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[0:01] Jonathan Sayer: I'm Jonathan Sayer. I'm one of the writers on The Play That Goes Wrong, and I've also played Dennis. And I'm joined by Mitesh, who also plays Dennis. And we're here celebrating eleven years of The Play That Goes Wrong in the West End having elevenses. So, we're going to ask eleven questions. So, here we go.

[0:22] Jonathan Sayer: The first question is, what was your first role, Mitesh, on stage? What was your first role ever?

[0:28] Mitesh Soni: Do you mean professionally or as a child?

[0:31] Jonathan Sayer: Whatever you wish to disclose.

[0:34] Mitesh Soni: So, as a child, we did Christmas Carol.

[0:39] Jonathan Sayer: Really?

[0:41] Mitesh Soni: Yeah, in school assembly.

[0:43] Jonathan Sayer: I just want to say that's not been set up to promote Christmas Carol goes wrong at all.

[0:46] Mitesh Soni: Not that that's not coming this year at all.

[0:48] Jonathan Sayer: No, but that's a beautiful segue.

[0:50] Mitesh Soni: Yeah. I was seven years old to play ghost number three, not one of the original ghosts. And I threw up because I was so nervous. And then for some reason, I just went on anyway with vomit dribbling down my mouth.

[1:09] Jonathan Sayer: Oh, my God.

[1:11] Mitesh Soni: Said my line and thought, I want to do this.

[1:13] Jonathan Sayer: What was your line?

[1:15] Mitesh Soni: I can't remember. I can't remember. That was a long time ago, but it was. Yeah, I just remember thinking, oh, I'm covered in sick and this is the kind of career I want to do.

[1:22] Jonathan Sayer: I was going to say, it's amazing that you did that. And then that made you be like, I definitely want more.

[1:28] Mitesh Soni: Yeah, right. I feel terrible, but there's a light shining at me and people are watching and it's a good part being a ghost.

[1:35] Jonathan Sayer: Well done.

[1:37] Mitesh Soni: Why wouldn't you do that?

[1:39] Jonathan Sayer: Exactly.

[1:41] Mitesh Soni: Yeah.

[1:43] Jonathan Sayer: What was yours?

[1:45] Mitesh Soni: My first role ever. So I did loads of touring musicals when I was a kid. So I was in a production of Oliver in the Manchester Palace Theatre. I played Nipper, who's like one of Fagin's boys, but traditionally played by a smaller actor who mimics Fagin. And before that, I also sat behind Joseph and did the...

[2:13] Jonathan Sayer: Oh, yeah.

[2:15] Mitesh Soni: I did that.

[2:17] Jonathan Sayer: Yeah.

[2:19] Mitesh Soni: So loads of touring musicals.

[2:21] Jonathan Sayer: I can't remember who it was when I was a kid. But then I did loads of touring musicals because I was really short as a child. So when I was 11, 12, even 13, dare I say, I was believable as a seven or eight year old.

[2:38] Mitesh Soni: Okay. So same thing on that. When I was 21, I played a five year old on stage.

[2:43] Jonathan Sayer: Wow. What was that in?

[2:45] Mitesh Soni: The Christmas Show and the Hamsters. And I had to eat a load of potato croquettes.

[2:50] Jonathan Sayer: Were you sick of yourself?

[2:52] Mitesh Soni: No, because I asked them to replace some of it with oranges, just so that I could not vomit potato. But that's the thing. When you're short on stage, you look a lot younger.

[2:59] Jonathan Sayer: It's very true. You've done lots of Shakespeare. So tell me about that. But do you prefer doing kind of comedies or do you prefer living in the land of iambic pentameter?

[3:11] Mitesh Soni: Oh, I think you could do funny iambic.

[3:15] Jonathan Sayer: Yes.

[3:17] Mitesh Soni: So you get the best of both worlds.

[3:19] Jonathan Sayer: What Shakespeare's have you done?

[3:21] Mitesh Soni: Midsummer Night's Dream recently, The Barbican, The Odyssey.

[3:23] Jonathan Sayer: That's cool. And the original play, The Good Frog.

[3:25] Mitesh Soni: Well, yeah, exactly. I was one of the...

[3:27] Jonathan Sayer: Mechanicals.

[3:29] Mitesh Soni: That's cool.

[3:31] Mitesh Soni: Wearing a dress. I tend to wear a lot of dresses in a lot of shows.

[3:33] Jonathan Sayer: So where did you say you did that?

[3:36] Mitesh Soni: I asked a lot of sub-questions then, so in a way we're on question five.

[3:40] Jonathan Sayer: But it's still one question.

[3:42] Mitesh Soni: We're doing like a casting.

[3:44] Jonathan Sayer: One question overall.

[3:46] Mitesh Soni: We'll let the powers that be decide how many questions have been asked by this point.

[3:48] Jonathan Sayer: But that was, yeah, I've done quite a few. I played a drag queen in The Tempest once.

[3:52] Mitesh Soni: Mm-hmm.

[3:54] Jonathan Sayer: Which was kind of quite fun. But I tend to veer on comedy. I think it's just because I've got a funny face.

[4:00] Mitesh Soni: You're very funny.

[4:02] Jonathan Sayer: Thank you.

[4:04] Mitesh Soni: Maybe we said you've got a funny face, but we were like, certainly very funny bones.

[4:09] Jonathan Sayer: That's what it comes with. But that's my, yeah. But talking of comedy, do you prefer doing it or writing it?

[4:18] Mitesh Soni: Oh, it's a good question. I think I love writing because that's the bit that I find really all-consuming. I'll take that to bed and wake up first thing in the morning. And I love the puzzling of it and how you fit jokes together. And I love working with Henry and Henry. And it's always just been a joy. So the writing gives me loads of, probably long term, do you know what I mean? That's really, really fun. But then probably there's nothing like doing a show for the first time and working with the whole Mischief team. So I'm so excited about Christmas Carol, just because, just like, it's just good. We're going to open that at the Lowry. And just the thrill of opening a show is amazing. And I do love it because obviously I've been doing, we've done Play That Goes Wrong, we did well over a thousand shows.

It's just so, it's such a joy to do and the Mischief audiences are great. Like it's such an, I find it to be a really energising experience. So I don't really know is the answer. Like I love, I love both. It's really, really hard.

[5:34] Neil Milliken: The sub-question to that then, do you sometimes get comedy stuff written by other people and question it as a writer?

[5:43] Mitesh Soni: No, because I think maybe you can go one of two ways. You can be like, oh, I'm a writer too, so I'll interrogate this. Or you can just go quite like, I did recently do something that was, that was a different writer. And my thing was just like, just trying to best do what had, like just really imagine how they wanted it to be delivered and just really like really delved into what it was. I'm genuinely, like you might have gathered this, but I'm genuinely quite an enthusiastic guy. So like, it's more of my, it's more in my nature to just, to just, like a big part of Mischief's ethos, right, is to kind of say yes and to stuff, like you're super committed. And, and, and so I think when I have done other people's stuff, like I think that's more of a really, like the thing was just that it was a really amazing opportunity to learn. Like as a performer, but also as a writer and be like, oh, that's a, that's a fantastic way of looking at how you craft a joke and craft a character and all that kind of stuff.

[6:45] Neil Milliken: So other comedies have helped you craft your writing as time's gone on?

[6:49] Mitesh Soni: In the past, yeah. I mean, like, you know, we're all huge, like, like Monty Python fans. I love Smack the Pony. Like, I really love old school comedies, like, like Chaplin, Buster Keaton, Laurel and Hardy. And there's loads of bits, right, in all the shows that are those big kind of like musical, like sequences that then went into silent comedy. And we've loved kind of putting them back on stage where you get like a laugh and a gasp. And then, and then what else? Like, you know, like loads of stand up. I consume a lot of stand up, it must be said. And then like me, Henry and Henry all love the sitcom Frasier. Like, like, like it was a real weirdly, a real bonding moment as writers that when we were all living together, and I think it was Henry Lewis got out like his, you know, full box set of Frasier.

And she was like, Oh my God, I've got a full box set of Frasier. And I was like, I've got a full box set of Frasier. And we just watched it every morning. Wow. And just really enjoyed laughing at it. But also like, like, like talking about the craft that some of the episodes are so good. So like talking about the craft of it and how it's made, how it balances, like, you know, those characters so well, but they also have really like some of the episodes of Frasier are really good farces, right as well. Like, so, um, so yeah, take lots of stuff from all kinds of different practitioners.

[8:15] Neil Milliken: Would you say that's been a big influence on the three of you's writing from Frasier?

[8:20] Mitesh Soni: I think so. I don't know. We've never really like delved into like exactly what we like similar stuff. I think it's more that we find similar stuff funny. Yeah. And of course, like what you watch and the things that you take in like have a massive, I don't I don't know how, but you know exactly in what way, but they, they massively like have a bearing on, you know, how you write and how you think, you know, how you, how you think things should be structured. I'd say that's the thing as well, that the three of us as writers have a really similar view on like how you structure a story and how you put it together and how you build the comedy and what you wanted to do and stuff. And I'm guessing that comes from our diet of what we've watched.

[9:00] Neil Milliken: Oh, it has to be. Sure. I'm just putting words in your mouth.

[9:05] Mitesh Soni: No, I think so. How would you describe Dennis? But also in you, so you met you, you hit 100 shows tonight. Yes. So how have you learned anything new about Dennis as it's gone on?

[9:12] Jonathan Sayer: For me, who Dennis is, is somebody who's never done theatre before, first time on stage, everything's going wrong. So he's in a permanent state of slight panic and terrifiedness, I don't even know the word. So that's like the constant, that's been the base of where I've come from. But then what I've realised over the last few hundred, over the last few months of shows, is interesting finding out what he's thinking when he's on stage, but nothing's going on.

[9:43] Mitesh Soni: Do you have like an internal monologue as Dennis while you're acting?

[9:49] Jonathan Sayer: Yeah. So what's he saying to you? So some of the things I might be like, if I'm saying out the audience, I'm thinking, why is that person coming? Why are they here? Yeah, yeah, yeah. Why have they turned up? Who told them that I was doing this? Do they know my mum? Oh, so that you're like, oh my God, there's Sue, why Sue? So you pretend that you know them. Yeah. Oh, that's so interesting.

[10:10] Jonathan Sayer: Yeah. Just to help with the fear a little bit more, kind of going, okay, well, why is that? And I'll pick somebody in, like, centre or back or something, or somebody at the top and just go, I don't know, wait, nobody told me that the circle was going to be open.

[10:23] Mitesh Soni: Yeah, so yeah, that's nice. And I think what you do so well watching it is like, yeah, your Dennis is, like, looks very surprised by, like, as if he's discovering, like, where all the props were for the first time as it goes on. So that makes loads of sense.

[10:36] Jonathan Sayer: Because I think in my head, I kind of go, he's been given the basic rehearsal room stuff. Yeah. And that's what he assumes is what is when it comes out on stage. But then it's a little bit more different than what it actually is. Yeah, that's, yeah. So it kind of goes with that. But also, when he's not doing anything, I think he kind of, in my head, he really thinks, he looks up to her brother.

[10:59] Mitesh Soni: Yeah.

[11:01] Jonathan Sayer: So Chris, and kind of, when he's not saying anything, kind of watching them, going, I need to, they're amazing. I need to do that in front of them. Just do that. And yeah, that's been interesting.

[11:09] Mitesh Soni: That's really cool. Adding to that. I got taught this thing, it's a Ken Campbell trick, which is to find the audience member. This could either be like you, personally, or your character. But I used to find the person that liked Dennis the most in the audience, or the person who looked like, oh, poor little guy, oh, and like sympathised with me. And the person who was really just like, that guy's an idiot, the person who hated me the most. And as the show goes on, you try and join them.

[11:36] Jonathan Sayer: Yes, okay. And I used to find that a really fun game of kind of like, keeping it with the audience and staying present with the audience. But that's a really cool one, like having a back story of like, oh my God, why is that person there? And it's always a different scene, and it's always a different person. And there'll always be a different name. Oh wow, so every scene there's a new person, oh my God, there's that person. Oh no, they're there too. So they're all there witnessing your demise. And I've been told it's 50 people, why are there 300 people here? That's really fun. Like, what, nobody told me about this, and that immediately puts me, let's go and see what happens.

[12:03] Mitesh Soni: Yeah, that's great. Like that writing of that waves. But how, so you've been doing it for a while, but Dennis in different guises.

[12:09] Jonathan Sayer: Dennis in different guises for like, it's not far from 15 years now. Oh my God. Like not far. Like I was, I think I was 22 when I first played Dennis. I'm 37 next Monday. So yeah, a fair bit of time now.

[12:29] Mitesh Soni: How has he changed for you? How has he changed? Or do you think he has? Like, has there been confidence that's grown with him?

[12:37] Jonathan Sayer: No, I think he's like, he's gone backwards. He's totally regressed. Like, both as a performer, but also as a man. I think that like, because if you follow it right, Playlink was wrong. He's reasonably competent, in the sense that he's got all his lines, he just doesn't know, you know, how to say facade, he forgets how to say morose. And then Peter Pan suddenly, his headphones, doesn't know a single word without it being said to him. And then when you watch some of the TV, he's playing objects and he's still, you know, he's getting fundamentally, he's getting the fundamental noise that a fax machine makes incorrect. So like, I think that Play That Goes Wrong was so bruising to him as a performer, that he's just got, you know, like the yips. Yeah, it's so, so just, he just, he's just getting smaller and smaller, which is a fun thing as a writer. Because then when you sit down to write the next thing...

[13:33] Jonathan Sayer: How has he gone backwards from that point? How could it be fundamentally more difficult and what is the new thing that he's forgotten how to do? And then I think my character in always used to be, so we used to do clown interviews. And the thing that we learned from that was just like Dennis, he's just there to make friends. So he's not really that interested in acting. It was just that the football society was closed. The debating society wouldn't have him. The only place there was a bit of vacancy was that was the drama club. So he came and that's his way of making friends. And every mistake he makes moves him further away from Robert or Sandra or someone saying, oh, do you want to come for a drink afterwards?

Which again means he's even smaller and even, you know, he's falling into a pit of despair. And he just doesn't he doesn't. He's got no resilience, like none of it. I suppose he has resilience in the sense that like, he's coming back to do a new show. He's doing another Conley show, like, right. But then he's got no resilience in the sense that he doesn't recover from any of the mistakes and any of the trauma. He just gets he just, you know, he just gets worse and worse and worse until he, you know, to like, in Christmas Carol, I don't want to give it away. He's at a point where he literally like, you know, he can't, can't go physically anywhere without having like an intricate system to like help him remember he's blocking and stuff.

[15:00] Mitesh Soni: That's good to ask you about the drink. So how has it gone back for Christmas Carol? I don't want to give away too many jokes. But, you know, like, yeah, there's there's there's new methods that have been conceived for Dennis to both come into contact with lines, but also know what it needs to be stood. Is there any of you that you personally that you put in today?

[15:21] Jonathan Sayer: Oh, there's so much. Yeah, there's this regrettably, there's a lot. There's more of me than I'd like. They particularly like me when I was like 22. You do these kind of interviews, you know, you come in and someone just says, what are you doing here? And you go, all right. And it's all about putting you on the spot, both as a both in character. But it happens so quick that it is you. It is just how you, you know, how British responds under a lot of pressure. And that's how you find your clown. So a lot of Dennis is just how I respond under pressure. I think Dennis for me was always a case of this is who I am as a school kid. Yeah. Just go back to who I was as a child and kind of going, not with all the bullies, but also that kind of like making friends going, where do you do? Because I don't do sports. I don't do the PE stuff. I mean, I do the gym now, but that's like trying to find the way in. Yeah, yeah. And so that vulnerability has always stayed with me.

[16:10] Mitesh Soni: That was kind of easy to tap into a little bit. Yeah. Well, he's a vulnerable character to play. It's the thing is, it's an interesting one as well, because we always talk about like how all of the character, like as an actor, right, from a technical, I don't know if this is, I don't know if this is very dry or not. Maybe it's interesting. Maybe it's not. But like from when you're performing, if you're performing in a comedy, you as an actor, right, you've got to be technically on it in regards to hitting beats, in regards to just the technicals that are required in the show. But in these shows as well as an actor and as a character, you need to be able to be vulnerable enough and relaxed enough, I suppose, to just let people laugh at you.

Because it's not you going out doing a zingy one liner and being like, oh my God, that guy's so funny. It's inviting people to laugh at you, right? So that means you've got to like do the, you know, you've got to do the, you know, if you need me, I'll be in my quarters exits. And you've just got to let it hang there as the audience laugh at you. And you've just got to make your instinct as a human is to kind of move away from that, because it's an unpleasant, it's unpleasant to be laughed about that. But actually, what you've got to do is just sit and allow it to dent your soul, again, as the character and, you know, and keep doing that. And like, stay, sit in the uncomfortable moment, sit in the bit where people laugh.

It's that kind of like, what's great about the show is that you, the laughs come in because you're slightly sharing them with the audience, in the sense that once they're in, then they're part of it. But also for me, you're kind of going, why are they laughing? Yeah, like, this is meant to be a serious drama. Yeah, because that's the other thing, Dennis, I think he's quite scared by the rafter, because he's just like, oh, that way. And I think, yeah, that's the opposite. And as well, I think probably out of all the, call them the gang, he's the one who's least used to maybe people laughing at what he says, you know, because people are usually interpreting what he says, it's just like, what? Yeah.

Is that guy for real? Oh, my God, they're quite annoyed with it, but just like, oh, my God, you don't know anything. So like, yeah, to suddenly have people laughing, I think it for him is really disconcerting.

[18:12] Jonathan Sayer: You know what, in the way that, like for Max, and for Annie, it's kind of brilliant that they're just having a good time. And do you have a favourite bit of the show to do? Do you have like a favourite line that you love to land, or just a favourite bit that you love watching or being part of?

[18:28] Mitesh Soni: I mean, obviously, like everyone's going to say that the bit when the clock shows things. Yeah, that's a good bit. Because I think for me, it just goes, this is now another level. And it's a nice thing to have in your back pocket. I get to do this, and it's, ramps the show up. It really, really goes just that extra mile. I mean, I love watching the others on stage, which is when I just step back and watching kind of how they're doing, because it's so brilliant. Yeah. With all the flatulence and all of that. And I didn't realise, so I think maybe, I don't think I'm the best one, but screaming when the matches happen. Yeah. Like, I enjoyed it because I go, I personally can be quite physical. But for me, my interpretation of Dennis, I don't think he would be as flamboyantly physical as some of the others have been. Yeah, I see what you mean, yeah. So I keep that kind of screaming stuff, I enjoy doing. What's it for you that you enjoyed?

[19:22] Jonathan Sayer: I love saying, if you need me, I'll be in my quarters. Exits. I've always just loved doing that. And the original thing for my voice for the character is, you know, do you know who Colm Wilkinson is? No. He plays, so he's the original Jean Valjean. Jean Valjean. Hear my prayer. So that's where my Dennis voice, my Perkins voice came from. If you need me, I'll be in my quarters. And it's not quite as big as that. But you know, because particularly when I was like 22, I was so ludicrously young looking, and like my voice was so kind of tenor, like very open, kind of squeaky voice. And so I tried to find like, what would Dennis do to try and sound like a spooky but suspicious butler? And that was the answer. Like I tried to just do it all, like Colm Wilkinson singing Bring Him Home. So I tried that tonight.

[20:23] Mitesh Soni: That's how I did like the age thing. And you know, all the stuff that you got taught at drama school, like there was all this stuff about like, if you're playing old as a young person, put stones in your shoes. So I play him like he's had like loads of rehearsal, with stones in his shoes, and they've put like elastic bands around his ankles, so his bottom of his legs hurt, and I can go in that voice. So that's kind of where...

[20:45] Jonathan Sayer: Amazing.

[20:47] Mitesh Soni: But then equally, if you asked all the guys, they'd say John just does the same voice. It's not as well thought out as you suggested at all.

[20:55] Jonathan Sayer: The exits bit. When I did it once a few weeks ago, there was this group of, I'd say, Girl Scouts or Brownies in the front row. I just remember going, oh my god, did that. If you need me, I'll be in my quarters. Exits. And then the Scouts in the front row just whispered, going, you're supposed to leave.

[21:15] Mitesh Soni: Oh my god, that's great. I love like, there's a question. Have you had any like, any moments like that? Like just like really good? Oh my god, I don't know if that will ever happen again.

[21:26] Jonathan Sayer: Oh, that was that was definitely the first. And that I just remember thinking, don't laugh, but also internally going, oh my god, they're so invested in the story. And the fact that they know, she must have been about seven or eight then, just like trying to whisper so that I would know.

[21:45] Mitesh Soni: That's so funny.

[21:46] Jonathan Sayer: Just be like, you're supposed to leave. It's nice that the audience feel that that means that the fourth wall has dissolved enough.

[21:52] Mitesh Soni: Yeah.

[21:52] Jonathan Sayer: That they feel like they can just have a dialogue with you. Yeah, that's great. Especially for the kids that come and see it. They are really in like, they love it. They love it.

[22:01] Mitesh Soni: And what's been your favorite version of it?

[22:05] Jonathan Sayer: Of one of those kind of moments? Oh gosh, there's so many now. I suppose a moment that happened to me personally, when we were doing the show at the old Red Lion, like right at the start. So the audience were in like, it's like a little half thrusty kind of L shape. And our set was, you know, it's very near the audience. In the middle of the loop. And there's a guy on the edge of the far side of the audience bank. And he's like, really, like, looking really uncomfortable. And he had been all the way through. And then like, you get to halfway through the loop. And he obviously just needs a toilet. So he just decides, I can't wait anymore. And obviously the problem for him is, his only way out is to walk right across the middle of the stage.

So he gets up and he thinks, I don't want to walk right across the middle of the stage. I'll see what's back there. He walks back there. But all that does is put you on the stage behind the set where the window is. So he walks round, like, he's like, we see him, like behind the window. Obviously asking, like, where is the toilet? And then he gets to that and realises that actually you can't get out there because there's a brick wall. So he goes back round the window. And in the end, walks across us, mid-loop, literally, like, right through and out. And that was just like, that's wild. And there was so many just funny bits in that. Like, there was so many bits. And then he left and he'd go around with applause, I think, because it was just so disarming. And he didn't come back.

[23:46] Mitesh Soni: This is the bit that I like, because I think he's just too embarrassed. Years later, years later, I'm in a Starbucks with Henry, Henry and Kenny, our producer. And there's a group of police officers in the corner and they keep looking at me. And then eventually, one of them kind of beckons me over and I'm like, Me? The officer? And I go over and I'm like, yeah, hello, do you want me to say something, OK? And he goes, yeah, yeah, yeah. Were you in a play, like, years ago in a pub? And I was like, right. And he was like, well, it was like a murder mystery and it was all going wrong. I think you were like a butler. And I was like, yes. And he was like, I owe you the biggest apology. I went to see that show and I drank a couple too many pints before it started and I really needed the loo.

And I'm pretty sure I completely upended the entire performance to the point where I didn't come back because I was so embarrassed. And he was like, I've always wanted to apologise to the people doing that because I was worried that I'd spoil the show. And it was literally that four years later or something.

[25:00] Jonathan Sayer: What did you say to him?

[25:01] Mitesh Soni: I said, you did ruin the show. Thankfully, it's still going. So we got over it. And I kind of said, you know, you gave me a really, really good story that even 11 years later, I'm still dying off. Yeah, just like the idea of someone just walking behind during the loop. Oh, it was great. And I remember Nance, I think, was like, come round, come round. So what do you think would be Dennis's favourite theatre show? If you had to go and see something.

[25:28] Jonathan Sayer: I think that Dennis's favourite theatre show. I've been seeing like a lot of kids shows, just like a two-year-old. And I think it would be something like that. I think it would be, you know, Peppa Pig or something really soothing. You know, I think just something with soothing songs about, you know, feel better about yourself. You can do it. And it feels like being hugged. I think he'd like that kind of stuff. That's where Dennis is at. I think it's kind of, yeah, kids theatre. And he's like, oh, wow, yeah, you know, that's a real thinker.

[26:09] Mitesh Soni: I'm going to agree with you. I'm going to add to that as well. I'm going to say that I think in the context of Play-Go's role, I think Chris has sent him to go and watch Mousetrap. Yeah, yeah, he's definitely done that. He's definitely done that. He's done that as a research thing. I think a lot of that goes over his head.

[26:25] Jonathan Sayer: Oh, completely, completely, yeah. But I think he, I agree, yeah. I'm going to say the same thing, kids and Mousetrap.

[26:32] Mitesh Soni: Kids and Mousetrap, there you go.

[26:35] Jonathan Sayer: Brilliant. Thank you so much for having some elevensies.

[26:39] Mitesh Soni: Here's to elevensies.

[26:40] Jonathan Sayer: Here's a final question. What is elevensies?

[26:42] Mitesh Soni: Elevensies is when you eat 11 things at 11 o'clock.

[26:47] Jonathan Sayer: Is it true?

[26:49] Mitesh Soni: It could be for all I know.