Latest / The BSB Podcast / 'Gypsy' Music and Technical Aspects | The Box Seat Babes Podcast

Transcript

'Gypsy' Music and Technical Aspects | The Box Seat Babes Podcast · The BSB Podcast

• 0:00
  Welcome back, fellow Broadway lovers.
• 0:03
  On this episode of the Box Seat Babes podcast, we're going to continue our discussion of the Broadway revival of Gypsy.
• 0:09
  However, turning from the story and characters to the musical and technical side of the show.
• 0:14
  But before we jump into it, please like, follow and subscribe here on YouTube and all other social media platforms at Box Seat Babes.
• 0:20
  Thank you again for joining us and enjoy the show.
• 0:27
  So before we jump into the other aspects that we didn't get time to talk about in our last episode, we're just going to give you a brief rundown of our last episode.
• 0:36
  So we broke down the story of Gypsy, who was a real life burlesque dancer, Gypsy Rose Lee, and the relationship with her mother and her sister.
• 0:44
  However, on this episode, we're going to be turning towards the stars and technicality of the show.
• 0:50
  Thank you again, sir, for being here.
• 0:52
  It's always a pleasure to have my fellow boxy babe on here with me.
• 0:57
  We talked about the story, very old fashioned, very classic Broadway.
• 1:02
  And now we're gonna go to the music, which is also quintessential classic Broadway.
• 1:08
  What did you feel about the music of Gypsy?
• 1:12
  It's infamous, right?
• 1:14
  mean, as soon as the, as soon as the 10 minute overture started, I was like, I know the majority of this music having never seen a production of it ever.
• 1:27
  So yeah, but also love a lot of the songs from it in their very playful.
• 1:38
  I would describe a lot of the music as playful.
• 1:41
  just also do the premise of the show, but, and then you have your power ballads that everybody has sung at an audition at least once in their life.
• 1:55
  I do want to start with the overture because I feel like classic shows have not only the overture but you have the what's called the re-entree is that what it's called the
• 2:04
  beginning of the second act which is kind of like an overture but it's like welcoming you back.
• 2:08
  The, and tracks and tracks.
• 2:11
  Okay.
• 2:12
  And then you also have like that finale orchestra number, like these, like you're bookmarked in and out of these shows.
• 2:18
  It's kind of like giving you the extra time to get into your seats, get down, get situated.
• 2:21
  The lights are kind of coming down low.
• 2:23
  and this show had all three of those.
• 2:26
  was like letting you know, this is Broadway.
• 2:29
  This is the big deal.
• 2:32
  and you're right.
• 2:32
  Like the overture is 10 minutes long.
• 2:34
  You're sitting there and they're playing pretty much the music to all of the big songs from the show.
• 2:39
  And you kind of sit there and you're like, I think we even turned to each other a few times and we're like, I recognize that song.
• 2:43
  I recognize that song.
• 2:44
  I know that song.
• 2:46
  But you do feel that very old, the old feel to it.
• 2:52
  Yeah, and it is interesting that if you notice, the house is not quiet during that time.
• 3:01
  Like truly people did not shut up until the lights were completely dark and the stage curtain went up.
• 3:14
  Which is just interesting to me because...
• 3:18
  For someone who maybe is super interested in the instrumental part of a production, that is like the bread and butter of the show.
• 3:29
  Like that is the gold.
• 3:31
  And so I would be interested, it would be interesting to go back to when this show, you know, was first launched and see how audiences behaved during those times.
• 3:45
  Because same thing with the Interact, for Act 2.
• 3:51
  it was more like a cue to go sit back down than any than actually part of the show.
• 3:59
  I would agree with that.
• 4:00
  feel like a few shows that we saw, like the lights would flicker or like they would do like the ding ding ding.
• 4:06
  Like they were like, they would do some kind of letting you know, but this one was kind of like the music swelling kind of get back to your seats.
• 4:13
  And people didn't really go back to their seats right away.
• 4:15
  Or like there were still people waiting for bathroom or waiting for drinks.
• 4:18
  And so it's interesting because it was kind of like the...
• 4:22
  were giving you time, but that was never a feeling that I've ever had with a Broadway show before.
• 4:27
  To me, it's always the music plays, you're sitting in your seat, the lights are dimming low, but the lights weren't even dimming yet.
• 4:32
  They were still quite bright as this music was kind of going on.
• 4:40
  Yeah, and that is for sure a show decision.
• 4:46
  I've seen shows really based on the production do it both ways where you literally like Wicked is a good example.
• 4:58
  They have a very long first hold, what we call it in the Usher world.
• 5:05
  There's a 10 minute hold at the top of Act 1.
• 5:08
  And even though the first like three minutes are just percussion and instrumental, and yeah, there's a couple things happening on stage, but really it's mostly music.
• 5:22
  No one is allowed to even open a door into the theater.
• 5:26
  And so, and meanwhile, you have other shows that just continue to seat.
• 5:36
  people through an overture, which is a little bit shocking to me.
• 5:41
  Maybe it's based on the age of the production.
• 5:47
  Maybe it's based on what they deem important and not important, but every show is a little bit different.
• 5:56
  I think also it's the way it was set up too was a little bit when you like look at the theater, like, cause I'm thinking like we saw a sunset Boulevard on the strip, which we'll
• 6:05
  talk about it a later date.
• 6:07
  And it had like a 20 minute hold because it's absolutely pitch dark and it has to be black in there and the doors close.
• 6:13
  But I don't remember the doors closing to the theater of gypsy.
• 6:17
  It kind of opened up to the like the backlighting of like where everything was like the bathrooms and stuff, which felt like a, like a
• 6:25
  I know it felt like a different type of theater, which led to this like more classic feel because there wasn't a whole there wasn't nothing there was the the show was happening.
• 6:35
  Whether you wanted to like whether you were there or not, it was kind of going on, but I even think back to when Les Mis came here and like there was the doors closed and there is
• 6:45
  an overture for.
• 6:47
  Nearly as long and you're you sit there and you're expected to sit there and to take it in and be part of the experience, and this felt more like a.
• 6:56
  kind of like carnival music in a way of kind of be like literally let us entertain you but in a way that's like kind of like we're all in this very jovial moment together without
• 7:09
  feeling overwhelmed by by the events of what's going on that was a long-winded answer but for this show we also have like you said that you in the last episode we have the ballads
• 7:25
  We have the fast songs.
• 7:28
  I'm always kind of drawn to songs like May We Entertain You, because it's kind of cutesy and nice.
• 7:34
  And that song has its own progression through the show as we get to Let Me Entertain You at the end of Act Two, which is a lot different than the May We Entertain You at the
• 7:42
  beginning of Act One.
• 7:45
  But what music do you feel like, while you're sitting there, you haven't really seen this show before, you know some of the music, what songs were you drawn to?
• 7:54
  throughout this production.
• 7:56
  Well, coming in, I knew, let me entertain you, of course, and.
• 8:06
  if Mama was married.
• 8:09
  And those are the two that lyrically are earworms for me.
• 8:16
  So they just, like, I, I was very familiar, but, and I'm, I'm of course, blanking on the titles right now, but there are a few others.
• 8:28
  and of course, I mean, Rosa's Turn is just a quintessential
• 8:35
  That's Broadway, baby.
• 8:36
  don't think anybody breathed during that song.
• 8:39
  Of course, because of the delivery to Audra is just, she is a star.
• 8:46
  And so she delivered like a star, but
• 8:54
  All of that to say, I actually don't think that I've ever performed singly a song from this show because I wasn't ever super drawn to any of them.
• 9:14
  But yeah, but I appreciated many of them.
• 9:19
  I think the one, like obviously, we both chose to kind of go to the show for Audra McDonald.
• 9:25
  Like this was kind of like, again, we were going there to see all these shows, but like we chose Gypsy because Audra McDonald is such a, she's a star.
• 9:34
  She is like the Broadway star, like the Deena Menzel's, know, the Chris and Channel, like the ones that like, when you think of Broadway, she comes to mind.
• 9:43
  And so getting to see her sing, like everyone, everything's coming up roses, the end of act one.
• 9:49
  was this magical moment.
• 9:50
  And seeing her sing Rose's turn, in my head, I was like, there's no way that she doesn't win for best actress for Tony Award because she gave her all in these songs.
• 10:01
  And she became this role so, it was like such a vivid portrayal of Rose that I couldn't think of anybody else who had ever performed it before.
• 10:11
  Like I know that like Bernadette Peters has played the role before.
• 10:16
  and stuff like that.
• 10:17
  And like, I could not think of a single person who had been on the stage before and played this role because she made it such her own.
• 10:22
  And so those songs, again, I wasn't singing them when I left, but those were definitely the ones that I thought about as I'm sitting down, as I'm talking about people like, you
• 10:30
  saw Gypsy, how was it?
• 10:32
  I'm thinking of Rosister.
• 10:33
  I'm thinking of everything's coming up roses because they're those heavy duty ballads that she just, she killed.
• 10:42
  Yeah, and I mean, and I won't get I won't go super deep into this, but I do think it is a point to say that like this was the first.
• 10:53
  from what I've read, intentional casting in regards to having women of color portray these roles together.
• 11:03
  And I do think that it changes.
• 11:09
  the role.
• 11:09
  I think it changes the character because of when we're looking at the time frame in which this would have been occurring when we're looking at the things that needed to be overcome
• 11:22
  just by being who like any woman, but then a person of color just adding hardship to hardship.
• 11:37
  And so there was just a genuine type of, it was like an ache that I think the whole room of course felt, but it just, truly was, yeah, it was next level.
• 11:52
  Um, cause I think, yeah, many people can, can sing that song and yes, it's a powerhouse song.
• 11:57
  You're going to do well, but, uh, to get a standing ovation mid show.
• 12:07
  for an elongated time.
• 12:10
  It was not short for one song.
• 12:16
  Rightfully so.
• 12:17
  Rightfully so.
• 12:21
  Just, yeah, heart and soul.
• 12:24
  Even when we kind of portraying, as we talked about in episode one, a little bit of villainry.
• 12:33
  A little bit of the bad guy.
• 12:37
  And yet, can, she was the bad guy and yet you felt all of the heartstrings for her.
• 12:50
  I'm really glad you brought that up about the intentional change to the story to feature a woman of color, women of color, you know, because having watched the original show, you
• 13:04
  know, the original movie, it's a very, you know, it's a very white portrayal story, which again, you're in your you're on vaudeville in the 1920s, it's still your woman who's
• 13:15
  pushing
• 13:16
  the boundaries of what is acceptable and what is not.
• 13:19
  And you're a single mom at that and you're doing the best for your daughters.
• 13:21
  Like there's all these things that you can do.
• 13:23
  And then you add the extra layer of being a woman of color.
• 13:26
  And when she sings of the pain and roses song, you could feel all the different layers of pain that there was all the reasons why she was crying.
• 13:35
  It wasn't just because she lost her daughters.
• 13:36
  That was a big reason.
• 13:38
  But there's also the stuck in a world that doesn't like you because you're a woman and because you're a black woman, you know, and like all these different things.
• 13:47
  I was even tearing up at that point, and you're right.
• 13:49
  People were giving her a standing ovation, and they actually had to start moving the show on after she stood there for quite a long time, tears streaming down her face.
• 13:57
  And that felt special, and that felt magical, and that spoke to the power of making such a change like that.
• 14:03
  And I think that it was a genius change.
• 14:07
  Yeah, and I'm once again, I am just so glad that Broadway seems to at least be moving in a direction where that's something that we're no longer hung up on.
• 14:20
  And maybe that's, obviously, I don't, I'm not on Broadway.
• 14:24
  I'm not in the meetings behind the curtain box.
• 14:29
  Seemingly, comparatively to many other media platforms, I think.
• 14:34
  we're a little bit more progressive thinking in regards to just like, if this person can authentically play this role, then we're going to have them do that period.
• 14:48
  I think back to, I'm not gonna name names, but I'm talk about a play from a few years ago with Harry Potter and the Cursed Child, where they talked about, there was a big
• 14:56
  controversy with Hermione when they cast an African American woman in the role.
• 15:02
  And the idea was that there was nothing quintessentially about the person that the color of their skin mattered.
• 15:09
  I think that was a very important thing because there's nothing about, other than the fact, some may argue that we're basing this on real people, but there's nothing about the
• 15:16
  story that Sondheim
• 15:18
  like is telling here or the songs that you could you can't be any woman of color.
• 15:24
  It was more important that you're a mom with daughters and you have that dynamic and you have that on stage.
• 15:29
  It doesn't matter what you look like to play that role as long as you're talented and you're telling the story like that is there like it's not that's not tied to if that makes
• 15:42
  sense.
• 15:42
  You know what mean?
• 15:44
  Yeah.
• 15:45
  Yeah.
• 15:47
  And I think when I was reading up on some of the decisions, because I also didn't want to misspeak, it was interesting, both the casual, the way in which it was spoken about was
• 16:06
  just so natural and casual and just made sense, while also being clearly intentional.
• 16:14
  Like it was a choice, it was a decision that was actively made.
• 16:22
  But yeah, more of that.
• 16:27
  Would love to see more of that.
• 16:30
  Absolutely.
• 16:31
  Speaking of changes too, and I was kind of looking it up, the ending, which we didn't talk about in episode one, but I wanted to bring up, is the ending of the show has changed from
• 16:40
  production from production.
• 16:43
  Sometimes this is not a happy ending.
• 16:44
  Where we got it, Rose and Louise are kind of embracing and they walk together and you kind of get this reconciliation.
• 16:49
  There's some times where it's not left up to that or it's left up to interpretation, which I thought was an interesting change too, because I think it explains to...
• 16:58
  again that journey that we talked about in episode one of those two characters of of Rose and the growth that she had and where she's coming from and again Audra McDonald just
• 17:08
  really sells that.
• 17:11
  Um, was there anything about musically about the show that didn't hit for you?
• 17:15
  I will be honest and I'm no, this is, I'm so sorry for the people who absolutely love gypsy.
• 17:21
  There was, there was a lot of this music, musical numbers and stuff that again, felt very dated.
• 17:26
  I think this speaks to the time, like the time period of the show where it does feel a little eight, like it feels like it's aged a little bit.
• 17:33
  feels like it compared to a lot of the other shows that we saw it.
• 17:38
  It was again that classic feel and you have to be going for that classic feel to really enjoy it.
• 17:43
  But there were some of the musical numbers that I was just like, yeah, I'm just, I could take it or leave it.
• 17:50
  Yeah, I mean, I think especially maybe some of the length of them.
• 17:58
  After like three or four minutes, I was like, all right, I'm good, we're good.
• 18:07
  And obviously, like again, like some of them just weren't memorable.
• 18:11
  Like he just, he got through it and it played into the story and that was it.
• 18:20
  I mean, I'm gonna argue and again, I guess this is me just being devil's advocate here, but there's most of act one that is forgettable.
• 18:28
  There's most of act one, which is interesting, because I'm usually a big act one lover.
• 18:33
  I for some reason, I think act ones are just incredible.
• 18:37
  And sometimes act twos usually will lose me.
• 18:40
  But this was one that I thought that like it had a tighter musical like story and act two than.
• 18:47
  Act 1.
• 18:48
  And I don't know if it's because there was actually more dialogue in Act 2 to kind of carry the story a little bit more than Act 1 did because I mean I'm looking at there's
• 18:55
  like four or five extra songs in Act 1 compared to Act 2.
• 19:00
  So I think that's interesting to note.
• 19:04
  Yeah, I mean, there's a lot, there is a lot of setup in Act One.
• 19:11
  But again, it felt very redundant.
• 19:19
  Like, yes, you're pushing your kid, you're pushing your kid, you're pushing your kid, how many more times can you push your kid before they walk away?
• 19:25
  Got it.
• 19:27
  Same thing with kid number two, which is basically act two, except very quickly happens, right?
• 19:33
  Like we only get a couple scenes rather than a whole act.
• 19:38
  We get like a scene for Louise that she, that the push and pull happens.
• 19:44
  And then we move on.
• 19:47
  And I think we just lose the...
• 19:49
  To me, Act 1 is like, we did all this setup with June, and then she just walks away and that entire thing almost feels...
• 20:00
  like you lost out on, I don't even know.
• 20:04
  I mean, you just lost so much story.
• 20:07
  And once again, having never seen it before and truly not knowing who Gypsy was, I was like, who is Gypsy, right?
• 20:15
  Like I see June, Louise and Rose.
• 20:19
  There's no Gypsy, let's show.
• 20:21
  Obviously until act two.
• 20:23
  And so...
• 20:25
  and Deep in Act 2 as well.
• 20:27
  Yeah, so for the first act when June walks out, I'm like, is the rest of the play?
• 20:32
  What do you mean?
• 20:34
  Because you spent an hour and a half being like, here's June.
• 20:42
  And now she's gone.
• 20:44
  which in the film, and if somebody has recently watched the film, I know I need to probably watch the film, please comment in the comments and let me know, but I feel like
• 20:52
  there was not as much emphasis on Baby June in the film as there was on Gypsy Rose.
• 20:57
  And I feel like most of the film was Act Two.
• 21:02
  I feel like there, like, Let Me Entertain You in Act One was like a huge montage of a lot of things that happened in Act One for the film.
• 21:10
  So I think that that is interesting too, because...
• 21:12
  There is this, it's a huge emphasis on Baby June for her story to end up nowhere.
• 21:18
  And I feel like sometimes as I should say all the time in as audience members, we need catharsis, we need a release, need some form of resolution.
• 21:29
  And that story is very much left in the balance of just being like, well, here it is, she didn't come back, she's gone.
• 21:35
  Let's focus on something else.
• 21:37
  And I feel like you do feel like you're missing that part.
• 21:39
  You're missing that piece of that story.
• 21:43
  Yeah, once again, putting the movie on my watch it list because I'm intrigued.
• 21:52
  I do want to say though, along with obviously Audra McDonald's performance, stellar, perfect, should win for best actress.
• 21:59
  I do want to put Joy Wood up there too though.
• 22:02
  Maybe like, I'm not saying like put her up there for best actress, but I think that she gave a really good performance, especially late in Act Two when she goes from young girl
• 22:13
  to burlesque dancer.
• 22:14
  And you see that like, like confidence within the course of a song, within the course of a scene.
• 22:20
  And then like,
• 22:21
  The absolute like stellar performance that you get between the two of them as they're finally confronting each other.
• 22:30
  That was part of what made this show so speck like that part was spectacular to me.
• 22:35
  That was like the shining point of the show was and that leads into Rose's song, you know.
• 22:41
  But I do think that Joy Woods did kill this performance at the end like in Act two really just she shined.
• 22:53
  yeah, and truthfully, I mean obviously I knew that she was in this show and all again, all through Act 1 I was like...
• 23:02
  what is the draw for an actress to this role?
• 23:07
  I mean, obviously you're the title, but because she almost, had minimal to do in Act One.
• 23:16
  And so obviously it was a much happier in Act Two when we actually get to see some character and some development.
• 23:22
  And really, yeah, once she is succeeding in the burlesque world is when we even actually get to see her really do
• 23:32
  anything, um, and be, yeah, the character development of being outside of the timid little girl that we've basically been seeing for, you know, an hour and a half, an hour and 45
• 23:46
  minutes.
• 23:47
  I completely agree.
• 23:49
  was so, at first I was so confused.
• 23:51
  I was like, you know, having just come off the notebook, granted I know it closed, but she was one of the stars of the notebook.
• 23:57
  And it's like, what drew you to Gypsy other than like, you're going to be in Gypsy.
• 24:00
  Like what was like at the end of Act One, we're, you know, we're in intermission, we're standing up, we're stretching.
• 24:04
  And I was like, what drew her to this role?
• 24:07
  Because it doesn't feel like you're getting anything.
• 24:11
  There's like nothing there.
• 24:14
  Acting wise, you're kind of...
• 24:15
  behind the scenes.
• 24:16
  You're literally she's the cow's butt for a good chunk of Act 1.
• 24:20
  Like there's what is that drawn?
• 24:22
  Then when you get to Act 2, you really get to see that.
• 24:27
  Was there anybody else's performance that stuck out to you?
• 24:29
  I feel like there was a lot of little parts.
• 24:30
  feel like this was one of those shows that there was a lot of, there was like two or three big parts and then everything else was like a lot of filling in the gaps.
• 24:39
  Yeah.
• 24:40
  And I mean, and that is always the case when you have a show that has a title above the title, right?
• 24:46
  When it has a name above the title, you know who you're coming to see.
• 24:50
  doesn't matter, you know, it doesn't matter if you're a fan of them or not.
• 24:54
  If I'm buying tickets to Audra McDonald's Gypsy, guess what I'm seeing?
• 25:02
  Audra.
• 25:04
  so, well, yeah.
• 25:09
  Um, or at least that is the primary motivator, I think, for many folks.
• 25:16
  Of course, if you love the show, then you're going to go see it regardless, but it makes sense to me that that is the way that it's titled because 80 to 85 % of the show is Rose.
• 25:32
  Absolutely.
• 25:33
  mean as we kind of discussed in part one that this is very much she's the narrative connection So it makes sense to have somebody big like her like Audra McDonald in the role
• 25:43
  and again That's what drew us there and I'm sure that's what drew many people who love Broadway who love theater.
• 25:49
  They went there to see her Before we wrap up obviously I want to touch on the sets in the wardrobe minimally the set was there was not much to these sets they felt very much like
• 26:00
  that old school Broadway feel, which we kind of again talked about in that first episode of being like, you're there for the person, you're there for the story, you're not there
• 26:07
  for the sets.
• 26:09
  But was there anything about the set that did jump out to you or about the costumes?
• 26:15
  I do have to say I thought it was pretty cool the car and how they had that come in and come out.
• 26:19
  Like, it clearly looked like kind of like a cartoony driving car in and out, but it also had a very realistic feel.
• 26:25
  So I thought that was a really cool little bit.
• 26:27
  And that's what stuck out to me.
• 26:30
  Yeah, I mean, I think period costumes always are so important to get right, which I do think that, you know, for the socioeconomical class that they were trying to portray and
• 26:46
  essentially being on the run, chances are they had not too many clothes, as was stated.
• 26:56
  They were mostly sewing together their own costumes.
• 27:00
  and that's what they were traveling with.
• 27:02
  And so the costumes, I think, were fun.
• 27:06
  And then, of course, the burlesque costuming, I think, is always a comedic point of the show, especially the one that was lighting up.
• 27:22
  I forgot about that.
• 27:24
  Yeah, so I mean always, I just always shout out to the wardrobe folks because man, they create, help create the costumes and then literally are standing in the wings for
• 27:42
  literally anything to go wrong.
• 27:44
  Obviously you always hope that nothing does, but man, I don't think I've been in a show that something hasn't ripped or torn or.
• 27:54
  not come off or whatever, especially when you have massive head pieces like they were having and, and all of course, like the wigs, I'm sure every single person had at least
• 28:06
  one or two.
• 28:07
  So it's, it's a lot, but nothing particularly super showy that might've been like, wow, that's super impressive.
• 28:17
  Just like appropriately.
• 28:19
  So
• 28:19
  right.
• 28:21
  It gave the focus to the stars still without distracting it.
• 28:25
  And I did, I actually forgot about the light up burlesque costume.
• 28:29
  There was a few of those pieces that were, again, they felt like appropriate for the show where they were like flashy within the setting of it, but not flashy.
• 28:37
  And like the, again, I think of like death becomes or when we have those like sparkly dresses and everything and like, there's nothing that was just like catching your
• 28:44
  attention necessarily, maybe besides Gypsy's
• 28:47
  red dress towards the end, which is like nothing but sparkles.
• 28:50
  And that really did kind of seal the deal of her being a burlesque dancer.
• 28:54
  yeah, it felt like everything felt very appropriate for the show.
• 28:58
  And like we do with every production that we see, what is the rewatchability of this?
• 29:05
  Would you go see it again?
• 29:06
  If not for Audra, I am not so sure.
• 29:12
  I think it's one of the, is a classic.
• 29:15
  I'm glad that I saw it.
• 29:17
  I was obviously incredibly impressed with everything that happens, but the plot and the story and the show itself just seemed to move slow for me.
• 29:32
  And so,
• 29:33
  much like I'm sure many folks in that theater.
• 29:39
  For the star power, I would come see it again, but probably not for any other aspect of it.
• 29:47
  You know, something that we had kind of mentioned as we leaving the show is I wonder how long this lasts without someone's name like Audra McDonald on it.
• 29:57
  Because I feel again, this is one of those shows kind of like a Merrily We Roll Along where people, a lot of people went to go see it because of the power within the show.
• 30:05
  And maybe enjoyed it along the way, but like this, like this is a very like the power heavy, we're going for the person, maybe not necessarily for the show.
• 30:14
  And so I do, I do.
• 30:15
  wonder what happens when she leaves the show and if it continues without her or if they get another big star to take her place.
• 30:23
  But if it wasn't for Audra, probably like if I was going with somebody else and they want to see it and I had somebody like Audra in it, I would probably say yes.
• 30:31
  I might try to find something else to go see if if it's not someone like Audra McDonald in the role.
• 30:37
  So I guess it's a toss up.
• 30:39
  guess it's leaning more towards no, but you never know what the world brings you.
• 30:45
  And once again, we are running out of time.
• 30:47
  So thank you for joining us on the second part of our gypsy discussion.
• 30:53
  Stay tuned as we break down more shows from Broadway and here locally in Michigan on future episodes of the Cosmic Curtain.
• 31:00
  Thanks again for joining us in our box seats till our next curtain call.