WEBVTT - Broadway Director Talks His Tony-Nominated Musical

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<v Speaker 1>Bloomberg Audio Studios, Podcasts, radio News. We are going to

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<v Speaker 1>Broadway kind of, We're like a few blocks from Broadway. Yes,

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<v Speaker 1>all right, Emily Grafeo has got it. We are speaking

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<v Speaker 1>with the Tony Tony Award nominated director and choreographer Tim Jackson,

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<v Speaker 1>who's nominated for Best Director for Two Strangers Carry a

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<v Speaker 1>Case Across a Cake Across New York. Tim directs better

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<v Speaker 1>than I Can read. And also with us is Chris

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<v Speaker 1>Rouser from the Bloomberg Pursuits team, where he's Editor at Large.

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<v Speaker 1>The romantic comedy follows a brit who lands in New

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<v Speaker 1>York for his a strange father's wedding. He's picked up

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<v Speaker 1>by Robin, the sister of the bride. They have an

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<v Speaker 1>adventure through New York City. Tim, did I get it right?

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<v Speaker 1>Did I summarize it?

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<v Speaker 2>Yeah? That's perfect And you haven't given too much away.

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<v Speaker 2>So that's exciting.

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<v Speaker 1>Okay, good good.

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<v Speaker 2>Well.

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<v Speaker 1>First of all, congratulations on the nomination. That's really really cool.

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<v Speaker 1>The award's coming up this Sunday. Just talk to us

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<v Speaker 1>a little bit about your approach in creating a musical

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<v Speaker 1>that has such wide appeal.

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<v Speaker 2>Well, from the second I got the script, I sort

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<v Speaker 2>of knew it could have wide apprial appeal because the

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<v Speaker 2>characters are so relatable. What's brilliant about the two of

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<v Speaker 2>them is Doogle and Robin are seemingly quite ordinary people

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<v Speaker 2>who are leading quite conventional lives and then they're thrown

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<v Speaker 2>into this orbit with each other and then have this

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<v Speaker 2>wild forty eight hours in New York together. So, I mean,

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<v Speaker 2>the show is a love letter to New York, and

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<v Speaker 2>so my focus always was to make sure that they

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<v Speaker 2>were having the most playful and fun and exciting adventure

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<v Speaker 2>through the city that they could. And with the two

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<v Speaker 2>actors that we have, that's been very easy because they're

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<v Speaker 2>so funny and so brilliant, and yeah, they bring a

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<v Speaker 2>lot of joy. Let's put it away.

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<v Speaker 3>So the show is a love letter to New York,

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<v Speaker 3>but it's not from New York. It started in Ipswich

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<v Speaker 3>in Northampton. Can you tell us story of how you

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<v Speaker 3>came to be a part of this show and word originated?

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<v Speaker 2>Yeah, So I was brought on board in twenty eighteen

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<v Speaker 2>as a dramatague. So I was brought on to help

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<v Speaker 2>develop the writing and to work with the two brilliant

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<v Speaker 2>writers Kit Bucking and Jim Barn to sort of finesse

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<v Speaker 2>it and give it some shape, and then after about

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<v Speaker 2>three workshops, we were doing a sort of presentation and

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<v Speaker 2>their producers said, we feel like maybe you are the

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<v Speaker 2>right person to direct it. So at that point I

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<v Speaker 2>was brought on to do these regional productions and then

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<v Speaker 2>it's been on an epic journey. So we did it

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<v Speaker 2>in these two theaters that you've mentioned, and then we

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<v Speaker 2>brought it to off West End to a theater called

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<v Speaker 2>the Kilm Theater, and that's where Sam Tutty, who's now

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<v Speaker 2>on Broadway joined our process. And then we took it

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<v Speaker 2>to the West End, and then we took it to

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<v Speaker 2>Art in Boston where we did more rewrites on it,

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<v Speaker 2>and we gained our Broadway leading lady Christianni Pitts, who

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<v Speaker 2>joined us there and we did lots of rewrites then,

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<v Speaker 2>and especially having an American woman play the role of Robin,

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<v Speaker 2>who is an American character, sort of opened up some

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<v Speaker 2>doors for us. And then yeah, final few bits of tweaks,

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<v Speaker 2>and then we were on Broadway.

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<v Speaker 3>So no one is a New Yorker, No one is.

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<v Speaker 2>A New Yorker. We have all the way through sort

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<v Speaker 2>of made sure that we involve as many Americans in

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<v Speaker 2>the creation of it as possible. My husband is American,

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<v Speaker 2>which is helpful, and yeah, we've sort of made sure

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<v Speaker 2>one of our producers is American, and so we've sort

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<v Speaker 2>of been doing as much homework as we possibly could.

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<v Speaker 2>But a lot of the show is sort of seeing

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<v Speaker 2>New York through the perspective of an outsider. And so

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<v Speaker 2>what's actually been really lovely about the response to the

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<v Speaker 2>show is quite a lot of people have said, who

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<v Speaker 2>are native new Yorkers have been like, oh, this show

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<v Speaker 2>has made me sort of refall in love with New

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<v Speaker 2>York again, because you sort of get to see it

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<v Speaker 2>through those fresh eyes and feel the excitement of what

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<v Speaker 2>it's like to arrive into the city for the first

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<v Speaker 2>time and see all the secrets and treasures that are

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<v Speaker 2>sort of hidden.

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<v Speaker 3>Tim how did you approach, you know, doing homework, learning

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<v Speaker 3>about kind of the essence of New York to fulfill

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<v Speaker 3>this director role.

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<v Speaker 2>Well, I'd been very lucky that two years ago I

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<v Speaker 2>choreographed a musical on Broadway called Merrily Roll Along that

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<v Speaker 2>it did okay, right, yeah, all right, yeah, and so

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<v Speaker 2>I'd got to be around that for the duration of

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<v Speaker 2>the show and then I stayed in New York for

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<v Speaker 2>another six months after that, and so I really I

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<v Speaker 2>got sort of time to fully immerse myself and I

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<v Speaker 2>went to the different locations where the show was taking place.

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<v Speaker 2>Because because of this other show, the Two Strangers had

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<v Speaker 2>been in development since twenty eighteen, I already knew I

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<v Speaker 2>was doing it. I didn't necessarily think we'd get to Broadway,

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<v Speaker 2>but at the time, I was like, well, I'm here,

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<v Speaker 2>so I should make sure I've been to Flatbush, I've

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<v Speaker 2>walked the roots, I've walked the roots around Chinatown. I've

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<v Speaker 2>sort of experienced it as much as possible to try

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<v Speaker 2>and make sure things were authentic, and took lots and

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<v Speaker 2>lots of pictures to share with the writing team and

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<v Speaker 2>the designers, etc.

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<v Speaker 3>So New York is notoriously tough, and that's partly what

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<v Speaker 3>the show is about. But Broadway is notoriously tough, especially

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<v Speaker 3>for a new musical. And you guys went from the

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<v Speaker 3>West End to the US pretty quickly. My understanding is

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<v Speaker 3>you had a pretty strictly limited run in the West End.

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<v Speaker 3>Why come so quickly to the US when it is

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<v Speaker 3>so dicey for new musicals.

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<v Speaker 2>Yeah, Well, I'm glad that we did, and well done

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<v Speaker 2>to our producers for making it happen, because it is brave.

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<v Speaker 2>I think we had recorded an album in the UK

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<v Speaker 2>that had really caught fire and lots of people were

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<v Speaker 2>streaming it in America, and we were able to see

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<v Speaker 2>that there was an appetite in New York. And we've

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<v Speaker 2>since then recorded another album with the Broadway cast and

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<v Speaker 2>that's going bananas as well, So I think we knew

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<v Speaker 2>that there was an appetite and the song, the opening

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<v Speaker 2>song of the show New York, had gone viral and

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<v Speaker 2>we were getting a lot of love from America and

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<v Speaker 2>people saying please bring over, please bring it over. So

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<v Speaker 2>I think there it certainly is a risk for our producers,

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<v Speaker 2>but one that seems to be paying off so far,

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<v Speaker 2>because I think a lot of shows opened just before

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<v Speaker 2>the Tony's, but ours was open well well if before

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<v Speaker 2>the end of last year, so we've sort of we've

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<v Speaker 2>been doing pretty pretty good business, I think. And the

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<v Speaker 2>nicest thing is that you can feel that there's a buzz,

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<v Speaker 2>there's a build in a buzz. I feel like people

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<v Speaker 2>are talking about the show more and more, which we're

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<v Speaker 2>obviously thrilled about because we started off this show in

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<v Speaker 2>tiny studio theaters which seat thirty people, and now we're

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<v Speaker 2>at the Long Acre. So it's an exciting evolution for

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<v Speaker 2>the piece.

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<v Speaker 1>We're speaking with Tim Jackson, the Tony Award nominated director

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<v Speaker 1>and choreographer of Two Strangers Carry a Cake across New York. Tim.

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<v Speaker 1>The North American tour will start in fall of twenty

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<v Speaker 1>twenty seven, and I'm wondering about a couple of things

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<v Speaker 1>with regard to going from doing this in London to

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<v Speaker 1>then doing this on Broadway and then taking it across

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<v Speaker 1>North America on tour. Does the experience Is the experience

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<v Speaker 1>different or will it be different than somebody seeing it

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<v Speaker 1>on Broadway?

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<v Speaker 2>I can't tell until we get there, I suppose. I mean,

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<v Speaker 2>my intention is to make it as good as it

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<v Speaker 2>can possibly be, and I wouldn't want it to be

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<v Speaker 2>any lesser than watching a show on Broadway. I think

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<v Speaker 2>there's something about seeing a show come into your local

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<v Speaker 2>theater that's really exciting because you sort of watch that

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<v Speaker 2>space transform as another little gema rives into it. So

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<v Speaker 2>I think that's exciting. I think we'll still be aiming

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<v Speaker 2>for like the most stella casting and the elements will

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<v Speaker 2>be the same, so you'll be seeing the best version

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<v Speaker 2>of the show that we can have going around the country.

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<v Speaker 2>So yeah, that's certainly the we're so excited about the

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<v Speaker 2>tour because we want to connect with as many people

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<v Speaker 2>as possible, and we feel like it's a very relatable

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<v Speaker 2>show for all of America. It's not just for it's

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<v Speaker 2>not aimed at Broadway audiences. It's aimed at every person.

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<v Speaker 2>I'm really passionate about making theater for anyone and everyone.

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<v Speaker 3>It's also a small show, which makes it easier for

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<v Speaker 3>it to transfer around the US. For at the Tony's,

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<v Speaker 3>you're up against some huge shows that were capitalized for

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<v Speaker 3>three four times as much as you guys meant to

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<v Speaker 3>put the show together. How does it feel to be

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<v Speaker 3>kind of like the small but mighty contender in that space?

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<v Speaker 2>It feels lovely. You know. What's nice is that I

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<v Speaker 2>think all the shows in the categories are quite individual

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<v Speaker 2>and quite discreet from each other, and therefore we just

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<v Speaker 2>have to get on and do our own thing. I

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<v Speaker 2>think it's nicely you've described it as small as smaller mighty,

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<v Speaker 2>because I think that is how we feel about it.

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<v Speaker 2>It has two characters in it, but unanimously. It feels

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<v Speaker 2>like when people leave, they were like, oh my gosh,

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<v Speaker 2>it's so much bigger than I thought it was going

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<v Speaker 2>to be, and there's a feeling of scale and epicness.

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<v Speaker 2>I think Suture Gilmour, who's our set designer, who's also

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<v Speaker 2>nominated for a Tony Award, has done the most beautiful

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<v Speaker 2>job at creating a space that's sort of ever evolving

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<v Speaker 2>and we're on a double turntable, so it's always moving,

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<v Speaker 2>and especially towards the end of the show, it gets

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<v Speaker 2>the visuals become bigger and bigger as we go through,

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<v Speaker 2>which so I think the nice thing is we feel

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<v Speaker 2>like we're delivering in terms of scale and a sense

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<v Speaker 2>of bigness I suppose, and people come out the other

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<v Speaker 2>end of the show and are like, oh, I sort

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<v Speaker 2>of forgot it was only two people, and I sort

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<v Speaker 2>of felt like I had connected with everyone in the room.

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<v Speaker 2>So I think the sort of connectivity between strangers is

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<v Speaker 2>something that sort of bleeds into the auditorium and sort

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<v Speaker 2>of lifts the piece. And yeah, and it means that

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<v Speaker 2>you can't really compare any of our shows in the

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<v Speaker 2>different category and in the different in their best musical

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<v Speaker 2>category I think they are. They're really different, and I

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<v Speaker 2>think they're all brilliant and yeah, so we just have

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<v Speaker 2>to get on with it and just make sure that

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<v Speaker 2>what we're doing at the long Acre is the best

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<v Speaker 2>that we can make happen.

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<v Speaker 3>So two people on stage eight Tony nominations. This is

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<v Speaker 3>your first time directing on Broadway. Yes, yes, and your

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<v Speaker 3>first time directing on Broadway. You are nominated for a Tony.

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<v Speaker 3>How does that feel?

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<v Speaker 2>It feels wild. It feels absolute wild. It feels so exciting,

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<v Speaker 2>and I do you know, I was so nervous on

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<v Speaker 2>the day of the nominations, but not for me. I

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<v Speaker 2>just really wanted it for Kitting Gym, the writers, and

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<v Speaker 2>I really wanted it for Sam and Christiani and everything

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<v Speaker 2>else that came along is a blessing. And I'm very

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<v Speaker 2>happy for Suture and Lux Pyramid, who's our orchestrator, because

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<v Speaker 2>I think he's done an amazing job. But I just

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<v Speaker 2>I was just rooting for them, and so when that

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<v Speaker 2>news came through, it was so exciting. And then the

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<v Speaker 2>fact that I got a nomination to I was surprised

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<v Speaker 2>and delighted. And I'm actually in rehearsals for another show

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<v Speaker 2>at the moment, I'm doing this musical something Rotten in

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<v Speaker 2>the UK, and I had to go back into rehearsals

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<v Speaker 2>after finding out and sort of pretend that nothing had happened.

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<v Speaker 2>But my brain was slightly elsewhere that afternoon. But yeah,

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<v Speaker 2>I feel really proud and chuffed. And I watched the

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<v Speaker 2>Tony Awards from the UK on YouTube as I was

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<v Speaker 2>growing up, and I was always very admiring of it,

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<v Speaker 2>but I didn't really think I would necessarily be part

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<v Speaker 2>of that nominated gang. So I am, yeah, I'm chuffed

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<v Speaker 2>to bits.

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<v Speaker 1>Well, we are chuffed that you joined us here on

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<v Speaker 1>Bloomberg Business Daily, So thank you so much for doing that,

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<v Speaker 1>and congratulations on the musical and on the nominations too,

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<v Speaker 1>Tim Jackson, Tony Award nominated Director in Choreography of Two

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<v Speaker 1>Strangers Carry a Cake across New York in our own

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<v Speaker 1>Award winning Chris Rouser from the Bloomberg Pursueds team. He

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<v Speaker 1>is a theater officionado and he I'm always grateful when

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<v Speaker 1>you join us on the program, Chris, so thank you

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<v Speaker 1>for coming today.