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[0:00] Jack Sippel: Jack, we got a good one today. Oh man! I am excited for this. This is the one. The ultimate theater specimen. I'm just gonna say it. I'm just gonna say it. You know it is. I mean it's like the... I had this vision of um because guys we got Max Clayton today and and how do I how do I describe it but like when you just can't describe Max Clayton. It's really difficult. It just sculpted from perfect clay this guy. Truly, truly. A ton of it. A ton of it. A ton of clay especially for the thighs. Okay. A ton of clay for the thighs. Max Clayton. Get into it. Um Max Clayton is here. He's amazing. He is in Moulin Rouge currently um has done this is his seventh Broadway show which is fantastic. You've probably seen him in um Gigi on the Town Revival, Bandstand, and Something Rotten.

I should have known that one. Classic and here on Moulin Rouge which is unbelievable. He's a powerhouse in absolutely everything. Something someone we look up to in his performance abilities and just a kind human right. Always a gem to find those. The guy I mean the guy has the humor of I mean a genius comedian and the strength of a Hercules and the sheer just grace of Grace Kelly. So I mean he's got it all. Grace Kelly. Yes we love it. Um I love one of the things we talk about here is if the people don't know we will make sure you do about his how do we want to phrase it his renditions of the Britney dances or oh I mean those videos have just made my 2020. I mean truly out on top. They got us through.

They got us through. Um no we talk about a little bit about that. We talk about some Moulin Rouge um and he just has amazing stories amazing advice to share um and he's here. What do you think? You want to start again from the top? Yeah. Max Clayton. From the top. A five six seven eight.

[2:21] Max Clayton: Max. It's happening. Clayton. And we're on. He's here. In in the digital flesh. You know what I'm saying?

[2:47] Jack Sippel: Digital flesh. I do. I do. You look just as good on the screen though.

[2:52] Max Clayton: Oh I mean with this with this sunlight hitting me in such a way just trying to like um say like an illustration like it's almost like hearing this audiobook. He was shining. Gorgeous day.

[3:04] Jack Sippel: Right? Yeah. Happy spring everyone.

[3:11] Max Clayton: Happy spring. Spring is sprung. Max how are you?

[3:15] Max Clayton: I'm great. I'm really great. I'm so happy to be here. Thank you both for having me.

[3:23] Jack Sippel: You're welcome. I'm so I'm so happy for you. This is such a great idea and so important to give dancers this voice.

[3:28] Brendon Stimson: Hell yeah.

[3:29] Max Clayton: And we've we've been hearing a multitude of stories and what we'd like to do here at again from the top we really like to get a start like a little base if you will and just kind of like a brief I mean it could be brief or it could be as detailed as you want but how you got like what was your as Jack loves to say what was your five six seven eight into dance?

[3:47] Max Clayton: Wow I love that. My five six seven eight in short was my sister Missy for sure. She is an amazing dancer. I grew up watching her dance. I always talk about her and this story but it's just because it's the reason why I dance. I grew up watching her going to her recitals and was always in awe of her energy on stage. I saw her come to life on stage. Like I knew and loved her as the person and sister I had in real life but then seeing her on stage transform into this unreal beast of a performer was so cool to me and the second that I kind of got a little taste of that I fully understood. I didn't grow up dancing. I didn't grow up taking dance classes but I always loved any chance I got at being on stage like in talent shows or the school plays you know things like that.

I was like oh this is this is so fun this is so fun and then I remember she needed a partner once and I jumped in with her and that's kind of how I learned to dance. I learned to dance through her and I learned to dance through musical theater.

[5:02] Jack Sippel: Yeah just like a family duo. I can I can picture like the talent show. I don't know why but like like dirty dancing comes to my mind. I'm just like Max and Missy like lining up and be like yeah go ahead do the jump. I got you and just totally yeah oh yeah I mean we definitely grew up making up dances in the living room like everyone. We have an older cousin named Lindsay Clayton who's now a star trainer and she does she's a celebrity trainer. She works at Barry's Boot Camp. She also was a performer and she did national tours of Grease and Hairspray and so having her as kind of a mentor and what I can say as like my idol as a family member like traveling the country getting to dance and perform and she was only 19 years old and I was like 10 and it was just so cool to see her and actually I remember the first tour I saw her in which was Grease. She was performing at the Wayne Theater in Boston where I'm from New Hampshire. I'm from like 45 minutes outside of Boston but they had a pre-show hula hoop contest.

[6:05] Max Clayton: Of course they did. Thank thank lord of course we need more of those.

[6:07] Jack Sippel: And a dance dance off.

[6:09] Max Clayton: I won. Of course. I was with my best friend Julia Duffy. I'll never forget it. We both went up together. It was like you know applause rated you know it's like a audience votes. My whole family was there so obviously I won but also I think I would have won anyways.

[6:27] Jack Sippel: I would say so. I would put money on that. I really hope there's like some kind of trophy or some like commemorative just like participation size but just like Max in a hula hoop. I just want I need that.

[6:39] Max Clayton: I'm sure there is.

[6:48] Jack Sippel: So Max you went to CCM for school.

[6:54] Max Clayton: Yes. So talk about kind of how you landed upon that school and for your training.

[6:59] Max Clayton: That's a great question and I wish I was able to have a podcast like this to listen to when I was thinking about school and auditioning for schools because while I had an idea of what I wanted it just would have been very helpful. So this is really amazing. I like I kind of said in my intro I didn't have much training in anything in dancing and singing and acting and I needed a school that was going to be an insane boot camp for me and just drill everything possible in four years into me so that I was ready for everything when I got to New York and that is what Cincinnati did. It was a chance and a place for me to discover my strengths, really highlight my weaknesses and point them out and make me stronger and I'm someone that I grew up as an athlete.

I grew up with coaches telling me harder, faster, higher and I love that. So I was not ever intimidated by a program that was intense. That's what I needed. That's what I loved about it. So I'm so happy that I had those four years and it truly makes New York City feel so lovely in many ways because they prepared me for absolutely every possible scenario.

[8:17] Jack Sippel: That's incredible and I remember first meeting you at our days at the Muny just kind of in passing and I mean just as incredible then and I don't remember exactly what time in your school you were working. Maybe like a junior maybe, my junior year, senior year.

[8:36] Max Clayton: Yeah and I just remember all of us were like look at him. I mean you were definitely one of the ensemble members if you will that all the kids and teens like look up to and say we want to do that or we want to you know we're striving to be them because you know we sit and watch these shows not being in too much of them.

[9:00] Jack Sippel: Right. We get all the time to watch and just experience what's happening so I know we can all thank you for that and just being just like such a positive influence on that community just being always so fun and like down for a laugh and just a human first which we always appreciate. But yeah I definitely loved kind of I guess following your journey through school now in New York City and just seeing how that has all just exploded.

[9:23] Max Clayton: Oh thanks Jack that's so sweet. It's so fantastic. I mean I do love, I love to have fun. I love what I do but I think the reason why I love what I do so much is because I have so much fun doing it and I think it's so important to remember that when you're in it because it's a very stressful business at times. It's a very difficult challenging business. All things that make it so rewarding and fun when it works and I mean I've gotten to work with both of you and I know you both. It's about the people. We all know that. It really is the people make the job easy and that's kind of the goal for me. There's so many times I mean everyone's like well wow it's so great to be on Broadway. It's all this and it truly is.

It's fantastic. I never, I do not want to discredit it like any means. No. But it is sometimes a grueling eight show week process that we've gotten used to and we've gotten like just so lucky to have done all of us together but there's certainly, there's some matinees. I'm like oh man this is gonna be a tough one but then I have vivid memories of like walking into the Something Rotten Gondola of like our quick change room and someone was always gonna pick somebody up. If it wasn't my turn, it was Andre's or it was yours and it was somebody always just like all right here we go and someone will get one laugh and it's contagious and I think we talk a lot on the show like the yes ending and how we just say well there's no other choice.

We just got to do it and I think Max you've approached kind of life in this way which I want to talk real quickly about what you said. You didn't mind getting I mean kind of getting your ass kicked in CCM to really you said highlight your weaknesses and I think that's really important for anybody listening going into this crazy business or if you're already here and you want to get better. There's something about I think there's the stigma of like someone saying like well I'm not good at this, well I'm not and someone highlighting saying like this is what we have to work on. I feel like everyone just kind of wants to be like no I do this and I'm really good at this. Great so glad you can do that but if you highlight something and then say all right cool I'm gonna work on that it's gonna be difficult but it's gonna be worth it right?

[11:40] Max Clayton: Yeah always, always. Because you look at Max and first thing you see besides like...

[11:49] Max Clayton: Also, I wish everyone could see me like doubled over to the side of my microphone so that you can't hear my like insane laughter, mouth smacks. I'm sure you do. I'm sure Stan does too. Now, it's funny. I found out about this Instagram account and of course it made me laugh because the first Broadway show I did, which was Gigi, in the opening of Act Two, I was in these very, very tiny or like rustic orange shorts. And we were at the beach and there was like a swimsuit and I did absolutely nothing in the scene. I was in the way back playing like beach volleyball with Justin Prescott. For those who didn't see this, they were scene stealing. So let's be real. But go ahead. Continue. Well, apparently they were because I was getting fan mail addressed to my thighs.

Or if it wasn't my thighs, it wouldn't say my name because everyone was like, who is that kid? But it would be the boy in the orange shorts. And the doorman would be like, Max, here you go. So it started then. And that was designed by Catherine Zuber. She did the costumes. So then cut to Moulin Rouge when we were getting our costumes built for the top of Act Two, which is called Backstage Romance. It's like the show within the show rehearsal scene, okay? And there are a bunch of pictures on the wall of like what dancers wore at that time. And one of them was a teeny tiny pair of shorts. And I was like, uh-oh, is this what it's going to be? So I'm in my fitting and I'm like, Catherine, you know that I got fan mail from my orange shorts because of you.

And she was like, I didn't know that. Well, you're going to wear the shorts in this show too. These ones are even shorter. And now that is when the Instagram account began. In fact, there was a show when I walked out for pre-show and I'm smoking my cigarette. And in the third row, there's a couple people with t-shirts with my thighs on them. And it says, feast your eyes on Max Clayton's thighs. The official merch. I hope they're all listening too because I do adore them. I hope they are. If they're listening, please send me the shirt and we'll promote it. People want the merch. We're going to make it happen. Wow. What a brand. What a brand. I specifically want one of the fan mail. I wish it was like, to the thighs in the orange shorts, care of Max Clayton. I feel like it should be. I'm secondary. Of course. The thighs.

[15:14] Max Clayton: Oh my God. Well, circling to Moulin Rouge real quick. And then we just talked about, you know, people in this industry who make it so enjoyable. Just a quick check-in. Are you okay without Robyn Hurder? Are you okay?

[15:33] Max Clayton: I'm hanging in there. I actually FaceTimed her today. It's been really weird, to be honest, because not only we're not doing the show, but she lives, you know, an hour upstate in this amazing place. And she's so happy and she's thriving as a mom and watching Hudson, her son, grow up. And she's now, she's choreographing for the middle school musical, You're a Good Man, Charlie Brown. Yet she is an extension of my sister, Missy. That was the first connection. We met doing Moulin Rouge. We didn't know each other before Moulin Rouge. We were doing a lab downtown in the Lower East Side. And we saw each other. And I had done On the Town with her husband, Clyde. And I had seen her in a million shows.

And of course, she's incredible. And of course, she always stood out. And I was like, oh, wow. I feel like we'd be fast friends, but you never know. And the first day of rehearsal, she like whips her head around and was like, you. I feel like we need to know each other. And then forget about it. We have the rest. The rest is truly history. Yeah, it's fantastic. It's truly history. And I'm grateful for her friendship because talk about just making the most of everything and always laughing through it. Like we partner a little bit in the show. And that's a dangerous A, because we should not be partnered together. But B, if anything goes wrong, well, pretty much we always would have dinner between shows anyway.

So if we were feeling full, and she was upside down in my arms doing like a spinning lift, then yeah, she would just like laugh our way through everything. And she's oh my gosh, I owe her a lot. She's fantastic. We want her on the podcast. So Robyn, if you're listening.

[17:15] Max Clayton: Oh yeah, she'll be here. We're obsessed with I think we all need to do the marshmallow challenge y'all do.

[17:20] Max Clayton: Yeah, that is just I brought that I was like, I'm sure surely she's played this before. But a lot of people call it chubby bunny, but I call it chubby chubby chipmunk. And it. Yeah, shenanigans, shenanigans. It's the one where you have to you you load up and you have to say, whatever. Yeah, yes. And then you have to keep adding and adding and adding until your face is like ballooned out and you can't speak at all or make any words. Then the slow motion video that you take is yeah, icing on the cake.

[18:44] Max Clayton: Yeah, it's funny. Like I love doing backstage shenanigans. And some shows you have so much time to like, constantly make videos and be silly. But for some reason, Moulin Rouge, even though we have a couple times with like a 20 minute break, even in act two, there's no time for any of that. It's bizarre. It's bizarre. So anytime we'd want to do something, she'd be like, All right, after this run up, we'll do it quickly. And then go get the planet. You have to put it like in your track sheet. Like, All right, now I go to Robyn's. Now I have to go do my quick change. Because when we were on stage, we were off stage, but we were changing like crazy. It reminds me of something wrong. Like we were always changing boots.

[19:32] Max Clayton: Yeah, there's always boots. Always changing the thigh high boots. The amazing thigh high boots. And we're back to the thighs.

[19:44] Max Clayton: Wait, can I just say one thing about Something Rotten? No, it's about whenever people ask like, Okay, what's your favorite show you've done? That's a loaded question, right? We all are like, Oh, God, I can't answer that really. But what I always say is that at Something Rotten, no matter what mood I was in going into the theater, like, we all have bad days. We all have draining days. We all have days where we've been auditioning all day. And then we have to go do the show. We've all had days where we were rehearsing all day. And then we're doing the show. We have life stuff, whatever, you get to the show. And sometimes that affects your performance, because you're a human being, right? Something rotten, I could have the worst day, I would do the show. And no matter what, I would leave the show feeling lighter and happier and sillier and better.

[20:47] Max Clayton: 100% agree. Totally. There were days where I'm like, there's no way this is going to work today. And then at the end of the show, I'm like, I'm exhausted, but I'm just happy. You couldn't believe that it didn't matter what was going on. And it was just such a group of people. And if any of them are listening, thank you for keeping this building so bright and everyone who didn't do the show. Be these people, be this brightness in a show, because we could just read a headline from like a news thing. And that became some kind of inside joke with us. Yeah, we went through presidential elections. Yeah. Right. That was when we found out. Yeah, it was like everything happened during that time. And it just helped.

That totally helped. And because it was such like a community ensemble show, there's times when like the principals are downstage, you know, telling the story, and we're just a little bit upstage out of mic earshot. I'm so grateful for that time, because it was a bunch of like vets. Yeah, true Broadway vets who are the best of the best. And they are perfect examples of everything we've explained of just being a good person and having fun first, and the rest will be so lovely. It's truth.

[21:47] Max Clayton: Anyways, we digress. But in such a great way, I would be also, because in this, I mean, craziness of social media and Instagram, and I still do not have a TikTok. I know I'm disappointing a lot of people. No, it's okay. That's okay, right? It's okay. So, but I have to mention, there's been a lot of videos, Max, and I think your comedy is genius. But I really can't pick a favorite, truly. But there was a time when Britney Spears was putting out her dancing in her home and whatnot. The infamous living room.

[22:36] Max Clayton: Tell me you just saw it and you said, well, I have to recreate. What happened here?

[22:40] Max Clayton: Yeah, that's basically how it happened. I had seen a bunch of her videos and I was like, wow, this is a style of dance. This is not, you can't just go to BDC or Steps and take a class that is this style. This is Brit, okay? And I love her. I've been a huge fan of her my whole life. Like, don't even get me started. It's like 100% all out of the biggest love I can even offer. But she posted this one in particular that was so amazing. And I was like, I actually think for the first time I could maybe learn this. So I did. And I'm a little OCD and like a little bit of a perfectionist. And I always say I'm a visual learner. Like, that's how I learned how to dance. I learned by watching people. I learned by watching videos.

I learned by, I didn't have the four dance classes a week growing up training. And that's why I've loved working with people like Andy Blankenbuehler and people that have like such specific styles. Even Sonia Taya, someone I was like, I will never work with her because I'm not the contemporary dancer or in that world at all. And now I'm getting to watch her and learn from her. And I think that's really cool. Well, I did the same with Brittany. And she, she is, I slowed it down a little to kind of get the really nitty gritty details. And I mirrored it with her and I put myself side by side. It kind of took off. And then as she was, as she was uploading more and more videos that were getting more and more difficult, I had to create, I've never talked about this by the way, but I had to create a new system on how I can learn her material. And it's, it's a lot, it's a lot. It's kind of embarrassing to talk about, but.

[23:34] Max Clayton: Everyone has their own process. That's right. My process, I'll kind of break it down quickly.

[23:39] Max Clayton: I would screen record her video, okay? I would put it in iMovie. I would take the song that she was, I'm using air quotes, dancing to, and I would find the BPM, the beats per minute, of whatever song that was. Because whatever she was dancing to never really worked with the song she was on, but I could kind of find her pulse, so that's what I meant. I would find her beat, her visual beat, without the music, find it, go online and search for songs that have the same kind of BPM or rhythm. I used "Halo" by Beyoncé for one of them. Put "Halo" over her video, and I would learn it like that. It suddenly clicked. So if you go back and watch, I'm definitely dancing to like another artist. Oh my god. Because she has a pulse in there. She has like an internal beat she's using, but it's just not to the music she's listening to. But I find another song that makes sense to me, and that's how I learn it. So that, I mean, Britney is transcending rhythm at this point.

[24:46] Jack Sippel: Correct.

[24:47] Max Clayton: It's actually just she chooses, if you want to follow me, you follow me. I don't follow the music, 100%. And then it clicks, I'm telling you. I'll send you a video of her dancing to another song, and you'll be like, oh my god.

[25:00] Jack Sippel: Need it.

[25:01] Max Clayton: Yeah. But TikTok in general has just been such a fun creative outlet for me during this time, especially at the beginning of the pandemic when I really was not doing anything artistically fulfilling at all.

[25:13] Jack Sippel: Sure.

[25:14] Max Clayton: It was a way for me to get out of my apartment for two seconds, be silly outside or inside and annoy Matt, my boyfriend. But hey, we were at the time, we're in a one bedroom, and we were all just making it work.

[25:30] Jack Sippel: 100%.

[25:31] Max Clayton: Right. Well, I know, Max, after this pandemic, we're so excited to have you back in "Moulin Rouge" and to see you back in there. I have already seen the show. It's outstanding. You are outstanding. The thighs are outstanding. Everything is great. But with that being said, you've been able to create so many original shows. It's like three or four of them, right? I mean, "On the Town." Well, that's not like original, original, but the original company, The Revival, "Gigi," "Moulin Rouge," and...

[26:03] Jack Sippel: "Bandstand."

[26:04] Max Clayton: "Bandstand," yeah. So with those new works and just being a part of it from the ground up, what has... They're so diverse, first of all. Just like the range you have to be able to fit any mold is incredible. And how do you attack that? I mean, I know your job is to like be that style and kind of fit their mold, but with you on it. But I mean, to power through "Moulin Rouge" is something of itself, right? And then to do what you did in "Bandstand" with the amount of lifts and how physical that was and just that 180 style. I mean, I know it's our job as a performer just to like make it happen, right? But how do you approach that?

[26:56] Max Clayton: I don't know. I think when I graduated from college, I thought I would only be the Revival guy. I would only be the song and dance man. That's really what I genuinely thought. And my first two shows were "Gigi" and "On the Town." And I thought... I just was like, it's a great fit. And I love doing it. And I grew up loving Gene Kelly and Fred Astaire, of course. But I was like, I'm someone that I'm never fully... I... How do I phrase this? I always want more or I'm always looking for something else in the sense that I don't like to ever settle.

[27:40] Jack Sippel: Mm-hmm.

[27:40] Max Clayton: Which I think is kind of a good thing to have in this particular business, just because we all know shows open and some close right away. And if you are so discouraged by that mentality of our business, it's really hard to shake it. And I'm someone that looks at a closing as another opportunity, like immediate opportunity. And in order to have multiple opportunities, you just have to be as versatile as possible. That's the only way I can think of explaining it. And so I made it my mission to create new shows. And a lot of times new shows you're creating take place back in the day. So it's still kind of like a period piece, right? Like "Bandstand," even, is the 40s. It's not today. But it's still a new musical and it's a new way of telling a story.

But I also was like, I really want to do something that's really, really today. And I mean, "Moulin Rouge!" is, again, a period piece, but it twists it, breaks it in half, turns it upside down, and it feels like it's today. And it has music of today. And I just was so excited to do a show that has pop songs that I grew up loving, that I currently love. And I think, I'm not really answering your question entirely, but I just made it my mission. I made it my mission to do as many styles as I possibly could, to do the fun movie musicals that are silly, to do the deep, dark shows that have an intense message, to do the fun pop shows that are jukeboxy and are great and fun to do. And then also the ones that are just really smart and make you think.

I don't know. I just love to do them all. And I just made it my mission. And so when more revivals started coming right away, I would tell my agents, like, look, I really want to do a new show. That's something I normally wouldn't be seen for. And then I don't even know why those words came out of my mouth, because I didn't know what that even meant then. But my point being, I didn't want to be put in the box. I didn't want to be just the one thing.

[29:43] Jack Sippel: Well, because I think there's a world where we get so hungry to work on Broadway. This pinnacle is a tangible thing that when we're training and going through all this stuff, we're like, ah, that's what I want to do. And then you get it, and you're like, yes, I made it. This is the thing. And then immediately, you're like, OK, well, this person's first gig was "Gigi." So I guess, OK, they are the classic theater guy. And then you kind of see other theater, and you're like, wait, I want to be a chameleon. I don't want to just do one thing. So I think that business tries to kind of pigeonhole you from a point of like, OK, good, we have this type of person. We can use this for another show. I think that sometimes I like costume directors and things of that nature, see people. And then all of a sudden, they forget. They're like, actually, hang on. We want to do different stuff. We want to versatile ourselves and our resume.

[30:37] Max Clayton: Yes, and I think what you said is perfect. When you are sitting in a theater, and you're inspired by what you see, no matter the genre or style, it ignites something in you. And you're like, I want to do that. I want to be in that show. That's the coolest feeling to have. And there are also times where you see shows, and you know you'll never be in that show. And that's equally as cool.

[30:58] Jack Sippel: Yes.

[30:58] Max Clayton: Because that just tells you, you know your worth, and you know your, you know you. You know what you are capable of. And I think that's so much fun. I love, I love going to see shows that I'm obsessed with, and I know I'll never be in. That's like a really random thing. Because I think it's a beautiful thing to see somebody else's story. Like I think a lot of people, a lot of people like see movies and theaters like, ah, I can see myself in this. But you see somebody else's, and you're like, oh my god, this is such a cool thing to be able to like change the perspective, which society could always use.

[31:33] Jack Sippel: Always.

[31:34] Max Clayton: And another plus of just the ensemble world. I've never, I've never looked down on ensembles ever, obviously. Like, of course, duh. But something that is so freaking awesome about being an ensemble member is that we do have more opportunities. Because, and we are able to jump from show to show sometimes. Where if you aren't, or you don't have that option, you have less, there are less available positions in every show. We all know this. It's very true. I'm like, this is great. Let's run with that. I'm not ashamed of that at all. I never have been. And if anything, even if I go on to do principal stuff, I'll always be so happy that I had the biggest and greatest foundation on Broadway as an ensemble member.

[32:24] Jack Sippel: Well, because it is the true community that is, we're like in the trenches getting through it and just making it work.

[32:32] Max Clayton: Yeah, it's really the heartbeat of a show.

[32:34] Jack Sippel: Yeah, and I wish people would, especially audience members, I mean, yes, follow the story. But if you've seen a show multiple times and you start to key into what the ensemble's like doing back there and the micro stories that are happening, it's so full. And I know that's what we all do because we know the real show's happening in the back. Not really, but.

[32:59] Jack Sippel: So, Max, we have a question for you that was written in through our Instagram at again, underscore podcast. It's from Emma. She wants to know what makes you so castable in an audition room full of talented people?

[33:14] Max Clayton: Oh, my God. Like, and I think just to go off of that, when you're in those final callbacks, and it's you and like every Broadway person who can do anything like what makes you so castable in there? And you can specify that just like to yourself, too. Like, what do you channel?

[33:31] Max Clayton: Um, I channel in that moment in a final callback moment, I've showed them everything I can do. I've read every side. I've done every song in the audition packet. I've done all the combinations like we all know, especially if you're you're there to cover. At that point, you have to just think of it as a celebration of what you've done for the last week or two or three weeks or two months in the in that audition process. Because if it's not fun in that moment, and it's not a well, here you go. This is this is what I will offer you. And if you don't assure the cast, the casting team, or if you don't assure everyone behind the table that they want you to be in the in the rehearsal room with them.

This is about so much more than talent at that point. At that point, everyone's good. Everyone's more better than good. Everyone's freaking amazing. Now they're putting together a group of people that they want to spend every minute with for a couple months, if not years. So they are putting together a cast and assembling a group of people that will hopefully, you know, answer all their questions and provide them the most, you know, incredible talent insight, obviously. But more important than that, they're just great people that are going to be happy to be there. Eager is not the right word, but professional and on time and on their shit. Can we swear on this? They'll be on their game, they'll have the homework will be done and they won't have to be taken care of.

Casting directors and producers want people that just know who they are, know what they can offer, are game for everything. And I think in the final callback, like remembering that and allowing the team.

[35:28] Max Clayton: Let's hear it for the thighs!

[35:30] Brendon Stimson: Yes!

[35:34] Jack Sippel: Oh my gosh, yes!

[35:40] Max Clayton: I mean, they deserve a round of applause, don't they?

[35:43] Brendon Stimson: They really do!

[35:46] Jack Sippel: I mean, you know, it's not every day you see thighs like that on stage.

[35:49] Max Clayton: It's true!

[35:52] Brendon Stimson: And they do so much work, too!

[35:55] Jack Sippel: They really do!

[36:01] Max Clayton: I mean, I think we should start a campaign for thigh appreciation.

[36:04] Brendon Stimson: Yes!

[36:07] Jack Sippel: Thighs for Broadway!

[36:10] Max Clayton: Exactly!

[36:13] Brendon Stimson: I love it!

[36:16] Jack Sippel: So, Max, tell us about your journey to Broadway.

[36:19] Max Clayton: Well, I started dancing at a young age, and I always knew I wanted to be on stage.

[36:23] Brendon Stimson: That's amazing!

[36:26] Jack Sippel: What was your first big break?

[36:29] Max Clayton: My first big break was in "Moulin Rouge!"

[36:32] Brendon Stimson: Wow!

[36:35] Jack Sippel: That's a huge show!

[36:38] Max Clayton: It was incredible!

[36:41] Brendon Stimson: What was it like working on that show?

[36:44] Max Clayton: It was a dream come true. The energy in the room was electric.

[36:47] Jack Sippel: I can only imagine!

[36:50] Max Clayton: And the choreography was just out of this world.

[36:53] Brendon Stimson: Who was your choreographer?

[36:56] Max Clayton: It was Justin Peck, and he is a genius.

[36:59] Jack Sippel: He really is!

[37:02] Max Clayton: I learned so much from him.

[37:05] Brendon Stimson: That's fantastic!

[37:08] Jack Sippel: What was your favorite number to perform?

[37:11] Max Clayton: Definitely "El Tango de Roxanne."

[37:14] Brendon Stimson: Such a powerful number!

[37:17] Jack Sippel: It really is!

[37:20] Max Clayton: The energy and the passion in that piece are just unmatched.

[37:23] Brendon Stimson: I can see that!

[37:26] Jack Sippel: So, what’s next for you?

[37:29] Max Clayton: I'm excited to see what opportunities come my way next.

[37:32] Brendon Stimson: We can't wait to see you back on stage!

[37:35] Jack Sippel: Yes, we need more Max Clayton in our lives!

[37:38] Max Clayton: Thank you!

[37:41] Brendon Stimson: So, what do you love most about performing?

[37:44] Max Clayton: I love the connection with the audience.

[37:47] Jack Sippel: That's so important!

[37:50] Max Clayton: It’s what makes it all worth it.

[37:53] Brendon Stimson: Absolutely!

[37:56] Jack Sippel: And you bring so much joy to the stage!

[37:59] Max Clayton: Thank you!

[38:03] Brendon Stimson: So, what advice would you give to young performers?

[38:06] Max Clayton: Always remember to have fun and celebrate what you love to do.

[38:09] Jack Sippel: That's great advice!

[38:12] Max Clayton: Even in tough moments, keep that joy alive.

[38:15] Brendon Stimson: So true!

[38:18] Jack Sippel: Thank you for sharing that!

[38:21] Max Clayton: Of course!

[38:24] Brendon Stimson: We appreciate you being here today!

[38:28] Jack Sippel: Yes, thank you, Max!

[38:31] Max Clayton: Thank you for having me!

[38:34] Brendon Stimson: Let's hear it for the thighs one more time!

[38:37] Jack Sippel: Yes!

[38:40] Max Clayton: Let's do it!

[38:43] Brendon Stimson: Alright!

[38:46] Jack Sippel: Until next time!

[38:49] Max Clayton: Bye!

[38:52] Brendon Stimson: Bye!

[38:55] Jack Sippel: Bye!

[38:58] Max Clayton: Bye!

[39:01] Brendon Stimson: Bye!

[39:04] Jack Sippel: Bye!

[39:07] Max Clayton: Bye!

[39:10] Brendon Stimson: Bye!

[39:13] Jack Sippel: Bye!

[39:16] Max Clayton: Bye!

[39:20] Brendon Stimson: Bye!

[39:23] Jack Sippel: Bye!

[39:26] Max Clayton: Bye!

[39:29] Brendon Stimson: Bye!

[39:32] Jack Sippel: Bye!

[39:35] Max Clayton: Bye!

[39:38] Brendon Stimson: Bye!

[39:41] Jack Sippel: Bye!

[39:45] Max Clayton: Bye!

[39:48] Brendon Stimson: Bye!

[39:51] Jack Sippel: Bye!

[39:54] Max Clayton: Bye!

[39:57] Brendon Stimson: Bye!

[40:00] Jack Sippel: Bye!

[40:03] Max Clayton: Bye!

[40:06] Brendon Stimson: Bye!

[40:09] Jack Sippel: Bye!

[40:12] Max Clayton: Bye!

[40:15] Brendon Stimson: Bye!

[40:18] Jack Sippel: Bye!

[40:21] Max Clayton: Bye!

[40:24] Brendon Stimson: Bye!

[40:27] Jack Sippel: Bye!

[40:30] Max Clayton: Bye!

[40:33] Brendon Stimson: Bye!

[40:37] Jack Sippel: Bye!

[40:40] Max Clayton: Bye!

[40:43] Brendon Stimson: Bye!

[40:46] Jack Sippel: Bye!

[40:49] Max Clayton: Bye!

[40:52] Brendon Stimson: Bye!

[40:55] Jack Sippel: Bye!

[40:58] Max Clayton: Bye!

[41:02] Brendon Stimson: Bye!

[41:05] Jack Sippel: Bye!

[41:08] Max Clayton: Bye!

[41:11] Brendon Stimson: Bye!

[41:14] Jack Sippel: Bye!

[41:17] Max Clayton: Bye!

[41:20] Brendon Stimson: Bye!

[41:23] Jack Sippel: Bye!

[41:26] Max Clayton: Bye!

[41:29] Brendon Stimson: Bye!

[41:32] Jack Sippel: Bye!

[41:35] Max Clayton: Bye!

[41:38] Brendon Stimson: Bye!

[41:41] Jack Sippel: Bye!

[41:44] Max Clayton: Bye!

[41:47] Brendon Stimson: Bye!

[41:50] Jack Sippel: Bye!

[41:53] Max Clayton: Bye!

[41:56] Brendon Stimson: Bye!

[41:59] Jack Sippel: Bye!

[42:02] Max Clayton: Bye!

[42:05] Brendon Stimson: Bye!

[42:08] Jack Sippel: Bye!

[42:11] Max Clayton: Bye!

[42:14] Brendon Stimson: Bye!

[42:17] Jack Sippel: Bye!

[42:20] Max Clayton: Bye!

[42:23] Brendon Stimson: Bye!

[42:26] Jack Sippel: Bye!

[42:29] Max Clayton: Bye!

[42:32] Brendon Stimson: Bye!

[42:35] Jack Sippel: Bye!

[42:38] Max Clayton: Bye!

[42:41] Brendon Stimson: Bye!

[42:44] Max Clayton: Bye!

[42:47] Brendon Stimson: Bye!

[42:50] Max Clayton: Bye!

[42:53] Brendon Stimson: Bye!

[42:56] Max Clayton: Bye!

[42:59] Brendon Stimson: Bye!

[43:02] Max Clayton: Bye!

[43:05] Brendon Stimson: Bye!

[43:08] Max Clayton: Bye!

[43:11] Brendon Stimson: Bye!

[43:14] Max Clayton: Bye!

[43:17] Brendon Stimson: Bye!

[43:20] Max Clayton: Bye!

[43:23] Brendon Stimson: Bye!

[43:26] Max Clayton: Bye!

[43:29] Brendon Stimson: Bye!

[43:32] Max Clayton: Bye!

[43:35] Brendon Stimson: Bye!

[43:38] Max Clayton: Bye!

[43:41] Brendon Stimson: Bye!

[43:44] Max Clayton: Bye!

[43:47] Brendon Stimson: Bye!

[43:50] Max Clayton: Bye!

[43:53] Brendon Stimson: Bye!

[43:56] Max Clayton: Bye!

[43:59] Brendon Stimson: Bye!

[44:02] Max Clayton: Bye!

[44:05] Brendon Stimson: Bye!

[44:08] Max Clayton: Bye!

[44:11] Brendon Stimson: Bye!

[44:14] Max Clayton: Bye!

[44:17] Brendon Stimson: Bye!

[44:20] Max Clayton: Bye!

[44:23] Brendon Stimson: Bye!

[44:26] Max Clayton: Bye!

[44:29] Brendon Stimson: Bye!

[44:32] Max Clayton: Bye!

[44:35] Brendon Stimson: Bye!

[44:38] Max Clayton: Bye!

[44:41] Brendon Stimson: Bye!

[44:44] Max Clayton: Bye!

[44:47] Brendon Stimson: Bye!

[44:50] Max Clayton: Bye!

[44:53] Brendon Stimson: Bye!

[44:56] Max Clayton: Bye!

[44:59] Brendon Stimson: Bye!

[45:03] Max Clayton: Bye!

[45:06] Brendon Stimson: Bye!

[45:09] Max Clayton: Bye!

[45:12] Brendon Stimson: Bye!

[45:15] Max Clayton: Bye!

[45:18] Brendon Stimson: Bye!

[45:21] Max Clayton: Bye!

[45:24] Brendon Stimson: Bye!

[45:27] Max Clayton: Bye!

[45:30] Brendon Stimson: Bye!

[45:33] Max Clayton: Bye!

[45:36] Brendon Stimson: Bye!

[45:39] Max Clayton: Bye!

[45:42] Brendon Stimson: Bye!

[45:45] Max Clayton: Bye!

[45:48] Brendon Stimson: Bye!

[45:51] Max Clayton: Bye!

[45:55] Brendon Stimson: Bye!

[45:58] Max Clayton: Bye!

[46:01] Brendon Stimson: Bye!

[46:04] Max Clayton: Bye!

[46:07] Brendon Stimson: Bye!

[46:10] Max Clayton: Bye!

[46:13] Brendon Stimson: Bye!

[46:16] Max Clayton: Bye!

[46:19] Brendon Stimson: Bye!

[46:22] Max Clayton: Bye!

[46:25] Brendon Stimson: Bye!

[46:28] Max Clayton: Bye!

[46:31] Brendon Stimson: Bye!

[46:34] Max Clayton: Bye!

[46:37] Brendon Stimson: Bye!

[46:40] Max Clayton: Bye!

[46:43] Brendon Stimson: Bye!

[46:46] Max Clayton: Bye!

[46:49] Brendon Stimson: Bye!

[46:52] Max Clayton: Bye!

[46:55] Brendon Stimson: Bye!

[46:58] Max Clayton: Bye!

[47:01] Brendon Stimson: Bye!

[47:04] Max Clayton: Bye!

[47:07] Brendon Stimson: Bye!

[47:10] Max Clayton: Bye!

[47:13] Brendon Stimson: Bye!