This transcript was automatically generated and might contain errors.

[0:00] Jeff Kuperman: Hi, I'm Jeff Kuperman. And I'm Rick Kuperman. And you're listening to Behind The Awards.

[0:04] Rick Kuperman: Oh, my gosh, this is so unbelievable. What a room, you know.

[0:12] Jeff Kuperman: I was thinking back to when I was a little girl and I would I didn't have a VCR, but I had a tape recorder and I would tape Laverne & Shirley, Happy Days, and on my tape deck and I would listen to these episodes in my head. And I would just think, I'm going to one day I'm going to do that. I really know I'm going to get out of this house. It's another story. And I'm going to be on there. I'm going to be that. And then I got a Bob's Big Boy commercial and I got into SAG. And that's that was a humble, humble beginnings. But you have to start somewhere. So I just have to say, I'm so grateful.

[0:57] Eila Mell: Hello, and welcome to Behind The Awards. I'm Eila here with Bruce.

[1:02] Bruce Gotlieb: How you doing, Eila?

[1:03] Eila Mell: I am good today. How are you, Bruce?

[1:05] Bruce Gotlieb: I'm doing great.

[1:06] Eila Mell: It's always so much fun when we record because we get to have this conversation that we pretty much have every single day of our lives.

[1:13] Bruce Gotlieb: That's true.

[1:13] Eila Mell: But we actually get to put it out there.

[1:15] Bruce Gotlieb: Yes.

[1:15] Eila Mell: Bruce and I talk every day and we talk about this stuff.

[1:18] Bruce Gotlieb: Yeah, it's all about awards. It's about what's going on on Broadway, this movie, that TV show, who wore what.

[1:25] Eila Mell: I know. Oh, wow. That's big. Yeah. If someone gets a haircut, forget about it. We go nuts.

[1:29] Bruce Gotlieb: Well, yeah. And talk about trending haircuts. That clip was Jennifer Aniston's acceptance speech for The Morning Show.

[1:36] Eila Mell: So the SAG Awards, they give a lot of, you know, they give ensemble awards and solo.

[1:41] Bruce Gotlieb: Which was this, an ensemble or a solo?

[1:43] Eila Mell: This was solo. Outstanding performance by a female actor.

[1:46] Bruce Gotlieb: So my question to you, Eila, is where is her Emmy for this show? She's so good on it.

[1:51] Eila Mell: I mean, she should have been nominated not only once, but even more over than that.

[1:55] Bruce Gotlieb: Every day she should get nominated.

[1:57] Eila Mell: Every day. I mean, when she did this show, season one, I remember watching and being like, nothing you've ever seen of hers, anything you've ever seen of her repertoire, this is nothing like it.

[2:07] Bruce Gotlieb: This is great work she does on this show. I just love it. You know, Friends was fine. I wasn't a huge Friends fan. I know most people love it.

[2:14] Eila Mell: I was a huge Friends fan.

[2:16] Bruce Gotlieb: I didn't dislike it. I liked it. But, you know, I wasn't super impressed with her on it. I thought she was great. Fine. Perfect. But this, this is like really, really great acting work. I loved her on this.

[2:28] Eila Mell: It's a meteor role. I mean, on Friends, you're part of an ensemble, right? So the six of them had to really, really work as a, as a, as one unit. And here she gets to kind of stand on her own. I mean, not that she's with any slouches. I mean, you got Billy Crudup, Reese Witherspoon, Steve Carell. I mean, it's, it's name after name on this show.

[2:50] Bruce Gotlieb: Yes. Well, I think a lot of it is because it's a New York cast, right? Isn't it a different vibe?

[2:53] Eila Mell: It is. I love shows that are filmed in New York, just because you get a different pool of actors. So you get people who you don't see as much on TV. So I think it's so much fun. And also like we were talking about in a previous episode about, you know, people who kind of come up, Jennifer Aniston, the same way she started her career, you know, as a teenager, you know, in, you know, kind of B, B movies, trying to get a break, trying to do all these things. And now she's probably, you know, when you talk about A-list celebrities and all that, she's like a elite.

[3:29] Bruce Gotlieb: Oh, yeah. She's a list and then some. And you look at people's paths. I think she references in this clip, like she, she was excited when she got her Bob's Big Boy commercial.

[3:37] Eila Mell: Right. Oh, can you find that commercial and post it on our Instagram?

[3:41] Bruce Gotlieb: I'll have to do some digging and see if it's out there.

[3:44] Eila Mell: Bruce is amazingly brilliant at our Instagram. He finds all the videos, every one of them, and they're so good. But, you know, her dad was a soap star, John Aniston.

[3:54] Bruce Gotlieb: I do. He was on Days of Our Lives.

[3:56] Eila Mell: Oh, my gosh. So she could have easily just gone the soap route.

[3:59] Bruce Gotlieb: And probably had just as a successful career, right?

[4:02] Eila Mell: Yeah.

[4:03] Bruce Gotlieb: I would have made money. The soap world is its own entity.

[4:07] Eila Mell: I know. They work so hard.

[4:10] Bruce Gotlieb: They don't have hiatus. They shoot so quickly, so much, so many pages and pages.

[4:16] Eila Mell: Yes. They work harder than maybe anybody because of that pace. They never get a break.

[4:22] Bruce Gotlieb: No, you're not like, oh, OK, it's May shows go away. They get a little break. They go do a movie.

[4:28] Eila Mell: Right. No, none of that for them. And they constantly have to learn new lines, new pages every day. And they don't have time. They just don't have the time to perfect things.

[4:37] Bruce Gotlieb: So, you know, it's like a live play almost every single day.

[4:42] Eila Mell: That's a great way to put it, for sure.

[4:43] Bruce Gotlieb: I am excited because, you know, you and I are big fans of The Outsiders.

[4:47] Eila Mell: We are.

[4:48] Bruce Gotlieb: So we have the Kuperman brothers on who choreographed the show.

[4:52] Eila Mell: I have so many questions because.

[4:54] Bruce Gotlieb: I know.

[4:56] Eila Mell: You know, not that they're doing anything super like groundbreaking, but they are definitely pushing the envelope with how you how you dance in a show and how traditional dance or traditional shows are put up.

[5:08] Bruce Gotlieb: For sure. It's not what you think it's going to be going in. If you think about it, it's certainly no West Side Story because, you know.

[5:17] Eila Mell: No, it's no 42nd Street.

[5:19] Bruce Gotlieb: Oh, my God. No, it's none of that. It's not Swan Lake.

[5:22] Eila Mell: No, but really, seriously, it's it's like its own style of dance.

[5:26] Bruce Gotlieb: It is. You know, there's not as much acrobatics as Water for Elephants, but there's some of that influence as well.

[5:33] Eila Mell: Oh, yeah.

[5:34] Bruce Gotlieb: You have, you know, a little bit more of a contemporary dance style.

[5:38] Eila Mell: The Rumble alone, I want to like, can we I want some information on.

[5:42] Bruce Gotlieb: I know, like, can we just can they release that as a video just by itself? I want to watch that over and over and over.

[5:48] Eila Mell: And maybe even something like I feel like there are so many moments like you almost want to like pause or kind of like slow motion it.

[5:55] Bruce Gotlieb: I know.

[5:56] Eila Mell: Like watch it evolve.

[5:57] Bruce Gotlieb: All right. So if they do that, Eila, you and I will learn the steps and we'll make a video of ourselves doing the Rumble. We can fight each other.

[6:05] Eila Mell: I think you're asking for a lot.

[6:06] Bruce Gotlieb: All right. Well, let's bring them out because we have too many questions to wait.

[6:10] Eila Mell: All right. We'll get the Kuperman Brothers out here.

[6:13] Bruce Gotlieb: Behind the Awards is very excited to welcome the Kuperman Brothers, Rick and Jeff.

[6:18] Jeff Kuperman: Hey, guys, how are you?

[6:20] Rick Kuperman: Thank you so much for joining us.

[6:21] Jeff Kuperman: Doing well. So excited to be here.

[6:23] Rick Kuperman: Oh, my gosh. It's a very exciting time for you as you guys are Tony nominees.

[6:28] Jeff Kuperman: It is. We're thrilled.

[6:29] Rick Kuperman: Yeah, it's such an honor.

[6:31] Eila Mell: So what was it like when you found out? Were you watching the announcements or did someone call?

[6:36] Jeff Kuperman: I vowed not to watch the announcements, but.

[6:39] Rick Kuperman: I can't control it. My girlfriend does. So she was watching it and I kind of got called into the to the orbit. And so I ended up watching them live. And it was a very exciting morning, especially because it's such an honor to be nominated amongst so many incredible artists and also to see that the show itself had gotten so much love across the board. That was the most exciting part for me.

[7:04] Eila Mell: How about you, Rick? Did you watch it?

[7:06] Rick Kuperman: So I did not. The night before we were at a gala celebrating one of the amazing non-Broadway theater companies here in New York. And a lot of the creative team members from the show were there. Jamestown did a live performance with Justin Levine. And so we went out for a drink all together afterward. And we were all planning, talking about where we were going to be the morning after. And the advice I got was, you know, you probably sleep through this. So I took the advice. But I got a call from our dear friend there, who is also our business partner, Kevin Lin. He's our agent at the end. We've been working together for more than a decade now. And he tried me a couple of times and he got through to me. So that was how I heard from you. And it was awesome.

[7:49] Jeff Kuperman: So when you woke up, you had your phone screen, your notifications must have been blown up.

[7:53] Rick Kuperman: That's right. That's right. It was it was a very special feeling. It was very cool to see the love and support from, you know, all over different parts of my life. So it was cool.

[8:02] Eila Mell: Well, Bruce and I saw The Outsiders together, actually, and we both loved it. I can't speak for Bruce, but for me, it's my favorite musical of the season.

[8:11] Bruce Gotlieb: Same. It also had the ability. It just stayed with you after you saw it and just continued to kind of grow in your mind. And just I can't every time I talk to somebody about any show of the season, I always drive the conversation over to The Outsiders because it helps. It just stayed with me and it kind of pushes the envelope and storytelling on a lot of different fronts, which is really cool.

[8:33] Rick Kuperman: Well, thank you for saying so. Yeah, that means a lot. Thank you.

[8:36] Eila Mell: So how did you approach the choreography in the first place?

[8:40] Jeff Kuperman: So the first time that we we got in the room with Donya was during a workshop back in 2020. I think it was. And we had a couple of weeks and, you know, we were in a dance studio near Union Square, and the producers had given us this space and time and resources. And we said, well, what should we do here? Well, let's let's just try to stage the entire thing. And so we we kind of staged it the way that we used to work in our early 20s and like downtown off off Broadway, you know, theaters, dusty theaters that, you know, the type of work that you make when you don't have a lot of a big budget and you have to use whatever resources you have at your disposal. And so we just we we got it up as quickly as possible to see the entire shape of it and learned a lot about how much choreography the piece could tolerate when it needed more, when it needed less.

But we always knew that the choreography needed to be grounded. It needed to be essential and it needed to be not only dance, but it needed to be the mode through which we moved from scene to scene, from location to location, from time to time. From inside Ponyboy's head to outside Ponyboy's head. And so it was a holistic approach, I would say.

[9:59] Rick Kuperman: Yeah. And I'll just add, you know, reading Adam and Justin's book, there were some of these big tentpole moments, like, you know, the rumble in the second act, the burning of the church in the second act, big frame escape at the end of act one that read almost cinematically on the page. And so we had to work backwards and think about what how what would be the vocabulary of the piece that would allow us to render those kinds of big moments on the stage, but still keep it, you know, coherent. And as Jeff mentioned, through the eyes of Ponyboy's memory. And Danya, our director, talked a lot about the play as a memory play. And I think that that framework has served the piece very well.

[10:45] Jeff Kuperman: So, I mean, you said it reads cinematic. Well, it was obviously a very famous movie, but it seems like you guys were presented with a really great opportunity because there's obviously no dance in the movie. So you get to create something new out of material that people are coming in already loving. What cues did you take from the book, if any?

[11:06] Rick Kuperman: There are a lot of a lot of clues in the book about the way Ponyboy moved. You know, there is a great description about the greasers as they're headed to meet the socials at the moment of the rumble. And there's a kind of exuberant bursting of energy that the greasers all have. This was rendered in the film with that famous backflip that Tom Cruise pulls out of nowhere. But but that but that.

[11:29] Jeff Kuperman: It's also from Susie's original impulse that some of these boys were taking gymnastics classes at the YMCA, so there is always this vitality and this physicality that's in these characters. Even, you know, at the earliest points of the origin, you know, with the original author, with Susie. So yeah, I don't know, that's just a little bit of trivia. But Jeff, I don't know any...

[11:53] Rick Kuperman: Yeah, I mean, we're talking about kids in Tulsa in 1967, and when you're dealing with a group of boys who might not have the vocabulary with which to express their love to each other, they can't say it. They might not even be able to sing it at the beginning, but the way that they roughhouse with each other, the way that they relate to each other physically was a huge clue to how we would choreograph it. Lifting each other up, you know, ruffling each other's hair, play violence, play violence. All of that stuff was the seeds of how they, the greasers, would move. Meanwhile, the Soshas, who are more refined, have a little bit more of a classic elegance to them. Their lines are longer, they're a little bit more balletic in their approach to movement.

At the same time, we didn't want to just make a clear red group, blue group dynamic. They're all teenagers in Tulsa, so even though this is where their leanings are, when they're all together in the drive-in, it's just kids. It's just teenagers who are experiencing a coming of age, who are, you know, maybe kissing their girlfriend for the first time under the bleachers or are stealing a nip from their father's flask or something like that. It's all part of the milieu.

[13:19] Jeff Kuperman: Well, it's a story about brothers, and you guys are brothers, so do you think that helped you bring something special to the mix?

[13:25] Rick Kuperman: I mean, absolutely. To choreograph a musical about brotherhood with your brother is kind of a dream come true. Certainly, we pulled from our own childhood and the way that we used to relate to each other and the accidents that we got into when passions were a little bit too heated and, you know, someone's head got knocked into a banister or something like that. But a lot of the choreography is partner work. It's stuff that you need a partner to create. You need weight, you need momentum, and so it was built into our partnership that this was a good piece to work on together.

[14:01] Jeff Kuperman: Yeah, the other thing I'll add is that because we really wanted all of these characters, principles, ensemble to feel as three-dimensional as possible, their unison is used relatively sparingly through the piece. But it doesn't mean that moments of individuality aren't choreographed. Many of them are very, very specifically choreographed. And so having that ability to sort of divide and conquer and to shape these scenes from multiple perspectives and in the choreography from multiple perspectives, I think has served the show well so that each individual on stage feels fully formed.

[14:40] Bruce Gotlieb: You know, what I really appreciate was that a lot of times when you see a musical, the principles sort of back off when it's time for a dance moment. But in this, it seemed like every single principle was a dancer, and if not, then you worked well enough with them that you couldn't tell if they weren't.

[14:57] Rick Kuperman: Yeah, certainly. Certainly. You know, we put everyone through the paces, and they did marvelously. One of our favorite things to do as choreographers is to work with actors who might not consider themselves dancers and to unlock all of their physicality. Because, especially in this piece, we're dealing with, you know, 20-something boys who are athletes, who played football in school. They have the physicality; it's just a matter of shaping it in a particular way and leaning into the way that they move as opposed to trying to impose a vocabulary on them that just doesn't really feel natural.

[15:38] Jeff Kuperman: Totally. For us, I think, you know, one of the most special features of the American musical is that it does demand of the cast that they are true triple threats. Jeff and I have been lucky to work in other parts of the world. We choreographed a musical in Russia, for example, and seeing the system there, it was very, very sort of siloed. Like, you have the shirts, then you have the court, then you have the ballet, and they specialize so much in their extraordinary artists. But it's rare to see all of those skill sets under one roof, and I think that's what's really cool about the American musical. So being able to lean into that and demand that kind of virtuosity in all domains from everyone on that stage was really awesome and I think likewise has served the show well.

[16:30] Bruce Gotlieb: We'll be right back; we have to listen to some commercials.

[16:40] Rick Kuperman: You know, we're talking a lot about the male performers in the show, but let's not forget Tilly Evans Kruger, who won the Chita Rivera Award and is just fantastic in the show. You can't take your eyes off her during the entire piece. The thing she's doing with her physical body or speaking—she doesn't have lines, but she is communicating really effectively with the audience. And when we left the show, we were like, "Oh my God, this girl's insane."

[17:08] Jeff Kuperman: Oh, she's extraordinary. She's extraordinary. And not only is she such an amazing performer, a magnetic performer, but we were also very lucky that Tilly was part of the choreography team and along with Kristen Perconi served as an associate choreographer on the production. And so it was amazing to see her choreographic voice and talent lent to the story.

[17:35] Rick Kuperman: Yeah, we're enormous fans. It's been an incredible collaboration. Not only is she an incredible performer on stage, but she's a leader within the company and someone that people look up to. And yeah, she's a singular person in the American theater, I would say.

[17:45] Jeff Kuperman: Without knowing that going in, I could see it in her performance, just her confidence and just her skill. She seems like a leader for sure, and I love that she elevated the whole company around her to excellence.

[18:03] Rick Kuperman: The way I like to describe Tilly is she's seven feet tall, and Bruce and I keep saying she looks like she must spend every moment in the gym because she's in amazing shape.

[18:12] Jeff Kuperman: Yeah, she packs a mean punch, that's for sure.

[18:20] Bruce Gotlieb: So it seems like it could very easily be compared to West Side Story. We have a group of boys of a certain age, we have this girl that travels with them, we have a rumble, but the dance style is very different. Was West Side Story in the air as you were doing this just because of the obvious parallels?

[18:33] Rick Kuperman: I mean, when I first read this script, I had in the back of my head, I was like, people are going to compare this to West Side Story. I think really as soon as we got in the studio and as soon as we actually started to make the thing and listen to the music and put it all together, I was like, this is really not anything like West Side Story. I understand how on paper that comparison is easy.

[19:02] Jeff Kuperman: Exactly. The comparison to West Side Story stops at the plot points, and everything else is very different.

[19:08] Rick Kuperman: Yeah, I mean, we have to say, obviously, we're indebted to Jerome Robbins. We grew up, you know, admiring and watching all of his work, and even the remakes of his work. Like, I think that the work that Justin Peck did on the West Side Story film, the remake, is an extraordinary example of how choreography for camera can be designed. And at the same time, as Jeff was saying, the movement idiom of The Outsiders feels—if I were to use adjectives to describe either project, there's not a huge overlap in terms of how these characters really are embodied on that stage.

[19:44] Jeff Kuperman: Yeah, for sure. I mean, I think the comparison ends once you hear the music too. It's so very different in tone, and then the choreography is completely different. So in West Side Story, you know, it seemed like it was very traditional dance, and in The Outsiders, it really looks like choreography that comes out of people's natural movement. So I guess my question is, was realistic movement sort of where you wanted this to live?

[20:07] Rick Kuperman: So definitely as a seed for especially some of the larger numbers, a lot of the investigation of their vocabulary that will end up being, you know, exploded on the stage, it comes from a more naturalistic place. But there's also a lot of really stylized movement this show uses to move us from location to location. There's almost like a form of puppetry, the way that the ensemble uses planks and tires and cinder blocks to move us from the Curtis home to the drive-in, from the drive-in into the confession stand. So even within the driving, we're sort of transporting audience members to different corners of that state.

[20:56] Jeff Kuperman: Yeah, this set is not necessarily a realistic set all the time. There is a lot of wood planks that take the place of things like a hospital bed and things like that.

[21:01] Rick Kuperman: Totally. So the bodies and these kind of basic Lego blocks of the set do a lot of that world-building that's really important to us because for us, choreography certainly is the five, six, seven, eight of the big dance numbers, but also so much more than that. It is about establishing the world and moving from scene to scene and giving us access into Ponyboy's psychology. So for example, you know, one of the things that we first started to investigate was the rumble in the second act because they're touching it, the placing part of the show, and a sort of climax of the second act. So we had to try to figure out a vocabulary for that, and once we started to figure out the way that fully the sound design and the choreography could interact, we then went back and started to figure out a choreographic grammar for violence and the rest of the piece and how that choreography would interact with lighting and with sound.

So for example, when Daryl loses his cool and his younger brother hits Ponyboy on the page, it was flat, right? But the way that the show uses sound and light and choreography to sort of bend the world in that moment gives it so much more real estate in Ponyboy's mind.

[22:26] Jeff Kuperman: So for us, that's an example of choreography, but it's not a five, six, seven moment, if that makes sense.

[22:32] Rick Kuperman: I think it's also interesting you guys aren't using words to speak, but you're using movement to speak and hearing how it is a language and using grammar, using different ways to express that in dance. I don't think many people put it that way, right? Like your traditional audience member isn't going in, sitting down in a chair to watch a show and thinking, "I'm going to learn a new language today." But the people, the performance...

[23:28] Eila Mell: Welcome back to Behind the Awards. Today, we have the Kuperman brothers, Rick and Jeff, joining us to discuss their incredible work on The Outsiders.

[23:58] Bruce Gotlieb: Yes, I’m really excited to dive into their creative process and how their unique relationship as brothers influences their choreography.

[24:18] Rick Kuperman: Thanks for having us! It’s great to be here.

[24:46] Jeff Kuperman: Absolutely! We’re thrilled to share our experiences and insights about The Outsiders.

[25:06] Eila Mell: So, let’s start with the genesis of the choreography for The Outsiders. What was the initial inspiration behind it?

[25:26] Rick Kuperman: The story of The Outsiders is fundamentally about brotherhood, and that really shaped our approach to the choreography. We wanted to create movements that reflected the emotional connections between the characters.

[25:46] Jeff Kuperman: Right, and since we’re brothers ourselves, we have a unique understanding of those dynamics. It allowed us to explore the themes of loyalty and conflict in a very personal way.

[26:14] Eila Mell: That’s fascinating! How did you go about collaborating on the choreography? What does that process look like for you two?

[26:26] Rick Kuperman: It’s very collaborative. We often start with discussions about the characters and the story, and then we move into improvisation to see what feels right.

[26:46] Jeff Kuperman: We also have a lot of trust in each other’s instincts. If one of us feels strongly about a particular movement or idea, we’ll explore it together.

[27:06] Eila Mell: Trust is so important in any creative partnership. Were there any challenges you faced while working on this project?

[27:26] Rick Kuperman: Definitely! There were moments when we had different visions for a scene, but those disagreements often led to the best outcomes. We learned to embrace the tension.

[27:36] Jeff Kuperman: Exactly! It’s all part of the process. We push each other to think outside the box and come up with something truly unique.

[27:56] Bruce Gotlieb: It sounds like a rewarding experience. Speaking of unique experiences, I’d love to hear about any standout moments from the production.

[28:06] Rick Kuperman: One moment that stands out for me was during the final rehearsal when everything came together. The energy in the room was electric, and it felt like we had captured the essence of the story.

[28:16] Jeff Kuperman: I remember that moment too! It was like all the hard work paid off, and we could see the impact of our choreography on the cast and the audience.

[28:36] Eila Mell: That’s incredible! It must be so fulfilling to see your vision come to life on stage.

[28:46] Rick Kuperman: It really is. There’s nothing quite like watching the audience react to the story and the movement.

[29:06] Bruce Gotlieb: Speaking of reactions, I want to shift gears a bit and talk about Jennifer Aniston’s recent SAG award for her role in The Morning Show. What are your thoughts on her performance?

[29:26] Jeff Kuperman: She was phenomenal! Her ability to convey such depth and vulnerability in her character is truly inspiring.

[29:36] Rick Kuperman: I agree. It’s amazing to see how she’s evolved as an actress over the years.

[29:56] Bruce Gotlieb: And it’s interesting to think about how her journey started, like getting her SAG card from that Bob’s Big Boy commercial!

[30:16] Eila Mell: Right? It’s a reminder of how everyone starts somewhere, and it’s the journey that shapes us.

[30:26] Rick Kuperman: Absolutely! Every experience contributes to who we become as artists.

[30:46] Jeff Kuperman: And that’s something we try to instill in our work as well. Every project is a learning experience.

[30:56] Eila Mell: Well, I can’t wait to see what you both do next! What’s on the horizon for the Kuperman brothers?

[31:16] Rick Kuperman: We’re actually co-directing and choreographing an immersive show with Emursive of Sleep No More, which is really exciting.

[31:36] Jeff Kuperman: Yes, it’s a completely different format, and we’re looking forward to the challenge of creating something that engages the audience in a new way.

[31:46] Eila Mell: That sounds amazing! I can’t wait to hear more about it as it develops.

[32:06] Bruce Gotlieb: Thank you both for joining us today and sharing your insights. It’s been a pleasure!

[32:16] Rick Kuperman: Thank you for having us!

[32:36] Jeff Kuperman: Yes, thank you! We had a great time.

[32:46] Eila Mell: And to our listeners, make sure to check out The Outsiders and keep an eye on the Kuperman brothers’ upcoming projects!

[33:06] Bruce Gotlieb: Don’t forget to follow us on Instagram @behind_the_awards for more behind-the-scenes content!

[33:16] Eila Mell: Until next time, keep celebrating excellence in theater, film, and TV!

[33:36] Bruce Gotlieb: Bye everyone!

[33:56] Eila Mell: Bye!