This transcript was automatically generated and might contain errors.

[0:01] Samantha Tuozzolo: Hi, happy BroadwayCon. How's everybody's day been going? Did you guys just see? Did you guys just see any of the performances?

[0:14] Jason A. Coombs: Cool. Notebook. We love them. Amazing. Well, hello, my name is Samantha Tuozzolo. I am co-host of Survival Jobs, a podcast with my amazing co-host over there on the other end, Jason A. Coombs.

[0:29] Samantha Tuozzolo: We talk to guests typically about survival jobs that they've had in their lives before they were living an artistic lifestyle as their job, because we know that that's so hard to come by.

[0:42] Samantha Tuozzolo: Everybody here on this panel today has made their Broadway debut in the past year. Let's give it up. And we're so excited to chat with everyone. Right, Jay?

[0:54] Jason A. Coombs: We are. We are. This is the biggest. I can't even see Samantha. I'm like, hello.

[1:04] Jason A. Coombs: Okay, cool. So we're thrilled to talk to you all. So today we have, it's a different order, but I'll just do a, I'll just switch around. From The Notebook, we have Carson Stewart.

[1:17] Jason A. Coombs: From Hell's Kitchen, we have Jackie Leon and Chad Carstarphen. Did I say that right?

[1:29] Jason A. Coombs: And last but not least, who made her Broadway debut last week, right? It's been a week and a half. And Hamilton, Morgan Anita Wood. Eliza in the house. So we are so excited to say that again and 90 more times during this conversation. We just want to know where you guys were when you found out the news that you were going to make your Broadway debut.

[1:46] Samantha Tuozzolo: So, you know, we all dream of this our whole lives, and it seems like such a far thing. And then it happened. And can you chat a little bit about the audition process? And Morgan, since you're right near me, you can go first.

[1:58] Morgan Anita Wood: I feel like I have a very unique story, just because I've actually been with the show Hamilton for almost six years now. I started out actually on tour, and I understudied all three of the sisters. So I've had the great fortune of playing many characters in the show. And then it wasn't until 2022 that I started playing Eliza full time, and then started playing Eliza on Broadway last week. So, which is just insane.

[2:21] Morgan Anita Wood: But I actually have a unique story in that I was an intern at Telsey and Company. And I, that was, oh gosh, in 2018. So I had the invaluable experience of learning kind of from behind the table. So I filmed numerous auditions. I read with actors coming in the room. I learned what to do and not to do as an actor. And I just graduated from school. So it was kind of the perfect timing to, you know, acquire all of that invaluable information.

[2:51] Morgan Anita Wood: Extra education.

[2:53] Morgan Anita Wood: Oh my gosh. I think, I wish every actor could have that experience, because you start to realize it's about kind of solving a puzzle. It's not necessarily personal to your abilities or skill set or whatever that might be. And that's so hard to accept when you are oftentimes rejected. So watching that in real time taught me so, so, so much, and especially taught me patience in the journey, which has, you know, been kind of six years. I mean, almost, you know, many decades now in the making of my whole career.

[3:20] Morgan Anita Wood: But I first auditioned for the show, yeah, the summer of 2018, right after my internship, which was crazy. And I auditioned August 2018. I booked the show in September. And I left for Puerto Rico in December to do the show with Lynn for the first time, which was crazy.

[3:36] Jason A. Coombs: Casual.

[3:37] Morgan Anita Wood: Very, yeah, you know.

[3:39] Morgan Anita Wood: Casual. So yeah, that was kind of the, that was the start of it.

[3:40] Jason A. Coombs: Amazing. And we'll just go right down. Go ahead, Chad.

[3:43] Chad Carstarphen: Sure. Hi, I'm Chad. Well, Jackie and I both found out that we were going to Broadway in the same way, because we were in the same show. But how I first became a part of it, I actually had an audition for, there was a winter development at the end of 2022.

[4:02] Chad Carstarphen: And I had an appointment for that via self-tape from my reps. And they were like, there's a Alicia Keys musical, they're doing a winter development. There's a character they want to see you for. And I was like, yes, I got this. I did my self-tape. And I didn't get it.

[4:19] Chad Carstarphen: But something about it, I was like, I don't know why, I just feel like this, my journey with the show's not over. Sometimes you just know, like, this doesn't, I don't feel like this is the end. And I said that to one of my managers, and he was like, okay, whatever. And then sure enough, the next year, 2023, February, he was like, this is crazy, but they want to bring you back in.

[4:40] Chad Carstarphen: And they're doing another, they're doing a reading, it was like, what was the 29 hour reading, which would follow the production at the public. And they want to bring you in, and this is in person. And I was like, oh, shoot, this is my first in person audition since pre-pandemic. I was like, ah! Went in. And I know Heidi very well, because I've been auditioning for Heidi since I graduated from NYU. So it was great to see Heidi again, it had been a minute.

[5:07] Chad Carstarphen: So yeah, I did it, and Michael Greif was sitting there, and I was like, it's Michael Greif. I've auditioned for him in the past, but it had been a while. So I was like, okay, you got this. And I did my audition, and I had sides and songs, and then that same day, they were like, okay, they want to bring you back for a callback on Thursday. Went in, and they were like, we're pretty sure it's going your way, but Alicia needs final approval, and she's not in town.

[5:33] Chad Carstarphen: So they were like, we're sending your tape. And it took all weekend until the next week, and my reps were like, yeah, we heard that she's still, she's re-watching everyone over and over. And then I got the call that I got the reading, and I was like, okay, cool. So I did the reading, and public, and then, yeah.

[5:49] Chad Carstarphen: Like, what an amazing feeling to know that, like, Alicia Keys gave me the okay. Also casual.

[6:07] Chad Carstarphen: And she's very keen on just the energy of a person, and if the energy is right. So that's why it took a while, because she was just reviewing everybody's tapes, and wanting to feel that energy even through a screen. I'm like, what? Yeah, so that, yeah. And then eventually, we transferred, but I'll let Jackie tell the story.

[6:29] Jackie Leon: So almost exactly the same way, I auditioned for the Winter Workshop, and I didn't book it. And then they called me back for the 29-hour reading, and when I went in, I was called back, like, three times. I was called back the first round, and in that round, I remember I had gone off script, whatever, but I was getting amped up, and I forgot the latter half of the, like, the scene.

[6:55] Jackie Leon: And so I was like, a-ba-ba-da-ba, a-ba-ba-da-ba, ah, ah. And then I paused, and I was like, no one's saying anything at all. And I went, I am so sorry. And Michael was like, what? Okay, just do your song. And in my mind, I'm like, I ruined it. It was terrible. And then he was like, for the girl on fire, da-da-da, sing in this way. Like, he was directing, even in the room, how he wanted to see the song.

[7:22] Jackie Leon: And he was like, just hype up your homie. I was like, that, I was born for this. I was born for this. I was born for that moment. And so I did it, and then the second time, I got a call back, and I was like, okay, this is terrifying. I wonder what they didn't like. Because that's what I'm having in my mind. Because again, I also never auditioned in person in a minute, actually, at all.

[7:45] Jackie Leon: Because I had graduated within the pandemic era. When I started auditioning professionally, it was all self-tapes. So my first in-person audition was this show. I was like, getting really nervous. And then Heidi called me. She called my reps, and then she was like, I want to talk to Jackie. She called me. She was like, I want you to know, Jackie, a callback is not, you did nothing wrong. It's just a chance to do what you did just better. Come into the room. I could tell that you were nervous at the beginning, and you opened up. Come into the room and own it.

[8:17] Jackie Leon: And I was like, thank you, Heidi. And then I was like-

[8:20] Jackie Leon: Heidi's the casting director, sorry.

[8:22] Jackie Leon: Oh yeah, she's the casting director at the Public Theater. And so I remember telling her, I was like, you're being so nice to me. She was like, I just want to see the role played by someone as unique and as talented as you. And I was like, oh my god.

[8:35] Jackie Leon: And then I called my sister, and I was like, Catherine, I feel like, and I love you. And then I was like, but I'm so scared. And she was like, she called her friend, Taj, who's a director, and he was like, Jackie, do you feel like you deserve this? And I was like, yeah, I mean, yeah. Because in my mind, those questions are goading questions. They're just trying to get you to believe in yourself. And he was like, well, if you think you deserve it, then take it.

[9:01] Jackie Leon: And he was like, people don't do the second part. If this is yours and you deserve it, go take it. And the anxiety of in some way getting rejected when you go 110% is so scary and painful. So you want to reserve at least a little bit so that you don't crash so painfully.

[9:22] Jackie Leon: But I remember going in there, and I was like, I'm going to give 110%, and if I crash and I fail, I'm just going to pick myself up however I need to. But I'm just going to go in there and say, I believe that I deserve this. And then I remember the final, like the third callback, they're like, okay, you need to meet, Alicia wants to meet you one on one. I was like, keys!

[9:43] Jackie Leon: I was shook. I was shook. And they're like, yes, but it's like, on the first day of the 29 hour reading, da da da da. And I was like, okay, how is this going to work out? And they said, you know what? Do the 29 hour reading. We're going to tell you after whether you booked the production. And I said, they're trying to kill me.

[10:00] Jackie Leon: They're trying to kill me. So I remember going in there and like, just every day was filled with fear, but I had to think like I need to abandon fear in the room. I can't. And Alicia Keys was there every single day of the 29 hour reading. And she taught us the music with her mouth.

[10:22] Jackie Leon: She was like, so in Girl on Fire, you're going to go, and these are the harmonies. And so I'm just sitting there. And I remember we do the 29 hour reading. We're singing the final number in, I guess, spoiler alert, the final number in the show. And it's Empire State of Mind. And I'm like, crying because I'm singing. And Alicia Keys is right there. And we're in New York City. And I'm like, damn, this is beautiful.

[10:48] Jackie Leon: And then I go up to Michael, and he's like, you did a really good thing. And then I was like, thanks, Michael. And then I go up to Heidi, and I'm bawling my eyes out. And she's like, oh, my God, thank God Michael told you. I was like, told me what? She was like, oh, you what? You're doing the workshop in June and the production in September. And I was like, he didn't tell me that.

[11:12] Jackie Leon: And then I go up to Alicia Keys, and I'm like, hi, Alicia Keys. And she's like, you've been blowing everybody away. And I was like, wow, dreams really do come true. It was crazy. I called my manager, and he was like, wow, that was quick. I know. But it's just because they asked for a hype man, and that is my entire existence. So they just found me at the right time.

[11:50] Jason A. Coombs: We hire you to be our hype.

[11:54] Samantha Tuozzolo: Amazing. Okay, and Carson.

[11:56] Carson Stewart: Hey, everyone. So I auditioned for The Notebook in summer of 2021. So I graduated from college, and it was my first audition after my professor sent it to me. We graduated during the pandemic. So no one watched our college showcase tape. So I was pretty sad about that. And he was like, this is an audition that looks good for you. Yeah, we covered three tracks. So I cover I would cover Noah, Johnny and Finn, who's like,

[12:25] Carson Stewart: And then the fiancé. And I was like, okay, I'll do it. And Telsey sent over the packet. It was like 38 pages. They were like, we'll see this tomorrow, basically. And I was like, okay. It was two days. It was four songs and like six scenes. I was like, okay, great. So I put it on tape. And I felt really good about it, but I really connected with one of the characters, which is the role I would eventually play. But they were like, can you come to Chicago on Friday? I think it was on Tuesday. I was like, sure. I have nothing going on, honestly. So I flew out to Chicago. And they're like, oh, don't just be the casting director. It'll be Michael in the room and Shelly, who were the co-directors of The Notebook, and the music team.

And then I walked into the room and there were like 50 people. And it was the final callback, which I had no idea. They were looking for somebody. And they introduced everyone. I've been an Ingrid Michaelson fan my whole life. And I didn't see Ingrid in the room, so I was so happy because I was like, that would be so scary. And then the last person, they're like, and this is Ingrid on Zoom. I was like, oh. And then I sang. And I sang the first song. And Michael turns to Shelly and he goes, what do you think, Shelly? And she's like, that was great. And then, what do you think, Ingrid? She was like, he got most of the notes wrong. That's what he said. I was like, I thought I killed it. I thought I ate that.

I was like, I ate that. So then Michael was like, OK, OK, go teach. Go over to the piano and re-learn the song. So I re-learned the song and sang it. And then she was like, oh, I really like your voice. But that was my first interaction with Ingrid. And then I was in the room for like 40 minutes. It was like the longest callback, or 45 minutes. It was like the longest callback I'd ever had because we did every single scene for every character. And the next day, they emailed me being like, has somebody reached out to you? Because I didn't have an agent. I was like, no, no one has reached out to me. They're like, OK. And then they kept emailing me once a week for a month being like, has anyone reached out to you?

I'm like, did I get it? And then they were like, yes, finally. So then I did the out of town as the offstage swing in Chicago. And then I was waiting to hear back about Broadway. And all my swing friends got their, it was a Wednesday in September. They all got their offers. And then on Friday, my agent called me and said, they want you to play the role. They don't want you to do swing anymore. So I got, it was like the day before my birthday, too. I was so hype. And it was great because I went on for that role in Chicago for a week because of COVID back when you had to take the whole week off. And I really connected with it. It's a lot of jokes. And he's a hype man, too. So I just got to hype this old guy up. Keep bringing it to your wife. And I was just myself. And I feel like they loved it over there. And I'm so happy. I didn't have to re-audition for Broadway.

[15:25] Samantha Tuozzolo: Amazing. Oh, those are such great stories. And I just want to say, for those of you who don't know, Michael Greif directed both Hell's Kitchen and The Notebook. So they're in different shows, but have their Michael Greif stories. He's a dream director for me. So that's real.

[15:39] Chad Carstarphen: He's great. We're going to manifest that for you.

[15:41] Carson Stewart: And we actually found out about our transfer. They brought us to a room. We had a company meeting in December while we were still at The Public. And we were like, uh-oh. But then also people were like, we think this might be it. And then Alicia made the announcement that we were transferring. And all of us were transferring to Broadway.

[16:00] Morgan Anita Wood: That's iconic.

[16:03] Samantha Tuozzolo: So our show, obviously, is called Survival Jobs. Do you all want to share a memorable survival job you all have had in your past before you made it to Broadway?

[16:13] Jackie Leon: Yes. I was a canvasser for an environmental nonprofit.

[16:18] Carson Stewart: Yes.

[16:19] Jackie Leon: And they are called NYPIRG. And I was like, they give you a script. And what they would do was, it would be like, you go into work at 12. They'd get you in a car. They'd drive out to upstate New York to these wealthy neighborhoods. They'd drop you off for hours. And then it's like, what's it called? It was on commission. So you had to go and you had to get donations in order to make your paycheck. So I'd go and I'd be like, hello, would you like to please not stop the oil pipelines? It was so, I was, because again, I'm a very anxious person. But it really helped my anxiety to figure out like, what I'm, yes, like, how can I speak to people and this and the third, but I would get home at like, 11, 4am.

And I was a child, I was so far from a fully developed brain that like, when I would go out and I'd come home, I'd be walking through Brooklyn at like, 4am. And I'm like, go to work tomorrow. And it was just so, I was like, 20. And it was just so crazy. It was a crazy time, but I will say I will never become a surfer again.

[17:34] Carson Stewart: Yeah, I've had a few. Probably the most memorable, I was the second assistant to the editor-in-chief of Elle magazine, Nina Garcia. So, that was, I did like, which is like Anne Hathaway's title in Devil Wears Prada. She's not the first assistant after, she's a second assistant. So, that was amazing. So, I got to work a lot at Elle and Project Runway.

[17:57] Jackie Leon: I love that that is like, your survival job. Like, that's your job.

[18:00] Carson Stewart: I was going to go big or go home. I had eight months before Notebook started in Chicago and I was here. I was like, I applied and it worked out.

[18:07] Jackie Leon: And you booked it.

[18:08] Carson Stewart: And I booked that.

[18:10] Jackie Leon: I thought you were in your Anne Hathaway era.

[18:12] Carson Stewart: I was in my Anne Hathaway era.

[18:13] Chad Carstarphen: Love, love. Okay, Chad.

[18:17] Chad Carstarphen: Wow. So, right before, I was doing another show, my actual survival job for many years, I was a babysitter. I was a Manny.

[18:24] Jackie Leon: Yes.

[18:27] Chad Carstarphen: Yes. Okay, this is us. Manny, anyone? The way I got into that, though, was because I worked for Equinox for many, many years, which is a gym, if you don't know. And I started working there out of college, because I worked at a gym at NYU. And I was like, you know what? Once I graduate, I want to continue working somewhere where I can get the benefits of, like, you know, the job that I work at, which is a gym. So, I went to Equinox and I was like, hey. They hired me and it became a great place because whenever I had a gig, they always welcomed me back, which was great. And they hire a lot of artists, so they understand. And especially if, you know, you get along with the managers, you're always welcome back.

But I started off at the front desk and then one day they were like, you want to work for our kids' club? We're opening a kids' club at this location. I was like, yes, I would love that. I want to, like, hang out with the kids. I don't want to let the adults drive me nuts. So, me and my other co-worker, we got promoted to the managers of the kids' club. And then I went away and did the first national tour in the Heights, came home, and I was like, oh, my location. And they hired all these new people and all of my faves moved to another Equinox location. So, I followed those people to the next one. That's when I was like, all right, I'm happy here. I'll continue at kids' club, all good. And then families just started being like, do you babysit on the side?

Like, my kids love you. And I was like, no, I don't, but sure. And yeah, and then there was one family that just became my family. They were like, we're snatching you up, you know. So, it was great. And it's awesome because, oh, this is so crazy. So, the mom was always just, like, rooting for me, like, I can't wait for your next gig. And I can't wait until, like, Maya's old enough to see all the stuff that you do. Because a lot of the shows I was doing wasn't appropriate for kids. But she was like, I can't wait. And they're actually coming this weekend to see it.

[20:19] Samantha Tuozzolo: Oh, wow.

[20:21] Chad Carstarphen: That is so beautiful. It's really cool.

[20:24] Samantha Tuozzolo: How old are the kids?

[20:25] Chad Carstarphen: Like, 10, 10 and a half, almost 11.

[20:29] Jackie Leon: Yeah.

[20:30] Chad Carstarphen: And I was babysitting Maya and her brother. They were, like, from two years old.

[20:34] Jackie Leon: Wow.

[20:38] Chad Carstarphen: Yeah, it's really, yeah, it's one of those crazy full circle things. Because her mom was always like, she would come see me. But she was like, I wish I could bring Maya. And I'm like, it's all good. And so, now, finally, she could bring Maya to see a show. And it's a mother-daughter show already. It's just so crazy how the universe works. But, yeah, that was my survival job.

[20:59] Jackie Leon: I love that.

[21:00] Carson Stewart: I love that.

[21:01] Samantha Tuozzolo: And, lastly, we were at Telsey, but do we have anything else?

[21:04] Chad Carstarphen: Yeah, that was actually part of my college program. I didn't do that on my, yeah, like, of my college or spring semester, we would intern with a casting office, which I think is kind of thrilling.

[21:12] Samantha Tuozzolo: What college did you go to?

[21:13] Chad Carstarphen: Otterbein University in Ohio, Westerville.

[21:16] Jackie Leon: You hear that? I fought with somebody last night and told them you went to NYU.

[21:19] Chad Carstarphen: Oh.

[21:20] Jackie Leon: I was wrong.

[21:21] Chad Carstarphen: Otterbein.

[21:22] Carson Stewart: That's okay. I had many survival jobs as well, but the weird one I had for, like, my whole high school and adolescent career, I feel like, was working for Radio Disney, if you remember them.

[21:34] Jackie Leon: Oh, yes.

[21:35] Carson Stewart: We had a local station in, where I'm from is in Indianapolis. And I was a Kids Concerns show host when I was 10 years old. So I would interview people who helped out our local communities on, like, the local Radio Disney station in Indianapolis. And that really kind of got me, you know. I was a very outgoing child. You know, I didn't need any help, like, branching out of my shell, but it gave me a vessel to do it more, like, in an organized way. But I then started becoming, like, a Radio Disney road crew member. So we'd go to, then, these different events. You know where you see, like, the radio tents that are set up and they give out little prizes?

[22:12] Jackie Leon: I'm so jealous.

[22:13] Carson Stewart: Instead, we were basically, like, glorified babysitters. Because we would be in these huge malls, and all the kids would be left with us while their parents went and shopped. And so we would, like, teach them dances to the Top 30 Countdown. And, like, we would give out little raffle tickets and prizes. And so it was, I don't know, it was such a time. And I did that for 10 years.

[22:31] Jackie Leon: Wow.

[22:32] Carson Stewart: But it was, I mean, you know, there are far worse jobs to do when you're in high school, you know, to make a little money on the side so that I could just pay for the things that I wanted.

[22:40] Jackie Leon: Amazing.

[22:41] Carson Stewart: Yeah, it was wild.

[22:42] Samantha Tuozzolo: Wow, those are some really good survival jobs.

[22:45] Jackie Leon: Very good.

[22:46] Samantha Tuozzolo: So, Carson, I want to talk to you a little bit about The Notebook, which I love all the shows this season, but I love The Notebook. And also, a quick little fun fact. One of my survival jobs when I was in high school, college, was teaching theater. And I was Carson's theater teacher. And now he's on Broadway.

[23:05] Carson Stewart: Yes.

[23:06] Samantha Tuozzolo: And, not to shout out Robin DeJesus, who's hiding in the corner, he was my theater teacher. And now we're all here, and I just think that's so cool.

[23:14] Jackie Leon: Legacy, what is the legacy?

[23:16] Samantha Tuozzolo: It's just so cool.

[23:18] Carson Stewart: And I just wanted to point that out, like, here we are.

[23:22] Samantha Tuozzolo: So, we love The Notebook. You were saying, like, Finn, it brings this comedic energy to the show that's a very heavy show. You cannot leave there without hyperventilating. So, was Finn always, like, really funny, or was that something that you developed and, like, brought it a little bit more?

[23:35] Carson Stewart: I was allowed to add them for about two weeks. Some of them made it in, and then I was banned from that. Once I said, sheesh, Michael was like, we can't be out living anymore.

[23:49] Chad Carstarphen: Sheesh.

[23:56] Carson Stewart: So, Johnny, the physical therapist, a lot of that changed when we got to New York. I think one of the beautiful things about developing a new show is that the writers in the room, so Becca, who actually wrote This Is Us, would see something, or I would be talking to Andre Burns, who plays the nurse, and we'd be like, what is this scene about? What are we trying to say? We'd talk about our characters once, and then she'd be like, oh, okay, and then she'd go away for an hour, and Ingrid would do this, too, and then come back with a whole new scene or a new song. So, that was, like, one of the coolest things is working in the room with the writers. Like, Ingrid wrote a song in 30 minutes, and it was in the preview the next night.

[24:50] Jackie Leon: Morgan, our question for you is, you've been on the tour for the last six years. I had five years written down, but you said six years.

[25:20] Morgan Anita Wood: Yeah, right? Understudying all the sisters, and now you're playing Eliza on Broadway. How do you keep this fresh? Because you've been doing it for a while.

[25:50] Jackie Leon: Yeah.

[26:20] Morgan Anita Wood: So yeah, I know it's probably a very basic question, but…

[27:51] Morgan Anita Wood: No, no. Well, it's funny, yeah, because I get that question, but the answer seems to evolve as I do. And I think that's kind of, I think that's what it is. It's that I have lived, I basically lived all of my 20s doing Hamilton, which is a very formative decade. And, you know, it's just been such a gift because I've been able to grow both through the vessels that are the Schuyler sisters and Mariah Reynolds, as well as, you know, and then I felt like when Eliza came around, I was ready. But I was ready in a way that, it was so interesting, for those who are familiar with the show, Eliza goes through a lot. And it's my best friend's, I was lucky enough to do the show for two months in Hawaii last year.

[28:02] Ooh, that's fun.

[28:13] Morgan Anita Wood: I know, crazy. And so, and I was really going through it personally. I won't even lie. Like I was just, I was having a hard time. I truly felt like trapped. I didn't, you know, I was like, I was trying to find my wine, keep it fresh. And it was the first show and the only show I've, not gonna lie, that I've ever had to call out mid-show. And that was kind of traumatic. And so, and I just remember thinking, like thinking, this is a different Eliza. And my friends, who then saw my Broadway debut last week, who had seen the show in Hawaii, they were like, I think in Hawaii, you were a through, like up to burn Eliza. And now you're a through the finale Eliza. I'm special. So, and I just, and I was like, you have no idea what that means to me.

And just like tears, because it, you know, it took a lot of therapy and time and kindness towards self, I think, to be in a show for this long. But also too, like, I mean, what kept it fresh for the first three years was that I played four different people. I sometimes played all three sisters in a week. So it stayed fresh and anxiety ridden. But then once I started playing Eliza full time, I've played her for now like a year and a week. So it actually hasn't been that long that I've really gotten to spend all my time with just her. And I value her so much and all she has to continue to teach me. And so, and the material, for those who haven't seen it, maybe, I don't know. It is so good. Like even last night, I was just exhausted after the show.

And I was talking to some people that had seen it for the first time. And I just am so grateful to continue to be able to be in a piece that I still care this much about, because I just don't think that's a universal truth. I think for all of us who've been doing theater for so long, you're gonna have like your like, you know, more flippant times or be in the ensemble. Like, you know, I don't know, whatever. Like, or just, you're gonna have to find yourself in different positions, telling different stories. And I could tell this story for a very long time. So I will do it until my gas tank runs out. My own girl, so yeah.

[34:11] Jackie Leon: That's so special. So as we all know, this is not an easy industry to be in or to work toward. Can you please share a moment in time that was like maybe the most difficult as you were auditioning and dreaming and wanting to do this? And was there ever a moment where you were like, I can't? Jackie, do you wanna start?

[34:33] Jackie Leon: So like before we booked anything or even during the process?

[34:36] Morgan Anita Wood: Whatever, yeah, whatever it means for you.

[34:38] Jackie Leon: So there was a time at The Public, I feel like the Jackie at The Public wasn't ready for Broadway. And that was, so there's three parts where, or two parts specifically where I think of where I hold out notes solo-wise. And in my mind, I'm in the room with these excellent vocalists. And I started getting in my head, again, anxiety. I am the weakest person here. I am the weakest vocalist here. And when I get up on stage, everyone's gonna hear that. And so in Girl on Fire, there's this big note at the end that I would start and all the air would come out. And then, especially at the beginning of Empire, I do the, ooh, New York. And there'd be times where I would run out of air at that consistently to the point where Alicia was like, do we need to split this between you and Vanessa?

And I was like, at the time, I was like, I don't know. Maybe, like I felt trapped. And then I was talking to people, Crystal Monet Hall, Mary Ann Torres, big love to both of them, and Brandon Victor Dixon, because they all got me through that. So both of them were like, well, try breathing with your diaphragm. And I was like, y'all, I'm breathing with my diaphragm. I don't know why I'm running out of air. And they're like, oh, you're doing all the technique stuff. I was like, yes. And they're like, then it's in your head. I was like, no, no, no, but it's my body. And they're like, baby, what do you think your brain is in? It is in your head. You're telling yourself, I'm not gonna finish this note and you do not.

And so I remember after that, I was like, okay, I can do this, I can do this. And Alicia was like, do we want to split this between you and Vanessa? And Vanessa is an alto for life. And so that note, she like, I remember Alicia was like, let's hear the split. And Vanessa did not warm up, bless the gods. And so it sounded like a little crazy because Vanessa was like, ooh, she has a beautiful set. Vanessa, please do not kill me. But she has like this beautiful rest. And so Alicia was like, okay, let me hear you, Jackie. And I do it. And then she's like, let's hear it again. And then I do it. And then we do it 10 times in a row. The Ooh, New York fully 10 times over and over and over again. She's like, okay, okay, you can do it.

And I remember that night was the only time that I had fully run out of air before I even finished the phrase New York. And so I was like, ooh, New York. And it was like the very top of the song. And I remember I was broken. Like the whole show, I just kept thinking, what's the next move?

[37:16] Morgan Anita Wood: And they're all like, what's the next move? And then I was like, get to the end. And I was like, smile, don't forget to smile. And then the show ended. We do our bows, we exit and I run into this corridor, in the public and I start having a panic attack and like, crying. And Brandon Victor Dixon was on my heels and he was like, what's wrong doll? And I was like, Brandon they're gonna take it away from me. And he was like, what what? And I was like, the ooh New York, that part, they're gonna take it away, they're gonna, that I'm not good enough. And he was like, so what? And I was like, well, and he was like, what if they take it away from you? And I was like, then I failed myself, like I can't do it, I can do it, but I failed myself.

And he was like, it's okay. Like, what if they take it away from you? You're still gonna do the show, I can't take the whole job away from you! And he was like, but so what? Like, you'll be fine. And I remember, ironically, Michael was walking down the hallway at the exact same time and saw this interaction and he went, oh, you're great in this show, listen to Brandon. He was like so, he was like, oh god. He was so, he was very surprised, he touched me and he was like, you're excellent in this show. And he was like, Brandon's very smart. And then he left. And I said, love you big time. But Brandon was like, you've got this, like you don't, and he said, he said, I know exactly what you're doing to yourself.

And it helped nobody. And it's not true. And I went home and I like, was sitting in the car, I was listening to a song, and like, the song lyrics were like, you are the anchor, you're the reason you suffer, but you are worth fighting for. And I was just like, cause that's the biggest thing, is like, this imposter syndrome, this shame, this feeling that like, people are going to find out that everything that I believe about myself is true. And they're going to take it all away from me. And I'm not going to have anything and I'm going to be alone. And all of this like, fear. And I remember coming back and this just, this support. Like everyone was like, are you okay? And I was like, and they're like, okay, when you breathe, like people were trying to figure out practical ways to help me.

And there was a point where it clicked. And I was like, it was Chris Lee, he was like, hold my shoulder when you sing the song. Like when you sing the note and I will hold you. And so I put my hand on his shoulder. And if you notice, if you come see the show, I put my hand on Rick's shoulder now, but I never do that note without holding somebody. And even now I don't even think I need to, but it was like, the only way that I could get through it was to be like I am alive. I'm here. And loved. And just in thinking, like I did watch Tuk Tuk Boom last night for fun. And you know, they say like, you know, fear or love. What do you say? What do you choose? Fear or love? And it is like exactly that story.

I can either choose to be fearful of this moment or I can love it. Boom. Thank you for sharing that story. My body is filled with chill. I gotta look for that moment. Hello Nina, can we get some more press tickets?

[40:39] Carson Stewart: Absolutely. I think for me, there's been long periods of time where I don't book anything and I think the worst thing is when you get those callbacks and you start getting hope and so I think I was in for, I'll just say Dear Evan Hansen for a very long time and I was like, this is my show. Minus. I kept making it so far and I was like, what am I not showing about myself? And then it just happens like seven years later from when I started auditioning. I was like, I remember you and it was not right for you and this is so I was like, oh, I don't even remember that you remember me or like that anyone did but I was like, I put in the work and I don't know. I feel like I showed something and then I got to, and there's still auditions and callbacks so I'm like, I showed something but maybe it'll turn out for me later or maybe I'll learn something from that someday but I don't know.

I think sometimes getting a glimmer of hope can be really hard and then it doesn't go your way but I don't know. It's such a narrow fit when it does fit. Like right now I'm like this is the exact right role for me because it's so narrow. Where you're supposed to be.

[42:02] Chad Carstarphen: Yeah, there's two different quick stories but I think one is just most difficult thing for me was just being a part of a show for so long another show and almost like ten years working with the show and the show, like many shows we become a part of via workshops and various production we're on our way to Broadway that whole thing and then it not going or me also being a part of the show and for reasons that have nothing to do with me and my talent but what is best for the show like the role that I originated switches and I got switched to another character and that for me in the beginning was like, what? And then I had to realize like, no it's all good. This is part of what we do and I still love the show and I still have a great time and it's gonna be fine and when it's so interesting that when I think a lot of us knew that that particular show wasn't necessarily going to Broadway, we didn't get a house I said to myself I gotta release this.

I gotta let it go and I kid you not maybe two weeks later is when I got the call for to come in for Hell's Kitchen so you just, I think a lot of it is me learning constantly to release things that are just not in my control and just trusting the process and trusting it's gonna be okay. The other thing is just what's been tough is it's so great being on Broadway. I love it I love making new family and I love making people happy after the show and meeting the fans but I'm constantly reminded that life goes on and it takes you away from so much so that's been pretty tough there's so many things that have happened personally and it's great. It's everything you could think of but it's also like oh it's just a job too.

Life happens and you have to find that balance because you can lose sight of things and before you know it something changes and you're like wait what? I was so zapped into Hell's Kitchen and those are the two things I could probably say.

[44:21] Morgan Anita Wood: Yeah I think it's interesting because having been part of a show that I think is doing so well I was on tour I started with the and Peggy tour at the end of 2018 and it was full circle because I went back to play Eliza with that same tour and I closed that tour and we closed in August of last year and I essentially was unemployed until last week and it was a long and I had been employed since graduating school I was one of the very few that got a very cool job right out of school but that required a lot of work so I need to give myself that credit too but also though having been on the road and in this level of job security for so long and nobody tells you about the time where you feel essentially like an abandoned child once your tour closes because it's not that the show closed your tour closed now you're unemployed but your friends are going to other tours or they're employed by other shows or by brand new shows like all the shows that went to Broadway this past season and it feels like you're watching everyone do what you want to do but then also you were in that position at one point too where people were watching you do the thing that they want to do so it's a very eerily humbling experience and I had really for the first time in years not riding that constant train of like oh yeah but then life hit me you know and I had to sit with the fact that okay I'm back in New York City, New York is really overstimulating and difficult and I have to figure out how long I can go without getting a survival job and so it's a period of time no one really talks about when you're between jobs and it's really hard because your ego takes a hit too is what I've been working on in therapy because you're just like oh wow it's part of this huge thing that people are really excited about and now it feels like nobody cares or that I'm irrelevant because I'm not a part of Hamilton anymore but I feel like my life is so full outside of the show but that takes a lot of work as well so that's like a long-winded way of saying like that period that you don't really consider between jobs is very very tricky and it also is in tandem with like you know you get these 30 page packets that are due you get so invested because you have to because it's like a part of your job the job is auditioning so then there are periods where you're not auditioning a lot and then you start panicking but then you get one audition and you're like okay I guess I have to book this and so it's a lot of like talking yourself away from the ledge and I got much better as I got more into practice with auditioning in general because I was so out of practice thank god I didn't have to as much when I was employed but then coming back to New York I had to figure out how to audition all over again which is it's own skill and I had to also reconcile with rejection once again so it's a lot of talking to yourself and being kind to yourself.

[47:26] Morgan Anita Wood: There's just so many layers people come and see the shows and are like hyped by watching it and wow look at them at the Tony's or whatever and I feel like there's so many people who aren't so immersed in the community that don't know these layers so thank you all for being so open with your feelings I think it's so important it is and it's why we started this show because it's not just about being on Broadway there's like actual things happening in people's lives that we have that don't get the attention and I think our younger performers need to hear this it's all not rainbows and sunshine sometimes you get laid off it's true.

[48:02] Samantha Tuozzolo: So thank you. I reiterate what Samantha said thanks for being so vulnerable and genuine and sincere on this panel what's been the most surprising or unexpected aspect of working on Broadway so far are there any really cool perks I mean going to the Tony Awards must have been fun.

[48:19] Morgan Anita Wood: We get all the key soul care that we want because our boss Alicia Keys has a skin care line and it's awesome so we are fully stocked in key soul care and that's so cool it's coming for a week things like that you know gifts and packages she got us tins custom tins where dreams begin I was like period I was going to buy them I was like I'm in a show about New York City I'm going to buy some tins but we got them Alicia put them on her credit card she sure did.

[49:01] Morgan Anita Wood: We were kind of discussing it earlier and you vocalize so much what I have been feeling since I just started a week and a half ago I'm still marinating on this answer I have had such a hard time processing all of this I think because too I've been so fortunate in my career working on this show that I care so deeply about and still do so it feels like it's not it kind of just feels like the next right thing the lateral move now I tell the story it's just a different turntable on a different stage I haven't fully understood that I'm on Broadway.

[49:41] Morgan Anita Wood: I'm a big fan of your show, and I think that's okay. I think there's a part of me that, like, what were we discussing earlier? It's like, it feels like people are looking at, you have been doing the same thing for years and now people see you do what you do and they're like, I respect you. And it's not to say they don't, they didn't respect you before, but it's like they look at you with eyes and I'm like, but I just sang and danced. I did that when I was four. But now that you're on Broadway, there's a reverence that you cannot ignore that has been built on the backs of people like who look like us and wanted to be in this space. So we are taking that home. Like, I know when I look out into the audience of Hell's Kitchen, I see people who look like me.

And they come up to me and they're like, I've never seen anyone who looks like me on a stage and you're that person. And I was like, wow. It's so important. It's so, the representation, that's a whole other panel. But like, but it's true. I remember my mom on my, the night of my debut, she's like, we're just as excited to see you here as we were when you were seven, dancing to Shirley Temple on stage. You know what I mean? Like, we're just as excited. But of course there are elements to Broadway of it all, where my dresser asked what temperature I like my water the other day and I was like, what? What do you mean? Like, I'll just get it myself. Don't worry. Like, it's just, it's stuff like that where, you know, like they, like I have quick change in the show and I'm not used to, to like relinquishing that control because sometimes on tour you have new dressers who are learning the show that, you know, kind of learn it by the end of your time there.

And, and so I'm just kind of used to doing whatever I need to do to, you know, get my show successfully. Yeah. And so like the first like three quick changes backstage, they were just like, Morgan, we got, we got it. You know? And so just like actually just trusting the process, I think is what I'm learning.

[51:29] Jackie Leon: That's actually so, I was not used to having a dresser at all. I was like, and they were there and they're like, this is your underwear. I was like, what? They're like, step into the shoes. I was like, I can do this by myself. Not well. I love shoe horns. Yeah. It's like the little things.

[51:51] Carson Stewart: It's the little things. I think there's an element to, I think the biggest perk for me is like the only difference we do, like it's the same at Crystal Theater, I'm on stage talking or on Broadway, but there's a element of legacy and like history that's really, really cool. Like every night I look at Marianne Plunkett and I'm like, you replaced, you were the replacement for Dot in the original Sunday in the Parking Lot. And like the scene partner's eyes that you looked into, like you looked into Mandy Patinkin eyes and now you're looking into my eyes. And then like underneath my dressing station, like Sadie Sink, like signs, like, oh, I was in the audience or whatever. So I'm like, that's so cool.

Like I'm sitting at your chair in your station or even the show like Come From Away or Let the Pie or anyone that has been at the show and told me, that's so cool. Like sometimes when you take yourself out of it, even like for Jason and I, I was looking back at the footage from our earlier panel and I was like, oh, this is cool. We made this and we're here at BroadwayCon. But when you're in it, sometimes you're just doing the thing and you're reading the notes and you're doing the job and you're doing a song. But then when you step out and you're like, oh, wow, I'm Eliza in Hamilton on Broadway. Like it's fierce. It's fierce. Like to say it. This has been an amazing, amazing panel. I almost said channel.

Thank you. I do not want it to end, but I think we're getting close to time. So we have one more question and then we're going to play a game. So please get your buzzers ready. Oh, goodness. I think it's you. Oh, I was going to skip it. Oh, yeah. Because the time is ticking. So you guys are in amazing shows right now. You're doing amazing work. You made your Broadway debut. But do you have a dream role or collaboration that you're manifesting for future? Go ahead.

[53:37] Jackie Leon: Lydia and Beetlejuice. You couldn't tell by my all black attire. I'm a little bit emo inside. Let's go. Give it. You would slay that song. Is that mom?

[53:58] Carson Stewart: Yes. I would love to do a play next. I think if anyone wants to do a revival of This Is Our Youth, I would love.

[54:10] Morgan Anita Wood: Oh, yeah. Right now. I would love to be seen more in Little Shop. Oh, yeah. I saw Adina as Elphaba when I was 10. So I have to do that before I die. I just it's just I have to be painted gray. No, it's it just changed my whole life. It was one of those shows I saw. And I said, I have to do this for the rest of my life. Like, I knew that before that point. But seeing that just solidified it. But I also have to say, like, it is I could talk to you all for hours. I just want to pick your brains, which I will. I hope that's okay. About just like developing new musicals, because the idea of doing something from the ground up, how rewarding that must be, how hard of work that must be, how that long that tech process must be.

Like, I just I admire you so, so much and coming from a very different vantage point like that. I would love to, like, develop my own role and have songs written in very nice keys for me. That's I would love to do that. We're Manifestors, so we're going to make that happen. We do. And Michael Greif. Like, so cool.

[55:29] Jackie Leon: Yeah. Well, you're here. So it's just like seems obvious that you're next. Get the Michael Greif energy.

[55:39] Carson Stewart: I'm not sure. That's a tough one. I don't know. I think I would love to do. I did a play right before this, and I would love to do a play, like you were saying. But roles, I don't know. I have to really think hard. I love. I just love creating new work. But I also know that doesn't come often. So having that opportunity. So I'm very grateful for this show. And I think it's just because I'm also very much in this now that it's tough to think of a role. But when I do, I'll email you.

[56:04] Morgan Anita Wood: Yeah, let us know. We'll do a follow up episode. Yeah. BroadwayCon next year.

[56:10] Jason A. Coombs: Yeah. Okay. Jay, you want to chat about this game?

[56:14] Jason A. Coombs: Yeah. So we're going to play a quick game because it's almost time. But basically, we're going to be talking about some Broadway debut trivia. So we have five questions and a bonus. Some are multiple choice, some are true or false. And whoever buzzes in first gets to answer first. Okay. If you buzz in before I finish the question, you have to answer. So I would probably advise to wait till I finish. Yeah. And then the bonuses were five points. So anybody can win. Anyone can win. It's anyone's game.

[56:39] Jackie Leon: Yeah. Let's hear your buzzers so we can identify them. Great.

[56:55] Jason A. Coombs: That's like Book of Mormon. Yes. Excellent. Okay. I'll go first. Before becoming a household name as Wolverine in the X-Men franchise, Hugh Jackman.

[57:04] Morgan Anita Wood: Yes.

[57:10] Jason A. Coombs: Oh no. I know it. I felt it in my bones. Keep going. I'm disqualified. Do you want to give an answer? No. Because you might be right.

[57:19] Morgan Anita Wood: The Music Man.

[57:19] Jason A. Coombs: No. Hugh Jackman made his Broadway debut in 2003 in this scene.

[57:26] Jackie Leon: Yes.

[57:26] Jason A. Coombs: Yes.

[57:34] Jackie Leon: The Boy From Oz.

[57:34] Jason A. Coombs: Correct. One point for Morgan. Okay. Number two. Is it true or false? Queen Heather Hedley made her Broadway debut in 1997 portraying Nala in The Lion King.

[57:41] Chad Carstarphen: Oh, I don't know who that was.

[57:44] Chad Carstarphen: True.

[57:44] Jason A. Coombs: Yes. Correct. Wow. Slay. I saw her in it when I was a kid.

[57:52] Chad Carstarphen: Really? I was a kid. Yes, I saw her. Amazing.

[57:59] Jason A. Coombs: Another true or false. Lupita Nyong'o's 2015 Tony Award for Best Actress in a Play for the play Eclipsed was written by Diana Gurira.

[58:07] Chad Carstarphen: False.

[58:07] Jason A. Coombs: Yes. Correct. She was nominated but did not win.

[58:10] Jackie Leon: Oh, boo.

[58:10] Jason A. Coombs: And I'm so sorry I couldn't pronounce that.

[58:26] Jason A. Coombs: This pop star made her, sorry, this pop star made her Broadway debut in Jason Robert Brown's 13 The Musical.

[58:26] Morgan Anita Wood: It was Morgan. She hit it first. I watched.

[58:37] Jason A. Coombs: Ariana Grande.

[58:37] Morgan Anita Wood: Correct. Correct. Does Morgan have two?

[58:41] Jason A. Coombs: Morgan has two. Right. What the heck? Carson, you better catch up.

[58:45] Carson Stewart: I have one.

[58:45] Jason A. Coombs: You do have one. I'm sorry. I'm so sorry. It's your students. Why?

[58:55] Jason A. Coombs: Okay, this is the last one before the bonus. Okay. Viola Davis made her Broadway debut in which of the following August Wilson plays? A. Fences. B. Yes.

[59:06] Jackie Leon: Fences?

[59:06] Jason A. Coombs: No.

[59:06] Jackie Leon: No.

[59:06] Jason A. Coombs: King had.

[59:06] Jackie Leon: Incorrect.

[59:06] Jason A. Coombs: A. Fences. B. The Piano Lesson. C. Seven Guitars. D. Radio Golf.

[59:06] Jackie Leon: Oh, hell.

[59:06] Jackie Leon: Yes, Jackie?

[59:06] Jackie Leon: The Piano Lesson?

[59:06] Jason A. Coombs: Incorrect.

[59:06] Jackie Leon: What's wrong with us?

[59:06] Jason A. Coombs: Seven.

[59:06] Jason A. Coombs: Seven Guitars.

[59:06] Jackie Leon: Correct.

[59:06] Jason A. Coombs: Okay. That's right. Bonus is worth five, so it's anyone's game.

[59:32] Jason A. Coombs: Okay. Okay. Excellent. Okay. Jason Holmes is reading it. There's multiple choice. Okay. Which of the following actors has not made their Broadway debut as a performer yet? A. Tom Hanks. B. Julia Roberts. C. Angelina Jolie. Or D. John Leguizamo.

[59:32] Jackie Leon: Can you repeat the multiple choice, please?

[59:32] Jason A. Coombs: Yeah. It's who hasn't made a performer debut. Yeah. A. Tom Hanks. B. Julia Roberts. C. Angelina Jolie. Or D. John Leguizamo.

[59:32] Morgan Anita Wood: It was Morgan.

[59:32] Jason A. Coombs: No. I know.

[59:32] Morgan Anita Wood: Oh, I'm sorry.

[59:32] Jason A. Coombs: That's okay.

[59:32] Jason A. Coombs: Angelina Jolie.

[59:32] Morgan Anita Wood: Correct. Yay.

[59:32] Jason A. Coombs: Oh, my God. Congratulations.

[59:32] Morgan Anita Wood: Congratulations.

[59:32] Jason A. Coombs: It was a good game. It was a good game.

[1:00:02] Jason A. Coombs: Before we end this panel, which I truly don't want to, can you guys let everyone know your Instagram handles, how people can keep up with all the things in your amazing future? Go ahead, Morgan.

[1:00:32] Morgan Anita Wood: Sure. Yes. I am Morgan Anita Wood. I am at M Wood 2013. I don't know why, but like, that's my handle on Instagram. And yeah, you can come to the Richard Rodgers and see Hamilton if you want. I'm always happy to also love and talking to any like aspiring young actors, people like me. I answer all eventually, but I do.

[1:00:54] Chad Carstarphen: I'm at my name, Chad Carstarfen. You can find me on Instagram. First name, C-H-A-D. Last name, C-A-R-S-T-A-R-P, as in Peter. H-E-N. That's my last name, Carstarfen. Chad Carstarfen.

[1:01:02] Jackie Leon: Hello, my name is Jackie Leon. My Instagram was disabled. It's at Jackie.NA.Leon. I was wondering that. I was trying to tag you for the promotion.

[1:01:10] Carson Stewart: Gotta get their numbers up.

[1:01:14] Jackie Leon: Yeah, I got your numbers up.

[1:01:24] Carson Stewart: And then I'm Carson Stewart. And my Instagram is at the gingerbread boy. And then you can come see the notebook. We just extended our ticket sales.

[1:01:32] Morgan Anita Wood: Have a laugh and a cry.

[1:01:37] Jason A. Coombs: They're booked and busy. They're booked and blessed. And if you don't follow us, please give us a follow at Survival Jobs Pod on Instagram and Twitter. On Facebook at Survival Jobs, a podcast. I'm Sammy Toots and that's Jason A. Coombs. Thank you. Happy BroadwayCon.

[1:01:48] Morgan Anita Wood: Happy Broadway debut.

[1:01:55] Jason A. Coombs: This is so fun. So fun. Oh my gosh. I'm on the subway and you're like going off my back.