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[0:00] Jason A. Coombs: Hello, Survivors. Welcome to Survival Jobs, a podcast, a collaboration with Broadway World and the Broadway Podcast Network. I am your co-host, Jason A. Coombs. And to my right, I did it right, is the wonderful, talented, amazing Samantha Dawn Tuozzolo, who has balloons for our viewers who are watching. There's balloons. It's a celebration. We haven't been in the Zoom room, or whatever this is, room. In a minute, Samantha.

[0:36] Samantha Dawn Tuozzolo: In a minute. In a minute, I mean. Fantastic. Happy New Year. Happy all the things, you know.

[0:40] Jason A. Coombs: Has it been a happy new year?

[0:42] Samantha Dawn Tuozzolo: Nope. Not really, but we're just trying to stay positive. Yeah, Jason, it's been a while since we've been in our regular format, and I'm happy to be back. I love when I do, if anyone's listening, if we do a peace sign sometimes in our little Zoom box, StreamYard box, balloons come up, and it's so fun. It's so fun. I think thumbs up does something as well.

[1:06] Jason A. Coombs: It doesn't do anything for me ever, so there's that.

[1:09] Samantha Dawn Tuozzolo: We can talk about that another day.

[1:11] Jason A. Coombs: Yeah, so. So much has happened since we released our last episode in this format. We've released a ton of bonus episodes, you know.

[1:19] Samantha Dawn Tuozzolo: I know. You've been the English queen over there.

[1:22] Jason A. Coombs: You know, we love English on Broadway. I covered the media day, and I covered the opening night, so we've released those two audio tracks, and then we had them at BroadwayCon, the entire cast at 9:30 in the morning at BroadwayCon, which was so iconic. I hope y'all listened to it, because they were dropping gems, and y'all have to go see this show. Like, I know it's like two weeks, but if you can, get to the Todd Haynes Theater, am I saying that right?

[1:52] Samantha Dawn Tuozzolo: Correct. Correct.

[1:53] Jason A. Coombs: Go see English, y'all. It's a beautiful, beautiful Pulitzer Prize-winning play with five brilliant actors.

[1:59] Samantha Dawn Tuozzolo: You guys, it is so, so good. It's such an important show, but it's also so funny that, like, gosh. And yep, it's playing until March 2nd at the Todd Haynes Theater, so you guys don't have much time, so get your tickets and go. I'm telling you, you don't want to miss this. I really feel like Tony time, this is going to kind of, like, be a big one to watch for.

[2:24] Jason A. Coombs: Yeah, and just, you know, really quickly, just a brief synopsis about five Iranian people who are taking—well, four—who are taking an English class, and the fifth person is a teacher, and they're trying to learn English so they can, you know, emigrate to the United States. They all have different reasons, but that's pretty much the gist of it. So it's very timely about immigration, and about language, and about speech, and about human rights, and about women. It's just everything you want in a play, and it's so specific, but also universal in a way, because as someone who's not Iranian, I connected to it, too, because, you know, my mom is, you know, an immigrant from Jamaica, and that's a completely different part of the world, but I still felt such a strong connection, especially to one of the characters. So anyway, I'll stop babbling about this.

[3:09] Jason A. Coombs: No, you're not. It's such a great play, so I do hope everyone goes and sees it. Like we were saying, we were so lucky to chat with the five of them at BroadwayCon, and then we had another amazing panel at BroadwayCon with Emily Bergel, Krista Rodriguez, and your boy Jonathan Burke.

[3:25] Samantha Dawn Tuozzolo: Hell yeah!

[3:26] Jason A. Coombs: That was so amazing. You know, Krista and Emily are about to be in this upcoming spring season on Broadway. Krista's going to be in Smash, and Emily's going to be in Just in Time with Jonathan Groff.

[3:41] Samantha Dawn Tuozzolo: I mean, maybe Jonathan will be back, and maybe the Cats and Jellicle Ball will come, maybe.

[3:47] Jason A. Coombs: Hey, maybe.

[3:48] Samantha Dawn Tuozzolo: Hopefully. It needs to, right? Jonathan was in that, which was off-Broadway last summer, right?

[3:54] Jason A. Coombs: The Cats.

[3:55] Samantha Dawn Tuozzolo: Yeah.

[3:56] Jason A. Coombs: Last June.

[3:57] Samantha Dawn Tuozzolo: Which is crazy, because that feels like yesterday. Time is a moving, time is a moving. So big shout out to BroadwayCon. We always have such a good time when we go there, and it's so great to see the people who come out and travel from other states, and you know, they have their great costumes on, and it's just such an honor to be a part of that and provide, you know, content for these people who travel, who it means a lot to. So shout out BroadwayCon, and shout out to our panelists, and thank you guys so much for joining us.

[4:30] Jason A. Coombs: Before we talk about, you know, Gypsy and our guest today, oh my god. I just want to shout out this book I just read, and by the way, I'm not a huge reader, and so one of my New Year's resolutions was to read more, and it's really actually been amazing on the subway. Sometimes I'm just like, oh, so excited to go ride the subway, because that is when I read. I have a hard time reading in my apartment, because I have so much ADD, but on the subway, you really, it's either like you're reading, or you're staring, or you're looking at your phone. So shout out, I just finished Kelly Bishop, The Third Gilmore Girl, her memoir. My god, you guys, this book is so incredible. I initially was drawn to it, because I love Gilmore Girls, but also, Kelly was a Broadway girl first, and yes, she was in the original cast of A Chorus Line, and I learned so much about the development of A Chorus Line, and gosh, it was just, it's amazing.

I'll let you borrow, Jason. The like, early Broadway stuff, Kelly Bishop was being a feminist in a time, and speaking up for herself about sexuality, and people telling her she looked sexy, and things like that, at a time when nobody was doing it. It was in the 70s, and so this book is so amazing, and her journey's incredible, and what a badass woman as an artist, as a woman, as a Gilmore Girls lover, as a Broadway lover. There's so much in this book. Check it out, I love it. I can't, I'm probably going to read it again, and again, and again.

[6:03] Jason A. Coombs: I love that. Can I say one more thing, Samantha?

[6:05] Samantha Dawn Tuozzolo: Yeah.

[6:06] Jason A. Coombs: In relation to this, they did some, Emily made you a puff.

[6:13] Samantha Dawn Tuozzolo: Thank you so much. So, if you are listening, and you are familiar with the Gilmore Girls, Emily Bergel made me a puff. So, for those of you Gilmore Girl lovers, as you know, Emily Bergel played Francie on Gilmore Girls, and I was trying this as a fangirl, because we're in this position where we're interviewing people. Gilmore Girls, she filmed that so long ago. She was a kid. She was a child. Maybe not a child, but in her late teens, early 20s.

[6:43] Jason A. Coombs: Yeah.

[6:44] Samantha Dawn Tuozzolo: Right? This is years, and years, and years ago, and I'm like, listen, Emily, I have to confess, I'm a huge Gilmore Girls fan, and she was like, hey, I have the ability to make you a puff. Now, for those of you who don't know, in Gilmore Girls, Roy Gilmore, the lead character, goes to Chilton, this elite private school, and within Chilton, there is a sorority called the Puffs, and it's like an elite sorority. They don't let anybody in, and Emily made me a puff.

[7:13] Jason A. Coombs: That literally just went my way.

[7:15] Samantha Dawn Tuozzolo: And Gilmore Girls fans will know what that is.

[7:18] Jason A. Coombs: Thank you. Anybody here? Thank you. Thank you. Wow. Stream it on Netflix, guys. It's available.

[7:25] Samantha Dawn Tuozzolo: Iconic. Iconic. Iconic. I'm so happy for you. It was so fun.

[7:29] Jason A. Coombs: Thank you. Thank you so much. But yeah, shout out to all of the things, and let's give a shout out—

[7:36] Samantha Dawn Tuozzolo: And to the BroadwayCon team, as well, for mischief management, for allowing us a space to be part of the community.

[7:43] Jason A. Coombs: Yeah, and there's so many who'll be part of that, that they really do a great job.

[7:45] Samantha Dawn Tuozzolo: Yeah. Anyway.

[7:46] Jason A. Coombs: Anyway, let's move into our episode today. So, boom, we were both lucky enough to see Gypsy, the revival of Gypsy, the historic revival of Gypsy on Broadway. Guys, guys, guys, I mean, what a season we're in right now in Broadway. Audra McDonald, as Mama Rose, is just singing to the gods.

[8:12] Samantha Dawn Tuozzolo: Have you ever seen Audra McDonald live?

[8:15] Jason A. Coombs: I was thinking that. The first time I sat down in that audience, I said, I don't think I've ever seen Audra live, and I hadn't until this performance. And it was so special. I mean, my seat—oh, I don't want to give any spoilers, but—

[8:28] Samantha Dawn Tuozzolo: Yeah, I think you can give it away.

[8:29] Jason A. Coombs: Guys, there's a spoiler coming if you don't want to hear it.

[8:33] Samantha Dawn Tuozzolo: My seat was on the aisle. Down the aisle, she walks through the audience, and I was like, Audra McDonald is on top of me.

[8:41] Jason A. Coombs: Were you right next to her?

[8:42] Samantha Dawn Tuozzolo: Literally. Like, where she stopped, the light hit her, and I was like, oh!

[8:46] Jason A. Coombs: I was in the aisle, too, but I was like the third seat in. I was like—

[8:49] Samantha Dawn Tuozzolo: But still, there she was.

[8:51] Jason A. Coombs: I think it was better that I wasn't right next to her, because I don't need a great character.

[8:55] Samantha Dawn Tuozzolo: I was like, I did like the gay gasp.

[8:57] Jason A. Coombs: I know, I know. So that was really exciting. And just the production—

[9:02] Samantha Dawn Tuozzolo: A gay gasp.

[9:03] Jason A. Coombs: She probably would have been like, what the fuck?

[9:06] Samantha Dawn Tuozzolo: She'd been like, get this guy out of here. Hello, security.

[9:11] Jason A. Coombs: Anyway, what an amazing production it is. Hello, Jay, you doing okay?

[9:17] Samantha Dawn Tuozzolo: This is so funny. I was really like, I think I really did that. I was so shocked.

[9:22] Jason A. Coombs: You gay gasped.

[9:25] Samantha Dawn Tuozzolo: I gay like died almost. Anyway, yes.

[9:27] Jason A. Coombs: Focus. Yes, incredible. What a legend.

[9:31] Samantha Dawn Tuozzolo: I mean, the production as a whole is just so incredible. So which brings us to today's guest, Lili Thomas, who stars as Mazepa in Gypsy on Broadway.

[9:44] Jason A. Coombs: Now, Lili, by the way, is such an icon. This episode, like we just said, we haven't really been in this format for a while. This was our first episode back. And wow, she really brought us back in a major way. I mean, you'll hear these stories, but what a strong, powerful woman in this industry coming in, claiming what's hers and killing it. So you guys are really going to love this episode. I mean, she's in this historical production. She made history in Chicago as the first Asian-American Mama Morton. So she's just doing the thing and the talent. And she's so kind, too, which what the world needs now is kindness.

[10:30] Samantha Dawn Tuozzolo: Yeah, shout out Robert Peter Paul.

[10:32] Jason A. Coombs: Shout out Robert Peter Paul, the art of kindness. But I don't want to spoil our interview. So I'll just say, like, I just really appreciate it. She's going to tell a story of how she got the role in Gypsy and like what she went through to advocate for herself and to, like, say, hey, this role I was like meant to play for this for X, Y and Z. And you'll hear her talk about it. It's so, so much better than me explaining it. But I just love that. I think that's such a great reminder for people, us, like to just go after what you know you deserve. And you may not—they may not say yes, but like you should do everything you can to make sure like they see what you see in yourself for whatever it is, whether it's a role, whether it's a job, like whatever it is, like, you know, that you're like, you think you know you're meant for it. Make sure you put everything on the line.

[11:14] Samantha Dawn Tuozzolo: Yeah, that's why I took away from her. Because what have you got to lose if you're like, hey, this is mine? Because the worst thing that's going to happen is they're going to say no, or they'll be like, wow, look at that person.

[11:25] Jason A. Coombs: Yeah, fighting for this.

[11:27] Samantha Dawn Tuozzolo: So I want to work with somebody who wants this. So that is like such a huge lesson from this episode. Anyway, we're rambling. Welcome back. Survival Jobs, a podcast. Season three, section two. I don't know. We always have very long seasons. I think we'll probably push season three through the summer. So buckle in.

[11:46] Jason A. Coombs: So we do what we want.

[11:47] Samantha Dawn Tuozzolo: You know what? We love to see it.

[11:51] Jason A. Coombs: Okay. Enjoy this episode, you guys.

[11:54] Samantha Dawn Tuozzolo: Enjoy.

[11:58] Jason A. Coombs: There it is again. Lili, welcome to Survival Jobs, a podcast. We're so happy to have you.

[12:03] Lili Thomas: Thank you for joining us on the three-show day.

[12:08] Lili Thomas: I know. I'm so excited to be here. It's a great way to start off the day.

[12:12] Jason A. Coombs: It's basically a three-show day because you're showing and then showing and then showing.

[12:16] Lili Thomas: All the time. Showing gimmicks all the time. I mean, you are just on Broadway making history back to back to back in historical productions. Congratulations.

[12:27] Jason A. Coombs: We're going to talk all about it.

[12:31] Lili Thomas: Yeah. I mean, that's revivals. I mean, I've gotten very lucky.

[12:37] Jason A. Coombs: Oh, for sure. So before we jump into Chicago and Gypsy and all the great things we are going to talk about, Survival Jobs, the name of our show.

[12:44] Lili Thomas: Yes.

[12:47] Jason A. Coombs: Do you have a memorable survival job from your past that maybe was helpful to your career as an actor or maybe something that was like a wild survival job from your past?

[12:58] Lili Thomas: Well, I have many wild survival jobs because I am a very curious person. And so the minute I get involved or interested in something, I have to see it through. And I had a nickname in college that kind of stuck a little bit through my early 20s, which was PhD, which basically meant like, oh, if Lily has heard of it, she's trying to get a PhD in it. I just, I'm a little obsessive.

[13:25] Jason A. Coombs: That's great.

[13:27] Lili Thomas: And I want to be good at things. So I go a little overboard sometimes. But yeah, I mean, every time I've had a survival job, it's kind of led to a big interest of mine. I think that the first one that I can remember was in college and I worked as a like,

[13:49] Lili Thomas: Medical Assistant at a teen adolescent kind of pediatrician office. And I was so fascinated that it made me go back to school to do a post-baccalaureate pre-med because I was just like, oh my god, medicine is the coolest thing in the world. That's kind of the wackiest one.

[14:12] Samantha Tuozzolo: Oh my god. Hello, you guys. She's not only an iconic Broadway performer, but she has some medical knowledge. This is good to know. I'm such a hypochondriac that I will DM you if I have some questions. Such a hypochondriac. Not to sidebar, but I am doing all my doctor visits this month just to get them done at the beginning of the year. I hate when they send you personally your blood work because then I'm reading it and then I'm like, I did it. I am dying. It's so hard to not. It's so hard to not. That's an amazing story. It just goes to show you can do whatever you want. There's no restrictions.

[14:58] Lili Thomas: Yeah, for sure. So we also saw that you coach.

[15:05] Lili Thomas: I do. That's my main survival job. I was in this industry and then often sidetracked with medicine or the restaurant industry. I was in that industry for a while and tons of other things. I wasn't really super gung-ho about this career and making it to Broadway when I was younger. I really wanted to be a mom and I have two kids. When my kids were born, I should think I went out on one contract after my first was born. Her name is Annabelle. Then when I was partnering with my son, I was like, okay, I'm going to take a break. I've been wishy-washy all over the place. I was always a really old soul and being at a younger age, I kind of end up mixed race. That time was different. I didn't really feel like I knew where I belonged in this industry and where I could fit in.

I didn't also have the maturity to yet carve my own way. So I wasn't really seeing myself represented and therefore easily sidetracked. I love being a mom. So when my son was born, I said, I'm just going to teach and be home with the kids. That way I can teach around my schedule and be a working but very active hands-on mom. These are the years that I had heard, you can't get back and the best and you really don't want to miss it. I completely left the business. I left my agency and everything and I just started teaching at a private school. I live in Westchester and I was living across the street from a private school that my mother had taught at when I was growing up actually.

[17:01] Samantha Tuozzolo: At the same school your mom did?

[17:14] Lili Thomas: Yeah.

[17:15] Samantha Tuozzolo: How cool is that?

[17:16] Lili Thomas: It was really fun. I love that. Teachers were still there when she was teaching, but it was really nice and I just knew that it was going to be a good environment for me to foster this interest that also interested in teaching. I come from a family of musicians, but also a family of teachers. My family who are professional musicians, they teach at Juilliard and Manus and Curtis, all of the conservatories around. I also knew about how integrating teaching into your professional life was an important thing to your craft and keeps you in tune with the technical aspects of what you're doing. I knew, okay, I'm going to be taking some time off. I think teaching would be really good for me to stay in touch with my voice. I ended up really loving it. I still teach some students that I've had since kindergarten and now they're in college or have graduated from college. I have a few students who have both graduated from college, come see the show the other day.

[18:26] Samantha Tuozzolo: How special. Is that so amazing and special?

[18:29] Lili Thomas: It is because they knew me not as a performer. I think seeing somebody that in their mind went from just being the voice teacher down the street to say, okay, I'm ready to do this and make that happen for myself. They've communicated that it's really inspiring to them because it's such a close connection that they can really relate to seeing that determination put into action and produce an outcome. That's the whirlwind of it all.

[19:06] Jason A. Coombs: That's amazing. You're the ultimate survival jobs guest and it's such a great story. I always love when we have guests that are doing something a little bit different than your traditional way of getting to Broadway because we have so many different kinds of listeners that are on different paths. It's so special and amazing to hear the stories of like there's not one straight path. You can go learn everything about medicine and then be a teacher and then be on stage with Audra McDonald. Life is beautiful and the industry as tough and crazy as it is, is so beautiful with all of the paths. Thank you so much for sharing and coming on.

[19:48] Lili Thomas: I think it's really important to say, I also have been having conversations with a lot of people lately who are saying, I think I need a break. I'm going to leave the industry. I said, listen, you don't have to decide the rest of your life right now. If you're feeling like you want to put all of that passion into something else, you don't have to justify it with saying that I'm at this industry and that for me, period. Maybe it's not for you right now. I definitely felt that. I have also felt that there is no other industry for me at all than this one right now. We change, we all evolve as people and so should the vessel that we put all of ourselves into. Whether that's waiting tables or being a receptionist or being with children, they're all going to fill your cup in a different way based on what you need at a different time of your own evolution. Who's to say that a survival job has to be a sidebar to an ultimate goal? Your ultimate goals are going to change in life as a person, so why can't your career and your jobs ebb and flow also?

[20:57] Samantha Tuozzolo: Ebb and flow. I love that. Thank you for sharing that. Also, I love that you were like, I want to be a mom and you put that front and center. I was lucky enough to do a show. I was actually doing a show when I got pregnant with my daughter, my first child, with Linda Stevens, who she was Meg in the Bibi Neuwirth revival of Jammie and Deeds, which was actually the first Broadway show that I saw in 1994. I was sitting in the fourth row, I'll never forget it, sitting there watching Victor Garber and Bibi Neuwirth, my mind being blown, just saying like, okay, that's what I want to do. And I listened to that soundtrack every day and sang six months out of every year every day. And then that was the first time I did a show with somebody that I was like, wow, you are a huge formative memory for me.

And she had given me so much great advice. And there were a couple of other women in that show that I became friends with who were a little older, and some of whom didn't have kids and were on the career path and were really regretful looking back saying like, this industry is all going to be here. The time of my life, you don't look at it in chapters when you're younger. And I was lucky enough to have this insight from this group of older women who sort of gave me the permission to acknowledge wanting to be a mom as a valid goal in life, you know, not just like a thing that happens. And a lot of times it doesn't happen. And a lot of times, by the time that you think it's going to happen, you've lived life in a way that doesn't really lend itself to it.

And so you're kind of sitting there with this juxtaposition of really altering the life that you've worked so hard to build to do this thing, and therefore maybe not wanting that anymore. And I just knew, you know, my mother will always say, you always wanted to be a mom. Like I had a sister who was 12 years younger than me. And I just, you know, like, I always had a very maternal, nurturing love to give. And I am happy that I was able to meet people who encouraged me to follow that.

[23:31] Lili Thomas: Ah, it's also such an important sorry, this we're so we'll get back to the script in a minute, Jay. But, you know, this is a different show, what I'm talking about right now. But it's so important as a woman to know that you can do it all that you can be a mom and you can be on Broadway and you can do it all no matter your age or, or, you know, your mom guilt or whatever. And they're like, if you have a partner, or if you, you know, and I was married, but you know, I'm a single mom now. And I do that I focus, I do it all on my own. And it's hard, but like, it's also the best.

[24:12] Jason A. Coombs: Yes, very fulfilling.

[24:12] Lili Thomas: Yes. And I will change it for the world.

[24:16] Jason A. Coombs: Yeah, amazing. Thank you so much for sharing all that, because I think it is so important for women to know that it's okay that you are allowed to be a performer and a mom and do it all like there is no, I just have no rules.

[24:27] Lili Thomas: I have to also add because I think it's really important. I'm trying to bring awareness and fact that yes, you can do it all. But like you won't be perfect at any of that. And that's also okay. We're, you know, perfect at anything.

[24:36] Samantha Tuozzolo: Exactly.

[24:36] Lili Thomas: No, but we, but society has created these expectations of us to, like, if we're not being perfect, then we're not really succeeding. And that's not the truth. And I think it's important for people who may appear to be succeeding on social media on from the outside, whatever that is, to voice that we're whenever I'm thriving in one area, I'm dropping a ball in another. And that's, and that's the exchange. And that is also okay, because we're human. And that's how life works, you know. And by the way, you're surviving. I hope I hope we're the job of life.

[25:24] Jason A. Coombs: Yeah, exactly. You're surviving the job of life. I hope audiences have your notebooks out because Lili's dropping some gems here taking notes from a wonderful veteran right now because thank you, thank you. Thank you for that. You're preaching today. Thank you.

[25:37] Lili Thomas: Yes. So can we talk a little bit about Chicago before we go into Gypsy?

[25:44] Lili Thomas: Yeah, yeah, yeah. It was your Broadway debut, if I'm not mistaken. And you were the first Asian American woman to play Mama Morton in Chicago. How did it feel to be part of that kind of history to make history in that way in your Broadway debut?

[26:04] Lili Thomas: That's wild. Yeah, I'm so happy it happened that way. You know, like, looking back on the pre-teaching and pre-mom times of, you know, being so close so many times to this, you know, featured ensemble role covering this or, you know, and, and having so many letdowns and so many rejections of look, it's just not the right thing. It's a bit wears on you after a while, but getting to make my Broadway debut like that was almost full circle. And in this way of like, oh, because it, it is so much more rewarding to have to have done it like that. You know, I got the call. I felt like I was on tour and I got the self tape. And I was like, I think I called the agents. I think this is a mistake. I don't think this is for me.

And they're like, No, it is. And, and I, I learned so much about myself with that part, because it was the first time that like, it was so against the grain of what I thought of myself and what I thought of the character and having to find a way to release both of those things in order to, like, create this blank canvas to foster like, real, real.

[27:39] Lili Thomas: After work, that comes from a place of authenticity, especially in a revival. I mean, that's like really, to get an opportunity like that, I feel like is super rare, just in general. And so, I was on tour, and I remember my Connor at the time, August, who was playing my son, and we were, you know, only like, we're very similar in age, I'm not gonna give anybody away, but we were close with these, and he said, look, what are some, you know, like, what is this character? She's strong. She's authoritative. She is, you know, she's confident. She is nurturing. She actually is all of these things that I think you can identify with. So, what's your version of that? You know, and also like mixing the comedy of that.

And even though I am Asian American, you know, I identify as a New Yorker. And so, it was really like, okay, I am these things and I'm a New Yorker. And I'm quirky. So, like, how can I put all these things together and also show that somebody can look like me and not be what you think I'm gonna be? You know, and there are a lot of stereotypes that circle around women in the Asian American community. And I think that that was a really hard thing for me in the, what I like to call the before times, which were, you know, like the early 2000s, where it was, if you look like this, you gotta be like this. And if not, then, you know, we don't really know. But to be able to show that I could be all of those things and be Asian, and that they weren't working against each other, but they actually were working together.

You know, I have so many students and people, you know, in this industry, people reaching out to me saying, thanks for doing the work to break these stereotypes too, you know, and not forcefully, but like, because that's the way I am. Yeah, you're just doing the work, you're just doing the character, and it doesn't matter. Yeah, yeah. And like, I grew up in New York in a very diverse community. And like, I didn't even really identify as Asian until I got to college and realized, wait, am I? Like, I didn't really, it wasn't ingrained in the evolution of like, my character. In a way, it was a post-developmental awareness, which is kind of unfortunate. But I think that made me feel this desire and this need to prove that in a way of saying like, I'm rightfully, I'm right in feeling that this is my character, aside from what I look like.

And this is, um, these are the parts of my character that, that, that exists that go against this stereotype and not falling into what society maybe is trying to like, sweep me into this lane and be like, no, no, no, no, this is who I am. I'm sure of it. Yeah.

[31:03] Samantha Tuozzolo: And I love that you, you, you were like, I'm going to get down to this character's like, the bare bones of this character, right? They're, they're, they're motherly, and they're strong. Like, you can play like, I just think it's an important lesson for actors, young actors to hear, like, you don't have to be put into a box, you know, like, this is a time where you can definitely challenge yourself and take on roles that you may not feel like you are the right fit for.

[31:30] Lili Thomas: Exactly. I wish I had someone. This is something that I have been telling, um, you know, some of my younger friends from like, from Dear Evan Hansen, who are like, well, they're just not this right for me. And I said, forget about who's played that before. Look at like the description of that character. That is you. Who cares if you're, you know, five, five, and the last person who did it is six, one, who cares? You know, and yeah. Um, I mean, a little similarly with Dear Evan Hansen too, you know, having this mixed ethnicity family and a show that was originated with a white family and seeing how that further informs and evolves the script and the words that were there from the beginning to tie into what's happening here.

You know, it's, that's our job as an evolving society of actors. That's, that's like the gift that we get to do. That's why revivals are important because more ways to look at text, you know, the text is the window. And, um, uh, you know, Steven Sondheim always said he writes, he finishes three quarters of the work and he leaves a quarter left for the artist who is interpreting it because it's a path, but like we have the creative, you know, the, the writers are depending on us to bring in something that something new. Sorry. That was like a full, a full circle back over here.

[33:00] Samantha Tuozzolo: Do not be sorry. This is amazing.

[33:04] Lili Thomas: And, and I felt like I found so much strength and so much ability and learn so much about myself. And, you know, it definitely gave me a lot of confidence just about, oh, I can be what I really believe I am not what somebody else wants me to be.

[33:22] Samantha Tuozzolo: Totally. That's my acting coach.

[33:27] Lili Thomas: I'm like in love. Thank you.

[33:29] Samantha Tuozzolo: Act one, we'll get together.

[33:34] Lili Thomas: Amazing. Thank you so much for being so open, like from jump with us and sharing everything. This is our, this is our first episode back from our little holiday hiatus and what a way to kick it off. Yeah. 2025 here we go. Okay. So now we have to talk about Gypsy, you know, you really went from one historical production, you yourself making history in Chicago to Gypsy is the first, you know, the first black cast doing these roles. And so we're back in making history again. So can you tell us a little bit about your audition process for Gypsy, how it came to be and like what you felt when you found out that you booked it?

[34:17] Lili Thomas: Yeah. So it's funny, because it really goes in line with what we've been talking about. I, I saw the, you know, the rumors, okay, Gypsy's coming back on your McDonald. And it was like, is this really happening? And, you know, my agent said, it's just a rumor for now, nothing's confirmed. Um, and I was like, well, you know, like, my dream role is Mazeppa. And he said, you know, it's a tiny role. I mean, it's like an iconic role. But I said, it's my dream role. It was really? Yeah, because I'm a brass player. I'm a trumpet player. And like I come from this family musician. And, you know, it was like my grandfather and my father and my uncle, my two uncles, like would all sit and play these trumpet trios and quartets.

And then, you know, my dad and I would sometimes do this, play these trio, play the duets, these trumpet duets. And my stepfather is a French horn player, we would play brass duets. And it's like, wow, being a brass girl is a thing I'm really, really proud of. And kind of also goes into that, like, you know, I play these lower brassy, big, more male associated instruments. And it's something that I that I just love so much. I also just saw Gypsy when I was like six years old. And my uncle, who was one of the trumpet players, he was the band director. And he was music directing Gypsy at the school. And so he his kids, my cousins were watching the movie all the time. And I was like, what is this?

And I was so just captivated by the by the gimmick girls was the first time I had seen women who were strong and sexy. And like, I didn't really know what sexy was. But I was like, they're strong, and they're alluring. And they're, like, uninhibited. And they're not trying to buy for a man's attention. There was something so, so alluring about that to me. That was like, wow, that confidence that comes with the thing that you do not with, you know, trying to get married or trying to fall in love or, you know, all of these sort of typical female focused themes of musicals of this time, you know, and I, I was just I had no idea what a stripper was what a burlesque artist was. But I was like, I want to do that kind of art.

You know, I'm like, Oh, I was like, doing ballet at the Peabody Institute at the time. And I was like, why don't we dance like that? I had no idea. Um, I just love because she played the trumpet, and I had so much exposure to that. And I was like, that one, that growly, low, bigger than life one, I want to be. Oh, cool. Is that just really funny? Wow. What an amazing score and coming from a family of musicians, like it was a overture that we could all listen to and enjoy. You know, like, sometimes when you have classical music, and parents, they can get snobby about musical theater scores. Put that out there. Um, but then, you know, it's like a website story that we could just put on and everybody could enjoy it.

Um, yeah, and we so when the rumor started, I reached out to my agent. Finally, when it was confirmed, I reached out and said, Yeah, we're submitting you like, top of the list. We know you want it. Okay, we're going and then I didn't hear anything. Um, and then I had a friend who, a new friend who knew that I played trumpet and, and she got an appointment for it. And she was like, you know, I know we don't know each other that well, but you'd be really, really great in that. And I said, that's what I wanted. I really want that. And so I told my agent, I get the appointment. You know, and they were like, well, you know, they're being super picky. And we call back and we pushed and, and we pushed back a couple times.

And it's, it's been a no, they're being really picky. They're really, really quick. They know exactly what they want. They're trying to move really fast with this. And I said, listen, I've never done this, you know, like, I've always just said, Okay, if they don't want me, like, I don't want to try to go somewhere I'm not wanted, you know. But this does play into, you know, as a casting director, I really hadn't been in for very much before I was in a few times before I was a mom, you know, and so just this whole Mama Morton era of doing these bigger roles. And I said, I'm going to push back one more time, I would really love for you to just get on the phone with them and explain to them that what they're seeing on their paper, five, four Asian woman who's like got a really nice smile like that, and, and seems to be super kind and gentle and more maternal.

And I guess I guess I get that in my life. I'm like this. And even when I go to the stage door, a lot of times people are like, Wait, was that was that you? Because I'm talking up here. I'm like, Hi, how's it going? And you know, but it was the same thing at Chicago. It's, it's, it's not who I am. You're an actor. It's a very, very strange concept. Sometimes. I said, just just give them a push. Ask them if I can at least make a tape. I was like, I can't let this revival this historical, monumental event happen with a show and a role that I feel so passionately about. I can't let this happen and not have been seen for it. And so, so they did and she was like, Okay, they're gonna watch the tape.

They promised they would watch it. And once I made the tape, I think I sent it out on a Friday and on Monday, they were like, Can she be here tomorrow? And, and it was very exciting. And I, I, I remember I walked in the room and George, George is sitting there and I did this up and he went, So you're an actual brass player? Huh? And I was like, Yeah, and he was like, I know. I know what you did there. That's hard. I played trumpet. And I was like, What? And, and we just had a little vibe check about the trumpet. And he was just so lovely. And Jordan was in there. And just so, so lovely. Everybody. It's so much fun. It's a great, creative, like playground, we played around the trumpet, we played around with the character. And, you know, it's a, it's very few lines. She just comes in like a bulldozer in this one scene and goes into the song. And it's like, Bye. You know,

[41:29] Samantha Tuozzolo: You make such an impression on the audience. I've never seen Gypsy. I've known the score my whole life, it feels. So this is my first time seeing it. And I literally, after the show, was like, we got to get her. You make such an impression and you fill that stage. This story you just shared is so important about if you know something is yours, you fight for it, no matter how many times people say no. I'm a huge, huge Mariska Hargitay fan, please look at my Law & Order cup. She did something similar with ER where she had a small guest star or whatever reoccurring on ER, but had first been told she didn't get the part. And then she was making calls and she's like, no, you don't understand. This is my role. When you know, you know.

[42:24] Lili Thomas: Yes. And I think that is so, not I think, it is so important for anybody in the arts pursuing anything that when you know something is yours and somebody is telling you no, you have to push because you're the only person who's going to advocate for yourself in the way you're supposed to be advocated for. Learn how to advocate for yourself. And in order to do that, you have to trust yourself. You have to believe that what you know about yourself is real. And this industry is an industry and nobody is trying to do it maliciously, but this is an industry where people, their job is to tell you what they think you are. And that's just the way that it is. So just because that's the nature of how, you know, the mechanics of it all works, means it means that you have to actually be tougher and stronger and stand taller in, in the belief of who you are when you do know, you know what I mean?

So none of that really made sense, you know, but, but if you know that something's right for you and you have something to show advocate for it, because that's going to be much more telling than a picture and a piece of paper saying what other people thought of you. That's your time to say, no, this is who I know that I am. And I have something to show you whether or not that's going to be right for your show or not. That's not up to me. That's up to you. And that's fine. And sometimes it's got, you know, there have been roles where I'm like, no, I'm really right for that. And then I haven't gotten it. And then I've seen the way that they've gone with the production. I said, Oh, I actually really understand that. Yeah. It makes sense. Yeah.

[44:03] Lili Thomas: Yeah. And, um, but I will say that with like the three big hitters on my resume with Dear Evan Hansen and, um, Chicago and Gypsy, I knew, and I knew in the room that what I was doing, that we were involved in something special and different, you know, and I think like, that's the thing. Don't try to, that's why I just always tell my students, don't try to become, don't try to copy that version. And it's not about, Oh, make it your own. Sure. We all have all heard that make it your own, but it's almost like be your own, right? Be your own. There are no two people that are the same. So why should two people playing this character be the same? You know, they can have the same traits, but trust that you're just trust yourself.

Your point of view, the life experience you bring and what you have to bring to the character is unique and nobody else can bring, somebody else can bring something you can't bring as well, but, but hold that. And, and, you know, that's special and know that it's special. And like, that will also give you that strength and that power. Um, but it was, it was just so much fun. And then, and then I came back and I had like one more session. Uh, Camille was there and Heidi was there and that was it. It was a really short, it was a really short process. Um, I know that there were like different chunks and rounds of things, but, um, no, I was so, I was just so happy to have gone through it. And I remember just saying, if it doesn't happen, I'm so happy that I advocated for myself and I thought in that room, we had fun in that room, you know, like playing around and, and I think knowing that they didn't think I was right for my resume and my headshot kind of made me feel a little bit invincible in the room, you know, it's just sort of like, well, whatever. Like, yeah, you did the thing, something in particular. So just go in and do it.

[46:16] Lili Thomas: Um, I love that. Yeah. It was to really want something so badly from the beginning, not just from getting the audition, but from knowing that this event was going to happen and that this piece was going to take place and knowing the people, knowing the people who were involved and just saying, wow, I would truly love to be there. You know, I would just love to be a part of that. Um, and then to see it through and to get to be there, it's so rewarding. It's, it's also rewarding to be able to show that to my kids because they see it all from the beginning, you know, like they hear me put the song on and say, Oh, this show is coming to Broadway. I really wish I could play that part. And then they see the whole thing through.

So they see, you can do it. You can make your own dreams come true. And to be able to have them around for the journey. I remember when I got the call, I was, um, I was actually out of town. I was doing a, a new errands and clarity show. And I was sitting in the parking lot, getting ready to go into rehearsal. And I got the call from my agent and I called my kids immediately. And they just were so excited. They were so excited. They didn't they're 13 and 11.

[47:35] Samantha Tuozzolo: Oh, have they seen the show yet?

[47:39] Lili Thomas: My, my 13 year old came to opening night. And my 11 year old was like, you know, I would really like to just come see the show where we can just hop in the car and talk about it and go home after because if I go to the opening party, like you're not going to be able to talk to me and I'm just gonna like sitting around and I don't, I don't know, that's gonna be a lot and it's gonna be late and I'm gonna be tired. And I was like, I respect you for knowing your social battery. I love that kid. Yes, you are going to be burnt out and not want to have to socialize at that time. Absolutely.

[48:15] Samantha Tuozzolo: Yeah, I feel like that all the time. So Lili, Gypsy is not your first rodeo and you're dropping so much knowledge, like I said earlier, but can you share maybe, I don't know, the biggest lesson you learned about yourself from this production or something you may have learned from six time Tony winning legend Audra McDonald?

[48:36] Lili Thomas: Oh my gosh, where do I begin? I've learned so much from watching her. And from just talking with her and being in a room with her and she is the most kind and humble and vulnerable team player I've ever met in my life. She immediately set the scene for the environment of that room to be, we are all as important to this story as one another. And we are laying, we are building the space together. And we need to build foundations that can catch each other when we fall because we need to be allowed to try things and make mistakes and not be expected to live up to a reputation or a name or this or that. We're all creators and in creating great art, you have to also take big chances and fail and waver.

And the positive part about having a company of this size, I mean, it's like, I think, including the dogs, it's something like 40 dogs, you know, individuals who are going on stage, 40 living things going on stage. It's that we all are there to support each other and to catch each other. And, and knowing that that kind of support exists. You know, I'm like, not a spring chicken. And I've had two children and I'm up there bearing a lot, blowing on an instrument in underwear every night, you know, like that's a very vulnerable place to be. Truly.

[50:32] Lili Thomas: I've learned, I have learned an element of not watching myself, that when I really let all of the insecurities or the doubts that exist in Lily's world and Lily's brain, when I leave them, you know, and I leave them behind, I don't let them on stage. That's when my character can really complete itself. Because those things rarely exist in the characters that I've been playing. And, and something really great happens beyond looking the way you want to look in a mirror or sounding the way that you want to sound, you know, it's also a role that's more iconically known for it's like, chutzpah, for lack of a better word in the vocal tone, rather than like, perfect pitch and, and all of these things.

And so that like, as a, as a singer, it's been hard to let go of that stuff. Yeah, but I feel like it's taught me how to be beautiful and being messy. This role in particular. Yes. And I'm really loving it. And it's translating into my life. And the thing that I said before about like, it's okay, that when I'm excelling here, I'm, you know, not, not right, really rising all the way up over here. And that's okay. And I think those things, you know, with also having Mazepa, having the bit not be that she's bad at the trumpet. But having the bit be that she's like, definitely played the trumpet for a long time, because in my opinion, it never quite made sense. Like, well, if she's supposed to be a really jaded woman who's been doing this for years, even if she wasn't an amazing musician, she would like, at least have great embouchure.

If she did this, you know, the burlesque show, they would run sometimes like five, seven shows a day. And they would be doing this nonstop. And if this isn't her thing, she at least have some good embouchure, you know, and be able to play it.

[52:39] Lili Thomas: Yeah. And just sort of like, maybe subconsciously, what is that doing to the audience in terms of layering these women a little bit more who are only on stage for a short amount of time, but that, that kind of element of, you know, like, what happened to these women? Why did they end up here? And also not like, oh, you're bad. So you ended up in burlesque, because some of these burlesque performers are some of the most talented performers I've ever watched footage of, you know, I mean, the, you know, their genics for lack of a better word. I mean, it's artistic creativity, it's being really brave and going with something different. But like, so layering that, how did this woman? How did Tessie Tura?

She's on, you know, Leslie's on point. So no woman, I mean, I kind of want to be a ballerina. No, she was obviously classically trained as a ballerina. How did Tessie Tura end up in this place? Is this where she chose to end up? Because there, because vaudeville was dying. And there wasn't really Broadway, big, you know, big, big Broadway musicals yet. So kind of historically speaking, it's really, it's been really fun to show a little bit of that historical culture of that just because these women are strippers, doesn't mean that they're not talented. And doesn't mean that they didn't want to, that maybe that was where they wanted to be, you know, and maybe that was the only place where a woman could be a solo brass player in the 30s. Right? You know, I mean, so there are lots of different things you got to do.

[54:23] Samantha Tuozzolo: Yeah, to do what you love, what you love. And that's the fun stuff. Why this number is so fun is because these characters love their gimmicks. And it's also a moment in the show where everybody needs a good laugh before we all go to, you know, emotional town.

[54:41] Lili Thomas: Correct. Yeah.

[54:43] Samantha Tuozzolo: It's nice to be a little comedic, comedic relief.

[54:47] Lili Thomas: For sure. You know, bring your tissues, people, because, you know, Audra, she will send you into heaves, dry heaves. Oh my God. Lili, you are incredible. You've already shared so much advice and wisdom with us and our listeners. But before we play our Super Fun Game, do you have any advice that you could share with anybody who might be feeling stuck in a survival job but is craving a life in the arts?

[55:17] Lili Thomas: Yeah.

[55:18] Lili Thomas: Be artistic in your survival job. If you're, you know, like, I'll give a quick example. I worked, Chief McNally has a bunch of restaurants around the city, Balfazar. I worked at Schiller's, liquor bar, which is now closed, the Patsy's, Minetta Tavern. And I worked for his company for a long time. It started out as a survival job. And then I was just so interested in when they were creating new dishes. And I ended up working, doing meal prep, and then working on the line for him and doing apprenticeship in the kitchen because it is a creative, it's culinary arts. And so I turned that survival job into a way to feel artistic. And, you know, I, when I cook, and I love to cook, but when I cook, it's a creative outlet for me.

Sure, eight shows a week, I eat berserkness. But when I'm not in eight shows a week, it's like, oh, well, you know, this is really in season. And I think about it the same way that I think about approaching a script, you know, and how to feel my own perspective through the material that I have. So for sure that if you can find a way to be creative in any job that you're doing, it'll keep that part of your brain and your heart and your soul alive and connected. And it doesn't matter if you want to take six months off, or look, I took six years off. So it's fine. Do whatever you need to do to be happy. Don't let the survival job defeat you.

[56:57] Jason A. Coombs: Yeah. And one last quick question for a really fun game. I know we've kept you for like, what, 40 minutes already. But do you have something, this world, this country, is this a wild time? What's feeding your soul? What's keeping you sane? What's warming you up? Any other, like, any other shows, any movies, any books, any podcasts?

[57:18] Lili Thomas: I'm a big audiobook girl, because I drive in and out of the city so that I'm not getting home after midnight. You know, I mean, the congestion kind of things are not getting me started. I was just gonna say, but I didn't want to.

[57:30] Jason A. Coombs: Why is that a thing?

[57:33] Lili Thomas: It's just gonna open up a whole kind of world that we don't have time for. However, look, I understand it. But they haven't reinstated the train schedules from pre-pandemic. And so it's really not an option for me to come down, you know, leave this theater around after 10 o'clock, when we started seven, and after 11 o'clock, when we started eight, and get home at a reasonable time. My kids are already asleep. It's not even about that. But like, I have to be up with my kids at 6:30 in the morning. So I can't wait until the next train at 12:20 and get home, then it's running local, get home after 1:00 a.m. I mean, that's crazy. So it's very frustrating. But wait, what was the question? I got congested on the congestion.

[58:23] Jason A. Coombs: Audiobooks.

[58:25] Lili Thomas: Okay. I love audiobooks. I have been listening to an audiobook and then trying to, it hasn't been going so well. So I don't even know if I should say that I'm doing it. I was during rehearsal. And I was like, listening to my audiobook, and then going home and picking up in the book where I left off. And it would really help me wind down rather than coming home and watching TV and getting wrapped up in a show. But also, it was helping me plow through material. So I was really getting through my to be read shelf by combining the two. Yeah, I'm really kind of really big. I don't know, last year, I was on a big nonfiction and memoir kick. And this past year, I've been really just on a fiction roll. I've been loving the books that I'm reading.

[59:27] Jason A. Coombs: Yeah. Yes. Speaking of memoirs, to get more off topic, I just started Kelly Bishop's memoir. It's amazing. I recommend it to everybody. Did you read it?

[59:38] Lili Thomas: I didn't, but my dresser actually just was like, you should read that because my daughter is a Gilmore Girls fan. And my first show back after, you know, coming back to the industry was A Chorus Line. And I played Sheila and she was like, her mind was blown that those were the same person.

[59:54] Jason A. Coombs: Yeah. Yeah. And I mean, there's the old school Broadway of it. And she was like, being a feminist and a time and sticking up for women in a time where nobody did that. And so I haven't even gotten to the Gilmore Girls part of it. I'm in the broad, old school Broadway, and it is fierce. So I'm not out.

[1:00:11] Lili Thomas: She does memoir is incredible. And I really recommend to everybody, if you can to listen to the audiobook, because she reads it. And yeah, he reads it. And you know, that was a huge loss for the community and, and, and getting an announcement here. I'm live from Broadway people, right? To have the gift of Cheetah's voice in her own, you know, autobiography is, yeah, it's just, you can't top that up. So I really recommend to everybody to listen to that. And the stories, old Broadway, those stories are incredible.

[1:00:54] Jason A. Coombs: Cheetah's like actually a perfect segue into our game. So before we let you play a really fun game. So I mean, Cheetah is a perfect segue, but the game is called A is for Audra.

[1:01:05] Lili Thomas: A is for Audra.

[1:01:10] Jason A. Coombs: People like the book like the children's book. Yeah, we figured since you're literally starring in a Broadway show with Audra McDonald, Queen icon, Broadway diva, we're an amazing mom, and amazing and amazing mom and kind all the things we're going to tell you a fact about either Audra McDonald or another Broadway diva. And you're going to say if it's A is for Audra, or not Audra, and I love when the thing does that. Sorry, for people who are just laughing down the screen. And bonus points if you say not Audra and say who it is, this might be kind of hard, but it'll be fun. And I'm famously known for cheating on our game. So if you're sure you can look at me and I probably will give you the answer. Okay, I'm nervous.

[1:01:58] Lili Thomas: Jeez. Don't be nervous. But also shout out. Johnny, I'll tell you the author's name is for Audra is an amazing children's book and he has B is for Broadway as well. So big shout out. Yeah, so I all my friends are you know, pregnant and having babies and everybody is getting these books for their baby shower. So yeah, that was the first one. Yeah, Jay, Jay, take the first one.

[1:02:21] Jason A. Coombs: In 2016, President Barack Obama awarded her the National Medal of Arts.

[1:02:28] Lili Thomas: A is for Audra.

[1:02:34] Jason A. Coombs: Yeah. Yeah. Okay. All right. Ding, ding, ding. One point.

[1:02:37] Lili Thomas: This I was trying to make an A but it was I was like, it doesn't P and that's why I thought it was a P also I was like, I'm not sure where this is going. The A and then across. And not my eyes. It didn't work. Okay, like it was trying and it didn't work. It didn't land. Okay, number two.

[1:02:56] Jason A. Coombs: She has won six Tony Awards more than any other actor.

[1:03:03] Lili Thomas: A is for Audra.

[1:03:04] Jason A. Coombs: Correct. Yes.

[1:03:08] Jason A. Coombs: Number three, she was the first American actress to win an Olivier Award in London.

[1:03:09] Lili Thomas: Not A is for Audra.

[1:03:14] Jason A. Coombs: Correct. Do you have a guess? It might be.

[1:03:26] Lili Thomas: The first. The first American actress to win an Olivier Award in London.

[1:03:29] Jason A. Coombs: What was that show for? What was that show?

[1:03:32] Lili Thomas: You know, it's funny. I don't have that info here. I'm gonna look it up.

[1:03:34] Jason A. Coombs: Look it up and circle back. Okay, next one. So you are have a perfect score of three so far.

[1:03:42] Jason A. Coombs: Three as you got as you got Patty 10. Next, she won an Oscar for Best Actress for her role in Cabaret in 1972.

[1:03:48] Lili Thomas: L is for Liza.

[1:03:50] Jason A. Coombs: Correct. Extra point. Okay, number five. She trained at Juilliard.

[1:04:04] Lili Thomas: A is for Audra.

[1:04:08] Jason A. Coombs: Correct. Yes.

[1:04:12] Jason A. Coombs: Next, she created the roles of Dot in Sunday in the Park with George, Mabel Normand in Mac and Mabel and The Witness.

[1:04:15] Lili Thomas: B is for Bernadette.

[1:04:24] Jason A. Coombs: Yes. Look at all of these model roles is. Yes. There's a theme here. Hello. I love that. She is the only actor to win a Tony Award in all four acting categories.

[1:04:33] Lili Thomas: Wait, what was for Audra?

[1:04:39] Jason A. Coombs: Yes. Yes. Yeah. Yes.

[1:04:42] Jason A. Coombs: And for play, for musical supporting and lead.

[1:04:45] Lili Thomas: Supporting and lead. Yeah. Okay. Isn't that wild?

[1:04:48] Jason A. Coombs: I was like, wait, she won the male categories too?

[1:04:52] Lili Thomas: I thought the same when I first heard it. I was like, wait a minute. I really had to think about it. But that is iconic. It's wild. But when you watch her, it is just like, oh, you're like, obviously. How could you not? I watched the show with my jaw on the ground the whole time.

[1:05:05] Jason A. Coombs: Okay. We're so close and you have a perfect score. Next, she made her Broadway debut in Jekyll and Hyde.

[1:05:12] Lili Thomas: Okay. It's not, it's not Audra, but I'm. Do you want a hint?

[1:05:24] Jason A. Coombs: Okay. Well. I can give you a hint.

[1:05:27] Lili Thomas: Do I know her? You might. I don't know. She was seen last season on Broadway opposite Brian Darcy James. Oh. In a show called Days of Wine and Roses.

[1:05:36] Jason A. Coombs: Kelly O'Hara?

[1:05:46] Lili Thomas: That was your Broadway debut? Jekyll and Hyde. I'm not sure of the part.

[1:05:51] Jason A. Coombs: I didn't know that. I didn't know that. K is for Kelly.

[1:05:59] Lili Thomas: K is for Kelly. Also so lovely. Yes. She's so sweet. Okay. Next.

[1:06:02] Jason A. Coombs: She holds the record for the most Tony award nominations for a performer with 10 nominations.

[1:06:07] Lili Thomas: C is for Cheetah.

[1:06:12] Jason A. Coombs: Yes.

[1:06:16] Lili Thomas: I'm sorry. No, I just didn't get the point, but you still got it. You still got the point. Okay. And last, last question. She joined Christine Baranski and Meryl Streep for a special 90th birthday toast to Stephen Sondheim in her bathrobe.

[1:06:31] Jason A. Coombs: In the pandemic. I want to say. There was an iconic video. Wait. I want to say.

[1:06:57] Lili Thomas: Samantha made me do her P. So I've been doing the P, which to me says yes. A is for Audra.

[1:07:03] Jason A. Coombs: Yes. Ding, ding, ding. Perfect score.

[1:07:07] Lili Thomas: Great. Great lifelines. Really, really great lifelines. By the way, like you had, you were pretty, pretty good. I only cheated twice. I keep seeing this and I keep thinking that you're telling me it's Patty. It does. How would you make an A with your fingers?

[1:07:27] Jason A. Coombs: Oh, good. J. Or like perfect A. Or like sign language.

[1:07:32] Lili Thomas: I'm over here. Okay, you guys. Nobody said I was perfect at finger, finger sign. I do just want to shout out the inspiration for that game is the author is John Robert Allman. He's a friend of mine. A is for Audra. And he has B is for Broadway is a couple of other children's book books. They're amazing. So shout out. Congrats on the game. Lily, this episode was amazing. Thank you so much for joining us.

[1:08:02] Lili Thomas: Thank you for having me. This was so fun.

[1:08:06] Jason A. Coombs: Yes. Can you just let our listeners know where they can keep up with you and follow you on social media and keep up with all the things?

[1:08:10] Lili Thomas: Yeah, I just I'm a one social media spot kind of girl. I am at the Lily Thomas on Instagram and Lily is L-I-L-I.

[1:08:22] Jason A. Coombs: Amazing. And if you're tuning in and listening to us for the first time because you're a Lily fan and you don't follow us, check us out at survival jobs pod on Instagram and Tick Tock baby.tick tock for what's longer we'll see on Facebook. I don't think so. On Facebook at Survival Jobs podcast, shoot us an email, let us know your thoughts. Let us know some dream guests at survival jobs pod at gmail.com. Follow me at Sammy toots and follow my boy Jason at Jason Coombs. Run to go see Gypsy at the Majestic Theater. ASAP everyone. ASAP. They are giving performances to the gods. Thank you, Lily. You're a star. Bow down. Thanks so much.