This transcript was automatically generated and might contain errors.

[0:00] Cassie Silva: Hi, I'm Cassie Silva. Welcome to The Theatre Podcast with Alan Seales.

[0:12] Alan Seales: Welcome back to The Theatre Podcast, everyone. I'm Alan Seales, and today's guest is pure joy in human form. Cassie Silva joins me for an incredible conversation full of surprises, like that she went over to London alone on a whim and had a total life-affirming moment watching & Juliet on the West End, and now, just a couple years later, would be starring in it on Broadway after becoming a universal swing for Six. Like, come on! We even dive into her real raw experience as a teenager on MTV's Legally Blonde: The Search for Elle Woods, and she shares some stories about that experience that she's actually never talked about publicly before. This episode is packed with heart and humor and the kind of candid honesty that makes you remember why you fell in love with theatre in the first place.

But don't forget to follow me on social media and head over to Patreon for the full video version of this chat. You are not going to want to miss it. Cassie is so animated. This episode is recorded live in the studio, powered by welcometotimesquare.com, the billboard that lets you be a star for a day. So head over to welcometotimesquare.com right now and check that out. And now this episode is going to kick into a conversation Cassie and I were already having long before I officially started the episode, after she made an unexpected charcuterie reference. Was it charcuterie? Charcuterie? Charcuterie? You decide. I don't know. Here's the story. Here's the conversation.

[1:39] Cassie Silva: I did this show called Six the Musical.

[1:43] Alan Seales: I've heard of it.

[1:43] Cassie Silva: Same. And we love Drag Race. So we would get together on Friday evenings on tour and we would watch Drag Race. I tell you this because we called ourselves the charcuties. So much in fact that I actually have a charcuterie board that is all like different colors of the queen confetti into like an acrylic like board and it says charcuties. Charcuties. Charcuties. And so I just go with it now. See now it's like stuck. It's ingrained in your brain. So you like forgot that you were saying it differently. Yeah. I get that. Charcuterie. You've created your own Mandela effect.

[2:33] Alan Seales: Exactly. Am I here? Am I not? Am I here again? And that's the question.

[2:39] Cassie Silva: Right. Yes. Absolutely. Oh my gosh. Now I want charcuterie.

[2:42] Alan Seales: Okay. So you're welcome to lean back. Move the mic a little closer if you are, but you should be like a hand's length away if you can. And I actually have an intro. I'm going to cut that in because that's important.

[2:47] Cassie Silva: I'm so glad. I'm so glad. I'll have to send you pictures of the board. The Shakakana charcuterie board.

[2:59] Cassie Silva: The Shakashimi charcuterie board. Something or other.

[3:03] Alan Seales: Exactly. Do I get to do the line? Which one? Where I'm like, I'm Cassie Silva and this is The Theatre Podcast.

[3:12] Cassie Silva: Yeah. That one. What is it though?

[3:15] Alan Seales: It's I'm Cassie Silva and you're listening to The Theatre Podcast with Alan Seales.

[3:19] Cassie Silva: We always do that at the end, but you're welcome to start with it.

[3:22] Alan Seales: Nah. No. I can tell you're a listener.

[3:26] Cassie Silva: I am.

[3:26] Alan Seales: That's I'm flattered. Of course I am. Oh my gosh. I'm in theatre.

[3:31] Cassie Silva: Sorry. I'm screaming. It's so early. Warm up that voice.

[3:35] Cassie Silva: No, because you know what? I will tell you now, wait, you're going to, do you want me to say this in our interview? Are you recording? Cause we've been recording.

[3:43] Alan Seales: Yeah.

[3:43] Cassie Silva: Amazing. I would assume. Cause you're so good. You are literally like one of the ultimate best, top, like you've given Broadway like a voice for like everyone, because listen, no, I mean, no, I'm listen, dead ass. Well, I know you from Rock of Ages doing our like, I won't say interview, but our Google talks, the talks at Google event in 2017, 16.

[4:10] Alan Seales: But I look the same.

[4:12] Cassie Silva: You totally do.

[4:12] Alan Seales: Yeah. Thank you so much. You look the same as 19-year-old you, who was on Elle Woods too. We're going to get into that.

[4:20] Cassie Silva: Right. Anyway, you know what? I, I don't know that I've really ever talked about the show, but now you're getting a full exclusive. You can ask me anything about Legally Blonde these days. My therapist will be thrilled.

[4:28] Alan Seales: Okay. We'll get there. All right. So go back to telling me how great I am.

[4:32] Cassie Silva: Okay. Okay. So back to telling you how great you are. One of the ways that I learned about musical theater in general, aside from just like growing up and dance and being exposed to the music and soundtracks and medleys of things as like ballet dances for the recital or whatever, was that I listened to the American Theatre Wing podcast. And I grew up in LA, so I drove. And so, you know, you would plug in your, you know, your aux into your phone and I would listen to those interviews. This is pre-Bluetooth invention.

[5:05] Alan Seales: Correct. Yes. Yes.

[5:05] Cassie Silva: And now those are like vintage interviews, but that we're talking like, you know, PBS, this is back in the day when you would watch like the PBS version of like Mandy Patinkin and Bernadette Peters doing Sunday in the Park with George on, you know what I mean?

[5:19] Alan Seales: Yeah. Yeah. Yeah.

[5:19] Cassie Silva: So that was part of how I learned about theater and like the business and the lifestyle and all of that. And so I went looking for it later and there really wasn't anything. And, you know, like for a point in time for like literally a blink of an eye, I had a Broadway podcast.

[5:36] Alan Seales: Really? Really? I'm going to listen to this.

[5:43] Cassie Silva: I don't know that it's even still like available anywhere, but I do have such a great, I know I did type the cat for you. Yes, it was called The BB Way about like the health and lifestyle of being on Broadway.

[6:05] Alan Seales: Wow. I'm really getting smelly cat. I have bronchitis right now.

[6:09] Cassie Silva: Okay. Can you hear it? I'm like smelly cat. No, no. Okay. Great. Well, wonderful. If I cough, you'll have to cut it out. Cause it's not going to be, it's not, I'm going to loop. I'm going to loop the cough and turn it into a beat.

[6:24] Cassie Silva: Amazing. Yeah. No, I go from charcuterie to bronchie. That's what I've been calling myself in the building. No, but your podcast, I mean like your interviews, what I really, really love about them. And I'm not just saying this, I really believe it, is that you really ask good questions, like decent questions. And we actually get insight and information, knowing people that you have interviewed, like on a personal level, I listened to the information that you get them to share and it's such quality. And so for that reason, then it, as an arts educator, which is my second passion in life who knew, is that then it gives us resources, right, for people that actually like, I love to say that I, it's my dream to help people build bridges to Broadway.

And so it's so nice to have really legitimate resources. That's not fluff. You know what I mean? And especially if I go on like, I'm really bad with compliments right now. Okay. But anyway, should we hide? Not me snorting. I said, making sure I'm awake. No, well, I guess I, how do we even get on this? But I just, I'm so grateful. And you're like, do you want to be on this podcast? And I was like, am I allowed to do that? Like I have nothing really to say other than I'm such a fan and I'm so happy to be here because I think that the work that you have put into our community over time, right? Cause now it's been like how many years? Almost so many. Yeah. Yeah. Like, and pandemic time, like coming back from it, the access to all of the changes that's happening within our community, not only on a personal level, like how do I live the day to day within this industry, but also business-wise, like what does it look like these days?

I think that it's really hard to find good material and good people too, to share that material, to legitimize it. And I think that that takes a really special person. Wow. I didn't know we were going there. I'm going to drink more coffee. Wow. I saw a post something I thought I've been following you on Instagram and just enthralled with everything you, since we met almost a decade ago. And you look the same, exactly the same.

[8:45] Alan Seales: So thank you so much. It's the Botox.

[8:48] Cassie Silva: Sure. Is it, did you, do you get Botox?

[8:48] Alan Seales: A little. I don't, I'm afraid.

[8:53] Cassie Silva: A pinch. I'm afraid because if I go down that path.

[8:53] Alan Seales: Yeah. It's a slippery slope.

[8:57] Cassie Silva: Right. But the thing is that you have to have good people. Again, I can't tell. I'm looking.

[9:01] Alan Seales: Thank you so much. You have to have good people that will be like, no, you don't need a liquid rhinoplasty.

[9:07] Cassie Silva: I don't even know what that is.

[9:07] Alan Seales: It's like.

[9:12] Cassie Silva: As opposed to a solid rhinoplasty.

[9:12] Alan Seales: Yeah. It's like, you know, like a filler nose job, if you will.

[9:19] Cassie Silva: Oh, okay. We are laughing. Correct. Like the button nose. Exactly. Correct. Correct. But you know, after so many years of like squishing and pulling my face, you know, growing up in the business, like by the time that I, you know, hit my mid to, and I was late, like now you do like preventative Botox. I am so lame. I'm so like behind the times. I should have evidently started it when I was 16 years old, but no, no, no, no, no. I know. Crazy. Not endorsed. I don't even know that it was around when I was 16 years old, but, but no, it certainly helped, especially with the TV film medium. Isn't that wild? I like only care if there's legitimate reasons, like logical reasons where people are like, oh, you can actually capitalize on this within your employment.

I was like, oh, okay, great. Yeah. Shoot this into my face. It's a business write-off. Also my 11th, like you want to talk about Legally Blonde trauma. The 11th are like the two, like, you know, like, oh, right. The avenue in between. I wish. Yeah. This is good. Don't look at mine. Don't look at me.

[10:20] Alan Seales: Right. No, just so much trauma. And I just was always like this. And so I was like, you know what, when I'm like old enough, I'm going to get Botox in my 11th as like, as like a gift to my inner child.

[10:25] Cassie Silva: Yeah. When I'm adulting full time, I bought a vacuum. Like, like not even 48 hours ago, did this show up on my doorstep? And the way I squealed with glee was concerning. It was concerning.

[10:41] Alan Seales: What did you get? The Dyson? Like the big?

[10:47] Cassie Silva: I know I should. Is this a sore spot? I didn't get. Now listen, I want the Dyson. I really do. I believe in it. I've researched it.

[10:55] Alan Seales: I have one and I like it.

[10:55] Cassie Silva: It's heavy. It works the best. But if you have to take it up and down levels, it's a little bit clunky. That's my review.

[11:01] Alan Seales: Okay. But if you have, you're saying you have levels, I'm saying, yes, I have, I have steps.

[11:05] Cassie Silva: Okay. Well, that's nice to take it up. If you take it up and down steps, it's a little clunky. It's hard, but yeah. Yeah, exactly.

[11:15] Alan Seales: Wow. That points your finger looks strong because it's from all the shit posting from all the shit.

[11:24] Cassie Silva: What shit are you posting these days? What should you post about me these days? Nothing. I'm like, there's nothing to post. This is what, okay. So I'm gonna go back to talking about you for a second. I've been following you forever since we met. And then I've wanted to have you on forever. And I don't want to be like that guy who's just like, hey, let's have an excuse to hang out or something.

[11:46] Alan Seales: No, please. I love it. We can hang.

[11:51] Cassie Silva: Okay. So here we are. Here we are. We're hanging out. And then yeah. Anyway, it's so monumental that we have to record it. Should I actually start the episode? Has it not begun?

[12:03] Alan Seales: Well, not officially because I have an intro.

[12:08] Cassie Silva: Oh, and then we'll go back to talking about shit. All right, let's go. But first I have to spin in the chair. Okay. Watch the, I already knew it, which meant that I have to go back. Well, now you get to spin twice. You have to, I have to, so I'm going this. Oh, this is, and you know what? And this is the way it goes. Oh, hold on. I have to, I have to point you. Here we go. Here we go. Excellent news. There we go. A round of applause.

[12:37] Alan Seales: Okay. All right. Let's wrap this mother up. And this is all the time we've got. Today's guest has a career spanning film, television, and theater after beginning her professional journey at the age of five after being featured in a national Jell-O commercial. She gained recognition portraying Brenda in the film adaptation of Hairspray while also competing on MTV's Legally Blonde: The Search for Elle Woods. Her Broadway debut came with Rock of Ages with further credits including Matilda the Musical on Broadway and the first national tour. She joined the North American Aragon Tour of Six, the musical, and later became the universal alternate for the show's Broadway and North American touring productions covering all six roles. She's also passionate about teaching, having served as an acting and dance coach throughout the years and was the artistic director of the...

[13:25] Cassie Silva: I was the Artistic Director of Studio Collective for the Performing Arts in LA from 2017 to 2022 and can now be seen on Broadway in & Juliet.

[13:35] Alan Seales: We've already been chatting for a bajillion minutes, but welcome to The Theatre Podcast.

[13:38] Cassie Silva: Thank you so much. What a joy and an honor to be here.

[13:41] Alan Seales: I know we could just talk for hours.

[13:43] Cassie Silva: I know we need to hang out and get a coffee after or something.

[13:46] Alan Seales: Listen, it's always coffee time. So can we go back to something that I was like, let's save it for the podcast?

[13:53] Cassie Silva: Yeah, the podcast was just happening.

[13:55] Alan Seales: The Legally Blonde bit.

[13:57] Cassie Silva: Oh, we're going straight into that. That has been eating at my little brain for four minutes.

[14:03] Cassie Silva: Well, listen, I what really is there to say? Because there's just so much. You were 19. I was just a little baby.

[14:10] Cassie Silva: And I know that because they zoomed in on your face and said, I am Cassie Silva. I'm 19 and I'm from Los Angeles. I feel like one of the greatest misconceptions that people have about that show and me on it was how impressionable and young I was. I don't think I had done like I had done Hairspray at the time and I had never really done an onstage production in musicals. I say the like joke of it, because, of course, now I'm like rehearsed into the things that I like feel safe to say about the show because it was so traumatizing for me. Really, really to the point where like and I trust you. Like, I really haven't spoken on it in how long ago was that in one year? About five years ago. Yeah. Yeah, totally.

No, but obviously, like I'm able to speak about it now, but it really was at such a time in my life where I had, you know what I mean? Like that put a stamp on me that I had no idea what to do with it. But two things came from it and this is rehearsed. One, it taught me that I wanted to do this thing called musical theater and that it was possible and that all of the facets of myself, the like triple octuple threat, if you will, had a place. It had a place. And my weird and wild had it had an opportunity to thrive. Right. And I didn't know that at the time. I didn't even know like what theater programs were, which is so funny, because now I help people get into musical theater programs and very versed in them.

But what's so funny is that I never went. And also the second thing is that I met one of my best sister girlfriends, Natalie Lander, who like I just love with my whole entire heart. And she is perhaps the reason that I'm able to speak on it, because she was such, you know, it's kind of and we've said this as at actually Six, the musical and being an alternate, which I'm happy to speak about as well. Yeah. Which is that, like, unless you've lived it like there's there's no one else that can really talk about it. Right. It's like you can tell me all day long your opinions and judgments. But unless you actually were like in the trenches, there's no way out. It's like this is not to be believed.

Well, reality TV is not true reality. It's not. No. Hey, I hate to spoil it for you who've already been through it. Yeah. And like at the time, Big Brother and like American Idol were like the main reality shows. Like we hadn't really seen anything like this, especially not something, you know, Broadway based. And Legally Blonde, the musical had been released on MTV. They did their pro shot. They released it. And I believe this is true to say the reality show, it's like eight titles long and I don't care enough about it to remember them. But it's like Legally Blonde, the musical, the search for the next. Oh, is that right? MTV's Legally Blonde, the musical, the search for Elwood. Wait, I said it right.

Not the next. I guess it's not next. Oh, OK. You added a next. Man, we need an acronym for that. Shoot. You know, honestly, there might be one. I don't know what it is. Lim Tim Tissot is the that's the actual pronunciation of it. Amazing. Great. OK, so Lim Tim Tissot. Lim Tim Tissot. L.B.L.M.L.S.F. No. Small F. E.W. I love it. OK. Yes. So we hadn't really seen anything of, you know, at this time. And the reality show, The Search for M.R.M.R. was it was essentially a Hail Mary to keep the show open. Right. We were we were trying to find ways in this world to, like, keep Broadway afloat. And how else could we do it back in the day that we didn't have social media like that? That wasn't, you know, MTV still existed, existed in.

Correct. Youth cared about it. OK. Yeah, yeah, yeah. TRL. You know, Joey Fatone's in my show now. I know. Have you talked to him about, like, how much he did not or did influence your younger life? I can't. I can't. But like every so often I'm like single tearing. And I know that he's like, she gets it. Well, you went on. Right, Joey? Yeah. Yeah. Yeah. You went on. You got to go on for Anne Hathaway the other day. So now you were like, oh, my gosh. Oh, losing it. Also, I cover the nurse now. Yeah. Angelique. Yeah. Angelique. I have not done it in performance with Joey yet. But I did his first rehearsal with him. And the way I would like to have I please offer me a tiny trophy emoji award because I quite literally was like an emoji.

Yeah. He was like he was like, hi, it's or whatever he said, because he's perfect and charismatic and charming and and and and my literal teenage dream. And I acted my way out of a cardboard box. I was like, hi. So Cassie, lovely to meet you. Die. I was literally melting inside. And then we go to do like the scene. And I'm like. Right. And then, of course, he's learning it and learning it at the speed of light because he's perfect. And then he like looks at me because, you know, like, how is he supposed to know it three seconds after learning it? And I'm like, uh-huh. And then I'm like, yeah, that's it. That's great. Yeah. Losing my mind. Am I losing my. Listen, the smelly cow voice is going to work for me. I think you're I think you're doing it. Yeah. Thank you. Don't go anywhere. We'll be right back after this break.

[19:58] Alan Seales: Welcome back to the episode. All right. So back to back.

[20:01] Cassie Silva: Back to Legally Blonde. Back to Legally Blonde, the musical, The Search for Elwoods. So you're there. So there I am. And yeah.

[20:12] Cassie Silva: OK, but I know there was so much to say about it. There was a casting call. So obviously you you got in there. You were already singing. They're not going to cast you because like they're going to teach you to sing. Like you were already singing. You were already dancing. What was the thing was? And honestly, this is probably on me. I was a small child. I really and I was on my own. I was pretty independent at the at that point of time. I mean, I had shot Hairspray in Toronto and I was I think I wrapped that project like on my 18th birthday. Yeah. And then I did Legally Blonde like shortly thereafter. And so I mean, I'm saying this because when I went to do Hairspray in Toronto, Hairspray in Toronto, I had finished high school like a year and a half early.

And so I had been on my own for so much time. So cut to like, you know, I'm basically like acting like an adult. And mind you, 18 back in the day is not 18 now. Like now seven years old is the 18 that it was back then. But anyway, yes, I found myself at this audition in L.A. And it really was confusing because remember, like it's hard to explain what a reality show is, especially if it's something in a model that we haven't really seen before. Yeah. Like the liberal show. And so, yeah, like we went in and we danced and then we like, you know, we sang. And as far as I knew, it was kind of in my mind supposed to be like a docuseries of that, which isn't wrong, of them finding like the next Broadway lead of Legally Blonde, like finding Elle Woods.

I'm thinking more so it's like an episodic like or like a film version of, you know, like behind the scenes, if you will. And so when they're sitting me down and asking me questions in these rooms, I'm just shooting the shit like we are. And I didn't tell you what the finished format was. I really at the time. Honestly, listen, it's possible. I just don't remember it that way. I just remember thinking like, oh, this is so interesting. How cool. Like if I were to be a lead on Broadway like this would have been documented. How cool. And so when they were like, we want you to come to New York, I was like, dope. I mean, it's kind of that's not unheard of. I mean, in our audition process, if you're doing something bi-coastal, you don't live in New York.

Typically, when you get far enough along in the audition process, you move on along. You have to come to New York at a point to meet the team and X, Y, Z. What was funny is that we could literally talk about this for 10 years. So cut me off at some point. I'm fascinated by when we got to like, you know, the initial hotel. This is before we were like in the the Empire penthouse. That was like the bar that Pottery Barn team turned into an apartment here. We were we were in some hotel here. I don't remember what it was. Perhaps it doesn't exist anymore. I have no clue. But it was in Times Square. I remember because we drove by the M&M factory. They put us in this hotel. You did not know anyone.

We were not allowed to see anyone, meet anyone, talk to anyone. And then they came to our hotel rooms. I wish that this was a lie. They came to our hotel rooms and they took all electronics. We weren't allowed to know. We weren't allowed to contact people. We were not allowed to update people. I couldn't know what time it was. I couldn't know what day it was. Deadass. So it was like, you know, actually Lena Hall, who was going by Selena Carvajal at the time. I like to use a quote that she said, which was like people in prison get treated better than us. Because at least they get a phone call. You know what I mean? And there's this. I'm actually not going to comment. Actually, I'm going to pause on this one because I'm about to share something that is going to send everyone on a Google search.

And I don't want it Google. But anyway, we were not allowed to like know anything. So when we show up at this like initial day, day one, like the big audition, right? At this like theater or whatnot, there's hundreds of people, which is hilarious to me personally, because I'm like, what are you all doing here? Because to my knowledge, I'm like, oh, OK, they brought me in here. This does not look like other auditions that I've done, which is typically like you show up to a casting office and there's like maybe people sitting in chairs and you go one at a time. And now we're like in a theater doing full blown performance. There's cameras, there's people. And I don't recognize any of those people, because one, I know really not.

I know nothing about like Broadway, Broadway community, but somebody brought cupcakes like it was very it was such a weird energy. But then because we were waiting for so long, because the show format and model didn't really exist ish. Right. Yeah. We're just waiting with each other for like hours and hours and hours. Well, then we figure out we're like, wait. So you're from New York. You literally just like were invited to come to this today. You were invited to come to this today. You flew here from middle of nowhere and you were put up in a hotel. Right. So we're realizing there's golden tickets. We're like, oh, there's like 10 of us that like have packed bags and like been in this process now for weeks and weeks.

And the rest are basically like bring the house. People. Right. Yeah. Yeah. And so that was very strange. But of course, I didn't know how to put those pieces together. And I'm terrified. And of course, then also I'm auditioning to be on Broadway. So like so many things. And so, yeah, like after that arduous day of just like hours and hours and hours and hours and hours, they like put us in a car and we were finally able to like, you know, meet each other. And we go to this like penthouse at the Empire Hotel. Oh, it was the restaurant. It was like the bar, the rooftop bar and Pottery Barn teen and Magnolia Bakery and Awkwafina. Shout out. Sponsored it. And they like put cubes in places. And like from then and there, we're not allowed to know what time, what day we just had each other and like camera people.

[26:21] Alan Seales: Yeah. How did that mess with your psyche to just be completely isolated? Because I'm always like looking at the time. I want to know what day it is. Like because I'm such a structured person.

[26:29] Cassie Silva: Yeah. It's I mean, I guess it's very smart because they want to completely isolate you and have you focus on nothing else. But what what is there in front of you?

[26:50] Cassie Silva: In hindsight, it was so highly damaging. I think also because, you know, I didn't know these people and I already, like, struggled with, like, neurodivergence in a way, had a lot of, like, social anxiety, awkwardness, like, and I just didn't know how to function in a space like that. And so, especially having no preparation going into that and, like, when I say, and it got to, it got to avenues where, like, they, like, weren't feeding us or, like, we, like, bless Lena Hall at some point when we were doing that bike episode, she was, like, get off the bikes. Like, no more. We will not perform again. We will not get on these bikes. You cannot film us doing one more thing until you feed us. Point blank period.

Right. And a PA who was lovely finally went, because remember, it's a crossover of unions, if you will. And so, I think that was taken advantage of. Sorry, Legally Blonde. I love it. They finally went and got, like, sign-in sheets and they were like, okay, we need to, like, get this union. Like, what are we doing? We need certain hours. People need to be eating food, like, because they wanted certain, is the word performance? Like, they wanted certain things out of us. Sure. And we were just lovely theater people. Yeah. And that's what's so funny about it. When people ask me about it, I'm like, everyone was so lovely and we just loved each other. We love theater. Theater is a community sport.

It's a team sport. So, I was like, if anything, I feel like you would want to show that off. Isn't that so cool that we're all in the trenches together and we're just, like, being weird and silly and egging each other on for the betterment of, like, telling stories? And that was, like, not how they wanted to go about it. And so, they, I think, chose manipulative ways to do that. Wow, this is a lot. And this is why I don't speak on it, right? Because it's, like, it's just so much. And you're like, no. It's like, yeah. Plus, there were people, because remember, we were in, like, a bar. So, the bathroom was, like, downstairs and the floor of, like, hotel rooms downstairs from the bar was where everybody was, like, on the crew set up.

And that's where all of the, like, confessional places were and the bathroom. And we would go to the bathroom and just, like, hide and just, like, talk to each other because we'd be like, what's happening? This is crazy. And that was also where they would put us when we got voted off. So, you would literally be, like, underneath the people where you were, like, living. And, like, you didn't have any of your stuff. They would pack it for you. It was so wild and crazy. It was so wild and crazy. They treated us like animals. I know. I'm sorry.

[29:32] Alan Seales: That sounds like reality TV.

[29:34] Cassie Silva: I know. That was my experience of it, too. Like, all fine and good for people who had better experiences and had much more of a head on their shoulders and, like, had good, strong, stable, you know, backing and support and things like that. Like, I didn't have that. And you can't even call friends, parents, anybody to, like, get grounded again.

[29:49] Alan Seales: Yeah. No, we didn't have that because we were not allowed to call anybody.

[29:56] Cassie Silva: Right, right. It was wild. Have you ever talked with, like, Tommy Bracco about Big Brother or Justin Guarini about American Idol?

[30:05] Alan Seales: No, but I want to. Justin.

[30:07] Cassie Silva: Because Justin, too, I've had him on. I've talked to him multiple times. I just saw him on stage. Well, I guess it wasn't just now.

[30:14] Alan Seales: Yeah. Let's call him one more time.

[30:15] Cassie Silva: Yes. Very, very stressful. Like, they had American Idol, at least, he was saying, has an on-site shrink. On-site shrink.

[30:25] Alan Seales: Amazing.

[30:25] Cassie Silva: On-site shrink. Which is on-site shrink. So, but you didn't have that. Okay. So, that traumatized you?

[30:35] Cassie Silva: Traumatized me. Because when it aired, finally, and I have only ever watched the show when it aired in real time. Other than that, I've only ever seen clips or people, like, describing what happened, or do you remember this? And I'm like, I don't. But, wait, what was the question? It was—

[30:58] Alan Seales: Have you ever talked with others about—

[30:59] Cassie Silva: Have I ever talked to— Yeah. Yes and no. I mean, because I don't think you're alone at all in any of this.

[31:07] Alan Seales: No. Not anymore. I mean—

[31:09] Cassie Silva: Right. But, yeah, I think at the time, I had no clue. That's what I was going to say. When it aired, I was still so young and directionless, but ambitious and hungry and was like, I want to do this Broadway thing, right? And I went to my agent at the time. She was like, here's a number. You have to do this thing called learn to sing. And I was like, oh, okay, great. Cool, cool, cool. And I did that. And obviously, it's like going okay now. But I was very confused because I was impressionable. And I was under the impression when I shot the show that I was a bit of like a favorite there. They let me know that I was a bit of a ray of sunshine. They really liked me. So, it was so damaging and discouraging and disappointing when it aired and I watched it and I was edited incorrectly as a villain, so to speak.

And I've made a good career on that. I live to play an antagonist and I've murdered so many people in my career at this point. You met me when I was a baby Broadway stripper. I have learned to embrace that and love that. But at the time, I was 19 years old and confused and was like, oh, is that me? And I didn't have enough of a self-awareness to digest that type of information about myself. And I'd been acting since I was five, but I was like, wait. I would say it would have been so much easier if somebody was like, this is Legally Blonde and the character's name is Hannah. It was so much different to say like, that's me. That's my identity. I am Cassie S., right?

[32:52] Alan Seales: Right, right.

[32:52] Cassie Silva: To this day, which is such a little thing and I'm glad that that's where my recovery is on the trauma of that show. But when I go to pick up food or whatever and it says Cassie S., I'm like, right?

[33:04] Alan Seales: It brings back all these memories.

[33:07] Cassie Silva: No, I just kind of like, oh. But yeah, I think I almost had to compartmentalize it like that in order to get past it because that was not me. And I knew that wasn't me. But it was confusing because then people were thinking that it was who I was as a human being versus me saying, here's just like a silly example. It's being like, do you like eggplant? I'd be like, oh, God, no. And then cut to how it made it on the show. And they'd be like, do you like that person as a human being and their performance? And I'd be like, oh, God, no. So they literally were just editing.

[33:46] Alan Seales: Literally just because there were no rules. Again, there were no rules. There were no contracts. You know what I mean? Bless up.

[33:53] Cassie Silva: That's terrible.

[33:54] Alan Seales: But it was terrible. And honestly, lol. It made for a good cult classic and that's great. And I think I've been able to finally just like move past it. But at the time, it was a lot to sort through because then, you know, like I experienced cyberbullying, which is why like I'm not really on social media a ton these days. I found ways to make it work for me, but was so cyberbullied in person. People like I got into like this thing in a mall once where this group of people were like, you're so mean to Bailey. Oh, my gosh, I get rehashing this, but I really have never talked on it. And they like put it was in an H&M. They like pushed me into like the corner and I like hit one of the physically punched me.

And then I was in a mall another time. I was on the bottom level and somebody poured a Slurpee on my head. Oh, yeah. And so I was so that's what I mean. Like it was so confusing because there were active like people were active in their responses to it in real life. But I was playing I was portrayed as a character. Yeah. So I was like, wait, I'm I don't. Also, just like I was a child and didn't also so I'm sure I said some really dumb stuff.

[35:04] Alan Seales: Well, yeah, you're trying to defend yourself, I guess. But oh, that's terrible.

[35:07] Cassie Silva: I know it's yucky.

[35:08] Alan Seales: That's terrible. And I know what it made for some like really good awful TV.

[35:15] Cassie Silva: So like, that's fun.

[35:16] Alan Seales: That's fair. That's fair. But before this, you grew up in L.A. You're born in L.A.?

[35:22] Cassie Silva: Born and raised.

[35:23] Alan Seales: L.A.

[35:24] Cassie Silva: From like the valley.

[35:25] Alan Seales: I was gonna say, you like turn on the vocal fry a little bit.

[35:28] Cassie Silva: Yeah, like totally. Especially with my smelly cat broncule. My broncutie voice.

[35:34] Alan Seales: Broncutie.

[35:35] Cassie Silva: Broncutie. Charcuterie. Charcuties.

[35:38] Alan Seales: So you grew up in L.A. But then when you were when you were little, like, did your family get you in performing? What did you see? What did you want to do to get you to that 19 year old girl on the show?

[35:48] Cassie Silva: I think I always was what I was. Like, I think I came out that way.

[35:54] Alan Seales: You're one of three siblings.

[35:56] Cassie Silva: Youngest of three with my biological parents. Youngest of eight from my father's side.

[36:03] Alan Seales: That's a quest.

[36:04] Cassie Silva: That's a quest. Yeah, I want to say I was almost like black sheepish. I just kind of had never met a stranger again, like peace, neurodivergence into that. I just loved like creating stories and worlds and like fantasy. You know, my home was not the warmest welcoming. And so I think I really dove into the sense of play and being alone and also lived and loved like being in dance class and things like that. And I was such a menace.

[36:37] Alan Seales: Don't go anywhere. We'll be right back after this break.

[36:41] Cassie Silva: Welcome back to the episode. Then there also was like a drama class when I was little. And my older sister had a ballet class during the same like hour. And so they were like, come take this class or whatever. And I'll never forget it. Miss Barbara. We're still friends on Instagram. Hi, Miss Barbara. Shout out. Come on, arts education. She taught me how to like peel a banana, like how to improv peeling a banana and turning on like I will never forget. And she had like, like charm bracelets, you know, like I'm not an ASMR person, but like, I will never forget it. I must have been like five or six at the time and like turning on the invisible sinks and like the hot and the cold and being like, oh, it's so hot.

Yeah. And like the the charm bracelets and she would wash her hands and like all of that sensory thing. And I was like, why do I believe you're like about to eat a banana? Like you are literally washing your hands, woman, like and taught me how to be instinctual. And like we'd play this game where you would have to like change three things. And so you'd have to like go into the bathroom and everybody would like see you change three things and then you'd come out. And so it was like these theater games, right, where then you would have to be like alert, alive, enthusiastic type of thing about being present. And I think that was one of the first places that I learned to be present within play.

And she really like I don't know if she like knows this either. Like she really to this day, like when I think back to where it kind of began, I think it was sitting like crisscross applesauce at the mirror of that dance studio watching her like wash her hands in the invisible sink being like that is how do we do that? And then, you know, there was also like a little musical theater class and I could hold my S's for a very long time. And they like they did like, you know, like they would like time you. Yes, exactly. And I learned that I was like pretty good and pretty competitive and that I was a competitive dancer growing up. And then the way that acting came about is that my joke of it is like I grew up in L.A. So you're either a Girl Scout or an actor.

So I was an actor. We got a postcard in the mail, the snail mail. And it was like, come to the Marriott audition for this acting school like and you may get a scholarship if you're like fancy enough. So, you know, you walk up there and I'm like, hi, I'm five or whatever it is. And they were like, OK, cool. So want to come to acting school for free? And I was like, dope. So, yeah. So we would go to Santa Monica Studios on Sundays. And I met my first manager there. I booked my first commercial there.

[39:09] Alan Seales: The Jell-O commercial?

[39:10] Cassie Silva: The Jell-O commercial. Yeah. I did like a little like recording for like whatchamacallit.

[39:16] Alan Seales: Oh, the candy bar.

[39:17] Cassie Silva: The candy bar, yes. And I'd be like, it's a whatchamacallit? Whatchamacallit? A whatchamacallit. Like, I just loved it. I just thought it was so fun.

[39:25] Alan Seales: Is that out there on the Internet still?

[39:26] Cassie Silva: Honestly, who the freak is to say? Because it was so long ago. I don't know that that one would be. I feel like that was pretty like in-house.

[39:34] Alan Seales: You got to find it and post it on your socials.

[39:36] Cassie Silva: Yeah, it would be so... I should.

[39:37] Alan Seales: Yeah.

[39:37] Cassie Silva: Yeah. After I go through the PTSD and sweat literally to this day, like it's a very rare occasion if I can post something on my Instagram feed without having it go through like multiple people.

[39:49] Alan Seales: Really?

[39:49] Cassie Silva: Really. Yeah.

[39:50] Alan Seales: So, okay. It sounds like you got a little bit of anxiety wrapped up in the social stuff and the online presence stuff.

[39:56] Cassie Silva: It's fine. I feel like I've learned how to work with it and around it. Like everyone's welcome at my party. Like all emotions and feelings are welcome at the party. Because I'm like, okay, everyone's giving me information. Let's go. I mean, I'm in the business of emotion and feeling. So like everyone's here. There's no like black and white. There's so much gray.

[40:15] Cassie Silva: You know, it's like the color wheel. I talk about the color wheel a ton. It's like, great. And it just creates a rainbow effect. So like, let's let it go. Like an emotional rainbow effect inside your brain.

[40:24] Alan Seales: Totally. Yeah. What's in terms of neurodivergence and stuff like where did you find your home? How did you find your home with people who emote with people who are okay crying, like all this stuff? You know, when did you realize this, that that was for you? I mean, you're always drawn to it as a younger kid. But there was one point there's some point where as a young adult or an older teenager, we're not adults, by the way. Get off my lawn. What's an adult?

[40:46] Cassie Silva: I don't know. When I figure it out, I'll let you know. But you were like, I'm going to do this full time. I'm going to pursue it. I want to make a career out of this. Like there had to have been some switch where you're like, this is my home.

[40:56] Cassie Silva: I just it always was one thing. Performing performing in any respect made the most sense to me. Like many things in my life kind of felt all over the place, if you will. But like and perhaps it has to do with the structure and the boundary of like, movement, matched with music matched with expression. And that made so much sense to me. And because I'm a big, big feeler, I think it gave me that opportunity and that platform to be safe within big feelings. And so, you know, you would turn on like Phantom of the Opera, and you'd put me in a pair of pointe shoes and give me like a friggin cape and a half mask. And there I am like living my best life. And it's like, you know what I mean? Like, that made sense to me.

That was where like, who I was inside wasn't suppressed anymore. Because otherwise, it was like, I'm too loud. I'm too wild. I'm too hyper. I'm too and at the time, you know, there's like no studies for anything. And nobody, you know, everybody loves to do XYZ to tell themselves they are who they are, they're not. And so it was basically just like judgment. So I just grew up with a lot of like, gang, gang, gang, gang, which, hey, you know, is what it is. But performing always made sense to me. And that was like on any level. And then of course, singing made sense because I love to scream. So I would just like belt at the top of my lungs, I think because I was so tiny. It was surprising and also like impressive.

And to be honest, probably hilarious that like such a sound came out. I was like Lucy from Charlie Brown just being like, I think the way you play the piano is nice. Yeah, and I think I always had a funny bone, too. Right? Yeah, never met a stranger. And I think it just kind of allotted itself to that. I never questioned it. I have thought back to this as an adult, because of course, I went through a phase in my 20s where I was like, did I choose this? Like, who chose this for me? Like, do I like do I want to even be doing this? Turns out I do good. But how frickin lucky and miraculous that like, I really was born into it. It always made sense to me. I never questioned it. I always was going that direction.

And I think anyone that knew me at that time would also agree like there was no it was like the trade, the trail was blazed. And there was like, in some ways, I needed bumpers. Because I was like, great, I'm going there. Whatever it is, I'm going. And people were like, Oh, okay. By all means have at it. And so yeah, I think it was more so just about people trying to figure out how to help facilitate that for me. But I was such a bull in a china shop that I honestly don't think that until like, pretty recently, like, I've been like, Oh, yeah. Oops. Hello, legally blonde being like a perfect example of that, you know? So, so yeah, what was the aha moment? I don't know. I had a few. Do you want to hear?

[44:00] Alan Seales: Yes.

[44:01] Cassie Silva: Okay. Two that I can think of that might be like relevant to this is that Leslie Margarita. I didn't get into theater till I was like, much, much older. But I did see a production of Leslie Margarita because we're both from LA. I saw her play Anita in West Side Story. And like the scene, okay, so then there's like Maria bullets for you and you Sorry, spoiler. Are there enough bullets for you and you and whatever and then she was like, then you know, Leslie's like a boy like that. Okay, if you have please, she's unwell. Okay, so in the best way. And I remember feeling right because I'm a big feeler. And so I was like, how do I do that? What am I feel? I'm all the way back here. How am I feeling that that's so wild?

I want I want to affect people that way. She's being so thin skinned and vulnerable and powerful and isn't that so provocative and, and yet she's just lovely. She's a real human being. So like how I want to be both of those. That's so cool. And then you know, like, do you have enough bullets for you? And I was like, and she's like singing at the top of right Maria or whatever. And I was like, okay, cool. So like, how do I get there? How do I do that? And then my first production of Seven Brides for Seven Brothers. That's the first thing that I ever did theater wise. And I was like third girl from the left and thrilled to be doing it. I watched the lead on stage, Shannon Morney. And was like, how I do that.

I want to do that. That's cool. How do I get there? Right. And so I just was curious, I would ask around, I'd be like, how do I become this? How do I get there? And then okay, wait, because here's the kicker, it's gonna be the best segue, you're gonna love it. When I was doing Six the Musical, we're like fast forwarding majorly. When I was doing Six the Musical, we had a month off between like picking up on the first national. We had like just a month of like resetting things and whatnot. I was like, okay, great. I'm employed on both ends of this. I had gone through a really rough, rough, rough, rough period. I thought I wasn't going to perform again. I started to become an arts educator because I was like, I probably should download this onto somebody while I still can, you know, while I'm still able.

Luckily, I was able to make recovery, come back, got back on stage XYZ. So here I am doing Six the Musical, we have a month off. I'm like, what am I going to do? I'm employed on both ends of this. I now I'm a healthy, stable human being. What should I do with all of this time? I'm amazing. So I was like, I kind of want to go to London. Okay. Yeah. And everybody's like, alone? And I was like, yeah, let's go. So I go to London alone. And all I wanted to do was just see shows. And so it's government funded there. Anyone that- The shows, that's why tickets are accessible. Because theater heals. So I go, I see like a bunch of shows. I see Matilda. It was their 10th anniversary at the time, which was so wild because all of our Matilda kids had grown up.

But they were still babies on the stage. Because you know, the roles actually cast people that are still like 10 years old. And I was like, this is insane. I saw multiple shows. I go to see this show and Juliet. And I'm like, okay, it was one of my pandemic albums along with The Sixth Musical. This was 21? 22? 22? Yeah. Pre-Broadway transfer. Right. And I'm like sitting in this audience and I bought like a good seat, which was affordable. And- Pause. Pause for affordability. Okay.

[47:20] Cassie Silva: I go to see this show. And it's like just before all the originals had left. And I was like, shooketh. Like shooketh. I was like, first of all, there's like, the very beginning of the show, there's a pre-show. Spoiler. There's a pre-show. And I walk in during like said pre-show happening. Right. And I'm like, what's right. And so immediately I'm like welcomed into this world. And I was like, oh, I'm here. I'm sat. Right. And then I'm like, oh my God, these costumes are insane. Like they're insane. And this is contemporary. And I'm recognizing the music and these performances are just like so lived in. And they're so, and the representation of things and the visibility of things and the messages of like, of hope and second chances and love in all of its forms, identity acceptance.

Right. And like, that was a place that I was at. Right. And so it spoke to me in a really, really, really important way. And so I have an Instagram story that I share of me at that time. And I'm walking down the street after I've seen this production. Right. And you know, where you like the, like the, the whatever it is, the soul is like ignited again. And you're like, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa, whoa. And I'm like, this is why I came to London. This is why I came here. I knew I felt called to come here. And I didn't know why I had to come and see Ann Julia. I needed this. This, this was for me. Okay. So then I was like, I have to go again. I'm not, I'm not, I will not watch a lot of things twice.

Right. I love my friends. So typically I'll save things for like going to see them again in a role or something like that. But I'm not typically the person to be like, let's go again. Let's watch again. Let's do this again. The only time that I could go before I left was literally like the 1pm matinee the next day. Okay. And now I'm doing the 8pm and the 1pm matinee. Right. And like that turnarounds rough boots. Okay. So what I learned later is that they had just done a schedule change. And so I had the luxury of seeing a completely different cast. No kidding. Because everybody had to call out because they were doing like this insane schedule. And so like the Sunday 1pm performance was completely different from the Saturday evening 8pm performance.

And I was an alternate at the time. And I had judgments and preconceived notions and trying to wrap my head around that. And I was in a comeback to theater and, and it really changed my mind. And what I loved about it was that I learned, which is so silly, right? But, but in a really profound way that there are a million ways to tell stories, and that it's subjective. And so long as you feel I would say like in my heart is where art starts. And like, I felt what those people were feeling. And that was really all that it was. But the thing that I took away from it was joy. I remember seeing the ensemble and being like, I feel how much you love what you're doing. You don't look tired. You don't maybe you are.

But like, you are exuding you are transferring, like, joy. And to see that, especially like, now that I'm doing it. That's always like my number one thing is like, how in how today with like, you know, the social climate and whatnot. I'm like, this is such a currency, the fact that I can tap into and transfer joy at such high capacity, and in a true, authentic, genuine quality form, right? It's not diluted by any means, like, that I can offer that to somebody that's what you're paying for. Yeah, too much money.

[50:47] Cassie Silva: Joy is a currency.

[50:48] Alan Seales: Yeah. And so I was like, how do I do? Okay, I got that was another one. I was like, how do I do the show? I got to do the show. I don't know what I don't know how. So I like email my agents. I'm like, I don't know what this is. But I got to do this. Right? So cut to six musical happens years later, the track comes along that I'm in now for and Juliet on Broadway. And they were like, I would you want I'm like, listen, would you free class, free class, I want to go learn choreography from Jen Weber. Let's freaking go. You know what I mean? One I'm like, you know, it was so iconic. Like I remember like, watching the physical signature of that show, and it being so different, because it's so contemporary.

And also what's so great is that I can kind of like lean back into the Max Martin catalog of things, because everything's recognizable. Yeah, every song, you know, Max, Max wrote like every major pop song. My, my favorite gag now is being like, Oh, yeah, and it's the Max Martin catalog when I'm telling people about the show. And they're like, I don't. And I'm like, you do. Yeah, you do. You know, you know, who Max Martin is, you don't know that you know, who Max Martin is. But if you have lived in this day and age, you know, who Max Martin is.

[52:01] Cassie Silva: Have you heard of Nsync, Backstreet Boys, 90 Degrees, Britney Spears, Taylor Swift even wrote for at one point.

[52:06] Alan Seales: Literally. Yeah. So, so yeah, I think it does that amount of work, which also kind of makes the veil a little thinner so that we can, it is more accessible to me. Anyway, but going back to the audition, we've gone a lot of places, but

[52:19] Cassie Silva: I am with you. I'm right here on this journey.

[52:21] Cassie Silva: When I went to the audition, I was like, amazing free class. I want to learn Jen Weber's like, please teach me all of this iconic choreography. And we did Can't Stop the Feeling. And I learned it from the associate Sosa, who's just like everything and joy embodied. And I was like, Oh, I know what to do. I'm just going to bring the essence of this show, which is just you know, like, hope, love, joy. Yeah. And and I was like, you know, living on the dance floor. And they were like, Do you want to come and do this? And I was like, you're not real. Like, you're not real. That's not real. That's like, that's like a dream come true. That's not real. Not like cheesy dream come true, like a literal, like, I really wanted to do this.

And now I'm doing it like weird. Also, I'm pretty sure that David West read who wrote the book wrote and after me, so I was like, so that's fine, because I've been allowing you to, you know, create a character that's about me. No. Yeah, it's such a beautiful show.

[53:18] Alan Seales: It is. It is such a so the track you're in now and and Juliet. Yeah.

[53:40] Cassie Silva: I would assume that Angelique and Anne Hathaway would be two different types of people.

[53:50] Alan Seales: Yeah. They typically are. I think the track that I have now, I play the role Lucy. I've nicknamed her Lucky. I'm first cover for Anne Hathaway and Angelique. That track here in America, I don't believe that's the trio typically for one track. That just is how they opted to do it with me and this iteration. What can she do?

[54:22] Cassie Silva: Yeah, I think maybe Six prepared me a little bit for bringing different things to different tracks, but I'm so grateful that they've trusted me to kind of bring myself and different facets of my kookiness in different ways to all three of those tracks. So Lucky, who I play every day, I was like, what does this? So she's a player. Lucky's a player. I'm one of Shakespeare's players. And I was like, okay, so the pocket that I feel like I could fill here, nobody asked me to do this. The pocket that I feel like I could fill here is that we need this Shakespearean time, right? I'm like, there's no typical classic theater stan kid. I need somebody in here who just is overzealous, never met a stranger, smiley, smiley, ready for action.

When Shakespeare gives an idea, I am like first in line. So I love to offer that because I also remember joy is one thing that I feel like I can offer to this show in its line of themes. And so when I'm in the ensemble, I'm always just happy to be here, easy to work with. And I'm always just like, just so sorry. I'm just living my best life. I'm so happy to be part of the play. And then, of course, Anne is great and brings in some more groundedness and a lot of humor and technicalities and things like that. Actually, Allie Luff, who's playing Anne Hathaway now on Broadway, I did Matilda with on Broadway. And I understudied Wormwood and she played Miss Honey. So it was fun working opposite her.

And now that I cover the nurse as well, I still get to go on for her when she's Anne Hathaway. And she is just an absolute bright star. What? She's not a correct person. We say that we're in the cast. We luff her.

[56:26] Alan Seales: She is one of the charcuties because you luff her.

[56:31] Cassie Silva: She can be. She's a charcutie now.

[56:32] Alan Seales: She is officially. We've added her to the charcutie.

[56:35] Cassie Silva: Yeah, she's perfect. And she's an absolute dream. And she's iconic in that role, which makes it so fun to understudy her and also to just play on stage with her all of the time. And she's also just a really great human. And I love having been in the business a million, million years now. Those are my favorite types of people.

[56:52] Alan Seales: But you just did Legally Blonde five years ago.

[56:55] Cassie Silva: Right.

[56:55] Alan Seales: How have you been in the business a million years? I don't know.

[56:58] Cassie Silva: It's a loose term.

[56:59] Alan Seales: It's a loose term. Very loose.

[57:01] Cassie Silva: But yeah, it's very fun to understudy her. And then it's very fun to go on with her.

[57:05] Alan Seales: I can imagine.

[57:06] Cassie Silva: Especially when I'm the nurse.

[57:08] Alan Seales: I can imagine.

[57:09] Cassie Silva: So then you were prepared for all of this understudying, swinging, dance captaining, everything. Because you went into Six as, were you always an alternate? And did you swing? And then you became a universal alternate?

[57:20] Cassie Silva: Right. Like, so you get to fly around and be all the queens and all the cast. So you had to know all six roles. Those are six. I'm imagining I have six fingers on my hands.

[57:34] Alan Seales: Six hands, fingers. Yes, you had to learn all six. How the hell, man?

[57:41] Cassie Silva: Now, listen. Okay. So, yeah, it's always a journey. And I only know how to make long stories longer. But...

[57:47] Alan Seales: Good. Same.

[57:48] Cassie Silva: I started. So, you know, Six, it was supposed to open right when everything shut down for the pandemic.

[57:53] Alan Seales: Yeah. I went to final preview. I was there.

[57:56] Cassie Silva: That's right. You told me that.

[57:57] Alan Seales: I was there the night before March 20th.

[58:00] Cassie Silva: No freaking kidding.

[58:01] Alan Seales: Yeah. So my playbill says opening night, March 20th, 2020, which never happened.

[58:08] Cassie Silva: That is so wild.

[58:09] Alan Seales: Yes. Yes.

[58:10] Cassie Silva: That's a mandala effect. That's cool.

[58:18] Alan Seales: Yes. So when we came back from the pandemic, obviously COVID had changed our, you know, world. And so I came immediately to do some additional coverage. And they taught me Howard first for the Broadway company. And then I started with the first national like a month or two later.

[58:36] Cassie Silva: Is that the Aragon?

[58:37] Alan Seales: The Aragon tour.

[58:38] Cassie Silva: Okay.

[58:39] Alan Seales: Yeah. And always was kind of going back and forth between companies as they needed people. And I covered three queens, Bolin, Green, Cleaves Red, and Howard, Pink. I can do songs, too. You learn. It's hard to know who they are by name sometimes. So you're like, oh, the song. Don't lose your head. People are like, oh, yeah, yeah, yeah.

[59:05] Cassie Silva: The songs are one thing. Knowing the songs is great. Knowing the tracks is another thing. It's the harmony for whatever character you're in for.

[59:14] Alan Seales: Yeah. I mean, they shift. I think it's pretty streamlined at this moment. But yeah, going into it, what was so special is that they kind of, as I learned it within multiple, multiple companies, as I became the universal, yeah, it was so individualized, which was so special. But yes, so I was the dance captain, which meant that I had to know all six.

[59:33] Cassie Silva: Yeah.

[59:34] Alan Seales: Of the first national. And then...

[59:36] Cassie Silva: But you know, the dancing and the movement, not the singing, that's still another layer on this gigantic cake.

[59:41] Alan Seales: Wild, wild, cuckoo bananas, right?

[59:42] Cassie Silva: Yeah.

[59:43] Alan Seales: And then as I was helping the Broadway company out, the second national opened, they needed a little bit of help. And so I would kind of go between all of people, all people, all...

[59:52] Cassie Silva: All of people.

[59:53] Alan Seales: All of people, all of the companies. And then when the first national was over, they asked me to be the universal, which meant I would take on a fourth queen. So I then did Aragon, which is the first.

[1:00:00] Cassie Silva: Yeah.

[1:00:02] Alan Seales: No, no, no, no, no, no, no way. Did that for six months. And then they asked me to play just Bolin on the tour. And so I did that for a leg. And that was in really interesting form. The only experience at that point that I hadn't really had was being like an onstage full-time queen.

[1:00:22] Cassie Silva: Wow.

[1:00:22] Alan Seales: Yeah.

[1:00:23] Cassie Silva: So you did all four of them.

[1:00:25] Alan Seales: Four, yeah.

[1:00:25] Cassie Silva: So there's still two roles you've never gone on for in any situation.

[1:00:29] Alan Seales: Correct. Which is Seymour, white, and Parr, blue.

[1:00:33] Cassie Silva: Right. Yes.

[1:00:34] Alan Seales: Yeah.

[1:00:34] Cassie Silva: Do you have a favorite?

[1:00:35] Alan Seales: The park and barkers.

[1:00:35] Cassie Silva: Yes. Do you have a favorite?

[1:00:37] Alan Seales: Of any and all?

[1:00:38] Cassie Silva: Yeah. A favorite track? Favorite...

[1:00:41] Alan Seales: I always say it's like choosing kids. It's like, who's your favorite kid? You're like...

[1:00:45] Cassie Silva: I like them all different.

[1:00:46] Alan Seales: For all different reasons, right?

[1:00:47] Cassie Silva: Yeah. Don't go anywhere. We'll be right back after this break.

[1:00:52] Alan Seales: Welcome back to the episode.

[1:00:54] Cassie Silva: I think going into the show, the one that I resonated the most with and loved and because she was what I call my home track would have been Howard, which is pink, All You Want to Do. And she taught me a lot. And then I kind of outgrew her in a way, just her story and how it sat. And so that was also really fun to let that morph into a different way of performing her. Sorry, I'm eating a mint so that I don't cough. And playing Bolin full time, I think I was able to bring a little bit of all at that point because I'd played four. So she just was unhinged.

[1:01:31] Alan Seales: You know?

[1:01:31] Cassie Silva: That seems like the most freeing role. Bolin's kind of the wild card.

[1:01:38] Alan Seales: For all the things we know about Bolin. From The Tudors.

[1:01:40] Cassie Silva: Oh, yeah. From The Tudors.

[1:01:42] Alan Seales: The Tudors. What was it? HBO? Was that what it was? Showtime? I don't know.

[1:01:45] Cassie Silva: Showtime.

[1:01:46] Alan Seales: So one of those.

[1:01:47] Cassie Silva: Yeah.

[1:01:47] Alan Seales: Yeah, that was deep.

[1:01:48] Cassie Silva: He was so cute.

[1:01:50] Alan Seales: But yeah, so like now, was it hard to leave Six to go into Aunt Juliet?

[1:01:54] Cassie Silva: Yes.

[1:01:54] Alan Seales: I mean, because I know Aunt Juliet was like a dream, but...

[1:01:57] Cassie Silva: I know. You know, it's funny because I always said I was like, I mean, I think the only way that I would leave Six early is if I did Aunt Juliet.

[1:02:05] Alan Seales: And it happened.

[1:02:06] Cassie Silva: LOL! And it happened.

[1:02:08] Alan Seales: It happened. But oh my gosh. Yeah, I mean, I love Six. I miss it. I miss it on and off stage, because I did spend quite some time off stage. But the beauty of it, outside of it, now that I'm in Aunt Juliet, and you know, many of us are moving on, and I think my original, original First National Tour queens are now on Broadway.

[1:02:26] Cassie Silva: Yeah.

[1:02:27] Alan Seales: And at this moment in time, we're like in the last week of the last of them finishing out Their Reign.

[1:02:34] Cassie Silva: Their Reign?

[1:02:35] Alan Seales: Their Reign.

[1:02:36] Cassie Silva: I like that.

[1:02:37] Alan Seales: I think it's been really...

[1:02:38] Cassie Silva: But didn't you guys just do like a passing of the...

[1:02:40] Alan Seales: They did a passing of the crown or something the other day with the new cast.

[1:02:43] Cassie Silva: Yes!

[1:02:44] Alan Seales: Yes, yes, yes, yes.

[1:02:45] Cassie Silva: Yeah, which is so... And they're good that way too. And that I think was the queen's idea. Like the 2.0 Broadway cast, there's so many at this point. How cool, right?

[1:02:57] Alan Seales: It was kind of their idea when the Aragon Tour moved to Broadway, and they took over the 2.0 cast was like, we want to do something like a passing of the crown. And so like, it's been beautiful to carve in those traditions and things like that.

[1:03:16] Cassie Silva: But what I love so much about it is that these now are like my sisters for life. So like really interesting tie to Legally Blonde, right? Where like, years later, I'm in a building that's about female empowerment. I'm only with nine other girls. And I'm like, oh, wait, this actually is great. I actually really love this. This is so much fun. And I kind of took on like a big sister mentality and goofball and took on responsibility and things like that. And now I'm like, oh, I get to like keep these people. These are like just, I call them my heartstrings. I'm like, they're just my treasured people. And so in a lot of ways, the way that that shows, it's like art imitating life, right? Imitating art. Is that how that goes? Life imitates art imitates life. Yeah. It's like, I get, I got the opportunity to completely rewrite that story.

[1:04:12] Alan Seales: Oh, that's so great.

[1:04:12] Cassie Silva: I know. Yeah. You just totally repurposed that. Oh, I love that. And every queen I've ever met or interviewed or met in person or whatever are always such incredibly nice people. Like actual people, not characters. Because I love that part of the casting process is, is singing and performing in front of the others. And like, you're still being watched and evaluated while you're on the sidelines because you're trying to build each other up and it, and wanting other people to succeed, even when you're going after the same role is still, I think a pretty rare thing to have these days.

[1:05:02] Cassie Silva: I agree. I think it comes from the top. And what I will say about sixth musical, um, is that Toby, Lucy and Jamie, who are kind of like the tops and creators, right? Um, they're great people and they're cool. And they wrote it for a good reason, which of course, you know, they wrote it in Cambridge, but it was to represent and to have fun. And so I think that has kind of trickled down and Roberta Ducek, who is the music supervisor and literally like an angel on earth, like, what did we do to deserve Bobby do? But she would say, and I really, really held that close to my heart the whole time that I was doing six musical is that they have people lining up down the block. I mean, it's not hard, you know, to find people that want to audition for the show.

People can sing in spades. What they're looking for is a good heart and they're looking for a dynamic within a group. So it's difficult. So I've learned to find people that not only can sing, dance and act, but can be funny, which is a tech. It's technically very difficult to do. Comedy is the hardest of all.

[1:06:05] Alan Seales: Oh, yes, I agree.

[1:06:05] Cassie Silva: But also can not only be in an ensemble, but step forward and take center stage as an absolute pop icon. Does that make sense?

[1:06:09] Alan Seales: It's pulling all sorts of different.

[1:06:09] Cassie Silva: Yeah. And I think you learn that, like, one cool thing that I love about the show is that, like, it's 85 minutes jam packed. And the second act of the show is the stage door. So, like, at first, that was so jarring for us. And I think, yeah, because you become a pop icon overnight. And so you walk out the door and all of a sudden, like, you walk out the stage door and people are just screaming. I mean, I remember when we came out at the CIBC, where the first national opened six, people literally, like, barricaded us in and we like didn't know how to get out. And it was so insane. And like, that amount of like, that will go to your head. Even like outside of Broadway.

[1:06:48] Alan Seales: Yeah. Wow. Yeah.

[1:06:48] Cassie Silva: And so I think that's a testament to one, how beautiful the pieces and how much it speaks to people and representation X, Y, Z. But also, I think that's also created some so many beautiful relationships in my life, because similarly, and I had mentioned this earlier, it's like,

[1:09:05] Cassie Silva: And so, we're in the middle of the pandemic, and we're trying to keep theatre alive. We kind of have to think outside of the box, but the beauty of Six is that it really came at the right time for the right reasons. One of the things that I love to say about the show, when people get really deep about it, is, like, guys, it's just dead Queens in neon plastic. It's not that deep. It's really not that deep. Yeah, it really is so beautiful. I cannot believe that I got to be a part of it, and in the capacity for as long as I did with that show. It will always hold a very, very close place in my heart.

[1:09:43] Alan Seales: I bet you'll go back in some form.

[1:09:45] Cassie Silva: Do you think?

[1:09:46] Alan Seales: I'm sure.

[1:09:47] Cassie Silva: I would love to. I love that show. I mean, I think the show is going to be around in some form, some tour, some country. You're going to get called to some exotic country.

[1:09:53] Alan Seales: Oh, yeah, totally. I would say my plastic's on ice. Yeah, whenever I hear people going down over there and they need coverage, I'm like, oh, guys, plastic's on ice tonight.

[1:10:07] Cassie Silva: Yeah, of course I would. I mean, I feel like, yeah, I mean, I just I became like the emergency cover for all companies. It blew my nervous system. I learned that, like, you know, swings are the superhumans. Universals, what? I think back in the day, I would have been really, really good. I used to be so much quicker. But, you know, after taking some time off and coming back and also just being older, I did learn how I learned differently. And I just am not really equipped. So I had to work harder than I really wanted to and also got to use, you know, six, which I wouldn't recommend doing, you know, using Broadway shows as learning. But that's how it worked for me in all facets. Right. Like in Rock of Ages, I also was learning how to do musical theater. So, like, I'll say, oh, well, but yeah, blew my nervous system. I mean, like, what even was I thinking? I wasn't. That's what I say.

[1:11:05] Alan Seales: Did you have a lot of anxiety? Did you have a lot of because when you get on stage? Yeah. I think you seem flawless.

[1:11:14] Cassie Silva: Yeah. I mean, you have to. Well, they used to say, like, Queens don't make mistakes. I don't know if we still say that, but or they still say that. But yeah, it is so much pressure. And I early on learned for myself that it was what I came to coin as like an elemental show. So like, it's one thing to be able to perform it in tennis shoes, you know, in a rehearsal space, holding a thing, you know, how many like salt shakers have become microphones in my life, remotes, like you name it, it's been a microphone in my life. But, you know, you put 17 pounds of plastic constricted in a corset and heels and lights, and I EMS and I can't hear and, and then a microphone and then 4000 people and that, then who are you?

Then it's 85 minutes of you standing up there if you fuss if you, you know, go up or anything, you got to own that. That is a learning field, if ever, you know, there is one to have. So yeah, especially as an alternate. And with the, the show was fairly new, not fairly new, the show was new, we learned how to help people learn that show. And so that came by a lot of trial and error. But yeah, I still to this day, and like, I remember one time that I jumped the wrong way as Aragon, who's like front and center. And she's like, make some noise. And I jumped the wrong way and was like, I quit. But like, that's the caliber that you're at. You know what I mean? And so learning what actually is sustainable and doable was, oh, gosh, it was such a learning curve, because I had to figure out how to learn to simulate getting on stage with no, you know, with no notice.

Especially like, I think I didn't go on in the first national tour, I didn't go on for cleaves for eight months. And so you know, I would I would rehearse in weighted vests, ankle weights, conditioning was like non-negotiable, I would run things or do like heated classes, like cardio heated classes, which probably like aren't the best, but it was the closest that I could find to being like, okay, if you're gonna put me in a suit of armor, and put me on stage and plug my ears, like, who am I then? What what am I made of? You know, and I think you crumble.

[1:13:39] Alan Seales: Yeah, I remember James Earl Eagleheart. He tells this story all the time of learning to do friend like me for Aladdin when he was originating that he would run that on the treadmill. He would just sing it at like go full out.

[1:13:47] Cassie Silva: That's a Legally Blonde thing too. Like Haley, was it Haley Duff? Haley Duff did that with like hairspray or something. But yeah, it's not a bad idea. And have I? 100%.

[1:13:58] Alan Seales: Yeah.

[1:13:58] Cassie Silva: Yeah. In a weighted vest.

[1:14:00] Alan Seales: Wow. Weighted vest on a treadmill full out singing. Yeah.

[1:14:04] Cassie Silva: It sounds crazy. But to be perfectly honest, one, I'm full out with feeling in all ways. But I will say that was like, one of the ways that I felt I actually was able to feel like it was that, you know, that it was close to how it felt getting on stage with no notice. You know, it was it was like running on a treadmill in weight.

[1:14:28] Alan Seales: That's that has to. Oh, God, I'm just like crawling inside my own skin right now. But I love it. But I love it.

[1:14:36] Cassie Silva: Because when you're I mean, I'm thinking like even swings like Salisha Thomas, who had to cover 12 tracks in Once Upon a One More Time. That's nuts for me. I'm like, no, like in Ann Juliet, our swings. I'm like, I just don't know how you deal. I don't know.

[1:14:53] Alan Seales: Yeah, that's what I mean. And and also I'm like, you know, this is going towards our union. But I'm like, why aren't they making five bajillion dollars? Like, why don't they like, what even are we doing? It's so wild. I don't but you have to have that type of brain.

[1:15:07] Cassie Silva: Yeah.

[1:15:08] Alan Seales: You know,

[1:15:08] Cassie Silva: Well, that's what that's what confuses me and stresses me out, because it's not like if I know something, or if I only have one or two other roles. Sure.

[1:15:15] Alan Seales: Then I'm like, okay, great. I can refresh those. I'll do one at night. It's fine. But when I have six or 12, when I get when I get above three, my brain is like, what the hell are you doing to me?

[1:15:27] Cassie Silva: Because it's the anxiety of like, well, which one which one do I pick tonight to refresh?

[1:15:31] Alan Seales: Right? No, I couldn't function. I mean, I think a little bit of the difference is that six is principles. It's only principle tracks. And in that way, as I did it, each track, and this is just me, like I really wanted them to be and was encouraged to make them my own to make them something totally different. And again, I think that allotted me a bit more ease and experience to bring to and Juliet to be like, Okay, I can do three totally different people because I just did it four times at six. And I watched people do it. And I watched multiple alternates do it. Whereas doing ensemble or featured, you know, back and forth and split tracks and things like that. I did that a rock of ages. Go me.

Like I remember the first time that I was watching on the monitor. I was a vocal, vocal booth singer for like three seconds at rock of ages. And I remember watching the monitor and knowing where like nine people were at once and being like, I'm invincible. Like how I just I my brain doesn't work that way anymore. But um, but I do feel like I'm so grateful that I'm at a place where it can be of service in a way like I started with just an over at and Juliet, the nurse came second. And ultimately, one of the main reasons that I, you know, agreed to sign on to take on a second understudy was that I was like, this really is a beautiful skill that I have honed from almost three years was six the musical that I feel like could be of service to a piece that I love so dearly and that I understand the weight. It's a comedy, but like the weight of what it holds theme wise.

[1:17:11] Alan Seales: Yeah, standard. And there's so many principles in the show. And that's why I mean, we get so many different things in the show. And I was like, that could be so cool. Like, because those three tracks that I do, like don't cross over ever. And in fact, the nurse, when I was thinking about taking it on, I was like, I never see that track, like, as lucky who I play every day, I'm always doing changes, quick changes. Yeah, when she's on, you're really like, I was like, I don't I couldn't even tell you the rhythm or the cadence of like how those lines are said, like, I, what are the lyrics? Like, no clue. I really had to mount that one from scratch.

[1:17:52] Alan Seales: Wow. Yeah.

[1:17:53] Cassie Silva: And do you like that better? Like, when you like, do you like it better to not come in with any preconceived memory of how someone else is doing it?

[1:18:02] Alan Seales: You know, I have heard over time that I'm really good at imitating. And I do think that that's partially why musical theater has been good for me in some ways. I think I'm now at a point where I'm really enjoying the like origination of things and also not being terrified of creatives. Like collaboration and artistic conversations are fun for me. But coming from a dancer background, I didn't really know how to do those things. So yeah, now I appreciate doing things like on my own and having the freedom and thank God, like the trust that people will be like, she is weird and wild. And she's gonna wait until like, it's it's there like that there's trust in that I'll do something and that I'll do right by it, but that it's going to take a few swings for me to get it right, like in a rehearsal space or things like that.

[1:19:05] Cassie Silva: So meaning like a basic creative process, I never really had any like knowledge of what that really was outside of like ensemble dancing. So nowadays, I'm like, yeah, let's go for it. Like, just give me the pieces, give me the pieces. And I'll do the puzzle like on my own. Plus, you know, without getting into it, I do learn differently than I used to after because, you know, I took a bit of a break. And so now I also have to go home and it's fun for me to try to piece the you know, when I'm not like crying and absolutely losing it being like, how do I learn this? But um, but yeah, also, I think there's a lot of beauty in finally leaning into the fact that I've been in this a long time now. Like my whole life I've been doing this.

Yeah. And back in the day, you know, just to comment on like, what we were talking about before, like, how did I know? How did I get into it? What were the moments? It's like, now I'm on kind of the other side of that, where I'm like, oh, it always felt like it was there for me. And it was and it still is. So now I just get to walk down that trail. Like it's not about me looking for like, where the step is. It's like, wow, I'm doing this. Yeah, I better do right by this. You know, and like, it's not about getting off the track. It's about like, okay, well, what's the direction? Do I want to turn left today? Do I want to go to the park and but it's all still part of arts. And that just is something that I came in with.

And I'm so lucky that I've never ever had to question that. So yeah, originating it, which is like, I was just talking about this yesterday, speaking to a group of young artists, and like Broadway hopefuls, which is like, yeah, I mean, every bit like the dream is like, originating a role and like, you know, getting a Tony, whatever it is. But I think at this point, it's more so about sustainability for me.

[1:20:30] Cassie Silva: Of course, I would love to do those things. Great. But it's more so, I think, having not had that, there's no awards really for me in my career of things, but I've had longevity. And so, the meaning of why I do this is so different now. It's not a competitive, like, I have to be the best in my career or whatever. It's like, how can I create a sustainable life that's able to be of service, not only for my own personal life, not only for getting on stage and doing that to give my cup runneth over, but also to then like turn back and lend a hand to be like, here's how we do it the right way. Here's how we do it healthfully. I don't know how we got on that. But being on the other side of like, how did I know that I wanted to do this and being like, oh, I'm just doing this now.

And how has that shaped me as a grown adult doing it and being like, okay, so maybe it's not about being like super famous and winning a million awards. It's like, how can I actually be a sustainable living, eating, breathing person that can also then turn back around and be of service in a way not only as a performer, which is fulfilling, but also as an educator and a model and a mentor. That feels important to me.

[1:21:45] Alan Seales: Welcome back to the episode. I feel like you feel full stop. So much full stop. Again, that like the education piece. I just want to touch on it real quick. Yeah, like you, you found this new passion and teaching and inspiring. And I mean, it's all come around full circle because like on stage, you're giving back and now in class, you're giving back. Like, do you just inside is the Cassie on the inside just like so full and busting out of your physical form that you have to just dump all your energy on all these other people?

[1:22:16] Cassie Silva: Yes. June is busting out all over. I think for a while it was like unbalanced. And I think that was necessary for me to figure out like, oh, I really am happiest when I have both. And I knew that when I didn't, which then created discomfort. But pain is a great motivator. And so when I was teaching and mentoring and I wasn't able to perform, I was like, wow, this is fulfilling in a certain way. But oh, my gosh, at some point I'm going to be scraping the bottom of the barrel because I'm not performing. I'm not a student. And I feel like the ego can run a lot of mucks if you're not humbled by also taking in information and being a good listener and changing and being like there's so much in learning.

And if we're not learning, we're dying. So like, I am happiest at this moment to be like back up on a stage and then also able to then. What's the way of saying that? Like, you know, sharing those experiences. I'm never I'm not really I'm not really a great teacher, but I love to share what I know because what I will say is that I came from like total muggles, youngest of eight biologically and kind of made my way on a hope and a prayer, you know, and like sheep. Right. And like I couldn't really kick my face. I couldn't really sing sang song like I really needed all three. I really needed to sing, dance and act. And it wasn't easy by any means, but somehow I've done it. So like there's no formula for it.

But what I will say is like I'm always, always it feels important to me to speak to anybody about it because that's how I did it. I just was curious. I just was curious and grateful. I would ask people questions. Hello. When I came back from from doing Legally Blonde, I was like, how do I do this? You know?

[1:24:09] Alan Seales: Yeah. Bless.

[1:24:10] Cassie Silva: And then, you know, it's like Victoria Morris. Bless. Hi. Love you. Was like, you will go to this person. You have to do a thing called singing. Come back. Come back. And I was like, OK, called that number that day, started singing. That person was like, wow, you're pretty good. You should go to this person. You should meet this person. You should audition for this. You should go to this summer program. Have you ever heard of summer stock? I hadn't. You know what I mean? Right, right, right. But it's just those conversations. And that's why community is so important. Oh, not that. That's why community is so important, because we I always say we rise and shine together. It's like I could I didn't do this alone.

I did not do this alone. People are like, how do you get to Broadway? I'm like, I didn't. A thousand people helped me get on. But I am the tip of an iceberg. There are a million people underneath me. And to circle back to the very, very beginning of this, you are one of those people. I'm dead ass because it takes a certain amount of legitimate information and care from people that are gifted enough to know how to ask the right questions and to be curious enough to not ask the same standard shit so that we actually can evolve, so that we can give people an opportunity to diversify. You know what I mean?

[1:25:45] Alan Seales: I do.

[1:25:46] Cassie Silva: I just happen to have a brain that allowed me the grace to be able, capable. I was given tools. I was given puzzle pieces. But they weren't handed to me. Yeah. Does that make sense?

[1:26:00] Alan Seales: Absolutely.

[1:26:01] Cassie Silva: And so you are now, for this generation, one of those massive tools. You are one of those massive tools.

[1:26:05] Alan Seales: I'm a massive tool.

[1:26:06] Cassie Silva: You are a massive tool.

[1:26:07] Alan Seales: I'm a massive tool.

[1:26:08] Cassie Silva: Yeah, totally. It's okay. I'm also a total bitch and asshole and antagonist.

[1:26:13] Alan Seales: According to the editor.

[1:26:14] Cassie Silva: Yeah, exactly. So yeah, I think that it's really important. I think the work that you're doing is really important. And I feel it is also an honor to be able to be in a community where we can look back at each other and to be like, whoa, so years ago, that still was really important. And this is what it looks like today. Because also, now I'm in my mid-30s.

[1:26:38] Alan Seales: Hold for applause.

[1:26:39] Cassie Silva: Yeah, thank you. So many people, they go. They have to. They have to. So I also really appreciate we're still in it. Go us.

[1:26:51] Alan Seales: Still in it.

[1:26:52] Cassie Silva: We stay in the course. Yeah, exactly.

[1:26:54] Alan Seales: Oh, you're just such a great person.

[1:27:00] Cassie Silva: A kook.

[1:27:00] Alan Seales: All right. I feel like we could sit here and talk.

[1:27:03] Cassie Silva: We literally could.

[1:27:05] Alan Seales: But.

[1:27:05] Cassie Silva: We got to go. I probably have to cough again.

[1:27:07] Alan Seales: It's yes. And you've got a two show day coming up. And so now you know what's coming because you've listened to the episodes plot in 60 seconds.

[1:27:16] Cassie Silva: Plot in 60 seconds.

[1:27:18] Alan Seales: Are you ready for this?

[1:27:20] Cassie Silva: No. Oh, no, there's a timer.

[1:27:23] Alan Seales: Well, I got 60 seconds.

[1:27:25] Cassie Silva: OK.

[1:27:25] Alan Seales: All right. Hold on. I have to make sure that I'm not on really quick. Excellent. I'm not.

[1:27:30] Cassie Silva: Good.

[1:27:30] Alan Seales: I'm just me.

[1:27:31] Cassie Silva: You're just me.

[1:27:32] Alan Seales: Two show day. All right. So 16 musicals I have listed in front of me. You give me a number, one through 16. I'll tell you what musical you just chose from my list. And then you give me that plot in 60 seconds.

[1:27:39] Cassie Silva: OK, but if I don't know it.

[1:27:46] Alan Seales: Then it's going to be funny. Make it up.

[1:27:50] Cassie Silva: OK.

[1:27:51] Alan Seales: These are popular musicals. You should know most of these.

[1:27:54] Cassie Silva: OK.

[1:27:55] Alan Seales: Which is really funny when you get straight actors who are like not musical theater actors.

[1:28:00] Cassie Silva: It's great.

[1:28:00] Alan Seales: What do you mean? I'm a straight non-musical actor.

[1:28:05] Cassie Silva: Tell that to six.

[1:28:06] Alan Seales: Yeah. OK.

[1:28:07] Cassie Silva: All right. One through 16. Give me a number.

[1:28:09] Cassie Silva: 11.

[1:28:10] Alan Seales: 11?

[1:28:11] Cassie Silva: Yes.

[1:28:12] Alan Seales: Is Wicked. Go.

[1:28:14] Cassie Silva: 60 seconds. Limited. OK. Wicked is an amazing two part movie that just came out with Ariana Grande and Cynthia Erivo. Originated by Idina Menzel and. OK. It's a story about love and loss. And Elphaba is green. And she meets Glinda at school.

[1:28:42] Cassie Silva: Shiz University. And they become lovers in a lost time. But then there's like Fiero, who's like fine and fine. They sing really high and really low. And it's the most beautiful music ever. But then they have to figure out how to do like the world, which is great because then like Elphaba just like flies and defies gravity. And like Glinda wears cute outfits and great wigs. And then like they hug and they've been changed for good.

[1:29:18] Alan Seales: I love it.

[1:29:19] Cassie Silva: That's not what it's about at all.

[1:29:22] Alan Seales: It's a two part movie. Originated. The movie originated.

[1:29:25] Cassie Silva: Wicked. Yeah, exactly.

[1:29:28] Alan Seales: Do you think.

[1:29:29] Cassie Silva: That's the opener of your show, by the way. No big deal.

[1:29:32] Alan Seales: Do you think that you said that there are like lovers in a different time? Do you think that there's romantic energy?

[1:29:36] Cassie Silva: Yeah.

[1:29:37] Alan Seales: Yes.

[1:29:37] Cassie Silva: I'm in that crowd.

[1:29:39] Alan Seales: Let's give it.

[1:29:39] Cassie Silva: I'm in that crowd.

[1:29:41] Alan Seales: Why the frick not?

[1:29:44] Cassie Silva: Right.

[1:29:45] Alan Seales: I mean, love is a spectrum.

[1:29:46] Cassie Silva: Love is love is love is love.

[1:29:48] Alan Seales: That's right. All right. So then three standard closing questions, which you know are coming. First one simply is just what motivates you.

[1:29:57] Cassie Silva: What motivates me? What are some of the best answers that you've heard of this?

[1:30:02] Alan Seales: I can't tell you. You got it. You got it. It's cheating.

[1:30:05] Cassie Silva: Money's a good one.

[1:30:07] Alan Seales: Never. I'm so lucky. Never.

[1:30:10] Cassie Silva: What motivates me? I want like off the bat, I want to say grace. Legacy.

[1:30:17] Alan Seales: Yeah.

[1:30:18] Cassie Silva: Let's stick with that. We'll go with that. All right.

[1:30:20] Alan Seales: What advice would you give your younger self and younger people listening out now starting out at a similar path?

[1:30:24] Cassie Silva: Hydrate and mind your business.

[1:30:29] Alan Seales: I still follow that if the only prayer you ever say is thank you, that will be enough.

[1:30:34] Cassie Silva: The only prayers I think of that would be, be the person that everyone wants to work with the next time.

[1:30:39] Alan Seales: I guess so.

[1:30:40] Cassie Silva: Michael Urie told me.

[1:30:41] Alan Seales: Yeah. Yeah. We always say happy to be here, easy to work with. And I always question that.

[1:30:45] Cassie Silva: I'm always like happy to be here.

[1:30:48] Alan Seales: Maybe.

[1:30:51] Cassie Silva: All right. Hardest question. Last one. If you could only see one show for the rest of your life, but you can see it as many times as you want, what would you see?

[1:30:58] Cassie Silva: I'd say Sunday in the Park with George and Juliet.

[1:31:00] Cassie Silva: Every day I post either a picture or a video of something that like I'm grateful for that day. There is like I used to do like a it's a it's a front facing like me and I would say like, what's today? Happy Wednesday. Let's get in the Attitude of Gratitude because a grateful heart.

[1:31:02] Alan Seales: And Juliet.

[1:31:02] Cassie Silva: It's my favorite show. It's my favorite show.

[1:31:05] Alan Seales: I like it. I like it. With Joey Fatone?

[1:31:08] Cassie Silva: With Joey. Featuring NSYNC's Joey Fatone.

[1:31:11] Alan Seales: That's right.

[1:31:12] Cassie Silva: Yes.

[1:31:12] Alan Seales: All right. Well, where can we find you on social media when you are posting?

[1:31:16] Cassie Silva: You can find me on Instagram because I can function there the best possible. At Cassiem as in magic. I didn't make that up. Magic Silva.

[1:31:25] Alan Seales: Is that your legal middle name?

[1:31:26] Cassie Silva: It is now.

[1:31:27] Alan Seales: Okay. That's right.

[1:31:29] Cassie Silva: One of my brothers in life, Justin Ramos, made that up when I had the B-Way podcast.

[1:31:33] Alan Seales: There you go. Justin Magic. Cassie Magic.

[1:31:37] Cassie Silva: Cassie Magic. And notice that it's not Cassie S.

[1:31:41] Alan Seales: From the show.

[1:31:45] Cassie Silva: Yes, you can find me there. I am on the Tiki Taki, but like not.

[1:31:48] Alan Seales: Like the account exists, but like it's not me.

[1:31:51] Cassie Silva: Yeah. Also, the most important thing that I've been doing for years and years and years and years on Instagram stories is Attitude of Gratitude.

[1:31:55] Alan Seales: What is that?

[1:32:16] Alan Seales: Starts with a heart.

[1:32:16] Cassie Silva: Is a magnet for miracles.

[1:32:18] Alan Seales: Oh, that too. That too. Miracles too. Yes.

[1:32:20] Cassie Silva: And you say today, I'm grateful. What are you grateful for today?

[1:32:23] Alan Seales: I'm grateful that I got to see you again after like eight years.

[1:32:27] Cassie Silva: How many years? Long, long years.

[1:32:29] Alan Seales: Too many years.

[1:32:30] Cassie Silva: Too many years.

[1:32:31] Alan Seales: We can't let this happen again.

[1:32:33] Cassie Silva: And I owe you a hat.

[1:32:35] Alan Seales: Yes, you do. Yes, you do.

[1:32:39] Cassie Silva: I owe you a hat.

[1:32:40] Alan Seales: You owe me a beanie.

[1:32:41] Cassie Silva: I really do owe you a beanie.

[1:32:42] Alan Seales: I can't believe you remember that.

[1:32:43] Cassie Silva: How could I forget? I couldn't.

[1:32:46] Alan Seales: Wow.

[1:32:46] Cassie Silva: No, never. No, please. I performed for Queens. I know I owe you a hat.

[1:32:52] Alan Seales: I know three principles right now. I owe you a hat.

[1:32:56] Cassie Silva: I'd forgotten about that.

[1:32:57] Alan Seales: But yes, come do the Attitude of Gratitudes with me on my stories on Instagram.

[1:33:00] Cassie Silva: All right.

[1:33:00] Alan Seales: Yeah, it's the best.

[1:33:01] Cassie Silva: I'm on theater underscore podcast on thread, Instagram, tic-tac, tic-tac?

[1:33:06] Alan Seales: Ticky-tacky-talky.

[1:33:07] Cassie Silva: Ticky-tacky-tick-talk. Who knows if by the time this airs, tick-tock will even exist anymore. We don't know.

[1:33:13] Alan Seales: Facebook and leave a rating and review wherever you are listening or watching the episode. Thanks to all the lovely team over at welcome to timesquare.com. The studio is beautiful and you can go there and get your giant face on a billboard. It's amazing.

[1:33:27] Alan Seales: Thanks to Jukebox the Ghost for the intro and outro music and Cassie Silva.

[1:33:31] Cassie Silva: Thank you.

[1:33:32] Alan Seales: Where's my mic? There it is.

[1:33:34] Cassie Silva: Thank you so much for all of this.

[1:33:40] Cassie Silva: Because I knew you, I've been changed for good.

[1:33:44] Alan Seales: You're the best.

[1:33:45] Cassie Silva: You're the best.

[1:33:46] Alan Seales: All right, now we get to do the cold open.

[1:33:47] Cassie Silva: Yay!

[1:33:49] Alan Seales: Even though I'm sweating.