This transcript was automatically generated and might contain errors.

[0:00] Alan Seales: Hey everyone, welcome to our final episode of 2024. I'm Alan Seales here with The Theatre Podcast and we have a special crossover guest, Sarah Goodman, host of Good Show Podcast with Sarah Goodman. That's her, Sarah Goodman. Hey Sarah.

[0:19] Sarah Goodman: Hey, it's me, Sarah Goodman.

[0:24] Alan Seales: Tell us about your podcast real quick. I love, I personally love your podcast.

[0:28] Sarah Goodman: Oh, I had to have you on. Thank you. That's so kind of you. Yeah, Good Show is with me, Sarah Goodman. I'm looking at theatre through a queer lens and talking about the craft of theatre and how it connects with the LGBTQ plus community. But I also have a really exciting series coming up this year that's going to be all about designers because I'm a sound designer and I love putting the spotlight on other designers. So we're going to get a bunch of special episodes in spring that are all about designers.

[0:54] Alan Seales: Spring 25. All right. Can you believe we're in freaking 20? Well, we got like a few days left as we're recording this.

[1:00] Sarah Goodman: Yeah, it's wild.

[1:01] Alan Seales: 2025, 2024. I'm ready to say goodbye to 2024 in many, many ways. And theatre, including theatre, I think theatre still hasn't come back. We've had some changing of the guard in some leadership positions in theatre in New York, and I'm anxious to see what happens this year in 2025.

[1:18] Sarah Goodman: Yeah, yeah, some changes. It's been kind of a rocky year, I feel like, 2024.

[1:26] Alan Seales: Overall, completely. Politically, economically, geopolitically. Anyway, so we're not here to talk about that. I saw a bunch of shows, tried to do more plays in 2024, which was something I had promised myself I was going to do. And the first show I saw, January 13th, 2024, was neither a play nor a musical. It was Illuminate.

[1:54] Sarah Goodman: What was that show about?

[1:56] Alan Seales: It was at New World Stages. It was like a dance troupe, a hip hop dance troupe, where they had like fluorescent lights, basically, as skeletons.

[2:05] Sarah Goodman: Oh, like on their costumes.

[2:06] Alan Seales: Yeah, on their costumes. And they would just do dance, like make different shapes and do dances in blacklight and low light. And it was really cool. I took the kids and they had a good time.

[2:12] Sarah Goodman: That's fun.

[2:17] Alan Seales: And then I had a doubleheader, followed by Our Class, also a Broadway band.

[2:23] Sarah Goodman: Oh, very different vibes.

[2:24] Alan Seales: Very different vibes. That was for my Al Silber interview, one of my favorite interviews of the year, actually.

[2:28] Sarah Goodman: I love Al Silber. That stands out, yeah.

[2:33] Alan Seales: Yeah, Our Class was great. Do you remember the first show you saw in 2024?

[2:39] Sarah Goodman: I do. It was Here We Are, the last Sondheim musical.

[2:44] Alan Seales: Oh gosh.

[2:45] Sarah Goodman: I saw it at the Shed, and I loved it. It's unfinished, and it doesn't have a ton of music in it. But I really liked it. I thought it was cool. It was sort of like if Sondheim made an A24 film. That's what it felt like for me. But there's no robots or time travel. But it's unsettling, you know what I mean?

[3:03] Alan Seales: Yes. Well, was it unsettling because it wasn't finished or just because that's the story?

[3:09] Sarah Goodman: No, it's kind of about the end of the world a little bit. It's very bizarre, and it's like kind of like a dystopian, possible apocalypse kind of vibe. It's very strange, and I really liked it.

[3:19] Alan Seales: Is it meta in so much as that it's an unfinished project about the end of the world?

[3:26] Sarah Goodman: I mean, literally unfinished because the composer died in the middle of making it.

[3:29] Alan Seales: Yes.

[3:30] Sarah Goodman: Basically, the storyline is like a group of rich friends are trying to go to brunch, and they keep going to different restaurants, and there's no food at any restaurant they go to.

[3:46] Alan Seales: And it's like, what's happening?

[3:48] Sarah Goodman: But they're kind of oblivious to the fact that it's very strange that everywhere they go, they can't be served. So they try like three different restaurants, and they keep having to leave and start over again.

[4:00] Alan Seales: That sounds like a Fever Dream montage from Friends.

[4:04] Sarah Goodman: Totally, or like Seinfeld or something.

[4:06] Alan Seales: Yeah, like Chandler can't get fed.

[4:09] Sarah Goodman: They can't get fed. And then the second act, they're trapped in a house, and they literally can't leave, and they have no food or water. So they're trying to figure out how they're going to survive or if they're going to die in this room.

[4:19] Alan Seales: Interesting. Speaking of houses, that's about a C-plus transition. I want to jump straight to Hills of California. Talk about being stuck in a house.

[4:28] Sarah Goodman: Hills of California was my favorite play.

[4:30] Alan Seales: Absolutely. That stands out as my number one from 2024 in terms of plays. I loved everything about it. I love the performances. I love the story. I love the set. I think we saw it together, right?

[4:43] Sarah Goodman: Yeah.

[4:43] Alan Seales: We saw it together, yeah. The set was stunning.

[4:47] Sarah Goodman: Blue Me Away was not surprising, the entire giant set. Usually, especially these days, with budgets being what they are, you don't get a big set on Broadway, even for plays. And this one did not disappoint, and the whole damn thing rotated. It was amazing.

[5:06] Alan Seales: Yeah, and that was a surprise because it's so hyper-realistic. The bottom half of the set is like the interior of a bed-and-breakfast hotel, and it's giant. It's massive, and it has these huge staircases going up and up and up. And then the further up the set goes, it kind of becomes like an M.C. Escher drawing. The stairs don't end up meeting anything, or there's doors floating in the middle of the space.

[5:30] Sarah Goodman: Yeah, there's literally doors hanging off the back wall that never get connected to anything. It's just like this sort of ...

[5:35] Alan Seales: Yeah.

[5:36] Sarah Goodman: The farther away you go, the more abstract it gets. I love it.

[5:41] Alan Seales: Yeah, and I think that was really a beautiful addition to the storytelling of what happened upstairs was bad and scary, and that it's sort of this distant, almost like you can't even get there. It's a very haunting story, and there is some mentioning of sexual assault. It's kind of a big part of the plot, but I feel like they told that story in a very respectful and beautiful way, that it wasn't just traumatizing the audience for no reason. It felt like it had a purpose.

[6:16] Sarah Goodman: Okay, here's another C-plus transition. You know what traumatized me?

[6:23] Alan Seales: I know what you're going to say. Wait, no, maybe I don't.

[6:25] Sarah Goodman: Wait, wait. Okay, say it. One, two, three.

[6:27] Alan Seales: McNeil.

[6:33] Sarah Goodman: Left on 10th was traumatizing?

[6:35] Alan Seales: It was. I mean, I love the actors.

[6:39] Sarah Goodman: Yeah.

[6:40] Alan Seales: Every individual person and item on the surface is great. Put it all together, and it was just not good.

[6:50] Sarah Goodman: Okay. McNeil, I felt, traumatized me for no reason. I felt like they were just really bringing us all down for why.

[6:59] Alan Seales: Well, it's nice to see ... There was a lot of people this year, actually, coming out of, I guess, the writer's strike, right? A TV and film people didn't have work to do, because that long writer's strike that was happening. So we had ... I mean, this was Robert Downey Jr.'s Broadway debut, and Uncle Vanya with-

[7:21] Sarah Goodman: Steve Carell.

[7:21] Alan Seales: Steve Carell. He was great in that. That was another-

[7:24] Sarah Goodman: I missed that one. That was in Lincoln Center as well, right?

[7:26] Alan Seales: Yeah. Yeah, it was another Lincoln Center performance. He was great. We had Rachel McAdams in Mary Jane, and her performance, again, was ... She was great in that. I wanted her to get dirtier, like in terms of emotionally just messy. Would have liked to have seen that.

[7:46] Sarah Goodman: That was really good to see her.

[7:47] Alan Seales: Days of Wine and Roses. I'm doing ... I'm the king of C plus transitions. Days of Wine and Roses, again, speaking of people who I want to see dirtier, I thought Kelly O'Hara and Brian Darcy James were great in that.

[8:00] Sarah Goodman: That's another one I missed. I missed Days of Wine and Roses.

[8:02] Alan Seales: I wanted to see ... Kelly was Kelly. She was ... I don't think she was exactly right for that role. I wanted to see her get messy, like mascara running down her face, and just messy alcohol.

[8:15] Sarah Goodman: Yeah, prettier.

[8:16] Alan Seales: Something else that I thought was really good was Russian Troll Farm.

[8:20] Sarah Goodman: Oh, I loved Russian Troll Farm. That was fabulous.

[8:23] Alan Seales: Right?

[8:23] Sarah Goodman: That was really, really good. It was funny, but it was also very touching. I was not expecting to have it be both a comedy and also have some really intense, dramatic moments. Christine Lati, I've been a huge fan of hers forever.

[8:37] Alan Seales: That's incredible.

[8:39] Sarah Goodman: Love her on television. I had never seen her in a play. She was phenomenal. She has a monologue in that play that, whew, it took me out. It was amazing. Amazing performance.

[8:51] Alan Seales: It really, really was. The fact that it was all based on ... I mean, it wasn't based on. It's literal fact.

[8:56] Sarah Goodman: Yeah, which I didn't really know all the details about that. I knew there were bots out there, and I knew there were trolls out there, but I was not aware of the fact that there are human beings sitting in an office, and their job is to type up a bunch of fake shit on Facebook.

[9:15] Alan Seales: And have multiple accounts.

[9:16] Sarah Goodman: That's wild.

[9:17] Alan Seales: They have whole conversations with themselves with multiple burner accounts.

[9:20] Sarah Goodman: Yeah, I had no clue. I mean, I knew that Russia influenced the 2016 election, and that they had bots, and they had a whole bunch of stuff on Facebook, but I didn't realize how deeply it was really deep, deep operation with the posting and conversations. There could be a whole thread that's all one person talking to themselves.

[9:42] Alan Seales: Yeah. Elon is just outed for doing ... But we're not going there. Well, I'm looking at my calendar to see what I've seen over the last year. Oh, I had a whole day of jury duty. I had a couple days of jury duty, so that happened. I'm good for another, what, eight years?

[9:59] Sarah Goodman: How long does it last? Eight years, I think?

[10:00] Alan Seales: I don't know.

[10:01] Sarah Goodman: Let's see. So we got jury duty, which is not a show. That's what I went to. I saw The Connector.

[10:06] Alan Seales: Oh, I loved The Connector as well. And you want to hear a fun story about me going to see The Connector? I went to opening night because my friend Erin was the PSM, the production stage manager. So I got to be her date for opening night. I loved the musical. It was fabulous. We come out of the show, and we go find our friend Erin, and she's like, Bernadette Peters is here. She's my number one. I'm obsessed with Bernadette Peters. I'm obsessed with her. I have a tattoo of her. I love her so much. I saw her live for the first time this year, and apparently she was in the audience at the opening night of The Connector.

[10:40] Sarah Goodman: I did not get to see her that night, but she sat behind me somewhere.

[10:44] Alan Seales: I really loved it, and that was my first exposure to Hannah-Cruz.

[10:49] Sarah Goodman: We love Hannah-Cruz.

[10:51] Alan Seales: My first exposure to Hannah-Cruz, yeah.

[10:52] Sarah Goodman: Oh, me too. She blew me away. That song, Cassandra, I've known for a few years because Jason Robert Brown has performed it at his solo shows at 54 Below or whatever. I've always loved that song, but in context of the play, it was even better.

[11:07] Alan Seales: I mean, Hannah is just great.

[11:09] Sarah Goodman: Yeah, she's incredible.

[11:11] Alan Seales: She was my favorite thing in Suffs also.

[11:13] Sarah Goodman: Because she left The Connector a few, I think a week or two early before their run was scheduled to end because she was starting rehearsals for Suffs. Of course, there's Suffs. Let's see, this March 4th, I saw Life and Slimes of Mark Summers.

[11:29] Alan Seales: Oh, yeah, we saw that together too. That was so fun.

[11:31] Sarah Goodman: Right, right. We've run into him a couple times.

[11:34] Alan Seales: Yeah, he's been on the carpet a couple times for New World Stages, yeah.

[11:38] Sarah Goodman: Yeah, he still recognizes us. He's just like this cool guy. I love that.

[11:43] Alan Seales: His show was great. The storyline of his show surprised me. I thought it was just going to be funny and silly and like, oh, this guy was on Double Dare. He did all these silly TV shows about food, but he did a deep dive in his own personal trauma. He had a lot of really hard stuff he had to go through in his life. He talks about his struggles with OCD, and he talks about this really horrifying car accident he got into.

[12:07] Sarah Goodman: He almost died and had to have all those major surgeries and like he's really bounced back from a lot of adversity in his life and is still such like a positive guy. It was such a fun show. Also, they had a plant in that show that was so well done. Do you remember that? He was like sitting near us.

[12:24] Alan Seales: Yeah, yeah, yeah, yeah. I remember that. I remember that.

[12:29] Sarah Goodman: And then like, I can't remember if the guy's mom was real or part of the thing. I think the plant's mom was actually his mom. And maybe he didn't tell her. I don't know. She seemed just as blown away as we were that he got pulled into the show and then ended up being the MD. That was really funny.

[12:47] Sarah Goodman: Let's see. Brooklyn Laundry. I saw another TV celebrity that was Cecily Strong.

[12:52] Alan Seales: I love Cecily Strong, but I missed out on that one too.

[12:55] Sarah Goodman: That was good. Let's see. Stephen Schwartz event capture.

[13:00] Alan Seales: That was fun.

[13:01] Sarah Goodman: Museum of Broadway.

[13:03] Alan Seales: Yep.

[13:03] Sarah Goodman: It was very cool to meet Stephen Schwartz. I booty bumped him off the piano bench a little bit.

[13:10] Alan Seales: Oops. Sorry, buddy.

[13:15] Sarah Goodman: Sorry, buddy. Oh, gosh. Oh, here come our big openings.

[13:18] Alan Seales: Oh, yeah. March April.

[13:21] Sarah Goodman: The Notebook.

[13:24] Alan Seales: Notebook. Beautiful music. Very sweet.

[13:25] Sarah Goodman: Beautiful. Beautiful.

[13:31] Sarah Goodman: Not necessarily my favorite thing I saw of the season, but I love Joy Woods and she really ... I love the Joy Woods Ascension of 2024 is one of my favorite things to watch.

[13:39] Alan Seales: Yeah, whenever there's a new show announced, the joke was, is Joy Woods going to be in that one too? Who's next? Is Joy Woods going in?

[13:45] Sarah Goodman: Well, because here's what happened. Joy Woods starred in Little Shop of Horrors, which she started in as an urchin and then ascended to playing Audrey. Then she goes to Notebook. It's her Broadway debut. She's incredible. She steals the show. She's got the best song in the show. Then she gets cast as Sarah in the Ragtime Concert at City Center. Then suddenly, she's no longer playing Sarah. Everyone's like, hmm, we smell a Louise somewhere in the mix. They were right because then she was announced as Louise for Gypsy Revival with Audrey McDonald. Lo and behold, that's what she's doing now.

[14:19] Alan Seales: Which I still have not seen. I see it next week.

[14:23] Sarah Goodman: Me too. My tickets came through for next week. I haven't seen that yet.

[14:28] Alan Seales: I cannot wait. That's going to be my first show of 25.

[14:32] Sarah Goodman: Yes, same. Let's see, March 27th. You and I saw Water for Elephants together.

[14:37] Alan Seales: That's right. We saw Water for Elephants. I loved the performances. I thought, again, the script and the music, not the best. Then that was a double-headed day for me. I saw The Outsiders that evening.

[14:45] Sarah Goodman: Oh, and you love The Outsiders.

[14:49] Alan Seales: Hands down was my favorite musical of last year.

[14:55] Sarah Goodman: Yeah, I miss that one still. I got to catch it.

[14:59] Alan Seales: Let's see. Then we kicked into our Aladdin 10th anniversary stuff. We saw Aladdin.

[15:04] Sarah Goodman: We saw Aladdin.

[15:04] Alan Seales: The Who's Tommy. That was interesting. I really liked it. I liked it because it was different, but I wouldn't recommend it to somebody who likes musicals.

[15:12] Sarah Goodman: I wish it had lasted longer because I missed that one too. They didn't get a super long life, unfortunately.

[15:16] Alan Seales: Yeah, I don't quite know why. Some of that stuff is hit or miss. It sort of plays to the older crowd when it comes to the jukebox musicals for-

[15:26] Sarah Goodman: Boomer age people and above.

[15:29] Alan Seales: Yeah, boomer age, which you would think it would have done well because that's sort of like the people now with retirement income and disposable income in this area to buy those high-priced tickets.

[15:39] Sarah Goodman: Right. In April, I saw Suffs.

[15:43] Alan Seales: Yeah, again, Hannah Cruz.

[15:43] Sarah Goodman: Hannah Cruz was the best thing about it. I loved Hannah Cruz. When she comes out on the horse during the march, that was my favorite. I was like, wow, Leigh Silverman, sometimes she takes a real big swing and I like that.

[15:59] Alan Seales: Yep, yep, yep. Oh, did you listen to my interview with Hannah? There was originally no head on the horse.

[16:02] Sarah Goodman: Yeah, and then there also was talks of having a real horse at one point. On Broadway, they were like, what if we got an actual live horse? And I was like, please don't.

[16:11] Alan Seales: That was the first choice and it was too expensive.

[16:14] Sarah Goodman: Don't have a real horse on Broadway? That's wild.

[16:17] Alan Seales: Have you ever seen a horse take a giant dump on stage?

[16:19] Sarah Goodman: I'm sure we would if they'd had a real horse. Yes.

[16:22] Alan Seales: Oh my God. Paul Bilberlonian has got the horses, I bet.

[16:26] Sarah Goodman: Don't go anywhere. We'll be right back after this break.

[16:31] Alan Seales: Welcome back to the episode. The Wiz opened in April. That was a lot of fun.

[16:35] Sarah Goodman: Oh, I was so, so sad to miss The Wiz. I love that musical so much and I really wanted to see it and just never got a chance to.

[16:42] Alan Seales: Gatsby was one of the best sets.

[16:47] Sarah Goodman: I have ever seen.

[16:49] Alan Seales: Oh, is it? I haven't seen Gatsby either.

[16:49] Sarah Goodman: I'm really behind on a lot of these things. This is the Eva Jeremy Jordan version.

[16:55] Alan Seales: Right. For those keeping track at home.

[16:56] Sarah Goodman: The first of the two because we haven't gotten the Florence Welch version yet in New York.

[17:02] Alan Seales: Not yet. So I saw Teeth in its first incarnation and I saw Teeth again at New World Stages a few weeks ago.

[17:09] Sarah Goodman: I saw Teeth at New World Stages in October.

[17:12] Alan Seales: It's just, I enjoyed it. I know it wasn't your cup of tea.

[17:15] Sarah Goodman: It wasn't necessarily my cup of tea, but I appreciate what they're doing with it.

[17:19] Alan Seales: I could see where they were coming from, but it's just not for me. I don't love gore necessarily.

[17:26] Sarah Goodman: I will say the score is fantastic. The music's great and everybody is singing down, especially what's the lead's name? You just interviewed her recently.

[17:36] Alan Seales: Elyse Allen Lewis.

[17:37] Sarah Goodman: Yes. She was amazing. Blew me away with her vocals, truly. And the show, I was entertained. I'll say that. I was very entertained during the whole thing, but I was like, whoa.

[17:51] Alan Seales: Are you not entertained?

[17:53] Sarah Goodman: Some of it was a little beyond for me, but everyone has their own tastes.

[18:00] Alan Seales: Teeth. Let's see. Hell's Kitchen. I enjoyed Hell's Kitchen. Hell's Kitchen had the best sound design that I've heard in a very long time.

[18:05] Sarah Goodman: That's a Gareth Owen joint.

[18:08] Alan Seales: Yes. Oh, yeah. You know all the sound designers. That's your world. Hell's Kitchen, I thought, was phenomenal. And Emilia Jolie Moon, just incredible. Everybody in that show, everybody in the show was great. That was a strong contender for Best Musical, along with Outsiders. Very, very, very strong.

[18:29] Sarah Goodman: A show that got incredibly snubbed and also barely made it at all was Lempicka.

[18:34] Alan Seales: I got to give a shout out. Pour one out for Lempicka.

[18:38] Sarah Goodman: Oh, man.

[18:39] Alan Seales: I know.

[18:41] Sarah Goodman: When I interviewed Eden Espinosa, she confirmed of the situation. Remember that somebody was recording during... It was like the 11 o'clock number. Someone had their phone out recording Eden in the final performance, and Eden stopped and called them out during the final performance.

[18:57] Alan Seales: Yeah.

[18:58] Sarah Goodman: And just etiquette, etiquette, etiquette, theater etiquette.

[19:01] Alan Seales: People need to pull it together.

[19:03] Sarah Goodman: Well, just put their phones away.

[19:04] Alan Seales: Put your phone away.

[19:06] Sarah Goodman: Put your phone away.

[19:08] Alan Seales: This is a live experience. Just live in the moment.

[19:09] Sarah Goodman: There's other people. Be considerate.

[19:10] Alan Seales: That's right.

[19:10] Sarah Goodman: Oh, going back to Teeth, D-plus transition to general off-Broadway. I want to bring up, let's see, Titanic, I saw several times.

[19:19] Alan Seales: Oh, I've seen Titanic three times, and I would see it 10 more times. I love that show.

[19:23] Sarah Goodman: Yes. And then also, speaking of Marla Mindell and that team, Big Gay Jamboree, I thought was hella fun. Too bad that did not have a longer life as well.

[19:33] Alan Seales: I love Marla Mindell's voice, and I think her kooky crazy ideas are hilarious.

[19:39] Sarah Goodman: I'm just a huge Titanic fan, I got to say. It's such a, I love that show. And my friend, Jackie Burns was Celine for a while. I got to see her play it twice.

[19:50] Alan Seales: Everyone who goes into that show is incredible. There's kind of a, there's an Elphaba to Celine pipeline that's going on.

[19:56] Sarah Goodman: There's a lot of Elphabas.

[19:57] Alan Seales: There's been many former Elphabas playing Celine.

[20:01] Sarah Goodman: What if it's the same range, or if it's just kind of like that kooky, you have to be a little kooky?

[20:05] Alan Seales: Yeah, I think Elphaba's got to have some vocal stamina, you know what I mean? I think vocal first, they're very similar. You got to be able to belt really high and strong. The thing, I mean, Celine is way goofier than Elphaba, for sure. Elphaba's a little more serious.

[20:24] Sarah Goodman: I wonder what's harder. You should ask Jackie next time you talk to her, if it's what's harder, Elphaba or Celine.

[20:28] Alan Seales: Oh, that's a great question. I will ask her that. I will, for sure. I should have her on my show.

[20:34] Sarah Goodman: Like text her and get her voice note, and if you can get it in time, I'll edit it in.

[20:37] Alan Seales: Okay, yeah, I will. I'll ask her on voice note if she'll be on this podcast and say, what's harder?

[20:42] Sarah Goodman: Just send a quick voice note.

[20:43] Alan Seales: What's harder, Elphaba or Celine? Go.

[20:45] Sarah Goodman: What's harder and why?

[20:47] Alan Seales: So here is my personal opinion on what is harder, Elphaba and Wicked or Celine and Titanic. They are apples and oranges. I don't feel like you can compare them. Elphaba is hard in itself of just getting green and ungreen every day, and also vocally it is rough and physically demanding with the dresses, especially in the second act and running up and down the stairs. Celine is really hard in the fact that the audience is your scene partner, and your audience is different every day. And sometimes they are raring to go, and it's a delight and a joy. And sometimes they are not interested and don't want to be there, and it is really, really hard to have a scene partner that doesn't want to be in the scene with you.

So they're different muscles that are being flexed. So again, I don't think I could compare them. Both of them are ridiculously hard. I felt after Elphaba I could do anything. And now that I've done Celine, I was like, oh, okay, now I feel like I can do anything plus something, you know, because it's just, they're both extremely difficult roles, extremely difficult roles, and amazingly gratifying and rewarding. So that's my story, and I'm sticking to it.

[22:13] Sarah Goodman: Oh, I've got to mention also, this is not from this season. I did say my favorite play this season was Hills of California, but my favorite play last season was Stereophonic. I loved, loved Stereophonic.

[22:26] Alan Seales: I still have a hard time thinking of that as a play. I know it is.

[22:29] Sarah Goodman: It feels more like a musical because it has so much music, but it's all diegetic, so it's a play.

[22:35] Alan Seales: I'm just going to blow through these. Let's see, Cabaret, Heart of Rock and Roll, Uncle Vanya, oh, My Brother's Birthday. That's on my calendar, too.

[22:44] Sarah Goodman: Well, this is a long time. Let's see, I'm only halfway through the year.

[22:48] Alan Seales: Patriots?

[22:49] Sarah Goodman: Oh, okay, I missed Patriots.

[22:52] Alan Seales: Surprisingly good. I went in with zero expectations. It's not in a bad way. I just knew nothing about it, and I don't know how much of this is literal fact or how much is exaggeration, but the story of how Putin played these corporate moguls in Russia to become elected the head of the country and then completely flipped on them and became essentially who he is now.

[23:17] Sarah Goodman: It was really crazy to see this story.

[23:18] Alan Seales: Fascinating.

[23:20] Sarah Goodman: Yeah, it really was fascinating. I liked it a lot.

[23:23] Alan Seales: I saw Three Houses at Signature Theatre, the Dave Molloy musical off-Broadway in June. I loved that.

[23:30] Sarah Goodman: It was about the pandemic. It had very cool chamber music kind of style, and the set was really cool, like a unit set, and the musicians were all over the stage in different spots in these armchairs. It was really cool. There's a cellist and a guitar player and a – was there percussion? I don't think there was percussion. It was piano and a little chamber, four or five musicians. Very, very cool. Directed by Annie Tip, one of my favorite directors.

[23:59] Alan Seales: I also saw The Lonely Few at MCC that month, which I loved, with Lauren Patton.

[24:04] Sarah Goodman: Yep.

[24:05] Alan Seales: Did you see that? Did you see The Lonely Few?

[24:07] Sarah Goodman: I didn't. I didn't see that. I missed that one.

[24:09] Alan Seales: So good. Helen J. Shen was in that as well. She's now in maybe Happy Ending on Broadway.

[24:15] Alan Seales: Speaking of musicians that you see that maybe you should or shouldn't, I don't know. Our Town? What do you think of that? Our Town. I didn't love it. I didn't love it. I felt like they made some weird choices with like time period. It's a period piece. It's set around like the 1910s into the 30s. And they did this like modern clothing. It was like a weird mixture of like modern and old timey and I didn't understand what they were doing with it. I didn't love it. It felt, I hate to say this, it sort of felt like a high school play. With bacon. And then it smelled like bacon. And I read an article about how they actually do cook bacon. They cook bacon. Every show, the stage manager is cooking bacon.

While calling queues, they're cooking bacon. Well, it's probably not the call. It's not the PSM. It's like there's like five stage managers on every show. That's an exaggeration. But there are multiple stage managers on most Broadway shows. On that show, there's a BSM, the bacon stage manager. That's right. They're the BSM. Yeah, the BSM was cooking bacon. They're the sous chef. Getting equity, union stagehand rates for cooking bacon. Yeah, they're cooking real bacon. I don't know why they did that. I guess she's talking about breakfast in the scene, but I thought it was so strange. And it kind of made me angry because the play was long and it made me hungry. And I was like, can I just get out of here and get some bacon now? Because what's up? We sat in the front, so it was very bacon-y.

[25:56] Sarah Goodman: I saw Little Shop twice. Once with the, it was Constance Wu, Corbin Bleu combo. And then again with Sarah Hyland and Andrew Barth Feldman. Oh, I love Andrew Barth Feldman so much. And he's a perfect Seymour. Perfect Seymour. He is. I enjoyed both pairings equally. But yeah, Andrew Barth Feldman just embodies that. And for those who don't know who he is, he was in that movie with Jennifer Lawrence. No. Also. What was it called? No Hard Feelings or something? No Hard Feelings. Yeah, yeah, yeah. So he was the nerdy kid in that, and he's been in several other things. High School Musical, the musical, the play, the musical series or something. Yeah, and I think he was in Evan Hansen at one point.

Yeah, he was in Evan Hansen straight, well, he was still in high school. I think he was 17. Yeah, he won the Jimmy Awards, right? Or he was like a contender for like finalist. He won. Correct me if I'm wrong, listeners. I think it was him and Renee Rapp that year. I think. Yeah. Okay. Yeah. So it was them that year. They both got on to do some pretty great things.

[26:49] Alan Seales: No kidding. But yeah, I love that kid. He has a really amazing one man show that he's done at 54 Below. That's about Disneyland and his mother's death. And like this beautiful, beautiful story. And then he does a one man version of Fantasmic. It's amazing. It's really amazing. What's on a mattress? That was fun. At City Center on Broadway. On Broadway. I saw it at City Center. I thought it was delightful. I loved it. I love that musical. Mary Rogers. I mean, so good. It was great. It was absolutely great. Let's see. So Back to the Future again. I saw Back to the Future for the first time a few months ago, and I was pleasantly surprised. I thought it was really fun. Right? It is fun. It is fun.

It is fun. It's not original, that's for sure, because you know it. It's okay. Not everything has to be Sondheim, you know, but it was like really entertaining. And the music and the big chorus numbers and stuff were so much better than I anticipated. So I was pleasantly surprised.

[27:55] Sarah Goodman: Yeah. Yeah. And the tech in that show is unbelievable. Like the car and the flying and the whole sequence at the end really blew my mind. And another Gareth Owen show. It was very loud and the sound design was good. Let's see. I saw Celino v. Barnes off Broadway. That was a lot of fun. That Parenting musical. Oh, so much controversy around that one. Yeah. Yeah. Explain that. Explain that. So they originally had a band. I don't remember how big it was, but let's just say it's like four or five players, right? Not very big. Off-Broadway musical. They had a band orchestrated slash hired for the show. And then in an effort to cut costs, they decided that they were going to start using tracks instead.

And then they got in really hot water with the musicians union. 801? 802? I can't remember. Because you're required to have a certain number of musicians at every house. That is for Broadway. Off-Broadway has different rules, but I think technically they weren't breaking any rules, but they had hired musicians and then fired them. And so that was the problem. And then the actors in the show in solidarity for unions said, well, we're not going to do this either because if the musicians union says you're on the no work list, then maybe we're not going to do it either. So then they kind of backpedaled and they were like, okay, no, we will get a band, we will get a band. And they tried to hire back the original band.

And most of those musicians, I think maybe all of them actually said no. And they had to end up hiring other people. So yeah, it was kind of a big controversy. The musicians union went so far as to put them on the no work list and also post about it on Instagram saying like this musical is worth, we think they're breaking the rules or they're taking advantage of these musicians and they're trying to skirt the rules and shows that cut costs and get rid of human jobs, really not good. So they had kind of a bad rep going in.

[30:05] Alan Seales: I knew there was controversy. I didn't realize it was that involved. I remember something similar to Hero Lies Love from previous seasons. Because Hero Lies Love, they wanted to use tracks too. That was a David Byrne thing. But that show had always been tracks. So it was a little bit different, but they still forced them to hire a band. And I don't know if that band ended up playing music or not, but they had to pay musicians to be there. And they worked around it too by having some people just literally walk on stage with a djembe and a tambourine and some other percussion instruments. Anyway, I want to bring up real quick, I noticed on my calendar, Beetlejuice 2, because that is semi-related to the film.

Beetlejuice 2, yes. Did you get to see that at all? No, I didn't. It's on my list. I love the original Beetlejuice film. I don't know the musical either, I will admit. It's from this time period where I don't know a lot about theater, like contemporary musicals. I have a big gap in my knowledge in the teens.

[31:57] Sarah Goodman: I enjoy it. I liked Beetlejuice the musical more than Beetlejuice 2 the movie. Okay. I'll say that. I'll say that. There was one too many interconnected storylines in the movie. They could have cut one and it would have been great. Okay. They're trying to do too much. Trying to do too much, trying to fit it all in there. Oh my gosh. From what's open so far, I'm just skimming through the rest. What's open so far in 25, I got to say, I think maybe Happy Ending is my vote for best musical so far. Okay. My vote is for Death Becomes Her. I love Death Becomes Her. I saw it out of town in Chicago and I loved it. I saw it on Broadway a few weeks back and I think it's absolutely phenomenal. It's really fun. It's right up my alley though. It's very campy. It's got a lot of diva action. It's sparkly. It's very silly, but smart silly, I think.

[32:55] Alan Seales: It is. It is. I wonder though, when you replace Megan Hilty and Jen Smart and even Chris Sieber, when their contracts are over, they move on. I wonder if it's going to have that staying power because it's made around them, their personalities, right? Yeah. I would have said actually the same thing about Titanic and Marlon Dell and look how that's gone. Yeah. I think we got a lot of divas out there. I think there's a lot of divas out there who could come in and step into those roles and nail it. Right now, if you get a chance, listeners, you've got to see Jen Smart and Megan Hilty. They are serving up some incredible performance. Truly, truly amazing. I don't know how they're doing it. Megan Hilty, she's my, I think, number one.

I haven't seen Audrey yet. I did see Nicole Scherzinger in Sunset and that was spectacular, but Megan Hilty, I think, is my number one for best actress right now, Toni Ward. I think she's just working her ass off and nailing it, absolutely nailing it.

[33:55] Sarah Goodman: Nicole Scherzinger, I think, I don't know if she hurt herself too much with outing herself. With the hat. With the Trumps, as a Trump supporter. Where do I get that hat? Where do I get that hat? Yeah. The internet discourse over those few days was so entertaining, I have to say. Oh, my God. That's all Reddit talked about. That was all Reddit was talking about. It was really, really funny to me. The way people will turn on you in a heartbeat. How would you dreamcast maybe Happy Ending? Oh, that's hard because I think Helen J. Shen is just so, so good. She really is. I liked Darren Criss, but I think there's other actors out there who could nail that role. Andrew Barth Feldman. Andrew Barth Feldman would be very cute. That would be adorable if they'd cast them together because they are a real life couple.

[34:41] Alan Seales: Oh, right. Helen J. Shen. Yeah. I was like, Darren Criss is not dating Andrew Barth Feldman. No, no, no, no. Yes, yes. No, and Andrew Barth Feldman's not gay. No, Helen and Andrew are partners. Helen and Andrew are a couple and they are absolutely adorable together. And yeah, I think Helen J. Shen, I can't imagine anyone else taking that role from her, but I think he would be cute in that role, in the Darren Criss role. Who else was I thinking of? And then they escaped my mind. I'm going to say Chris Fitzgerald as Wabun. For those of you who may not know, Wabun is a plant, an inanimate plant. A literal plant. Like a succulent, a succulent in a pot. Not an audience plant. Not a Mark Summers plant.

No, I did really love Maybe Happy Ending. And if it won the Best Musical Tony, I would be so pleased for them because it's so fresh. It's completely original. It's not based on a movie or a book or anything. It had its own life as a musical in Korea. It's very popular over there. And I think they did a wonderful job adapting it to English. I think it's a really beautiful story. It just warmed my heart. And it's really nice to see something that's just beautiful and positive. It's not about trauma. It's not a tragedy. It's not a slog of a million people dying and whatever. And it's not some stupid regurgitation of something we've seen a million times. It's a really cute, sweet story.

[35:59] Sarah Goodman: Yeah. And had a really beautiful projection design. It was great. I cannot say enough things about Maybe Happy Ending. Yeah. Enough good things. It's just this cute little story wrapped in a bow, right? In this feel-good bow. And I just hope it makes it to the Tonys long enough to still be open after it gets the recognition that I hope it gets. I think so too. Yeah. It's a really great show. It's tough for a completely original show to open as early as it did before the Tonys and still make it. Yeah, absolutely. And there were some rumors for a while that it wasn't even going to make it to opening. So they've been struggling, but they're still surviving. So go see that show. Go support Maybe Happy Ending. It's so good.

[36:04] Alan Seales: Don't go anywhere. We'll be right back after this break.

[36:22] Sarah Goodman: It is the most ambitious and the most perfectly executed LCD screen, LED wall incorporation into a musical, into a theatrical piece I've ever seen in my life. It was thrilling and stunning. We saw that show together. That first moment that they bring the screen on when he's driving the car and the credits, they do like film credits, like film opening credits. It's so cool. It makes so much sense for the piece. It makes you feel like you're watching TV while they're performing it live for you. It's really great. It's such an interesting concept. I love it at the beginning of Act 2 where they go outside the theater.

[36:58] Alan Seales: The walk around.

[37:01] Sarah Goodman: They do the walk around outside. It's incredible. Go see Sunset Boulevard. I need to go back and see it with Mandy Gonzalez.

[37:11] Alan Seales: Me too.

[37:12] Sarah Goodman: She's the alternate, the scheduled alternate. She's got a lot more dates on the calendar. I wish I could see Carolyn Bowman do it, but she's about to start doing Smash soon.

[37:20] Alan Seales: Right, right. Gosh, just rounding out my list. I skipped a couple things, but gosh, A Wonderful World, Elf the Musical, Tammy Faye. Oh God, wrong place, wrong time, wrong country.

[37:32] Sarah Goodman: Yeah, looks too bad.

[37:34] Sarah Goodman: Tammy Faye. I grew up in the evangelical South, literally in North Carolina in the area that Tammy Faye set in, and I came out feeling so much hate that was revived. I guess the Band-Aid was ripped off of my healing from being ostracized by all the religious people when I was growing up in that area. It was terrible.

[38:00] Alan Seales: Yeah.

[38:01] Sarah Goodman: But yeah, having that show about the rise of white supremacy, white Christianity right after our election cycle here in the States was not the right time to have that show.

[38:13] Alan Seales: Totally, yeah.

[38:14] Sarah Goodman: So it closed what, three weeks? Did it make it three weeks or five? I forget.

[38:17] Alan Seales: Not very many. Very short amount of time, unfortunately.

[38:22] Sarah Goodman: Let's see. I saw Six sit down in D.C. over Thanksgiving with my brother. I hadn't seen the touring cast in a while. Death Becomes Her, yes. So, so funny.

[38:31] Alan Seales: Oh, have you seen O'Mary? I saw O'Mary this year on Friday.

[38:35] Sarah Goodman: Oh, I didn't see O'Mary. That was one of the ones I missed.

[38:37] Alan Seales: Oh, you've got to see O'Mary, Alan. It is so incredible. It's the funniest play I've ever seen. I laughed so hard I could barely breathe.

[38:45] Sarah Goodman: That was one I missed. I want to see it with Betty Gilpin because I just love Betty in general.

[38:49] Alan Seales: Me too, and I loved Glow. Loved Glow.

[38:51] Sarah Goodman: Yeah, got to go back and see that. Let's see, Eureka Day. Eureka Day was really fun. I again went into that knowing nothing about it, and it was very, very, it was very funny. It was really funny. So, what hasn't opened yet starting in 2025? What are you looking forward to the most?

[39:09] Alan Seales: What am I looking forward to most in 2025? You know, it's already open, but Gypsy with Audra. I mean, I haven't seen it yet. I'm seeing it in a week. I'm so excited. Highly anticipated revival. People have been rumoring Audra to play Gypsy for years, years and years and years. This rumor's been floating around, and now it's finally happening. And you know, the six-time Tony-winning queen, I think, I think is going to be hitting one out of the park again. I hear a lot of really positive things, and I love old-fashioned musicals, and Gypsy, I think, is the best musical of all time, perhaps. I think it's the best book.

[39:47] Sarah Goodman: That's a claim. That's a bold claim.

[39:49] Alan Seales: I think it has the best book and music. It's a perfectly written musical. I'm not saying it's the best of all time, but it is a perfectly written musical, and I love the storyline, the story arc of it. I love Stephen Sondheim. I love Julie Stein. It looks like they're really putting in the budget for the set and the costumes and the whole thing, so I can't wait to see that.

[40:17] Sarah Goodman: What else? Smash.

[40:18] Alan Seales: I'm just going to do this list. Yeah, Smash.

[40:21] Sarah Goodman: Smash is going to be fun. The show is ridiculous. They've changed it a lot, I've heard, from the television show, but I love Robin Hurter.

[40:30] Alan Seales: Same. Oh, same. I didn't realize there were so many open theaters. I'm looking at everything you scheduled to open in 25.

[40:37] Sarah Goodman: There's so many things coming.

[40:39] Alan Seales: English, Redwood with Idina.

[40:42] Sarah Goodman: Yeah, that'll be interesting, Redwood.

[40:45] Alan Seales: That will be interesting.

[40:46] Sarah Goodman: Boop.

[40:47] Alan Seales: Boop is going to be wonderful. I'm very excited for that.

[40:50] Sarah Goodman: Operation Mincemeat?

[40:51] Alan Seales: Yeah, I don't know what the hell that is. That looks interesting. I think it's about World War II?

[40:56] Sarah Goodman: Yeah.

[40:57] Alan Seales: Yeah.

[40:58] Sarah Goodman: World War II.

[40:59] Alan Seales: It's a comedy.

[41:00] Sarah Goodman: A comedy that did really well in the West End. It won an Olivier Award.

[41:05] Alan Seales: Okay.

[41:06] Sarah Goodman: So it's doing good stuff. Buena Vista Social Club.

[41:08] Alan Seales: Oh, that'll be awesome. I'm really curious to see what they do with it. Is it going to be like Illinois, where it's sort of like a concert that's theatricalized with dance or something? Or is there going to be a book to it? Because the album is a lot of different songs. I don't know if they're going to use it to do like a narrative or what, but I can't wait to find out.

[41:29] Alan Seales: I don't know.

[41:30] Sarah Goodman: Because that music's great. Othello Purpose? I don't know anything about Purpose. The Picture of Dorian Gray?

[41:35] Alan Seales: Oh, that looks great. I'm very excited about that.

[41:38] Sarah Goodman: Yeah.

[41:39] Alan Seales: With Sarah Snook, who I guess is from Succession.

[41:41] Sarah Goodman: Yes.

[41:42] Alan Seales: I never watched Succession, so I don't know.

[41:43] Sarah Goodman: Yeah.

[41:44] Alan Seales: The ads for that, it just looks really cool.

[41:47] Sarah Goodman: Makes her Broadway debut playing 26 characters.

[41:53] Alan Seales: Yeah, it's a one-woman play version of the show.

[41:56] Sarah Goodman: Yeah, that's crazy.

[41:57] Alan Seales: It's going to be cool. It looks really cool. We're getting Glenn Gary Glenn Ross back with Bob Odenkirk and Kieran Culkin.

[42:02] Sarah Goodman: That's why. Why are we doing that?

[42:04] Alan Seales: I like Bob Odenkirk. I'm excited to see Bob.

[42:06] Sarah Goodman: Okay, sure.

[42:07] Alan Seales: I want to see him.

[42:09] Sarah Goodman: Yeah, totally. He's great.

[42:11] Alan Seales: Kieran Culkin. There's two Succession peoples, though.

[42:14] Sarah Goodman: Their succession has taken over Broadway.

[42:16] Alan Seales: Right. Yeah, Boop, like you said, Smash, Good Night, and Good Luck with George Clooney. That'll be very interesting. Also, very weird that it's going into the Palace, which is a huge theater, right?

[42:27] Sarah Goodman: I feel like putting an intimate play into a giant theater is a real choice, but they're thinking that George Clooney's going to pull in the ticket sales. We'll see about that.

[42:36] Alan Seales: We'll see. Last five years, I figured, yeah, we'll see.

[42:39] Sarah Goodman: I like Adrienne Warren in anything she does.

[42:42] Alan Seales: Same.

[42:43] Sarah Goodman: I don't need Nick Jonas. I don't need another last five years, but Adrienne, I'll go see.

[42:46] Alan Seales: John Proctor is the villain.

[42:48] Sarah Goodman: Oh, I'm curious about that. That sounds interesting.

[42:50] Alan Seales: It does. We're already in March and April now. Up 25.

[42:54] Sarah Goodman: Let's see. Stephen Sondheim's Old Friends with Bernadette.

[42:57] Alan Seales: Okay, that. Woo! And Beth Leavel.

[42:59] Sarah Goodman: That's you. And Leah Salonga.

[43:01] Alan Seales: Yes. That'll be amazing. I'm so excited for that. I'll be there a million times.

[43:05] Sarah Goodman: I'll go to that as many times as I possibly can.

[43:07] Alan Seales: If anybody listening wants to put me on the sound team or give me an associate position on Sondheim's Old Friends, I will take it.

[43:15] Sarah Goodman: We'll see. Floyd Collins.

[43:17] Alan Seales: Oh, that'll be cool. I love that. Adam Guettel. Beautiful score.

[43:20] Sarah Goodman: Yeah, Adam Guettel's great. Let's see. Stranger Things, The First Shadow.

[43:22] Alan Seales: So the official Stranger Things play.

[43:24] Sarah Goodman: The play, yeah. Not Stranger Things.

[43:27] Alan Seales: No, not the parody.

[43:29] Sarah Goodman: No, no.

[43:30] Alan Seales: This is official. Olivier Award winning prequel.

[43:32] Sarah Goodman: So this is Olivier Award winning as well.

[43:34] Alan Seales: London's just bringing over their Oliviers.

[43:38] Sarah Goodman: Just In Time, Real Women Have Curves, Pirates of Penzance.

[43:42] Alan Seales: Oh, Pirates of Penzance. I was not excited about it until they announced that Jinx Monsoon is going to be in it.

[43:45] Sarah Goodman: And now I want to see it because anything Jinx does is fantastic.

[43:50] Alan Seales: And Ramin Karimloo and David Hyde-Pierce.

[43:52] Sarah Goodman: Oh, Ramin's in it too?

[43:54] Alan Seales: Yeah, yeah, yeah.

[43:55] Sarah Goodman: Okay, that's great.

[43:56] Alan Seales: Yes, yes. The two of them, three of them together. Let's see. Dead Outlaw, Midnight in the Garden of Good and Evil, and Waiting for Godot starring Keanu Reeves and Alex Winter, which I'm super excited about.

[44:10] Sarah Goodman: That's going to be hilarious. Bill and Ted.

[44:11] Alan Seales: Bill and Ted.

[44:12] Sarah Goodman: That'll be so funny. I want to see that.

[44:14] Alan Seales: I love, I met Alex Winter once because he's a director. He became a director, you know, he stepped away from acting and started directing and I met him once on one of his projects he's promoting to direct and like just a nice guy. But like to see the two of them together again, I think it's going to be so cool just to watch them.

[44:30] Sarah Goodman: And then Waiting for Godot is just so funny anyway.

[44:32] Alan Seales: Absolutely, yeah.

[44:33] Sarah Goodman: Yeah, yeah.

[44:34] Alan Seales: I'm excited about that.

[44:35] Sarah Goodman: I don't know.

[44:36] Alan Seales: Okay, so pick one. Is Sondheim's Old Friends, is that your number one because it's Bernadette?

[44:42] Sarah Goodman: Yeah, definitely, definitely is. It's not a book musical, so I don't know if it really fits into the rest, but it is the one I'm the most excited to see. I did see Bernadette Peters in concert at Carnegie Hall this year for the first time ever in my life. I've been in love with her since I was eight years old. I finally saw her in person for the first time in October. Her concert was so great. She looks and sounds absolutely incredible. She's ageless.

[45:07] Alan Seales: Ageless.

[45:08] Sarah Goodman: And so, yeah, Sondheim's Old Friends, I'm really thrilled to see that. But like book musical wise, I'm really torn between Boop and Smash.

[45:15] Alan Seales: I don't know.

[45:16] Sarah Goodman: I don't know. Also, that sounds like such a goofy sentence. You know, between Boop and Smash, I'm not really sure.

[45:21] Alan Seales: What about you?

[45:31] Sarah Goodman: I was just looking. I think, okay, from what I know, the stories that I know, I am excited to see actually Dorian Gray and Waiting for Godot because I love those books. You know, reading those books in high school, I remember loving them. Personally, like, I've never seen Pirates of Penzance, so I'm excited to see that. I think, again, I'm, oh, God, this is hard. I think, yeah, I think I also am too. Do I swipe left on Smash or swipe right on Boop? Let's see. Boop or Smash, what are we doing?

[46:06] Alan Seales: I think, plus, I mean, God, this is going to be tough. It's really going to be tough. What I was going to say, though, from what I don't know, I feel like Operation Mincemeat might really surprise me because in the same way I went into Heels of California not knowing anything, not expecting anything, coming over from the West End and being popular there, I feel like this might have that same sort of sweep.

[46:30] Sarah Goodman: Mm-hmm.

[46:31] Alan Seales: It might.

[46:32] Sarah Goodman: It might.

[46:33] Alan Seales: You never know. The Brits are onto something right now.

[46:35] Sarah Goodman: They're good.

[46:36] Alan Seales: They're good. They got some good stuff over there. All right. Well, Happy New Year, everyone.

[46:41] Sarah Goodman: Happy New Year, Sarah.

[46:42] Alan Seales: Happy New Year.

[46:43] Sarah Goodman: Yeah.

[46:44] Alan Seales: And, gosh. I saw 50 shows in 2024. That was the most I've ever seen in one year in my life. It was really amazing. I saw 50 shows, 19 on Broadway.

[46:52] Sarah Goodman: Yeah, it's fun. It's fun to be part of it and see all this stuff, to be in New York, in this city where, in theory, so much originates, right?

[47:00] Alan Seales: Mm-hmm.

[47:01] Sarah Goodman: So either London or New York. So to see it come out and have these things have longer lives beyond the limited runs that they get here for whatever reason, it's really cool.

[47:10] Alan Seales: It's really cool.

[47:11] Sarah Goodman: Yeah.

[47:12] Alan Seales: So I don't take that for granted.

[47:13] Sarah Goodman: Totally.

[47:14] Alan Seales: It's a privilege.

[47:15] Sarah Goodman: It's a privilege.

[47:16] Alan Seales: It is a privilege. Well, again, Happy New Year. Follow Sarah Goodman. Where can we find your podcast? Where can we find your socials?

[47:23] Sarah Goodman: Well, my podcast is on the Broadway Podcast Network. So you could go to bpn.fm slash goodshow or find Good Show with Sarah Goodman anywhere you can get your podcasts. You can also follow me on TikTok and Instagram at Good Show Podcast.

[47:37] Alan Seales: And if you're listening to me by now, you know where to find me. I'm on it.

[47:42] Sarah Goodman: You've heard of this old guy.

[47:43] Alan Seales: This is the show now.

[47:44] Sarah Goodman: You know him.

[47:45] Alan Seales: You know where to find him. I'm on TikTok, Instagram. I don't use X anymore.

[47:51] Sarah Goodman: Yeah.

[47:52] Alan Seales: X is done.

[47:53] Sarah Goodman: We don't.

[47:54] Alan Seales: I don't. Gosh. All right. Say goodbye to 2024. Hello, 2025. It's a nice. Usually, I don't like odd-numbered years, but this is a nice multiple of five.

[48:05] Sarah Goodman: Yeah.

[48:06] Alan Seales: 25 is a good number. It's a multiple of 25 and five, which I think, you know, it's a nice good number. I think 2025, we're going to bring some good things in 2025. Let's put that out there.

[48:17] Sarah Goodman: Let's manifest that.

[48:18] Alan Seales: Yeah, let's put some positivity out there.

[48:19] Sarah Goodman: Yeah.

[48:20] Alan Seales: All right. Well, Happy New Year again. Thank you so much.

[48:23] Sarah Goodman: Thanks for having me.

[48:24] Alan Seales: See you in 2025, everyone.