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Speaker 1: And that's what you really missed with Jenna.

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Speaker 2: And Kevin and iHeartRadio podcast. Welcome to and that's what

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Speaker 2: you really missed. I feel like I'm cheating on Jenna

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Speaker 2: by saying that, But here we are today. We have

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Speaker 2: one of the og Grease cast members, Barry Pearl, who

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Speaker 2: played Duty, one of the original t Birds. He also

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Speaker 2: was in the stage show before. We talked about all

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Speaker 2: of that, talk about his incredible career child actor, everyone

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Speaker 2: child actor, and he turned out. Okay, he is great.

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Speaker 2: He's a sensational storyteller. We get to hear all about.

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Speaker 2: You know what I was fascinated going into this was like,

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Speaker 2: how did this really come about? Like when you're around,

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Speaker 2: you know, we've been in the entertainment business forever, you

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Speaker 2: hear about projects coming up, and I wanted to know, like,

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Speaker 2: if you're there on the ground in the late sixties,

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Speaker 2: early seventies, what was this about. So Barry gives us

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Speaker 2: all all the pearls of wisdom.

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Speaker 3: I hate myself.

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Speaker 2: Okay, this is very Pearl.

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Speaker 4: Oh my gosh, it's so nice to meet you.

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Speaker 2: Yes, thank you so much for joining us. This is

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Speaker 2: very exciting.

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Speaker 3: Chris, Thank you guys for making that donation to Owen

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Speaker 3: J's Wellness Center.

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Speaker 2: That is respect Thank you for asking for that. That

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Speaker 2: was great of course. Do you want to tell us

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Speaker 2: about the work they.

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Speaker 3: Do well, they're allied with the Austin Health I've been

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Speaker 3: there actually I took a tour Toddy Goldsmith, who is

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Speaker 3: Olivia's niece from Rona who is her sister. I had

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Speaker 3: gone over to do what is tantamount to our comic

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Speaker 3: cons in Australia. They're called supernova's.

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Speaker 2: So yes, I've done one, you have yours. We did

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Speaker 2: it in Sydney, Sydney. Yeah, I've done Sydney.

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Speaker 3: Perth, Melbourne and gold Coast. I was, I guess in Melbourne.

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Speaker 3: They had me over to the to the center and

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Speaker 3: gave me a tour. And it's her research facility that

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Speaker 3: is funded you know by private donors. That's how they

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Speaker 3: stay afloat. It is that center that's exceedingly special because

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Speaker 3: that's again where all the research is done to come

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Speaker 3: up with but they need to to battle this this

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Speaker 3: cant cancer all together. Yeah, so that's that, and so

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Speaker 3: the donation goes to to this, to that part of

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Speaker 3: the center, that part of her center, and you walk

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Speaker 3: downstairs down the stairs from floor to floor and as

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Speaker 3: you walk down, instead of a wall there, it's an

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Speaker 3: open it's a huge window, so you can see the

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Speaker 3: trees and yeah, or the patio park area that they

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Speaker 3: have for people to sit and relax and whatever. They

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Speaker 3: have rooms and music rooms and it's again a whole

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Speaker 3: a holistic approach to healing the cancer, you know, and

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Speaker 3: body spirit. So it's it's quite it's quite something.

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Speaker 4: Yeah sounds like.

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Speaker 2: Yeah, especially you got to go see it in real life.

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Speaker 3: Yeah, yeah, yeah, that was pretty terrific.

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Speaker 4: Well, we're curious to hear of it. We just watched Greece.

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Speaker 2: Again watching.

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Speaker 4: But uh, it's such an iconic piece of history.

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Speaker 1: Is one of the most arguably the most popular and

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Speaker 1: defining musical movie of all time, and it must feel

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Speaker 1: pretty special that you were a part of that, and

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Speaker 1: long before that the stage production as well, but also

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Speaker 1: like seeing Greece live on in today and you know,

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Speaker 1: for these younger generations that are still discovering and doing

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Speaker 1: this in schools, et cetera. So I'm just curious to

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Speaker 1: hear like what that journey has been like for you

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Speaker 1: and seeing all these different inceptions and being part of

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Speaker 1: the very original kind of start of it all.

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Speaker 3: First, I'm blessed to say the least as are each

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Speaker 3: of us, that we're a part of that phenomenon. We

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Speaker 3: do not take it for granted, and there really isn't

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Speaker 3: anything like it. And at the same time, it's funny.

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Speaker 3: It's so monumental, it's such a legacy. But I don't

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Speaker 3: wake up every morning with it in my eye, if

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Speaker 3: that makes sense. Yeah, I'm aware of it. When I'm

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Speaker 3: aware of it, I don't. I certainly don't laud it

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Speaker 3: over people, and I'm I've always been exceedingly willing to

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Speaker 3: talk about it with everybody. Friends and fans of like

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Speaker 3: friends have had enough of it, believe and I often

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Speaker 3: worry about that because I think that I don't want

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Speaker 3: them to think that I'm full of myself with it.

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Speaker 3: And I'm certain there are folks out there, oh Barry, Yeah,

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Speaker 3: if I hear Greece one more time, you know, and

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Speaker 3: I guess that will just be what it is, and

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Speaker 3: so be it, because there are vast numbers of folks

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Speaker 3: out there who, like yourselves, are very taken with what

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Speaker 3: this experience is like for them and must be like

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Speaker 3: for us. And we take it in stride again, we

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Speaker 3: feel blessed? Do we feel special as much as I

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Speaker 3: feel as special as I allow myself to feel without

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Speaker 3: being conceited about it, without again, like I say, lauding

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Speaker 3: it over anybody, or just having there about it. Because

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Speaker 3: a lot of luck went into and and always goes

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Speaker 3: into anyone who works a lot of talent, a lot

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Speaker 3: of perseverance, and an element of luck. So yeah, we

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Speaker 3: just don't take it for granted, if you know what

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Speaker 3: I mean. Definitely, So as much as I don't think

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Speaker 3: about it every day, it's with me every day that

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Speaker 3: I'm blessed.

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Speaker 4: Yeah, Yeah, And when these kinds of.

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Speaker 3: Things come up, we love telling the stories. I mean,

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Speaker 3: you're probably going to ask me questions that I've answered many, many,

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Speaker 3: many times, So forgive me if I'm repeating myself. Folks

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Speaker 3: who are watching this, I don't know that you're going

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Speaker 3: to learn anything necessarily new. It's not going to be

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Speaker 3: so revolutionary. And if you've heard it before, you're going

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Speaker 3: to hear it again, I guess, and the new the

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Speaker 3: new folks out there, you know, strap In.

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Speaker 2: I think it's a really important point you bring up

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Speaker 2: about because I think it happens to us and we're

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Speaker 2: much earlier in the journey of being a part of

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Speaker 2: something that went on to mean more than we could

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Speaker 2: have ever imagined to people. And obviously, you know, I

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Speaker 2: think being a musical musicals connect on a whole different level,

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Speaker 2: I think than other forms of TV and film. Sure,

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Speaker 2: And I think your distinction between talking about it because

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Speaker 2: you're so proud of it and blessed to be a

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Speaker 2: part of something that meant so much to you and

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Speaker 2: so much to other people, and then the difference between

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Speaker 2: that and the ego and being conceited about it and obviously,

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Speaker 2: speaking to you now for what less than ten minutes,

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Speaker 2: clearly it's you know, the former. And I think where

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Speaker 2: I struggle with that and think about that in my

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Speaker 2: personal life too, when I'm talking about it and I'm

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Speaker 2: not bragging about something I did, you know, fifteen years ago,

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Speaker 2: but especially for you, where this has a real, deep,

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Speaker 2: deeply ingrained legacy in so many people and it is

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Speaker 2: something you should be so proud of.

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Speaker 4: Yeah, uninevitable, you know.

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Speaker 2: Yes, absolutely, Like it is so rare that you get

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Speaker 2: to be a part of that, any of us, and

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Speaker 2: so to be a part of and yours is such

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Speaker 2: a singular thing. Yeah, because it was. I mean it

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Speaker 2: was beyond like the numbers. Yes, it was the biggest

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Speaker 2: grossing until like what last year like that, like that,

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Speaker 2: nobody else can say that.

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Speaker 3: Generation after generation. Yes, and we see I mean literally

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Speaker 3: we will see grandmothers sometimes great grandmothers, the grandmothers, the mothers,

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Speaker 3: the children and the children's children. It's it blows us away.

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Speaker 3: We were just Jamie Donnelle plays Jan and Michael Tucci

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Speaker 3: plays Sonny, and Larenzelamis plays Tom Chisholm and myself. We

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Speaker 3: often get taken for for weekends in different parts of

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Speaker 3: the country to do events, and we've done several drive ins.

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Speaker 3: Oh wow, So I'm driving up to this driving in Litchfield,

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Speaker 3: MISSOURIUS and this is where my career has come to

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Speaker 3: a drive in getting around Well, let me tell you,

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Speaker 3: over nine hundred people stood in line from five pm

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Speaker 3: to eight thirty pm after the movie started to get

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Speaker 3: our autographs and take photos with Yeah.

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Speaker 4: Wow.

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Speaker 3: So it's huge in that way and I don't I'm

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Speaker 3: not diminishing it in any way. And yet at the

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Speaker 3: same time I'm signing autographs that to drive in Well, yeah, yes,

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Speaker 3: those folks go to the drive in to be entertained

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Speaker 3: and then to meet they're the icons, the ones they've

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Speaker 3: grown up with and connection with it. You're talking about

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Speaker 3: how special it is, and we stop and we talk

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Speaker 3: with every single person who comes by, whether they're coming

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Speaker 3: by for an autograph or passing me up to get

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Speaker 3: Jamie's autograph. They're in line and we're schmoozing. And they

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Speaker 3: stood there in the heat and the wind all that

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Speaker 3: time to have some fellowship with us. And yeah, we

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Speaker 3: we've been to these comic cons and we have seen

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Speaker 3: lines around the room for the bigs like the William

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Speaker 3: Shatners and and uh, the casts of of what can

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Speaker 3: I think of Star Trek, you know, for instance, and

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Speaker 3: TV shows like of What's Happening and Vicky Vicky Lawrence. Yeah,

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Speaker 3: and it goes on and on. Marty Cove from Cobra Ka,

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Speaker 3: Cobra Kai around the block they go, and so they

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Speaker 3: certainly have their place, you know. And to even be

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Speaker 3: a part of that culture is a is a gift

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Speaker 3: and a blessing and we don't take we don't take

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Speaker 3: for granted there there really isn't anything very much like that.

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Speaker 3: You're absolutely right. We're gathering the proverbial rosebuds while we can,

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Speaker 3: and you know, we got the fiftieth coming up, so

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Speaker 3: that should provide us with a whole bunch of other events.

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Speaker 3: I'm thinking, you know, paramount of course stuff in the

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Speaker 3: works definitely and we'll see what happens. So we're looking

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Speaker 3: forward to being alive for that.

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Speaker 2: Jenna mentioned, you know at the beginning of this that

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Speaker 2: you do have a such a deep history with the show,

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Speaker 2: because I mean, you went to school, you went to

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Speaker 2: school for performing arts, musical theater.

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Speaker 3: I went to Professional Children's School, which was different from Performing.

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Speaker 2: Artshame was model.

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Speaker 3: Yeah, so with performing arts, which I actually lived across

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Speaker 3: the street from the original and forty six between Broad

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Speaker 3: six and then it moved, i want to say, across

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Speaker 3: to the north and further further west. That was a

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Speaker 3: conservatory of sorts where they taught the arts, and one

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Speaker 3: it was not supposed to work while going to that school.

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Speaker 3: Now PCs Professional Children's School was designed for kids that

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Speaker 3: were in the business or who and or whose parents

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Speaker 3: were and traveled with their parents so they they had

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Speaker 3: tutors and worked through correspondence. So that's with that school.

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Speaker 3: It was for the professional child. If you will and yeah,

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Speaker 3: so I go way back and Jeff may he rest

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Speaker 3: in peace conaway. He went to one of the rival schools, Quintanos,

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Speaker 3: which wasn't as strict as PCs. It was kind of

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Speaker 3: you know, you phoned in. It was crazy. And my

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Speaker 3: dear dear friend k Cole, who played Maggie and chorus line, Oh,

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Speaker 3: I was just with just a couple of hours ago.

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Speaker 3: We're doing a project together. She went to Quintanos. She

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Speaker 3: got by by the skin of her teeth too, And

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Speaker 3: it was very tough. They they were very hard on

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Speaker 3: us and as they prepared us for college and and

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Speaker 3: I actually then went to college. I gra In fact,

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Speaker 3: I graduated a year late because I thro the course

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Speaker 3: of four years, I had failed a history course, an

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Speaker 3: English course, in geometry course course. So I basically had

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Speaker 3: to take my senior year over again, or I took

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Speaker 3: my junior No, it was a senior year exactly over again.

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Speaker 3: So but I did graduate, and uh and got into

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Speaker 3: Carnegie Mellon University and the class of seventy three it

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Speaker 3: started out with sixty five people and only four of

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Speaker 3: us graduated, so that was also wow school to go to.

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Speaker 3: And and still uh, so I wanted that. I wanted

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Speaker 3: that sense of formal education. I wanted to be completion.

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Speaker 3: Not not that that necessarily helps you get the gig,

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Speaker 3: but it's just nice to have that for yourself. Yeah, exactly,

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Speaker 3: to have that cheap skin for myself. So but yes,

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Speaker 3: I I you know, I've been doing it since I

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Speaker 3: was the kid, since I was eleven years years old,

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Speaker 3: and I was active in community theater in my hometown

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Speaker 3: in Pennsylvania, Lancaster, Pennsylvania. And in fifty nine I had

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Speaker 3: done a production of Dark at the Top of the Stairs,

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Speaker 3: playing Sunny Flood in that play, and there was an

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Speaker 3: aspiring playwright from New York by the name of Charles E.

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Speaker 3: Miller Chuck Miller, who, because he was a playwright, he

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Speaker 3: needed to pay the rent. He came to the Fulton

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Speaker 3: Theater where the play was being done to run lights

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Speaker 3: because I had to make a living. He took a

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Speaker 3: liking to my mother and myself, and he told my

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Speaker 3: mom that one day he was going to get me

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Speaker 3: on Broadway. And I was always looking for daddy because

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Speaker 3: my parents were separated and divorced, so I would latch

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Speaker 3: onto any.

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Speaker 2: Male mailing area.

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Speaker 3: And two years later, summer sixty one, Chuck was friendly

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Speaker 3: with the secretary of the producer of Bye Bye Birdie,

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Speaker 3: the first rock and roll musical, and Chuck became aware

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Speaker 3: of the fact that the young boy playing Randolph McAfee

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Speaker 3: and by by Bertie Johnny Borden was leaving to do

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Speaker 3: a new play called Milk and Honey with Molly Pecan,

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Speaker 3: and so that role was going to become available, and

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Speaker 3: Chuck told this secretary, Bob Fagan said, I got the

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Speaker 3: guy for you. So called my mom. In the next day,

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Speaker 3: I took a train into New York and I never

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Speaker 3: went home. I auditioned for the piece and then went

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Speaker 3: to work right away. That was a Wednesday, and I

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Speaker 3: went on like that following Saturday. Actually, oh my god.

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Speaker 2: In fact, it was.

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Speaker 3: Supposed to be that following Monday, and my mom went

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Speaker 3: home for that weekend. And that that's when I started

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Speaker 3: the professional career. And I do this because professional is

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Speaker 3: really not whether you're being paid, in my estimation, whether

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Speaker 3: you're mad or have an agent or have union representation.

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Speaker 3: It's how you behave on the field. So but my

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Speaker 3: my anniversary, my sixty fourth year anniversary of being a

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Speaker 3: member of Afters Equity was this past September. First Wow,

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Speaker 3: I had joined the cab in August to buy by

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Speaker 3: Bertie in August of that year, and then got my

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Speaker 3: equity card and went on the road. Did the last

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Speaker 3: month on Broadway, and then went on the road with

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Speaker 3: Bertie and with Kate. That's how I met ky Cole.

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Speaker 2: She was in the show and that's amazing.

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Speaker 3: We finished the first national tour and then did the

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Speaker 3: Vegas Company summer set of sixty two, and then that

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Speaker 3: fall I had auditioned for Oliver, which was coming into Broadway.

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Speaker 3: I had a broken arm fell off my cousin Shetlin

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Speaker 3: writing Bareback, so but I auditioned with a broken arm,

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Speaker 3: didn't get the gig. However, about two months later they

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Speaker 3: were replacing two of the kids pre Broadway. I auditioned

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Speaker 3: again after having gotten the role of Tom, who appears

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Speaker 3: at the end of Camelot, and that was going out

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Speaker 3: on tour. I had actually gotten that gig and had

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Speaker 3: a call back for Oliver, and I convinced my mom

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Speaker 3: to let me go to that callback because it was

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Speaker 3: coming back into New York. It was going to be

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Speaker 3: a Broadway show. Okay, there you'll go. And I got

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Speaker 3: that gig. It turned down the role of Tom and

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Speaker 3: Camelot and they flew me to Detroit, and then from

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Speaker 3: Detroit we did Toronto. This is before Davy Jones got

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Speaker 3: into the show. Wow, I was in Toronto, that's when

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Speaker 3: Davey joined, and then we came into New York January

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Speaker 3: sixty three. Laid it to the end of till about

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Speaker 3: September of sixty three. I left the show to understudy

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Speaker 3: Barry Gordon in the National two or thousand Clowns. And

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Speaker 3: had I not left the show Oliver at the time

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Speaker 3: that I did, I would have accompanied my Oliver buddies

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Speaker 3: that February of sixty four onto the Ed Sullivan Show

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Speaker 3: that the Beatles first appeared.

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Speaker 2: Oh my myself, there's not enough foresight in the world.

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Speaker 4: No, no, you can't. Oh my gosh.

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Speaker 2: When you say you started young, like you were just

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Speaker 2: gig after gig after gig, No, what are you failed

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Speaker 2: worth of?

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Speaker 3: Yeah?

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Speaker 2: I as show business.

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Speaker 3: I spoke the same friend.

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Speaker 2: Yeah, yeah, you didn't have time for school. You're an entertainer.

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Speaker 2: You wouldn't get it.

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Speaker 4: Unbelievable. Wow, what a career, even pre Grease Yes, oh.

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Speaker 2: Yeah, yeah, which also brings me we'll get there. Just

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Speaker 2: how good every single person is in Greece. But it's

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Speaker 2: like just your your journey alone getting there shows why,

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Speaker 2: like the caliber of talent, how stacked that cast was,

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Speaker 2: every which way the camera looked. You're going to be

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Speaker 2: seeing somebody who is so good at what they're doing.

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Speaker 3: Yeah, like I said, Jeff and I grew up together,

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Speaker 3: he was.

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Speaker 2: He was.

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Speaker 3: In fact when I first saw the show. That's a

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Speaker 3: whole other story. He was playing Zuko. He was the best.

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Speaker 3: He was an amazing because he was Zuko in real life.

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Speaker 3: He really was. And so the first time I saw

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Speaker 3: it was blown away and Jeff and I, like I said,

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Speaker 3: growing up, he was kind of a bad boy, and

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Speaker 3: I kind of envied him and was angry with him

320
00:19:24,240 --> 00:19:27,080
Speaker 3: because he was so wonderful and good looking and played

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Speaker 3: the guitar and not fair.

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Speaker 2: It's not fair.

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Speaker 3: Not fair. And then we wound up becoming fast and

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Speaker 3: famous friends when we did. But also we had actually

325
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Speaker 3: done the show together. I think I did it with him. Yeah,

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Speaker 3: I did do it with him, uh for a while,

327
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Speaker 3: and then he left when I had first done the show. Yeah,

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Speaker 3: he was. He was playing Zuko, and I came in

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Speaker 3: to replace Michael Lembeck who was playing Sonny who had

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Speaker 3: broken his ankle. And I was only there for a

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Speaker 3: short time, and then they laid me off in the

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Speaker 3: end of that summer. I then rejoined the cast, replacing

333
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Speaker 3: Michael when when the show came out here to California

334
00:20:03,320 --> 00:20:06,440
Speaker 3: for the last ten and a half months. But but

335
00:20:06,520 --> 00:20:08,840
Speaker 3: getting back to what you had said about the caliber

336
00:20:08,960 --> 00:20:12,080
Speaker 3: folks not only from the movie. And you got Jamie

337
00:20:12,119 --> 00:20:15,720
Speaker 3: Donnelly who was like Rocky Horror Picture Show, George m

338
00:20:16,080 --> 00:20:20,840
Speaker 3: Michael who at fact Michael had joined the cast of Grease.

339
00:20:20,840 --> 00:20:22,919
Speaker 3: He was an understudy for the last month or two

340
00:20:22,960 --> 00:20:26,520
Speaker 3: in Toronto when I was doing the show there. And

341
00:20:27,400 --> 00:20:31,320
Speaker 3: Uh Kelly Ward, whose parents were in the business and

342
00:20:31,320 --> 00:20:35,800
Speaker 3: and and were wonderful dancers and producers and directors. And

343
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Speaker 3: like I say, Jeff and Johnny two who had been

344
00:20:40,280 --> 00:20:42,840
Speaker 3: on Broadway a bunch of time, played duty in the

345
00:20:42,880 --> 00:20:46,040
Speaker 3: first national trope. But but and you had the Barry Bostwicks,

346
00:20:46,040 --> 00:20:52,280
Speaker 3: and you had the uh Eileen Grafts and h who

347
00:20:52,320 --> 00:20:56,600
Speaker 3: played Walter Bobby and Jerry Zachs and and and Adrian

348
00:20:56,720 --> 00:21:00,199
Speaker 3: Barbou who did the stage play, who also had of

349
00:21:00,280 --> 00:21:05,200
Speaker 3: incredible histories in the theater, film, and television. So it's

350
00:21:05,240 --> 00:21:09,439
Speaker 3: been packed through the years with those that kind of

351
00:21:09,480 --> 00:21:12,880
Speaker 3: caliber in all the companies that have been produced, all

352
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Speaker 3: the professional companies right and even beyond you know, so

353
00:21:18,160 --> 00:21:21,480
Speaker 3: just say even like some blischool productions are yeah, like

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Speaker 3: the talent, the caliber of talent.

355
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Speaker 2: I'm wondering if you remember because you were in trench

356
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Speaker 2: in the theater community pre Greece happening when you hear about,

357
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Speaker 2: you know, a new show being done or there's workshops

358
00:21:34,400 --> 00:21:37,560
Speaker 2: going on, Like what is your first memory of hearing

359
00:21:37,640 --> 00:21:41,240
Speaker 2: about Greece the stage show this production?

360
00:21:41,440 --> 00:21:47,000
Speaker 3: Sure, so in the summer of seventy two when Greece

361
00:21:47,520 --> 00:21:52,040
Speaker 3: Greece had started Kingston minds in Chicago actually, and it

362
00:21:52,080 --> 00:21:54,960
Speaker 3: then moved off Broadway and then on to Broadway. Just

363
00:21:54,960 --> 00:21:57,720
Speaker 3: occurs to me. Actually Chicago plays heavy in this because

364
00:21:58,040 --> 00:22:00,159
Speaker 3: in the summer of seventy two, it was my the

365
00:22:00,160 --> 00:22:03,800
Speaker 3: summer before my senior year of college, and my girlfriend

366
00:22:03,800 --> 00:22:06,840
Speaker 3: at the time and I got jobs with the Chicago

367
00:22:06,920 --> 00:22:12,000
Speaker 3: Free Street Theater, and the Street Theater brought live theater

368
00:22:12,760 --> 00:22:18,840
Speaker 3: into neighborhoods, into affluent to squalid neighborhoods all up and

369
00:22:18,880 --> 00:22:23,160
Speaker 3: down Illinois amazing. From Winnetka down to East Saint Louis.

370
00:22:23,760 --> 00:22:26,240
Speaker 3: We would travel in this show mobile. It was a

371
00:22:26,320 --> 00:22:29,960
Speaker 3: huge semi opened up and then we the actors would

372
00:22:30,000 --> 00:22:34,119
Speaker 3: erect the stage, no, do two original gigs that we

373
00:22:34,240 --> 00:22:38,199
Speaker 3: wrote musicals, unfold and go to another gig. So I

374
00:22:38,280 --> 00:22:39,920
Speaker 3: did that for the summer of seventy two.

375
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Speaker 2: What a great experience truly.

376
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Speaker 3: But then into Europe during the fall we were sponsored

377
00:22:48,720 --> 00:22:52,800
Speaker 3: by the Bograd International Theater Festival in Yugoslavia, toured all

378
00:22:52,800 --> 00:22:58,760
Speaker 3: over Yugoslavia the Bograd Pierre Cardan sponsored us in Paris

379
00:22:58,800 --> 00:23:00,960
Speaker 3: at his theater, the espos Kardan, and then we did

380
00:23:00,960 --> 00:23:04,280
Speaker 3: a week in Brussels. And for that that that period

381
00:23:04,320 --> 00:23:08,960
Speaker 3: of time, Carnegie Mellon gave me credit for the work.

382
00:23:09,000 --> 00:23:10,080
Speaker 3: So I didn't have to go to my.

383
00:23:11,440 --> 00:23:14,200
Speaker 2: N some history classes you were not going to pass.

384
00:23:14,359 --> 00:23:19,320
Speaker 3: Yes, right exactly, and so and so in that company,

385
00:23:20,040 --> 00:23:22,320
Speaker 3: the Street Theater Company, I befriended a fellow by the

386
00:23:22,400 --> 00:23:27,800
Speaker 3: name of John Lansing, And after we came back from Europe,

387
00:23:27,840 --> 00:23:30,080
Speaker 3: they took us down to Rockford, Illinois. I want to

388
00:23:30,119 --> 00:23:33,280
Speaker 3: say that December, part of that January to teach theater

389
00:23:33,480 --> 00:23:38,520
Speaker 3: arts to certain targets in Rockford, Frozer behinds off in

390
00:23:39,400 --> 00:23:40,560
Speaker 3: teaching theater arts.

391
00:23:40,800 --> 00:23:41,040
Speaker 4: Wow.

392
00:23:41,280 --> 00:23:44,119
Speaker 3: And then I went back to school. So I go

393
00:23:44,240 --> 00:23:47,680
Speaker 3: back to school for the second semester, and I had

394
00:23:47,680 --> 00:23:50,359
Speaker 3: a bunch of friends of mine who had been to

395
00:23:50,440 --> 00:23:53,440
Speaker 3: school out here in California and had transferred to Carnegie,

396
00:23:54,000 --> 00:23:56,160
Speaker 3: and they kept telling me how much I reminded them

397
00:23:56,200 --> 00:23:59,800
Speaker 3: of their friend Michael Lembeck. Looked like we did the

398
00:23:59,840 --> 00:24:03,480
Speaker 3: same shows, the same roles in the same shows. Okay,

399
00:24:04,280 --> 00:24:09,280
Speaker 3: So Grease now comes through Pittsburgh on tour, and my

400
00:24:09,359 --> 00:24:12,560
Speaker 3: friend John Lansing is now one of their understudies. He

401
00:24:12,640 --> 00:24:20,240
Speaker 3: understudies Zuko teen Agel and Roger those two or three,

402
00:24:20,800 --> 00:24:23,520
Speaker 3: Vince Fontete, whoever. And he calls me, and this is

403
00:24:23,600 --> 00:24:25,600
Speaker 3: before cell phones. I don't know how we got in

404
00:24:25,640 --> 00:24:27,000
Speaker 3: touch with it, but I do have an image of

405
00:24:27,000 --> 00:24:31,119
Speaker 3: myself on the phone downstairs from the gym where the

406
00:24:31,320 --> 00:24:34,480
Speaker 3: entire student body would meet every morning for a class

407
00:24:34,520 --> 00:24:37,119
Speaker 3: called dynamics. It was yoga and voice, and then we

408
00:24:37,160 --> 00:24:40,879
Speaker 3: would all go off our different disciplines. And I remember

409
00:24:40,880 --> 00:24:42,280
Speaker 3: being on the phone talking. He says, you got to

410
00:24:42,320 --> 00:24:46,199
Speaker 3: come down and see this play. Grease. Okay, So I

411
00:24:46,280 --> 00:24:50,120
Speaker 3: go down and see this play Grease, and out on

412
00:24:50,200 --> 00:24:55,720
Speaker 3: the stage backwards comes Michael Lembeck and he turns around

413
00:24:55,720 --> 00:24:58,240
Speaker 3: with the first Sonny's first line, son of a bitch.

414
00:24:58,280 --> 00:25:00,800
Speaker 3: I got old lady Lynch for English, and he hates

415
00:25:00,880 --> 00:25:03,919
Speaker 3: my guts. And I look at this guy and it

416
00:25:04,000 --> 00:25:09,840
Speaker 3: was like watching myself. My friends were right, I do

417
00:25:10,000 --> 00:25:14,000
Speaker 3: look like this guy. He was brilliant, brilliant. Sonny got

418
00:25:14,080 --> 00:25:16,800
Speaker 3: on the phone with my agent the next day. I said, listen,

419
00:25:16,840 --> 00:25:18,919
Speaker 3: they're going to be other companies, they're gonna be replacements.

420
00:25:19,520 --> 00:25:22,399
Speaker 3: I have to have a general audition for this within

421
00:25:22,400 --> 00:25:25,359
Speaker 3: a period of time a week, two weeks. I remembered

422
00:25:25,400 --> 00:25:28,200
Speaker 3: it one way, and then recently came across ticket stubs

423
00:25:28,440 --> 00:25:34,000
Speaker 3: and play bills from the actual time. And I go

424
00:25:34,119 --> 00:25:35,800
Speaker 3: down and see the plays. And I called my agent

425
00:25:35,840 --> 00:25:38,120
Speaker 3: the next day after having seen it. I told him

426
00:25:38,119 --> 00:25:41,520
Speaker 3: that within like two weeks or so, they I get

427
00:25:41,560 --> 00:25:45,840
Speaker 3: a call, You're going in for a general audition. So

428
00:25:45,920 --> 00:25:48,920
Speaker 3: I booked a flight because when it was thirty five

429
00:25:48,920 --> 00:25:52,320
Speaker 3: dollars a flight from Pittsburgh to Laguardi or JFK, wherever

430
00:25:52,359 --> 00:25:55,159
Speaker 3: it was. And I go in for a general audition.

431
00:25:55,200 --> 00:25:57,800
Speaker 3: That's a whole other story in and of itself. And

432
00:25:59,119 --> 00:26:04,120
Speaker 3: I auditioned for Pat Birch and Folks and Pat Pat

433
00:26:04,119 --> 00:26:06,600
Speaker 3: and I had worked together in sixty seven and sixty eight.

434
00:26:06,680 --> 00:26:09,800
Speaker 3: She cast me as Schroeder and you're a good man,

435
00:26:09,880 --> 00:26:10,600
Speaker 3: Charlie Brown form this.

436
00:26:13,160 --> 00:26:16,680
Speaker 2: Yeah, yeah, so she knew my work.

437
00:26:17,080 --> 00:26:19,760
Speaker 3: So I did the general, went back to school, and

438
00:26:19,800 --> 00:26:21,920
Speaker 3: then got a call a couple of weeks later. They

439
00:26:21,960 --> 00:26:24,560
Speaker 3: want to see you back again for a callback because

440
00:26:24,560 --> 00:26:26,679
Speaker 3: Michael Lenbeck at the end of Act one has broken

441
00:26:26,720 --> 00:26:30,280
Speaker 3: his ankle. They need to replacement. Immediately. I go in

442
00:26:30,320 --> 00:26:32,560
Speaker 3: for the callback, I get the gig. They want to

443
00:26:32,600 --> 00:26:36,040
Speaker 3: take me up to Toronto right away again with Toronto

444
00:26:36,119 --> 00:26:40,399
Speaker 3: and Detroit. This is it. So I said, look, I

445
00:26:40,440 --> 00:26:42,960
Speaker 3: got two weeks of school to finish my senior years. Okay,

446
00:26:43,200 --> 00:26:46,200
Speaker 3: back and finished. We're gonna put our understudy on Tommy Gerard.

447
00:26:47,040 --> 00:26:49,080
Speaker 3: You go back and finish school, and then we'll have

448
00:26:49,160 --> 00:26:53,280
Speaker 3: you come up to Detroit where the production will be

449
00:26:53,320 --> 00:26:55,560
Speaker 3: at the time, and you'll take over. You'll you'll understudy

450
00:26:55,600 --> 00:26:59,520
Speaker 3: the understudy. Basically, fine, go up there and for three

451
00:26:59,560 --> 00:27:02,359
Speaker 3: weeks I'm studying the role of Sonny because if anything

452
00:27:02,400 --> 00:27:06,200
Speaker 3: happens to anybody else, Tommy would slip into that role whatever,

453
00:27:06,640 --> 00:27:09,400
Speaker 3: and then I'd go on as Sonny. So now in

454
00:27:09,400 --> 00:27:12,920
Speaker 3: this production you have Mary Lou Henter playing Marty, Johnny

455
00:27:12,960 --> 00:27:18,640
Speaker 3: was playing Duty, Jerry Zachs, the very successful famous Broadway director,

456
00:27:19,160 --> 00:27:24,440
Speaker 3: he was playing Kinicki, Jeff was doing Zuko, Ellen Marsh

457
00:27:24,640 --> 00:27:30,640
Speaker 3: was playing Marty. Let you know, uh, and others.

458
00:27:31,000 --> 00:27:31,920
Speaker 2: That's crazy.

459
00:27:32,480 --> 00:27:37,040
Speaker 3: So I'm working backstage. I'm doing the numbers and the wings,

460
00:27:37,600 --> 00:27:40,399
Speaker 3: and I go to Jerry Zach's. At one point I say, hey, Jerry,

461
00:27:41,400 --> 00:27:45,480
Speaker 3: is it possible for you to feign illness so that

462
00:27:46,480 --> 00:27:49,280
Speaker 3: Tommy Gerard can go on as Kanicki and I can

463
00:27:49,280 --> 00:27:51,080
Speaker 3: slip into the roles. I just want to play it once.

464
00:27:51,160 --> 00:27:53,159
Speaker 3: He said, well, let me ask the stage managers if

465
00:27:53,160 --> 00:27:55,600
Speaker 3: that if they'd be up for it. Well, I knew

466
00:27:55,640 --> 00:27:58,200
Speaker 3: that wasn't going to happen, And surely he came back

467
00:27:58,240 --> 00:28:02,440
Speaker 3: and he said and they said, no, okay, I got it.

468
00:28:03,040 --> 00:28:08,560
Speaker 3: About three days later, May nineteenth of nineteen seventy three,

469
00:28:09,560 --> 00:28:11,680
Speaker 3: I get a phone call in my hotel room from

470
00:28:11,720 --> 00:28:15,359
Speaker 3: Hal Halverson, the stage manager. Jerry zax is sick.

471
00:28:15,720 --> 00:28:18,120
Speaker 4: You're going on his Sonny.

472
00:28:18,359 --> 00:28:20,760
Speaker 3: Now I contend that it was probably set up, but

473
00:28:20,800 --> 00:28:24,720
Speaker 3: they didn't want me to be bruise. So I step

474
00:28:24,800 --> 00:28:28,600
Speaker 3: on stage at the Fisher Theater in Detroit, May nineteenth,

475
00:28:29,119 --> 00:28:33,879
Speaker 3: nineteen seventy three, and four years to the day later,

476
00:28:34,160 --> 00:28:38,600
Speaker 3: May nineteenth of nineteen seventy seven, I get the role

477
00:28:38,640 --> 00:28:42,640
Speaker 3: of duty in the movie. Wow, that's how that story ends.

478
00:28:43,080 --> 00:28:43,560
Speaker 2: Crazy.

479
00:28:44,200 --> 00:28:47,040
Speaker 3: So then, what, like I said before, after the three weeks,

480
00:28:47,040 --> 00:28:49,760
Speaker 3: I was laid off because Michael came back, and now

481
00:28:50,000 --> 00:28:51,760
Speaker 3: I went back. Oh, they actually let me go back

482
00:28:51,800 --> 00:28:55,800
Speaker 3: before that to partake in my graduation ceremonies.

483
00:28:56,280 --> 00:29:01,680
Speaker 2: That's so nice of them to tell you that ever happened.

484
00:29:01,720 --> 00:29:06,760
Speaker 3: Now now negotiates for stuff like that, but this was

485
00:29:06,880 --> 00:29:09,440
Speaker 3: just that they were really great and they appreciated I

486
00:29:09,480 --> 00:29:12,000
Speaker 3: guess what I did, and they were you know, they

487
00:29:12,040 --> 00:29:15,280
Speaker 3: gifted me that. So then I was laid off. I

488
00:29:15,280 --> 00:29:18,440
Speaker 3: had three hundred dollars to my name. My girlfriend, who

489
00:29:18,600 --> 00:29:21,400
Speaker 3: wasn't given that work study went back to the Chicago

490
00:29:21,440 --> 00:29:24,600
Speaker 3: Street Theater and that particular year she sort of said,

491
00:29:24,600 --> 00:29:26,640
Speaker 3: you know, I think I want to spend the summer

492
00:29:26,680 --> 00:29:29,720
Speaker 3: by myself. And so I was heartbroken. Went back to

493
00:29:29,800 --> 00:29:32,040
Speaker 3: New York where my mother lived in a one bedroom

494
00:29:32,080 --> 00:29:35,880
Speaker 3: apartment that I had left, you know, four years before.

495
00:29:36,280 --> 00:29:39,200
Speaker 3: But thank God for her because she was my my net,

496
00:29:39,400 --> 00:29:41,760
Speaker 3: my cushion. Had been with my mom in a one

497
00:29:41,760 --> 00:29:46,160
Speaker 3: bedroom apartment in midtown Manhattan, And until I was able

498
00:29:46,160 --> 00:29:48,360
Speaker 3: to kind of get on my feet, took a job

499
00:29:48,880 --> 00:29:53,760
Speaker 3: as a a a in an answering service stand by

500
00:29:53,840 --> 00:29:54,600
Speaker 3: answering service.

501
00:29:54,640 --> 00:29:57,440
Speaker 2: Had to make a buck, right, yep, survival, that's right.

502
00:29:58,080 --> 00:30:01,200
Speaker 3: Until the end of that summer, I got two summer

503
00:30:01,240 --> 00:30:04,280
Speaker 3: stock gigs at the Effort to Star Playhouse and near

504
00:30:04,280 --> 00:30:07,960
Speaker 3: my hometown of Pennsylvania, did what the Butler saw and

505
00:30:09,000 --> 00:30:12,960
Speaker 3: butterflies are free. And while I was there again another

506
00:30:13,000 --> 00:30:18,040
Speaker 3: phone booth, I get a call from Hal Halverson. The

507
00:30:18,120 --> 00:30:21,240
Speaker 3: States were saying, Michael Lembeck is leaving the show in

508
00:30:21,520 --> 00:30:23,560
Speaker 3: LA and we want you to come out and finish

509
00:30:23,600 --> 00:30:23,960
Speaker 3: the tour.

510
00:30:24,360 --> 00:30:24,719
Speaker 1: Wow.

511
00:30:25,000 --> 00:30:28,920
Speaker 5: So they flew me out to California to do the

512
00:30:29,000 --> 00:30:33,400
Speaker 5: last matinee at the Schubert Theater of the show and

513
00:30:33,560 --> 00:30:36,120
Speaker 5: in the audience that day was a friend.

514
00:30:35,920 --> 00:30:41,800
Speaker 3: Of Mary lou Henterers who took slides, remember slides of

515
00:30:41,840 --> 00:30:43,720
Speaker 3: the entire show and then sold them to us. I

516
00:30:43,760 --> 00:30:46,880
Speaker 3: bought an entire carousel slides, not only of me, but

517
00:30:47,000 --> 00:30:49,280
Speaker 3: of the whole show. So I've got these amazing side

518
00:30:49,320 --> 00:30:55,600
Speaker 3: with playing Rizzo and Bostwick playing playing because they flipped.

519
00:30:55,600 --> 00:30:57,520
Speaker 3: You know, the deal was that Boston would come out

520
00:30:57,600 --> 00:31:01,320
Speaker 3: to La with which happens we went to New York

521
00:31:01,320 --> 00:31:04,960
Speaker 3: for that time, and and Jimmy Canning, who was the

522
00:31:04,960 --> 00:31:07,320
Speaker 3: original duty had come out to LA. So I've got

523
00:31:07,360 --> 00:31:12,000
Speaker 3: all these wonderful slides Jerry, Lou Mary Low and Jerry

524
00:31:12,000 --> 00:31:16,760
Speaker 3: and Johnny and Roger, great great slides. And in fact

525
00:31:16,760 --> 00:31:21,320
Speaker 3: that you get think Indeedie's book Frenchy scrap Book, there

526
00:31:21,400 --> 00:31:22,920
Speaker 3: might be some of those photos there. I know there

527
00:31:22,920 --> 00:31:28,040
Speaker 3: were some in Randall's book, the Director's Notebook on on

528
00:31:28,040 --> 00:31:31,640
Speaker 3: on the movie, and and so just in just that.

529
00:31:31,760 --> 00:31:35,120
Speaker 3: So I then replaced him, did the last ten ten

530
00:31:35,160 --> 00:31:37,640
Speaker 3: and a half months, and that was from the end.

531
00:31:37,800 --> 00:31:42,360
Speaker 3: They wanted me to do a summer stock production of it,

532
00:31:42,400 --> 00:31:45,120
Speaker 3: which then ended up to be an extension of that

533
00:31:45,120 --> 00:31:49,520
Speaker 3: that tour. Instead of doing it myself and the guy

534
00:31:49,520 --> 00:31:51,959
Speaker 3: that played Vince Fontagne at the time, my friend Barry Vaigon,

535
00:31:52,400 --> 00:31:56,920
Speaker 3: we decided to take another show together, El Grande de

536
00:31:57,000 --> 00:32:01,840
Speaker 3: Coca Cola, which we did, which is it's a spooful

537
00:32:01,840 --> 00:32:05,960
Speaker 3: on Latin American cabaret where this character Papa Peppe hernandez

538
00:32:07,160 --> 00:32:13,040
Speaker 3: off his relatives as different acts from South America costumes,

539
00:32:13,360 --> 00:32:16,160
Speaker 3: and it was really seedy and grungy, like you would

540
00:32:16,240 --> 00:32:20,000
Speaker 3: find in a real city American cabaret. But they had

541
00:32:20,040 --> 00:32:23,680
Speaker 3: done this originally at Plaza Plaza nine, which is a

542
00:32:23,680 --> 00:32:29,440
Speaker 3: little theater underneath the Plaza Hotel the park, and it

543
00:32:29,640 --> 00:32:39,880
Speaker 3: starred Ron Silver and and and Jeff Goldblum who was Meatloafs,

544
00:32:40,600 --> 00:32:45,400
Speaker 3: one of Meatloafs singers, and some others, and we decided

545
00:32:45,440 --> 00:32:48,040
Speaker 3: to take it, but they took us down to Mexico

546
00:32:48,160 --> 00:32:53,000
Speaker 3: to do it. This this guy Sergio, who Mexico on

547
00:32:53,040 --> 00:32:55,600
Speaker 3: its ear. It was like selling ice to the Eskimos

548
00:32:57,160 --> 00:33:00,640
Speaker 3: over their head or they were offended. Some month Mexico

549
00:33:00,760 --> 00:33:02,520
Speaker 3: and then we're gonna close us down. But then they

550
00:33:02,520 --> 00:33:05,040
Speaker 3: decided to take us to Acapulco for a month. Oh

551
00:33:05,120 --> 00:33:09,160
Speaker 3: my god, Oh that didn't work there, But then everybody

552
00:33:09,200 --> 00:33:10,760
Speaker 3: else was out on tour with Greece. But it was

553
00:33:10,800 --> 00:33:13,080
Speaker 3: kind of a kind of a cool break.

554
00:33:22,400 --> 00:33:24,880
Speaker 2: So at what point were you did you hear they're

555
00:33:24,880 --> 00:33:29,000
Speaker 2: making a movie and like, you know, was it an agent? Oh,

556
00:33:29,000 --> 00:33:30,920
Speaker 2: you have an audition for this? Were they auditioning everybody

557
00:33:30,920 --> 00:33:32,560
Speaker 2: who had been in a company of Greece.

558
00:33:33,640 --> 00:33:35,320
Speaker 3: They didn't want to see any of us from the

559
00:33:35,360 --> 00:33:38,680
Speaker 3: play You're too old. Oh, so we kind of put

560
00:33:38,760 --> 00:33:41,120
Speaker 3: that to rest until we got.

561
00:33:40,960 --> 00:33:44,080
Speaker 4: Auditions right right, And.

562
00:33:44,560 --> 00:33:48,280
Speaker 3: I went into audition and the role of Duty, I thought,

563
00:33:48,440 --> 00:33:52,800
Speaker 3: I'm not Duty, I'm sunny if anything. Well, the way

564
00:33:52,840 --> 00:34:00,680
Speaker 3: it turned out is in the film, Duty is really sunny. Uh,

565
00:34:00,960 --> 00:34:05,320
Speaker 3: Sonny is really Roger and interesting, really Duty.

566
00:34:05,560 --> 00:34:07,760
Speaker 2: So how did that happen? Do you know why they

567
00:34:07,920 --> 00:34:08,359
Speaker 2: liked the name?

568
00:34:08,440 --> 00:34:11,680
Speaker 3: Putsy and Bronte Woodard me he rest in peace wrote

569
00:34:11,719 --> 00:34:13,839
Speaker 3: it that way, and that's just the way it rolled out,

570
00:34:13,920 --> 00:34:17,520
Speaker 3: got it, you know, the Roger character. We also didn't

571
00:34:17,560 --> 00:34:20,360
Speaker 3: sing the songs now as Duty in the movie. I

572
00:34:20,360 --> 00:34:23,480
Speaker 3: wouldn't have sung magic changes in the play. He does.

573
00:34:23,920 --> 00:34:25,960
Speaker 3: The magic changes is in the film. It's in the

574
00:34:26,000 --> 00:34:31,000
Speaker 3: background during the dance contest. Mooning wasn't wasn't played either.

575
00:34:31,320 --> 00:34:36,440
Speaker 3: It was that's Roger's song that was also used as background.

576
00:34:37,160 --> 00:34:40,560
Speaker 3: And Freddie My Love, which Marty sings is not in

577
00:34:40,760 --> 00:34:44,920
Speaker 3: the in the film either, although again in the background somewhere,

578
00:34:46,160 --> 00:34:47,680
Speaker 3: but so we were told we weren't going to and

579
00:34:47,680 --> 00:34:50,000
Speaker 3: then all of a sudden we had these auditions, and

580
00:34:51,000 --> 00:34:53,560
Speaker 3: so remember we sang, and I remember I sang blue

581
00:34:53,560 --> 00:34:55,640
Speaker 3: Swede shoes and did it the way I had done

582
00:34:55,680 --> 00:35:00,319
Speaker 3: it for my audition for the play. Uh.

583
00:35:01,000 --> 00:35:03,359
Speaker 2: And how many people in that room were the same

584
00:35:03,360 --> 00:35:06,560
Speaker 2: people you had auditioned for if any? I mean there

585
00:35:06,840 --> 00:35:09,440
Speaker 2: were obviously that the play.

586
00:35:10,239 --> 00:35:13,520
Speaker 3: No nobody, well Jim, I don't know if Jim Jacobs

587
00:35:13,600 --> 00:35:15,160
Speaker 3: is in a room or not, because maybe by that

588
00:35:15,360 --> 00:35:19,319
Speaker 3: time there was like a split between Alan Carr and

589
00:35:19,360 --> 00:35:20,000
Speaker 3: those guys.

590
00:35:20,160 --> 00:35:24,520
Speaker 2: Yeah, got it, okay, And so there was really no

591
00:35:24,960 --> 00:35:26,960
Speaker 2: Pat pat pitch right.

592
00:35:26,760 --> 00:35:30,440
Speaker 3: Okay, choreographed She she was, she was in the room.

593
00:35:31,520 --> 00:35:34,120
Speaker 3: And so we sang, we read, and then they brought

594
00:35:34,200 --> 00:35:37,760
Speaker 3: us together to read and sing together, and I remember,

595
00:35:37,800 --> 00:35:40,799
Speaker 3: I think I remember reading with Dedie. And then the

596
00:35:40,880 --> 00:35:43,400
Speaker 3: last thing we had to do, this is kind of cool.

597
00:35:44,840 --> 00:35:47,280
Speaker 3: The last thing we had to do was they lined

598
00:35:47,360 --> 00:35:50,359
Speaker 3: up the guys on one side of the room and

599
00:35:50,400 --> 00:35:52,600
Speaker 3: the women on the other side of the room, and

600
00:35:52,719 --> 00:35:57,080
Speaker 3: our task was the guy had to come out to

601
00:35:57,160 --> 00:35:59,000
Speaker 3: the center and the girl had to come out and

602
00:35:59,040 --> 00:36:02,640
Speaker 3: you had to dance with her and woo her off

603
00:36:02,640 --> 00:36:07,560
Speaker 3: the stage, off the blank space. So in the play

604
00:36:08,120 --> 00:36:12,319
Speaker 3: of Greece, Sonny again, the role that I played and

605
00:36:12,320 --> 00:36:16,279
Speaker 3: that I am body in the film, doesn't sing a

606
00:36:16,320 --> 00:36:19,840
Speaker 3: song and he doesn't dance. As I understand it, the

607
00:36:19,920 --> 00:36:24,000
Speaker 3: fellow who actually played Sonny originally Jimbarelli, wasn't a great singer,

608
00:36:24,080 --> 00:36:26,240
Speaker 3: wasn't a great dancer, but he was a great type

609
00:36:26,719 --> 00:36:31,640
Speaker 3: and great type. He was a real wonderful Sonny. So

610
00:36:31,880 --> 00:36:35,879
Speaker 3: during the dance contest in the play, he sits off

611
00:36:35,880 --> 00:36:39,320
Speaker 3: to the side and gets drunk, and then he collapses

612
00:36:39,320 --> 00:36:41,919
Speaker 3: at the end of the play, at the end of

613
00:36:41,760 --> 00:36:46,600
Speaker 3: the scene, and then stumbles up the stairs. Now put

614
00:36:46,600 --> 00:36:49,360
Speaker 3: that aside for a second. In the play, don't know

615
00:36:49,400 --> 00:36:52,960
Speaker 3: if you know this, cha cha who in the movie

616
00:36:53,120 --> 00:36:57,520
Speaker 3: was a hot latina played by our dear late Annette Charles.

617
00:36:57,600 --> 00:37:01,880
Speaker 3: Right in the play, she's not a hot latina. She

618
00:37:02,040 --> 00:37:07,880
Speaker 3: is a young girl of size, not very good looking,

619
00:37:08,160 --> 00:37:11,320
Speaker 3: with these Dolly Madison curls and a lot of rouge.

620
00:37:11,600 --> 00:37:15,240
Speaker 3: Because that's the joke in the end of that one,

621
00:37:15,760 --> 00:37:20,040
Speaker 3: when Rizzo and Kaniki have a fight at the park

622
00:37:21,080 --> 00:37:23,880
Speaker 3: and Rizzo asks Zuko to the dance when she was

623
00:37:23,960 --> 00:37:29,240
Speaker 3: going to be going with Kiniki. Kiniki then is approached

624
00:37:29,280 --> 00:37:32,040
Speaker 3: by Sonny, Hey, should we pick up a couple of

625
00:37:32,080 --> 00:37:34,080
Speaker 3: girls for the dance? And Zuka says with what a

626
00:37:34,120 --> 00:37:38,080
Speaker 3: meat hook? And there's a laugh, and Kiniki says, Nah,

627
00:37:38,400 --> 00:37:42,080
Speaker 3: I've got a hot date from across town. She's a bombshell.

628
00:37:42,840 --> 00:37:46,319
Speaker 3: That's what we're left with. At two opens up at

629
00:37:46,360 --> 00:37:50,480
Speaker 3: the dance, everybody's there. All of a sudden, spotlight hits

630
00:37:50,600 --> 00:37:54,400
Speaker 3: Kiniki coming in with his hot date. But she ain't

631
00:37:54,440 --> 00:37:58,279
Speaker 3: a hot date. It's the joke. She's later referred to

632
00:37:58,320 --> 00:38:00,359
Speaker 3: in the scene as oh, you mean that gorilla there?

633
00:38:00,840 --> 00:38:02,919
Speaker 3: The girl put her nose over there. Oh I thought

634
00:38:02,920 --> 00:38:06,600
Speaker 3: you was the steam table ladies. So and that's that's

635
00:38:06,680 --> 00:38:08,920
Speaker 3: not used in the film, right, it is in the play.

636
00:38:09,120 --> 00:38:13,000
Speaker 3: So these days they still cast a hot gal looking

637
00:38:13,840 --> 00:38:17,080
Speaker 3: the dancer, which in the play was that she was

638
00:38:17,080 --> 00:38:20,239
Speaker 3: the dance captain Kathy moss Man dance cat. She was

639
00:38:20,239 --> 00:38:23,880
Speaker 3: a great dancer. She has to be because they still yeah,

640
00:38:23,960 --> 00:38:27,120
Speaker 3: so okay, backing up now to the dance contest, and

641
00:38:27,160 --> 00:38:29,759
Speaker 3: at the end where Sonny gets dronk, he doesn't dance

642
00:38:30,120 --> 00:38:33,719
Speaker 3: and he climbs up the stairs and he's encountered by

643
00:38:33,840 --> 00:38:36,680
Speaker 3: this this girl that picked her nose the steam table,

644
00:38:36,880 --> 00:38:38,439
Speaker 3: and he takes a look at her at one point,

645
00:38:38,440 --> 00:38:40,839
Speaker 3: actually he goes up under her dress. Is he's coming

646
00:38:40,920 --> 00:38:42,560
Speaker 3: up because she's standing at the head of the stairs.

647
00:38:42,600 --> 00:38:45,520
Speaker 3: It comes up under her dress. Ah, and he runs off.

648
00:38:46,600 --> 00:38:48,760
Speaker 3: And then she comes down the stairs and she's encountered

649
00:38:48,760 --> 00:38:52,880
Speaker 3: by Eugene and they see each other where everybody is

650
00:38:52,920 --> 00:38:54,960
Speaker 3: going off with a couple. There's a moment that they

651
00:38:55,000 --> 00:38:57,920
Speaker 3: have and then they each pass by, each passed by

652
00:38:57,960 --> 00:39:00,680
Speaker 3: by the nerd. And that's the poignant on a sweet

653
00:39:00,680 --> 00:39:07,240
Speaker 3: part Boom. We're seem so at the audition, not knowing

654
00:39:07,719 --> 00:39:10,279
Speaker 3: what the screen play was going to be like. At

655
00:39:10,280 --> 00:39:13,560
Speaker 3: the audition, they line us up, we each are to

656
00:39:13,560 --> 00:39:16,520
Speaker 3: come out, and I hang back, and I hang back

657
00:39:16,520 --> 00:39:18,960
Speaker 3: because I'm looking at the girls on the side and

658
00:39:19,360 --> 00:39:21,360
Speaker 3: the girl kind of towards the end of the line,

659
00:39:21,800 --> 00:39:24,680
Speaker 3: who was not as pretty as the rest of them.

660
00:39:25,200 --> 00:39:28,719
Speaker 3: I'm putting it out there. Hang back, baby, hang back,

661
00:39:28,840 --> 00:39:31,160
Speaker 3: stay back. I want you to be my partner in this.

662
00:39:32,239 --> 00:39:35,120
Speaker 3: I also decided I was going to play like I've

663
00:39:35,200 --> 00:39:37,200
Speaker 3: had too much to drink and I grabbed myself. A

664
00:39:37,200 --> 00:39:42,080
Speaker 3: styrofoam cup comes down to me and another guy and

665
00:39:42,160 --> 00:39:45,040
Speaker 3: a gal and this other, this gal that I'm hoping

666
00:39:45,080 --> 00:39:49,319
Speaker 3: will hang back. Sure enough she does. So it's the

667
00:39:49,360 --> 00:39:51,000
Speaker 3: two of us with the last to come out, and

668
00:39:51,040 --> 00:39:55,080
Speaker 3: I stumble out. I take one last sip of the cup,

669
00:39:55,320 --> 00:39:58,000
Speaker 3: and I put the cup in my cuff of my

670
00:39:58,160 --> 00:40:02,440
Speaker 3: jeans and say, and I grab her right and now

671
00:40:02,480 --> 00:40:05,080
Speaker 3: I'm holding her when we start to dance, and I

672
00:40:05,239 --> 00:40:08,839
Speaker 3: moved my hand down to her. I start to pinch

673
00:40:08,880 --> 00:40:12,680
Speaker 3: your bum. She takes my hand, She grabs my hand

674
00:40:12,960 --> 00:40:16,040
Speaker 3: and brings it around and puts my hand on my

675
00:40:16,120 --> 00:40:22,560
Speaker 3: own bum bum, thinking it's her bum.

676
00:40:22,560 --> 00:40:24,120
Speaker 4: Perfect.

677
00:40:24,200 --> 00:40:26,239
Speaker 3: You gotta stand apart, you gotta boat.

678
00:40:28,320 --> 00:40:31,759
Speaker 1: Make them remember you, you know, Yeah, exactly incredible.

679
00:40:32,080 --> 00:40:34,479
Speaker 2: So from from the Cassie you met Dedie that day?

680
00:40:34,880 --> 00:40:37,600
Speaker 3: Yeah, I probably I probably met her maybe even a.

681
00:40:37,640 --> 00:40:40,760
Speaker 2: Day or so before, okay, or the lad the time.

682
00:40:40,600 --> 00:40:44,480
Speaker 3: Before we had we had done. And then the last

683
00:40:44,480 --> 00:40:48,560
Speaker 3: thing I remember is that they were all released, The

684
00:40:48,600 --> 00:40:51,800
Speaker 3: girls were released, and we were the last. It was Jeff, Kelly,

685
00:40:51,920 --> 00:40:57,040
Speaker 3: Michael and myself and the people behind the table, Alan

686
00:40:57,120 --> 00:40:59,600
Speaker 3: Carr and Branda and says, you go up there by

687
00:40:59,600 --> 00:41:01,799
Speaker 3: the piano just hang out for a little while. So

688
00:41:01,880 --> 00:41:03,840
Speaker 3: we went up there and we hung while they were talking.

689
00:41:04,280 --> 00:41:05,640
Speaker 3: And the next thing you know, I guess it was

690
00:41:05,680 --> 00:41:08,040
Speaker 3: Allan that came by and said, you're our tea, you're you,

691
00:41:08,280 --> 00:41:11,839
Speaker 3: you are our t birds. Wow. How special they told

692
00:41:11,920 --> 00:41:13,920
Speaker 3: us right then and there a release.

693
00:41:14,640 --> 00:41:15,560
Speaker 2: Yeah, so nice to know.

694
00:41:17,200 --> 00:41:19,239
Speaker 3: My story was that I had just been written out

695
00:41:19,239 --> 00:41:23,400
Speaker 3: of CPO Sharky the Don Rickles show. Wow, the series

696
00:41:23,480 --> 00:41:26,320
Speaker 3: I had come out here on speculation, which I contended

697
00:41:26,360 --> 00:41:28,120
Speaker 3: I'd never do. But I had done a pilot in

698
00:41:28,160 --> 00:41:28,920
Speaker 3: seventy six.

699
00:41:29,719 --> 00:41:31,600
Speaker 2: Well that was gonna be my question that you You

700
00:41:31,640 --> 00:41:35,160
Speaker 2: were also auditioning and working in TV and film.

701
00:41:35,320 --> 00:41:35,719
Speaker 3: Oh yeah.

702
00:41:35,800 --> 00:41:37,080
Speaker 2: While doing all this theater.

703
00:41:37,320 --> 00:41:39,960
Speaker 3: I was doing a play in New York called Let

704
00:41:40,000 --> 00:41:44,839
Speaker 3: My People Come Down at the Village the Village Gate,

705
00:41:45,840 --> 00:41:49,600
Speaker 3: which was a poor man's o Calcutta. Are you familiar

706
00:41:49,640 --> 00:41:53,440
Speaker 3: with o' calcutta? No? You basically performed in the nude.

707
00:41:54,080 --> 00:41:56,840
Speaker 3: Oh wow, And I understudied seven guys.

708
00:41:57,360 --> 00:41:59,840
Speaker 2: Oh my god. If I went on, I had this

709
00:42:00,080 --> 00:42:02,520
Speaker 2: address that was like Jenna in the Spring Awakening, she

710
00:42:02,600 --> 00:42:04,480
Speaker 2: covered four five different parts.

711
00:42:05,160 --> 00:42:07,719
Speaker 3: But this is this is that's classy. This is.

712
00:42:10,680 --> 00:42:12,879
Speaker 4: Yeah, the huge hit.

713
00:42:13,400 --> 00:42:17,560
Speaker 3: And I had first understudied these seven guys and it

714
00:42:17,560 --> 00:42:19,480
Speaker 3: was a deal whereby it was a review, so I

715
00:42:19,480 --> 00:42:20,920
Speaker 3: could go on for two or three guys at the

716
00:42:20,920 --> 00:42:22,839
Speaker 3: same time and I'd get their salary plus mine.

717
00:42:22,880 --> 00:42:25,719
Speaker 2: I was making a phone amazing. Yeah, this is an

718
00:42:25,719 --> 00:42:28,759
Speaker 2: early and getting compensated for doing all that extra work.

719
00:42:29,200 --> 00:42:33,880
Speaker 3: Yeah. So at one point in time, the union said, okay,

720
00:42:33,920 --> 00:42:36,960
Speaker 3: you don't have to have understudies apart from the cast.

721
00:42:37,400 --> 00:42:40,480
Speaker 3: You can use one of your cast members to understudy

722
00:42:40,840 --> 00:42:43,359
Speaker 3: if you want the same little money. So they came

723
00:42:43,400 --> 00:42:45,040
Speaker 3: to me, they said, we're either going to fire you

724
00:42:45,160 --> 00:42:47,359
Speaker 3: or make you a permanent member of the cast. I said, well,

725
00:42:47,360 --> 00:42:48,719
Speaker 3: I'd still want to do it, but you're gonna have

726
00:42:48,760 --> 00:42:51,000
Speaker 3: to give me all the comedy numbers and allow me

727
00:42:51,040 --> 00:42:53,680
Speaker 3: to stay clad. They let me do that. So I

728
00:42:53,719 --> 00:42:55,759
Speaker 3: was doing that gig and I get this pilot or

729
00:42:55,760 --> 00:42:58,840
Speaker 3: I auditioned for this pilot called Best Friends that was

730
00:42:58,840 --> 00:43:01,800
Speaker 3: directed by Jerry Pass. He was Jerry the dentist on

731
00:43:01,840 --> 00:43:05,240
Speaker 3: The Dick Van Dyke Show and subsequently directed every single

732
00:43:05,239 --> 00:43:11,200
Speaker 3: episode of Happy Days. Wow. Yeah, huge career. And I

733
00:43:11,239 --> 00:43:13,919
Speaker 3: auditioned for it and I didn't get it at first,

734
00:43:13,960 --> 00:43:16,360
Speaker 3: And a week later, in the middle of the afternoon,

735
00:43:16,360 --> 00:43:18,399
Speaker 3: I get a phone call saying they fired the guy

736
00:43:18,480 --> 00:43:20,879
Speaker 3: that they hired. They needed to get on the next

737
00:43:20,920 --> 00:43:23,600
Speaker 3: plane out to California. You're replacing this guy.

738
00:43:23,680 --> 00:43:25,120
Speaker 2: How many times does this happen to you?

739
00:43:26,680 --> 00:43:30,520
Speaker 3: A bunch like that? So they're on plane next day. No,

740
00:43:30,680 --> 00:43:35,160
Speaker 3: that day, get old plane and did the pilot and

741
00:43:35,239 --> 00:43:40,480
Speaker 3: it didn't sell. But Jerry Paris said, look, come out here.

742
00:43:40,560 --> 00:43:42,040
Speaker 3: You can stay with me and my family in the

743
00:43:42,040 --> 00:43:45,759
Speaker 3: Palisades and until you get on your feet, because you'll

744
00:43:45,760 --> 00:43:46,439
Speaker 3: work out here.

745
00:43:46,640 --> 00:43:46,879
Speaker 2: Yeah.

746
00:43:47,480 --> 00:43:49,279
Speaker 3: I'd met a couple of casting directors when I was

747
00:43:49,360 --> 00:43:52,040
Speaker 3: out here at the time doing the pilot. Pilot was

748
00:43:52,840 --> 00:43:57,840
Speaker 3: produced by Alan Sack Alan Sachs, who, along with Gabe Kaplan,

749
00:43:57,960 --> 00:44:07,399
Speaker 3: produced and developed Cotter these webs that we and so uh,

750
00:44:07,480 --> 00:44:10,000
Speaker 3: he said, do that now again. I contended, I shouldn't

751
00:44:10,320 --> 00:44:12,440
Speaker 3: do that. I need to have a job, but you know,

752
00:44:12,560 --> 00:44:17,160
Speaker 3: it felt right, So I gave up my apartment and

753
00:44:17,239 --> 00:44:20,799
Speaker 3: sub led it to my friend Danny Jacobson, who is

754
00:44:20,840 --> 00:44:25,719
Speaker 3: responsible for creating and producing little TV shows like Mad

755
00:44:25,760 --> 00:44:31,000
Speaker 3: About You, Two Men, a Gallon of Pizza. You know.

756
00:44:31,440 --> 00:44:34,279
Speaker 3: He played Kinicki in a Greece company and then went

757
00:44:34,320 --> 00:44:35,360
Speaker 3: on to Fame and Fortune and.

758
00:44:36,920 --> 00:44:39,200
Speaker 2: It was like interacted with Greece in some way.

759
00:44:39,880 --> 00:44:44,640
Speaker 3: Yeah, they were they were blessed. So I came out

760
00:44:44,680 --> 00:44:47,200
Speaker 3: to California and within a week and a half I

761
00:44:47,239 --> 00:44:50,280
Speaker 3: went on my first audition, and that was to replace

762
00:44:50,360 --> 00:44:54,440
Speaker 3: Jeffrey Kramer, who played the He was the deputy and

763
00:44:54,560 --> 00:44:56,759
Speaker 3: Jaws and the first Jaws who throws up on the beach,

764
00:44:57,760 --> 00:45:01,080
Speaker 3: and he did the pilot. Then they replay with me.

765
00:45:02,320 --> 00:45:05,759
Speaker 3: I did thirteen episodes of Sharky and I was on

766
00:45:05,840 --> 00:45:08,680
Speaker 3: top of the world. I mean, the first audition and

767
00:45:08,760 --> 00:45:10,960
Speaker 3: I get a gig. But by the end of that

768
00:45:11,000 --> 00:45:13,840
Speaker 3: thirteen weeks, I wasn't a happy camper. They weren't writing

769
00:45:13,880 --> 00:45:17,840
Speaker 3: for us, and I was really despondent. And so Jeffrey

770
00:45:17,840 --> 00:45:21,399
Speaker 3: played an Italian recruit. They replaced him with me an

771
00:45:21,400 --> 00:45:25,840
Speaker 3: Italian recruit and the Italian guy. Thing didn't work. When

772
00:45:26,400 --> 00:45:28,680
Speaker 3: Don would go down the line and break the Polish

773
00:45:28,760 --> 00:45:31,360
Speaker 3: guy and the Jewish guy and the Black guy and

774
00:45:31,400 --> 00:45:33,880
Speaker 3: the Norwegian guy, he got laught. He come to the

775
00:45:33,920 --> 00:45:39,399
Speaker 3: Italian guy, we weren't getting He said done. I said done.

776
00:45:39,400 --> 00:45:41,480
Speaker 3: Say something about my Italian this and he looked at

777
00:45:41,520 --> 00:45:48,759
Speaker 3: me and said, hey, I got family a kid, and

778
00:45:48,840 --> 00:45:51,759
Speaker 3: I got that. And now on my birthday that year,

779
00:45:52,480 --> 00:45:54,480
Speaker 3: we hadn't found out whether we were being picked up

780
00:45:54,560 --> 00:45:56,879
Speaker 3: yet or not for CPO Sharky, I get a call

781
00:45:56,920 --> 00:45:59,719
Speaker 3: from my agent the show's being picked up, but they're

782
00:45:59,719 --> 00:46:00,279
Speaker 3: not picked Can.

783
00:46:00,200 --> 00:46:02,799
Speaker 4: You hasn't that?

784
00:46:03,440 --> 00:46:03,960
Speaker 2: Yeah?

785
00:46:04,360 --> 00:46:07,680
Speaker 3: On my birthday and I was that night and the

786
00:46:07,719 --> 00:46:09,680
Speaker 3: producer's son came walking in because he was in the

787
00:46:10,320 --> 00:46:12,279
Speaker 3: in the in the in the series. I said, your

788
00:46:12,360 --> 00:46:16,120
Speaker 3: dad gave me a really nice birthday gift today. So

789
00:46:16,200 --> 00:46:18,120
Speaker 3: I go running down to Jerry Paris, who was at

790
00:46:18,160 --> 00:46:22,759
Speaker 3: Paramount at the time doing Blansky's Beauties television series with

791
00:46:22,800 --> 00:46:25,759
Speaker 3: my pal Karen Kay who had gone to college with

792
00:46:26,120 --> 00:46:30,840
Speaker 3: Carnegie with actually, and I cried on his shoulder and

793
00:46:30,880 --> 00:46:32,719
Speaker 3: he said, look, you know, when I was a kid,

794
00:46:32,719 --> 00:46:35,640
Speaker 3: I was doing The Untouchables with Robert Stack long before

795
00:46:35,680 --> 00:46:39,640
Speaker 3: your time. Guys. They wrote me out and I was devastated.

796
00:46:39,640 --> 00:46:41,640
Speaker 3: But had that not happened, I wouldn't have gotten a

797
00:46:41,719 --> 00:46:43,760
Speaker 3: job on the Dick Van Dyke Show as a regular,

798
00:46:45,440 --> 00:46:48,000
Speaker 3: which led to my directing career. Because Sheldon Leonard, the

799
00:46:48,000 --> 00:46:52,520
Speaker 3: producer gave him a gig directing, and the rest with

800
00:46:52,640 --> 00:46:55,080
Speaker 3: him was history, because he wound up directing every episode

801
00:46:55,080 --> 00:46:56,960
Speaker 3: of Happy Is And I said, yeah, but you know,

802
00:46:57,000 --> 00:46:58,440
Speaker 3: at that time, the light at the end of the

803
00:46:58,440 --> 00:47:01,640
Speaker 3: tunnel looks like a truck coming at you. Yeah, consolation,

804
00:47:01,960 --> 00:47:04,440
Speaker 3: no council. But had that not happened, had I not

805
00:47:04,520 --> 00:47:06,920
Speaker 3: been written out of Sharky, I wouldn't have been available

806
00:47:06,960 --> 00:47:10,160
Speaker 3: to do Greece of the Door Closes the Door Open.

807
00:47:18,560 --> 00:47:21,440
Speaker 1: Did you guys know that when Greece was happening, when

808
00:47:21,480 --> 00:47:23,480
Speaker 1: you guys were filming the movie, that it was going

809
00:47:23,520 --> 00:47:24,480
Speaker 1: to be such a sensation?

810
00:47:24,680 --> 00:47:26,720
Speaker 4: Did you have any kind of not a clue?

811
00:47:26,760 --> 00:47:29,640
Speaker 3: Now, we knew that the play had become the longest

812
00:47:29,719 --> 00:47:32,000
Speaker 3: running play in Broadway history at the time. Yeah, so

813
00:47:32,040 --> 00:47:33,759
Speaker 3: we knew we had a great template, if you.

814
00:47:33,800 --> 00:47:36,240
Speaker 2: Will right, No one knew it worked like the people

815
00:47:36,239 --> 00:47:38,200
Speaker 2: loved the music, the show was great, like.

816
00:47:38,920 --> 00:47:41,920
Speaker 1: Yes, and then it's pa part of the chemistry of

817
00:47:41,960 --> 00:47:45,359
Speaker 1: your cast and the talent that was there, and like

818
00:47:45,480 --> 00:47:47,239
Speaker 1: it was just so electric to watch it.

819
00:47:47,320 --> 00:47:50,240
Speaker 4: I can imagine that while filming it, it felt like that.

820
00:47:50,200 --> 00:47:51,920
Speaker 1: Whether it was a hit or not, you know, the

821
00:47:52,200 --> 00:47:55,840
Speaker 1: the journey you guys said was probably incredible.

822
00:47:56,120 --> 00:47:58,480
Speaker 3: You hit upon something that I I'll tell you I've

823
00:47:58,480 --> 00:48:01,040
Speaker 3: contended for quite some time. First of all, well, you know,

824
00:48:02,280 --> 00:48:05,799
Speaker 3: along with what the piece was originally is to play.

825
00:48:05,840 --> 00:48:08,799
Speaker 3: The music was wonderful. Pat's dance was great. You love

826
00:48:09,280 --> 00:48:12,279
Speaker 3: John and you loved looking at Olivia. The camera loved them.

827
00:48:12,600 --> 00:48:16,680
Speaker 3: So I contend that one of the reasons why folks

828
00:48:16,680 --> 00:48:21,120
Speaker 3: not such as yourself, who are sort of savvy to

829
00:48:21,800 --> 00:48:26,640
Speaker 3: the elements that can make for a success John Q

830
00:48:26,840 --> 00:48:29,279
Speaker 3: public who knows that they liked the singing, they liked

831
00:48:29,280 --> 00:48:32,600
Speaker 3: the dancing like looking at John, Olivia, etcetce, but can't

832
00:48:32,640 --> 00:48:35,960
Speaker 3: fully articulate something else about it that they like. They

833
00:48:36,040 --> 00:48:40,200
Speaker 3: can't fully let what it is, I think is the camaraderie.

834
00:48:40,800 --> 00:48:44,640
Speaker 3: It's why you say, the the the the way we

835
00:48:44,719 --> 00:48:47,839
Speaker 3: got along with each other like Grandma lamalama.

836
00:48:47,320 --> 00:48:49,200
Speaker 2: Kad yes exactly.

837
00:48:49,560 --> 00:48:53,480
Speaker 3: That spills over and people watching love to see people

838
00:48:53,520 --> 00:48:56,319
Speaker 3: getting along. They love to see the rockets kick in

839
00:48:56,480 --> 00:49:00,799
Speaker 3: time they add applause. I think that element helps to

840
00:49:01,000 --> 00:49:04,880
Speaker 3: preserve to keep all of us and the piece relevant

841
00:49:05,560 --> 00:49:06,000
Speaker 3: through the.

842
00:49:06,440 --> 00:49:08,520
Speaker 2: Yeah, because you can feel that as an audience member,

843
00:49:08,560 --> 00:49:12,520
Speaker 2: as if you were regardless of when you're encountering this film, right,

844
00:49:12,600 --> 00:49:15,399
Speaker 2: you feel and it felt like you could speak to this,

845
00:49:16,040 --> 00:49:18,880
Speaker 2: but that you all did have a great time with

846
00:49:18,920 --> 00:49:20,799
Speaker 2: each other. You all were having the best time of

847
00:49:20,800 --> 00:49:23,200
Speaker 2: your lives. We juste you were together making this thing.

848
00:49:23,520 --> 00:49:25,080
Speaker 3: We did and we still do. And you know when

849
00:49:25,080 --> 00:49:27,520
Speaker 3: we go out and these signing gigs, it's like, you know,

850
00:49:27,640 --> 00:49:32,160
Speaker 3: reunion time. There's nothing like it. Yeah, all still get

851
00:49:32,200 --> 00:49:36,560
Speaker 3: along and we're sad at those those that we have lost,

852
00:49:36,600 --> 00:49:38,600
Speaker 3: but hope that they're looking down on this blessing us

853
00:49:38,640 --> 00:49:43,320
Speaker 3: as we go and we're savoring every every single moment.

854
00:49:43,719 --> 00:49:44,560
Speaker 4: Yeah you can.

855
00:49:45,560 --> 00:49:48,160
Speaker 1: We always ask people on the podcast who were involved

856
00:49:48,200 --> 00:49:50,840
Speaker 1: with Glee, of course, which we did Greece on the

857
00:49:50,920 --> 00:49:55,200
Speaker 1: show as well, what is what is the feeling that.

858
00:49:56,880 --> 00:49:59,560
Speaker 4: Lee leaves you with? But you're remiss not to ask

859
00:49:59,600 --> 00:50:01,600
Speaker 4: you what is the feeling that Grease lys you it?

860
00:50:03,760 --> 00:50:10,120
Speaker 3: Grateful and blessed? As I said, sometimes I sometimes it's

861
00:50:10,160 --> 00:50:14,040
Speaker 3: a little surreal, and sometimes I still kind of don't

862
00:50:14,040 --> 00:50:17,000
Speaker 3: get it. I mean in terms of shouldn't it be impact,

863
00:50:17,040 --> 00:50:19,760
Speaker 3: shouldn't be feeling it even more in my skin?

864
00:50:20,360 --> 00:50:24,759
Speaker 1: It's hard to absorb something so much bigger than you yeah.

865
00:50:24,840 --> 00:50:28,440
Speaker 3: Yeah, it truly is much bigger than just me pod cast.

866
00:50:30,080 --> 00:50:33,600
Speaker 3: It really does kind of oscillate and move as an

867
00:50:33,719 --> 00:50:36,000
Speaker 3: entity in and of itself, and we're sort of entire

868
00:50:36,000 --> 00:50:42,120
Speaker 3: inside that nucleus, you know it. Just again, it leaves

869
00:50:42,160 --> 00:50:45,359
Speaker 3: me very thankful that I have. This is my legacy,

870
00:50:47,160 --> 00:50:50,080
Speaker 3: and you know, and then I'm doing okay. Oh look

871
00:50:50,120 --> 00:50:52,600
Speaker 3: I got my We all have our aches and pains,

872
00:50:54,120 --> 00:50:57,759
Speaker 3: but that I'm still doing okay. And you know, my

873
00:50:57,880 --> 00:51:02,360
Speaker 3: wife is She's a huge contribution to not only my heart,

874
00:51:02,480 --> 00:51:05,719
Speaker 3: but to our home economics. You know that has helped us.

875
00:51:06,640 --> 00:51:06,759
Speaker 1: Uh.

876
00:51:06,880 --> 00:51:09,760
Speaker 3: You know, look, folks, we eat and sleep and poop

877
00:51:09,920 --> 00:51:14,120
Speaker 3: just like the rest. We do. Just happen to have

878
00:51:14,160 --> 00:51:20,000
Speaker 3: this fang that attached itself to us. YEA, yeah, I

879
00:51:20,040 --> 00:51:20,480
Speaker 3: don't know.

880
00:51:20,719 --> 00:51:22,719
Speaker 2: And we're all better for it. We're all better for

881
00:51:22,800 --> 00:51:26,399
Speaker 2: it all you're you're right, we're all better that. You know.

882
00:51:26,800 --> 00:51:31,960
Speaker 2: You your group landed at the same time, all together,

883
00:51:32,080 --> 00:51:35,960
Speaker 2: in the same space to make that thing. Because as

884
00:51:36,000 --> 00:51:38,120
Speaker 2: we've seen and you've seen as other musicals are made

885
00:51:38,200 --> 00:51:41,040
Speaker 2: or TV show, whatever it is, people can try their

886
00:51:41,040 --> 00:51:43,239
Speaker 2: hardest to make something. You just never know, and you

887
00:51:43,320 --> 00:51:45,080
Speaker 2: never know if you're getting the right people at the

888
00:51:45,120 --> 00:51:50,960
Speaker 2: right time, and Greece is still so important and incredible

889
00:51:51,000 --> 00:51:55,360
Speaker 2: because everybody was locked in and clocked in at the

890
00:51:55,400 --> 00:52:00,439
Speaker 2: exact right time to make this special thing. And I mean, yeah,

891
00:52:00,440 --> 00:52:02,840
Speaker 2: it's not very many things that I can say, you know,

892
00:52:03,480 --> 00:52:08,840
Speaker 2: we're so formative to I guess my life and career,

893
00:52:08,960 --> 00:52:16,080
Speaker 2: and it's like Michael Jackson and Greece, like yeah, it's

894
00:52:16,080 --> 00:52:19,120
Speaker 2: like those are the things that informed us. And I think,

895
00:52:19,200 --> 00:52:21,760
Speaker 2: you know, for us, and it's small. I'm not comparing

896
00:52:21,840 --> 00:52:23,839
Speaker 2: us to Greece, but like in a small way, like

897
00:52:23,880 --> 00:52:27,920
Speaker 2: you mentioned, like we can't feel what the show meant

898
00:52:27,960 --> 00:52:31,520
Speaker 2: to people on the scale that it did, but we

899
00:52:32,160 --> 00:52:35,160
Speaker 2: but we know how it our relationships feel to one

900
00:52:35,200 --> 00:52:37,879
Speaker 2: another and what and that's what the show means to us,

901
00:52:38,360 --> 00:52:41,560
Speaker 2: and that's what it's so special. And it's so heartening

902
00:52:41,600 --> 00:52:44,279
Speaker 2: to hear you speak of Greece in a similar way

903
00:52:44,360 --> 00:52:47,640
Speaker 2: because you know, I know we're going to feel that

904
00:52:48,120 --> 00:52:52,640
Speaker 2: down the line as well and and continue to be

905
00:52:52,680 --> 00:52:55,040
Speaker 2: proud of something that we were part of.

906
00:52:55,440 --> 00:53:03,920
Speaker 6: And yeah, you yes, Beatles, uh ultimately Greece, but it

907
00:53:03,960 --> 00:53:08,040
Speaker 6: was Beatles and West Side Story and sound music on

908
00:53:08,080 --> 00:53:09,680
Speaker 6: the roof Forest.

909
00:53:09,400 --> 00:53:13,319
Speaker 3: Line you know, for me the musicals in my life. Yeah,

910
00:53:13,680 --> 00:53:19,399
Speaker 3: west Side Story, yes, yeah.

911
00:53:18,280 --> 00:53:21,440
Speaker 2: Groundbreaking Yeah, and you're a part of that now history

912
00:53:21,440 --> 00:53:24,080
Speaker 2: for people because you're in that list.

913
00:53:25,520 --> 00:53:28,640
Speaker 3: Here we are again, I Kevin. I don't go around with.

914
00:53:28,560 --> 00:53:32,239
Speaker 2: That in my mind, of course, not that you remind.

915
00:53:31,920 --> 00:53:33,399
Speaker 3: Me of that. You guys remind you that.

916
00:53:34,239 --> 00:53:37,680
Speaker 2: Yeah, that's the thing. I mean, it's good. Probably it's

917
00:53:37,719 --> 00:53:40,440
Speaker 2: healthy for you not to go around with that in

918
00:53:40,440 --> 00:53:40,799
Speaker 2: your head.

919
00:53:40,800 --> 00:53:42,960
Speaker 1: But I think to be reminded of it, you know,

920
00:53:43,280 --> 00:53:46,520
Speaker 1: it's a accomplishment.

921
00:53:46,680 --> 00:53:49,399
Speaker 2: You have those things that mean that to you, and

922
00:53:49,440 --> 00:53:51,400
Speaker 2: that's what Greece means to other people. So it's like

923
00:53:51,440 --> 00:53:54,600
Speaker 2: that's the only way to maybe sort of understand.

924
00:53:55,040 --> 00:54:01,040
Speaker 3: Yeah, when I fan boy out on people, I I

925
00:54:01,680 --> 00:54:03,760
Speaker 3: have that experience that you guys are talking about having

926
00:54:03,840 --> 00:54:07,239
Speaker 3: with this project. Yeah, you know I I who do

927
00:54:07,360 --> 00:54:09,880
Speaker 3: I bump into? That makes me? Well Shatner, I have

928
00:54:09,920 --> 00:54:13,719
Speaker 3: a whole it's like too long, but it's kind of

929
00:54:13,800 --> 00:54:19,840
Speaker 3: Yang and Yang. It's crazy, but but he's one U

930
00:54:20,600 --> 00:54:23,799
Speaker 3: gosh who else? H Well? Even John to this day,

931
00:54:24,040 --> 00:54:26,120
Speaker 3: we you know, we text each other, we talk, we

932
00:54:26,160 --> 00:54:30,000
Speaker 3: see each other occasionally, but even him and his journey,

933
00:54:29,600 --> 00:54:35,600
Speaker 3: I am so enamored with his career, with the way

934
00:54:35,600 --> 00:54:38,279
Speaker 3: he comports himself. He truly walks to talk. He's a

935
00:54:38,360 --> 00:54:41,960
Speaker 3: very ethical guy. So when Olivia was alive, I so

936
00:54:42,200 --> 00:54:45,840
Speaker 3: humbled myself. Even though we were buddies, she's still she

937
00:54:46,000 --> 00:54:51,360
Speaker 3: just represented something on a on a higher level of being.

938
00:54:51,400 --> 00:54:54,600
Speaker 2: If you will, you have people that mean that to you.

939
00:54:54,640 --> 00:54:59,760
Speaker 4: What mean yeah, yeah, yeah, exactly. Yeah.

940
00:55:00,239 --> 00:55:02,200
Speaker 2: We have taken so much of your time. Thank you

941
00:55:02,239 --> 00:55:03,080
Speaker 2: so much, so.

942
00:55:03,040 --> 00:55:05,640
Speaker 1: Nice to meet you, Barry. It is really wonderful hearing

943
00:55:05,680 --> 00:55:09,160
Speaker 1: you just reminisce about everything. It's so special and so

944
00:55:09,280 --> 00:55:12,759
Speaker 1: grateful on you. Whenever you allow us to, yes, we

945
00:55:12,800 --> 00:55:13,239
Speaker 1: will do it.

946
00:55:13,760 --> 00:55:15,959
Speaker 3: I will, and please feel free to reach out again.

947
00:55:15,960 --> 00:55:19,600
Speaker 3: Maybe my other I said our Dedy and out my

948
00:55:20,040 --> 00:55:23,960
Speaker 3: other Greece compadres to Yes, that would be so grateful, Yes,

949
00:55:25,400 --> 00:55:27,520
Speaker 3: in the fashion you do, and we'll take care of that,

950
00:55:27,680 --> 00:55:28,000
Speaker 3: will do.

951
00:55:28,320 --> 00:55:29,960
Speaker 2: Thank you so so much. It was a pleasure to

952
00:55:29,960 --> 00:55:30,480
Speaker 2: meet you.

953
00:55:30,560 --> 00:55:31,520
Speaker 4: So nice to meet you.

954
00:55:31,600 --> 00:55:35,440
Speaker 3: Welcome, great, Thank you too. Thanks, Thank you is the word.

955
00:55:37,360 --> 00:55:38,120
Speaker 3: Bye everybody.

956
00:55:38,160 --> 00:55:44,400
Speaker 2: Bye, what a man, Barry Pearl, Thank you so much, seriously,

957
00:55:44,400 --> 00:55:46,160
Speaker 2: thank you so much for joining us. I have a

958
00:55:46,160 --> 00:55:49,400
Speaker 2: million more questions and so we may have to have

959
00:55:49,480 --> 00:55:51,759
Speaker 2: him back and d and maybe we're just going to

960
00:55:51,800 --> 00:55:55,239
Speaker 2: interview all of them if he's willing to help us

961
00:55:55,280 --> 00:55:58,440
Speaker 2: out and get every single person, like, what a career,

962
00:55:58,520 --> 00:56:01,640
Speaker 2: what a life? With a storyteller Greece just means the

963
00:56:01,640 --> 00:56:03,920
Speaker 2: world to us. So thank you so much for joining us.

964
00:56:03,920 --> 00:56:07,360
Speaker 2: I hope all of you enjoyed that, because we obviously

965
00:56:07,400 --> 00:56:09,080
Speaker 2: did very much, and that's.

966
00:56:08,960 --> 00:56:09,680
Speaker 4: What you really missed.

967
00:56:10,360 --> 00:56:13,520
Speaker 2: Thanks for listening and follow us on Instagram at and

968
00:56:13,600 --> 00:56:15,799
Speaker 2: that's what you really miss pod. Make sure to write

969
00:56:15,880 --> 00:56:18,160
Speaker 2: us a review and leave us five stars. See you

970
00:56:18,160 --> 00:56:18,560
Speaker 2: next time,