
00:24:57,320 --> 00:24:59,720
Speaker 1: look at him. And I've always said to people, write

505
00:24:59,720 --> 00:25:02,920
Speaker 1: me a musical where I'm a person who learns to sing,

506
00:25:02,960 --> 00:25:03,760
Speaker 1: who can't sing.

507
00:25:04,040 --> 00:25:04,440
Speaker 3: Yeah.

508
00:25:04,680 --> 00:25:07,399
Speaker 1: Maury Yeston gets me at a party, mister Baldwin, do

509
00:25:07,440 --> 00:25:09,840
Speaker 1: you sing? And I said, no, I don't sing. I said,

510
00:25:09,840 --> 00:25:12,440
Speaker 1: it's I go to prison if I sang. And he says,

511
00:25:12,440 --> 00:25:15,359
Speaker 1: mister Baldwin, nonsense, he said. I said to Dustin Huffman,

512
00:25:15,640 --> 00:25:17,800
Speaker 1: he said the same thing to me, and I said, sing,

513
00:25:18,119 --> 00:25:21,360
Speaker 1: Yankee Doodle Dandy in the style of Jimmy Duranty, and

514
00:25:22,040 --> 00:25:25,320
Speaker 1: dropping goes, I'm a Yankee doodle and he goes sing

515
00:25:25,480 --> 00:25:28,480
Speaker 1: the Star Spangled Banner in the voice of Louis Armstrong.

516
00:25:29,200 --> 00:25:33,200
Speaker 1: Oh see, can you see? And he goes, you see,

517
00:25:33,320 --> 00:25:35,800
Speaker 1: you're on key. You can sing when you pretend to

518
00:25:35,800 --> 00:25:38,280
Speaker 1: be somebody else. That's perfect, he says. When you're singing,

519
00:25:38,359 --> 00:25:40,320
Speaker 1: you must pretend you're somebody else. You don't sing in

520
00:25:40,359 --> 00:25:42,440
Speaker 1: your own voice. Your own voice terrible.

521
00:25:43,000 --> 00:25:44,720
Speaker 3: And I'm gonna do that when I get home today.

522
00:25:45,080 --> 00:25:47,760
Speaker 3: See if I can hit those notes. Oh my god,

523
00:25:48,080 --> 00:25:50,640
Speaker 3: it's a great idea. I'll just pretend I'm someone else.

524
00:25:50,680 --> 00:25:53,199
Speaker 1: But this idea of me wanting to sing, I have

525
00:25:53,280 --> 00:25:55,560
Speaker 1: the soul of a singer. It's the same with you. You

526
00:25:55,520 --> 00:25:58,479
Speaker 1: do impersonations. I'm not that good at that either, But

527
00:25:58,560 --> 00:26:00,680
Speaker 1: the point is whatever ear you have for that, that's

528
00:26:00,720 --> 00:26:03,760
Speaker 1: the same music and impersonation sound. It's told a sound

529
00:26:03,840 --> 00:26:06,400
Speaker 1: in your skull. And I look at people, I say,

530
00:26:06,480 --> 00:26:07,800
Speaker 1: learn how to sing.

531
00:26:08,200 --> 00:26:11,800
Speaker 3: Yeah, it's invaluable. And it also opens areas of your

532
00:26:11,840 --> 00:26:14,800
Speaker 3: body and your head. And I think it's really healthy.

533
00:26:14,960 --> 00:26:16,600
Speaker 3: I think it's really healthy to sing.

534
00:26:16,640 --> 00:26:21,480
Speaker 1: Here's the power of that kind of performance, A clear, unfettered,

535
00:26:21,560 --> 00:26:23,840
Speaker 1: unvarnished piece of your soul coming out.

536
00:26:24,000 --> 00:26:24,240
Speaker 2: You know what.

537
00:26:24,240 --> 00:26:27,440
Speaker 1: The first show I saw on Broadway was Shenandoah with John.

538
00:26:27,320 --> 00:26:29,280
Speaker 3: Con Oh wow, I never, I never.

539
00:26:29,560 --> 00:26:30,160
Speaker 2: I was a kid.

540
00:26:30,320 --> 00:26:32,280
Speaker 1: Wow, and we know a school trip and John Collin

541
00:26:32,320 --> 00:26:37,040
Speaker 1: Glen and goes, listen here Land is Anderson land by.

542
00:26:36,920 --> 00:26:39,360
Speaker 2: The sweat up my bra and he's singing the song.

543
00:26:39,359 --> 00:26:41,480
Speaker 1: And I'm going, oh my god, look at this fucking guy.

544
00:26:41,520 --> 00:26:42,640
Speaker 2: He's standing in front of you.

545
00:26:42,880 --> 00:26:45,440
Speaker 1: He's so many feet away from you, and he's doing

546
00:26:45,480 --> 00:26:47,840
Speaker 1: that in front of you and laying himself bare and

547
00:26:47,840 --> 00:26:50,159
Speaker 1: put himself out there. And I was like fifteen or

548
00:26:50,160 --> 00:26:52,720
Speaker 1: sixteen years old, and I was like, wow, that looks hard.

549
00:26:53,359 --> 00:26:55,119
Speaker 1: It looks like work. You have to learn how to

550
00:26:55,160 --> 00:26:57,600
Speaker 1: do something. And it wasn't until years later that I

551
00:26:57,600 --> 00:26:59,919
Speaker 1: started to saying to myself acting is hard to do it.

552
00:27:00,080 --> 00:27:03,399
Speaker 3: Well, yes, that's what I was whining about it a

553
00:27:03,400 --> 00:27:05,520
Speaker 3: few minutes ago. It's harder than you think, right, and

554
00:27:05,560 --> 00:27:07,960
Speaker 3: you have to work harder than you think. I saw

555
00:27:08,040 --> 00:27:11,080
Speaker 3: Len carry you in a Little Night Music before I

556
00:27:11,119 --> 00:27:13,000
Speaker 3: worked with him, before I knew him. I was with

557
00:27:13,000 --> 00:27:17,080
Speaker 3: my mom, Glynnis Johns was that was my first Sondheim

558
00:27:17,720 --> 00:27:19,760
Speaker 3: Live show that I'd ever seen, and I was young,

559
00:27:20,280 --> 00:27:25,760
Speaker 3: and Len carry you blew my socks off because that guy,

560
00:27:26,400 --> 00:27:31,040
Speaker 3: it was a singer who everything that he sang was

561
00:27:31,080 --> 00:27:33,720
Speaker 3: coming from an organic place, and you were it was

562
00:27:33,800 --> 00:27:38,159
Speaker 3: completely compelling. And he's still, you know, he's still. I

563
00:27:38,200 --> 00:27:38,960
Speaker 3: worship him.

564
00:27:39,200 --> 00:27:45,120
Speaker 2: I worship him. Victor Garber.

565
00:27:45,840 --> 00:27:48,879
Speaker 1: If you're enjoying this conversation, tell a friend and be

566
00:27:48,960 --> 00:27:52,359
Speaker 1: sure to follow Here's the Thing on the iHeartRadio app,

567
00:27:52,440 --> 00:27:57,320
Speaker 1: Spotify or wherever you get your podcasts. When we come back.

568
00:27:57,480 --> 00:28:01,199
Speaker 1: Victor Garber details the changes seen over his time in

569
00:28:01,240 --> 00:28:05,280
Speaker 1: show business and how increasingly difficult it is to find

570
00:28:05,440 --> 00:28:21,199
Speaker 1: good material. I'm Alec Baldwin and you were listening to

571
00:28:21,280 --> 00:28:25,240
Speaker 1: Here's the Thing. Victor Garber has been a working actor

572
00:28:25,520 --> 00:28:29,000
Speaker 1: for over fifty years. Of course, over that period of time,

573
00:28:29,359 --> 00:28:33,719
Speaker 1: the way entertainment is consumed has changed dramatically. In the

574
00:28:33,800 --> 00:28:36,359
Speaker 1: era of streaming, there is an endless amount of what

575
00:28:36,440 --> 00:28:40,360
Speaker 1: networks simply referred to as content. I wanted to know

576
00:28:40,400 --> 00:28:43,840
Speaker 1: if he found compelling projects more difficult to come by

577
00:28:44,040 --> 00:28:44,680
Speaker 1: these days.

578
00:28:46,080 --> 00:28:50,640
Speaker 3: Yeah, I mean, listen, I haven't done anything for you know,

579
00:28:50,640 --> 00:28:52,960
Speaker 3: I was doing a series in Canada for four years.

580
00:28:53,120 --> 00:28:55,400
Speaker 3: It was actually quite well written and it was you know,

581
00:28:55,560 --> 00:28:58,080
Speaker 3: you know, but it was a weekly show. But I

582
00:28:58,160 --> 00:29:01,920
Speaker 3: do have to say, we've been watching Say Nothing, which.

583
00:29:01,720 --> 00:29:04,720
Speaker 2: Is the IRA one. Yeah, it's it's I've heard a

584
00:29:04,760 --> 00:29:05,520
Speaker 2: lot of people say it is.

585
00:29:05,600 --> 00:29:07,600
Speaker 3: Yes, you know, you have to have the subtitles so

586
00:29:07,760 --> 00:29:08,880
Speaker 3: because they talk so fast.

587
00:29:09,000 --> 00:29:11,160
Speaker 2: Yeah, and it's really hard to have some titles on everything.

588
00:29:11,200 --> 00:29:11,880
Speaker 2: Now I do too.

589
00:29:12,080 --> 00:29:14,840
Speaker 3: Yeah, it's Say Nothing is I think one of the

590
00:29:14,840 --> 00:29:15,840
Speaker 3: best things I've seen on TV.

591
00:29:15,920 --> 00:29:19,040
Speaker 2: And did you see disclaimer? No? I like, who's that?

592
00:29:19,160 --> 00:29:21,880
Speaker 2: Who's doing that? Kevin Klein Okevin TV?

593
00:29:22,040 --> 00:29:24,160
Speaker 3: No. I watched the first back on the screen. Yeah,

594
00:29:24,360 --> 00:29:27,320
Speaker 3: and he was great. Yeah. I meant, yes, I want

595
00:29:27,360 --> 00:29:27,760
Speaker 3: to watch that.

596
00:29:27,960 --> 00:29:31,760
Speaker 1: Yeah, I remember, were really wonderful. Sasha Baron Cohen, Yes,

597
00:29:31,920 --> 00:29:32,400
Speaker 1: really great.

598
00:29:32,480 --> 00:29:35,440
Speaker 2: Count her name le Nvil. Yeah.

599
00:29:35,520 --> 00:29:38,200
Speaker 1: Yeah, I'm one of those people who I mean, I'm

600
00:29:38,200 --> 00:29:39,280
Speaker 1: not ashamed to admit this.

601
00:29:39,400 --> 00:29:41,160
Speaker 2: I mean I was crying when The Crown was over.

602
00:29:41,720 --> 00:29:43,720
Speaker 2: I love that. Going to watch The Crown for the

603
00:29:43,720 --> 00:29:46,840
Speaker 2: next ten years I wanted. I wanted fifteen seasons of

604
00:29:46,920 --> 00:29:49,160
Speaker 2: the Crowd. I really did all right.

605
00:29:49,200 --> 00:29:51,760
Speaker 1: My last question for you is when you have an evening,

606
00:29:51,840 --> 00:29:54,360
Speaker 1: I mean that doesn't involve friends and the socializing with

607
00:29:54,400 --> 00:29:57,160
Speaker 1: all of your echelon of friends and this business you've

608
00:29:57,200 --> 00:30:00,800
Speaker 1: been you've conquered so well and so beautifully over the years.

609
00:30:01,600 --> 00:30:03,360
Speaker 2: What's entertainment for you that you like?

610
00:30:03,440 --> 00:30:07,640
Speaker 1: Ballet, theater, symphony, music concerts or you don't really it's

611
00:30:07,640 --> 00:30:09,240
Speaker 1: mostly theater and film.

612
00:30:09,600 --> 00:30:12,600
Speaker 3: Yeah, we have a great movie theater in sech Harper

613
00:30:12,760 --> 00:30:16,120
Speaker 3: and we go watch movies there. It's a beautiful theater

614
00:30:16,520 --> 00:30:21,160
Speaker 3: and they've renovated er Official and April they've saved our town.

615
00:30:22,120 --> 00:30:24,480
Speaker 3: So we do go to the movies, and we do

616
00:30:24,600 --> 00:30:27,200
Speaker 3: try to watch a lot of you know, our friends

617
00:30:27,520 --> 00:30:29,400
Speaker 3: in shows you know we had which we we love

618
00:30:29,520 --> 00:30:31,960
Speaker 3: to watch our friends. We went to see the Hills

619
00:30:31,960 --> 00:30:34,840
Speaker 3: of California the other day. I think it's one of

620
00:30:34,880 --> 00:30:37,560
Speaker 3: the better plays I've ever seen. I think it's fantastic.

621
00:30:38,160 --> 00:30:40,840
Speaker 3: I highly recommend that because everyone now and then, you know,

622
00:30:40,880 --> 00:30:43,960
Speaker 3: you see something and you think, oh, this is why

623
00:30:44,000 --> 00:30:45,960
Speaker 3: I wanted to be in this business, you know, And

624
00:30:46,120 --> 00:30:48,560
Speaker 3: and the acting and it and the and the writings.

625
00:30:48,600 --> 00:30:50,560
Speaker 3: It's you know, Sam Man has directed it and it's

626
00:30:50,840 --> 00:30:54,560
Speaker 3: The acting is Jess Butterworth, you know, is arguably one

627
00:30:54,560 --> 00:30:56,720
Speaker 3: of the best writers around these days. With the cast

628
00:30:56,920 --> 00:30:59,120
Speaker 3: all Irish people that I didn't know, but the one

629
00:30:59,160 --> 00:31:01,840
Speaker 3: the woman who is the lead is married to him

630
00:31:01,840 --> 00:31:05,600
Speaker 3: and her name and she's on say Nothing and she's devastating,

631
00:31:05,720 --> 00:31:11,320
Speaker 3: she's and she's It's really beautiful play, very very disturbing

632
00:31:11,360 --> 00:31:14,000
Speaker 3: and in the way you want to be affected in

633
00:31:14,040 --> 00:31:14,440
Speaker 3: the theater.

634
00:31:14,800 --> 00:31:16,120
Speaker 2: So I recommend that one.

635
00:31:17,000 --> 00:31:18,600
Speaker 1: Well, you say that you don't want to do a

636
00:31:18,640 --> 00:31:21,400
Speaker 1: play again, and I want to say to you, I

637
00:31:21,480 --> 00:31:23,760
Speaker 1: want to inform you right now that that decision might

638
00:31:23,760 --> 00:31:26,800
Speaker 1: not be left to you alone. Actually you may. We

639
00:31:26,800 --> 00:31:28,920
Speaker 1: may pass a law in Congress.

640
00:31:28,640 --> 00:31:31,360
Speaker 3: If you don't get there and do it, or if

641
00:31:31,360 --> 00:31:32,840
Speaker 3: I don't get a scisions Jai, if you don't get

642
00:31:34,320 --> 00:31:37,080
Speaker 3: you had an early career with a Folk Bent oh,

643
00:31:37,640 --> 00:31:40,920
Speaker 3: nineteen sixties Folk Bent. Oh. Yes, we were on the Ansult.

644
00:31:41,000 --> 00:31:42,680
Speaker 3: The sugar Shop is what you're referring to?

645
00:31:42,880 --> 00:31:43,560
Speaker 2: Is that what it's called?

646
00:31:43,760 --> 00:31:47,520
Speaker 3: The sugar shop? Yes, shoppe? Of course, of course, don't

647
00:31:47,520 --> 00:31:50,160
Speaker 3: forget the e. Canadian a double pe. We were a

648
00:31:50,160 --> 00:31:54,720
Speaker 3: Canadian group that became successful for singing a Canadian song

649
00:31:55,280 --> 00:31:57,720
Speaker 3: for the centennial, and it was like a Mama's and

650
00:31:57,800 --> 00:31:59,880
Speaker 3: Papa's version because we were obsessed with the mamas of

651
00:32:00,000 --> 00:32:01,440
Speaker 3: I was with my friend Peter and I and we

652
00:32:01,520 --> 00:32:04,560
Speaker 3: started this group and he was really talented at arranging

653
00:32:04,960 --> 00:32:07,600
Speaker 3: and we had really good singers, me and two women

654
00:32:07,680 --> 00:32:10,760
Speaker 3: and Peter play the piano and did the arrangements, and

655
00:32:11,000 --> 00:32:13,560
Speaker 3: we signed a deal with Capitol Records. I mean, I

656
00:32:13,600 --> 00:32:16,480
Speaker 3: don't know how it happened. We were like Fifth to Mention.

657
00:32:16,880 --> 00:32:19,600
Speaker 3: We were, That's what we were. We were, and we

658
00:32:19,640 --> 00:32:23,680
Speaker 3: actually recorded Laura Nero's Saved the Country and it was

659
00:32:23,680 --> 00:32:27,520
Speaker 3: on the flip side of a single, and the Fifth

660
00:32:27,600 --> 00:32:30,720
Speaker 3: to Mention copied our version and they got a hit

661
00:32:30,920 --> 00:32:33,720
Speaker 3: with Save the Country. Who wrote the songs for Sugar Shop. Well,

662
00:32:33,760 --> 00:32:37,520
Speaker 3: the Sugar Shop we paid for we people to write

663
00:32:37,800 --> 00:32:40,280
Speaker 3: Laura Neiro, who people don't realize was one of the

664
00:32:40,320 --> 00:32:43,600
Speaker 3: greatest songwriters of all time, and we knew her and

665
00:32:43,640 --> 00:32:45,840
Speaker 3: we were friends with her, and we recorded Save the

666
00:32:45,840 --> 00:32:48,200
Speaker 3: Country and it was on the flip side of a

667
00:32:48,200 --> 00:32:51,200
Speaker 3: song called Poor Papa, which was the nineteen twenties song

668
00:32:51,280 --> 00:32:54,800
Speaker 3: that we and that got was on the easy listening charts.

669
00:32:56,240 --> 00:32:57,120
Speaker 2: Now the trigger.

670
00:32:56,960 --> 00:33:00,600
Speaker 1: Shops, save the Country shave.

671
00:33:05,920 --> 00:33:07,520
Speaker 2: You're like Eric Carmon.

672
00:33:08,000 --> 00:33:09,000
Speaker 3: Oh, don't say that.

673
00:33:09,440 --> 00:33:12,080
Speaker 2: The hair, the hair of your hair. I was like

674
00:33:12,320 --> 00:33:14,600
Speaker 2: nineteen the breaking wave on the ocean.

675
00:33:14,640 --> 00:33:17,400
Speaker 1: Your hair so with the foam in it, and you're

676
00:33:17,480 --> 00:33:19,800
Speaker 1: just so sexy. And look at your wearing that you

677
00:33:19,880 --> 00:33:21,360
Speaker 1: look like you're in Dukes of Hazzard.

678
00:33:21,520 --> 00:33:24,880
Speaker 3: I went to the East village and got a chain

679
00:33:25,000 --> 00:33:28,760
Speaker 3: link vest, and God only knows whatever happened to that.

680
00:33:29,200 --> 00:33:31,800
Speaker 1: I have loved you as a performer, and you're always

681
00:33:31,800 --> 00:33:33,120
Speaker 1: the most gracious person in the world.

682
00:33:33,160 --> 00:33:35,120
Speaker 3: You have always been so kind to me. Olt. I

683
00:33:35,160 --> 00:33:39,240
Speaker 3: remember when we started. We actually were tested for a pilot,

684
00:33:39,280 --> 00:33:42,880
Speaker 3: the same pilot in la and I remember you walked

685
00:33:43,040 --> 00:33:47,160
Speaker 3: through the room and you were so nice, and I thought, boy,

686
00:33:47,360 --> 00:33:50,000
Speaker 3: that is the handsomest man I've ever seen him. I did,

687
00:33:50,280 --> 00:33:53,880
Speaker 3: I remember distinctly, and neither of us got the role.

688
00:33:54,360 --> 00:33:57,880
Speaker 3: But I remember you were always so kind to me.

689
00:33:58,160 --> 00:33:59,280
Speaker 3: So I'm grateful to that.

690
00:33:59,400 --> 00:34:04,360
Speaker 1: My love to you, Love to you, actor and performer,

691
00:34:04,840 --> 00:34:08,239
Speaker 1: Victor Garber. I'll leave you with a little more of

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00:34:08,280 --> 00:34:12,279
Speaker 1: the Sugar Shop performing Save the Country live on The

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00:34:12,440 --> 00:34:16,640
Speaker 1: Ed Sullivan Show in nineteen sixty nine, I'm Alec Baldwin.

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00:34:16,880 --> 00:34:51,000
Speaker 1: Here's the thing is brought to you by iHeart Radio